Douglas Moore : A Bio-Bibliography 9780895796660

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M u s i c L i b ra r y A s s o c i a t i o n I n d ex a n d B i b l i o g ra p hy S e r i e s

M u s i c L i b ra r y A s s o c i a t i o n I n d ex a n d B i b l i o g ra p hy S e r i e s

Douglas Moore: A Bio-Bibliography

This book documents all of Moore's published, unpublished, and recorded compositions along with an exhaustive listing of performances. The annotated bibliography of over 3000 entries includes descriptions of books, dissertations, articles, and reviews both by and about Moore and brings to light a fascinating creative personality in the history and development of American music. Jerry McBride is Head Librarian of the Music Library and Archive of Recorded Sound at Stanford University where he also teaches music bibliography. He was previously Music Librarian at Middlebury College and Archivist of the Arnold Schoenberg Institute. He has written articles and presented papers on Arnold Schoenberg and on a wide variety of subjects in music librarianship. Cover Photo: Douglas Moore, reproduced with permission of the University Archives, Columbia University in the city of New York

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Douglas Moore: A BioBibliography Douglas Moore: A Bio-Bibliography McBride

Douglas Moore (1893–1969) is best known as the composer of The Ballad of Baby Doe, one of the few American operas to enter the operatic repertory. He also composed songs, chamber and orchestral music, and six other operas, including The Devil and Daniel Webster. Early in his career he turned to American subjects for inspiration. At a time when many composers were writing ever more adventurous music, he steadfastly continued writing tonal music in traditional forms. His influence was felt far beyond his work as a composer through his work as an educator and administrator. He was a significant advocate for American composers and musicians, especially during the 1930s and 1940s, when American composers were not held in high regard, and he initiated the recording company, Composer's Recordings, Inc. to make music of important American composers widely available regardless of the music's commercial viability. He was professor of composition and head of the music department at Columbia University for over thirty-five years and President of the American Academy of Arts and Letters. His leadership in founding the Columbia Opera Workshop established a model for college and university workshops throughout the country when there were few professional opera companies in the United States and almost no opera training opportunities for musicians and composers in America.

Jerry L. McBride

780895 796660

Í A-R Editions, Inc.

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

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Music Library Association Index and Bibliography Series Mark Palkovic, Series Editor 1. An Alphabetical Index to Claudio Monteverdi Tutte Le Opere, edited by the Bibliography Committee of the New York Chapter, MLA, [1964]. 2. An Alphabetical Index to Hector Berlioz Werke. edited by the Bibliography Committee of the New York Chapter, MLA, [1964]. 3. A Checklist of Music Bibliographies and Indexes in Progress and Unpublished, compiled by the MLA Publications Committee (Walter Gerboth, chair; Shirley Branner; and James B. Coover, 1965); Second edition by James Pruett (1969); Third edition by Linda Solow (1974); Fourth edition by Dee Bailey (1982). 4. A Concordance of the Thematic Indexes to the Instrumental Works of Antonio Vivaldi, by Lenore Coral (1965); Second edition (1972). 5. An Alphabetical Index to Tomás Luis de Victoria Opera Omnia, edited by the Bibliography Committee of the New York Chapter, MLA (1972). 6. An Alphabetical Index to Robert Schumann Werke. Schumann Index, Part I, compiled by Michael Ochs (1967). 7. An Alphabetical Index to the Solo Songs of Robert Schumann. Schumann Index, Part 2, compiled by William J. Weichlein (1967). 8. An Index to Maurice Frost’s English & Scottish Psalm & Hymn Tunes, by Kirby Rogers (1967). 9. Speculum: An Index of Musically Related Articles and Book Reviews, compiled by Arthur S. Wolff (1970); Second edition (1981). 10. An Index to Das Chorwerk, Volumes 1–110, compiled by Michael Ochs (1970). 11. Bach Aria Index, compiled by Miriam Whaples (1971). 12. Annotated Bibliography of Writing About Music in Puerto Rico, compiled by Annie Figueroa Thompson (1975). 13. Analyses of Twentieth-Century Music, 1940–1970, compiled by Arthur Wenk (1975). 14. Analyses of Twentieth-Century Music, 1970–1975, compiled by Arthur Wenk (1976); Second edition (1984). 15. Analyses of Nineteenth-Century Music, 1940–1975, compiled by Arthur Wenk (1976); Second edition: 1940–1980 (1984). 16. Writings on Contemporary Music Notation, compiled by Gerald Warfield (1976). 17. Literature for voices in Combination with Electronic and Tape Music: An Annotated Bibliography, compiled by J. Michele Edwards (1977). 18. Johannes Brahms: A Guide to His Autographs in Facsimile, by Peter Dedel (1978).

19. Source: Music of the Avant Garde: Annotated List of Contents and Cumulative Indices, by Michael D. Williams (1978). 20. 18th-Century American Secular Music Manuscripts: An Inventory, compiled by James J. Fuld and Mary Wallace Davidson (1980). 21. Popular Secular Music in America Through 1800: A Checklist of Manuscripts in North American Collections, compiled by Kate Van Winkle Keller (1980). 22. Palestrina: An Index to the Casimiri, Kalmus and Haberl Editions, by Allison Hall (1980). 23. E. H. Fellowes: An Index to The English Madrigalists and The English School of Lutenist Song Writers, by Allison Hall (1984). 24. Music in New York During the American Revolution: An Inventory of Musical References in Rivington’s New York Gazette, by Gillian Anderson with editorial assistance of Neil Ratliff (1987). 25. Analyses of Nineteenth- and Twentieth-Century Music, 1940–1985, by Arthur B. Wenk (1987). 26. Opera Performances in Video Format: A Checklist of Commercially Released Performances, by Charles Croissant (1991). 27. A Thematic Catalog of the Works of Robert Valentine, by J. Bradford Young (1994). 28. Pro-Musica: Performance, Patronage, and a Periodical: An Index to the Quarterlies, by Paula Elliot (1997). 29. Musical Memorials for Musicians: A Guide to Selected Compositions, by R. Michael Fling (2001) 30. Music Inspired by Art: A Guide to Recordings, by Gary Evans (2002) 31. An Index to Music Published in The Etude Magazine, 1883–1957, by E. Douglas Bomberger (2004) 32. Bibliographic Control of Music, 1897–2000, compiled and edited by Richard P. Smiraglia with J. Bradford Young (2006) 33. Grawemeyer Award for Music Composition: The First Twenty Years, by Karen R. Little and Julia Graepel (2007) 34. Analyses of Nineteenth- and Twentieth-Century Music, 1940–2000, by D. J. Hoek (2007) 35. The Guitar in American Banjo, Mandolin, and Guitar Periodicals, 1882–1933, by Jeffrey Noonan (2009) 36. Douglas Moore: A Bio-Bibliography, by Jerry L. McBride (2011)

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

by Jerry L. McBride

Co-published by Music Library Association and

Í A-R Editions, Inc. Middleton, Wisconsin

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Library of Congress Cataloging-in-Publication Data McBride, Jerry L. Douglas Moore: a bio-bibliography by Jerry L. McBride. p. cm. — (Music Library Association index and bibliography series ; 36) Includes bibliographical references and indexes. ISBN 978-0-89579-666-0 1. Moore, Douglas, 1893–1969.—Bibliography. I. Title. ML134.M662M33 2010 016.78092—dc22 2009028307

Cover Photo: Douglas Moore, reproduced with the permission of the University Archives, Columbia University in the city of New York A-R Editions, Inc., Middleton, Wisconsin 53562 © 2011 All rights reserved Printed in the United States of America 1 3 5 7 9 10 8 6 4 2

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To Ted and Olive Colwell, whose friendship and constant encouragement helped to make this book possible.

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Table of Contents

Acknowledgments

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Preface

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Biography

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List and Bibliography of Musical Works A. Manuscripts, Scores, and Recordings B. Performances

83 83 180

Bibliography A. Writings by Moore 1. Lyrics and Stories 2. Books 3. Articles B. Writings about Moore 1. Books 2. Articles a. General Articles b. Short Biographies c. Reviews and Concert Announcements 3. Librettos

247 247 247 247 249 261 261 263 263 340 348 491

Chronological List of Musical Works

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Classified List of Musical Works

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Indexes

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Acknowledgments

Few works are written without the help and forbearance of many people, and this one is no exception. The gestation of this book was much longer than the size of the volume would indicate, and research and writing was done almost entirely in the author’s spare moments set aside from work, during vacation time, in the evenings, and while traveling. First, thanks must go to the Middlebury College Friends of the Library, who generously funded research travel to consult special collections at Columbia University and the Library of Congress, without which this research could not possibly have been done. I must specially thank Robert Buckeye, the head of Special Collections, and particularly Ronald Rucker, the college librarian of Middlebury College, for their support in my undertaking this study. The interlibrary loan staff of Middlebury College patiently dealt with numerous obscure requests for items of all types that would have been totally inaccessible to me otherwise. I also visited numerous libraries in the course of this work. The staff of the Special Collections of Butler Library at Columbia University, and particularly Bernard Crystal, the head of Special Collections, were enormously helpful in providing access to the voluminous papers of Douglas Moore, even though they were still only partially processed at the time. At the Library of Congress Music Division, Raymond White cleared and expedited several requests for Moore manuscripts held in that library. The Dartmouth College Library and its music librarian, Patricia Fisken, also provided many volumes that were useful to the study. Suzanne Eggleston Lovejoy assisted me with numerous questions about early works of Moore at Yale University Libraries, including the last-minute discovery of the manuscript of the Yale Pageant of 1916. In addition to these libraries, where most of the research was conducted, I wish to thank the librarians at McGill University, the State University of New York at Albany, the State Library of New York, Case Western Reserve University, the Western Reserve State Historical Society Library, and Stanford University Library. Bradford and Mary Kelleher were exceedingly kind and helpful in inviting me to Salt Meadow for several days to talk with them and to consult materials still at the Moore home. I deeply regret that this work was not finished while they were still living so that they would have been able to see at least one book devoted entirely to Douglas Moore in their lifetimes. Through an amazing coincidence I met Barbara Butterfield, who happened to mention her connection to Cutchogue as the niece of Douglas Moore. With her help I was able to contact Jeffrey Miller, who inherited Salt Meadow and who kindly provided some of the photographs of Moore and his family for this volume.

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Lewis Hardee was also very gracious in talking with me about Moore, especially because he has written the most about Moore up to this time. Moore’s colleague Jack Beeson was equally generous with his time and gave me insight into Moore as a composer, colleague, and personal friend. In addition to the professional help I received, there were numerous individuals whose encouragement was equally important. Phillip Rehfeldt introduced me to Douglas Moore through his performance of the Wind Quintet when I was an undergraduate. Most important, I must thank Ted and Olive Colwell, whose constant friendship, personal support, and humorous nagging contributed immeasurably to my ability to see this project through to its conclusion. Several other people helped immeasurably in the final stages of publishing this book. The series editor, Mark Palkovic, took a raw manuscript and shaped it into a useable volume. I am very grateful for his advice and many hours of work. Linda Solow Blotner provided invaluable suggestions, advice, and editing of the index. Jim Zychowicz and the staff of A-R Editions provided skillful editing and worked tirelessly on numerous corrections. Also, special thanks are due to Camilla Lü, whose warmth, encouragement, help, and love during the preparation of this book for publication is largely responsible for it actually being completed. Most of all I must thank the subject of this book, Douglas Moore, for providing me a truly interesting intellectual journey. Through this study I learned about music entirely new to me and about a gracious gentleman, whom I wish I had had the opportunity to know personally.

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Preface

This book is a guide to the works written by and the literature written about the composer Douglas Moore. I hope that it will encourage more research into his life and works and further performances of his music. CRITERIA FOR INCLUSION

The bibliography was compiled by searching indexes, databases, bibliographies, discographies, catalogs, and any other source that seemed likely to yield information about Douglas Moore. During my research for this book, the number and depth of electronic resources increased enormously and is continuing to do so. I have included any published books, articles, dissertations and theses, musical scores, recordings, and Web sites at least half of whose content concerned Moore or one of his works. Similarly, if a larger or more general work included a chapter, article, or section at least half of whose content concerned Moore, that portion was cited in the bibliography. Works in which he is discussed in passing were not considered significant enough to be included except in the case of some reviews and concert announcements. Also, unpublished items whose distribution is limited are not included, with the exception of dissertations and theses. On the other hand, the existence and location of Moore’s original music manuscripts are noted in the list of musical works, as they are essential to the documentation and study of his compositions. The entries for the bibliography were gathered comprehensively from a variety of sources through 2005, with as many additional citations as I could find through the end of 2008. Wherever possible, I examined each item from the original source, and I consulted the composer’s clipping file at Columbia University and scrapbooks at his family’s home. These sources sometimes had incomplete bibliographic data that was not always possible to verify. Sources that I could not examine directly are indicated by an asterisk in the bibliography. The primary repositories of the composer’s papers that I consulted were at the Library of Congress and Columbia University, where I found a number of unpublished works. ARRANGEMENT OF THE BOOK

Following a biography of the composer, the main body of the bibliography consists of the list of Moore’s compositions. The works are listed in alphabetical order, and information about each work is listed including genre, author of any text used in the work, characters for a dramatic work, instrumentation, acts and scenes for a dramatic work or movements for an instrumental

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

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work, first line of the text for songs, vocal range for solo songs (using scientific notation for the designation of exact pitches, in which middle C is C4), date of composition (and place, where known), duration, dedication, source of a commission, and location of the manuscript. The bibliography of the scores and recordings for each piece is presented chronologically after the listing for each work. Below is a sample entry. Title Alternate title: Genre: Text: Characters: Instrumentation: 1st line: Vocal range: Acts or movements: Date of composition: Duration: Dedication: Scores: Manuscripts Published scores Recordings: This is followed by a section listing information about performances of Moore’s compositions. These entries consist of the date, performance venue, city, state, and country of performance followed by as complete a listing of the performers as it was possible to obtain. Some of the information was obtained from Moore’s own manuscript log book of performances and his file of concert programs at Columbia University. Again, the information was verified in other sources whenever possible. The bibliography proper is divided into two sections: writings by Moore and works written about him. Under each section there are three main divisions: lyrics and librettos, books, and articles. The book sections contain full length monographs including dissertations and theses. All of the articles written by Moore, including reviews, are gathered in one section. The section of articles written about Moore is divided into three subsections: general articles, short biographies, and reviews and concert announcements. Most of the citations of short biographies are found in reference books and other sources. The concert and recording reviews are grouped under the title of the reviewed work. To help the reader find musical compositions in the main listing, there are two sections listing the works: the first in chronological order, and the second according to musical genre.

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PREFACE

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No bibliography of this type is ever truly complete, and I take full responsibility for any omissions or errors. Should any reader discover items that should have been included or detect errors, I would be most grateful to learn of them.

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Chronological Biography

FAMILY AND EARLY LIFE Douglas Moore was born into two very old American families as the youngest son of Stuart Hull Moore (1854–1915) and Myra Drake (1856–1933). The first member of the Moore family to settle in New York was Thomas Moore (1615–1691), who came from Connecticut and moved to Southold Town on Long Island in 1640, not far from Cutchogue, where the family farmed and lived for generations.1 Although most of the Moore farm is now a golf course and country club, the original Moore farmhouse in which his grandfather, Joseph Hull Moore (1817–1904), lived and in which Douglas, his father, and his brother were born is about one mile inland from the shore of Peconic Bay on Moore’s Lane. Two other family homes are still standing on the shore facing the bay. A small clubhouse known as Salt Meadow originally belonging to Joseph was first converted into a garage and later, in 1933, was made into a cottage. Next door to Salt Meadow, Stuart built a larger house named Quawksnest, in reference to the night herons found in that area. Salt Meadow eventually became Douglas’s home.2

Salt Meadow

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Douglas Moore, 1893 Stuart Moore was not interested in farming, and when he was still a boy, he left the Cutchogue home on a night boat for New York, where he apprenticed to a printer. Eventually, he acquired the literary magazine The Fireside at Home from F. M. Lupton (1854–1910), renaming it Ladies’ World, which was published from 1887 to 1918. He sold the business to McClure in about 1913, after which he retired and acquired a summer residence in Pasadena, California.3 Myra Drake was born in Portland, Maine, to a family descended from the Mayflower settlers Miles Standish (ca. 1584–1656) and John Alden (ca. 1599–1687). Myra’s mother’s maiden name was Fobes, and she was Mr. Drake’s second wife. When Drake left the family to prospect for gold in Alaska, Myra’s mother moved to Brooklyn with Myra and her sister. Myra found employment as a secretary and editor at Ladies’ World, where she met and married Stuart Moore.4 Stuart and Myra had four children: Arthur (1881–1956), Eliot (1882–1946), Dorothy (Mrs. Ransome G. Miller, 1891–1975), and Douglas (1893–1969), born on 10 August. The family lived in Brooklyn, first at 43 McDonough Street and then, beginning in 1914, in two apartments at the corner of Sumner Avenue and Van Buren Street, while spending the summers in Cutchogue. Arthur continued in the family business, eventually becoming a vice president for Hearst Magazines. Eliot pursued various occupations. There were no professional musicians in Moore’s family, but his mother was very active in Brooklyn society as a member of the Chaminade Society, a women’s choral group, and other cultural organizations. The house at 43 McDonough Street included a music room that was added to the house at a cost of $10,000 for the purpose of the family’s music making and for presenting musical soirees.5 Stuart played Pianola rolls for the family consisting of parlor music typical of the late nineteenth century, while Myra played the piano and took singing lessons. Douglas enjoyed listening to the Pianola and to his mother’s playing. Myra soon insisted that Douglas take piano lessons, although he was not very interested in playing or practicing the instrument. He began piano lessons in 1900 as a student of Emma Richardson Kuster, the conductor of the Chaminade Society, and followed this with instruction by Beverly Day, from whom he learned salon pieces by composers such as Ethelbert Nevin, Anton Rubinstein, Chopin, Grieg, Edward MacDowell, and Tchaikovsky.6 In addition to the

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CHRONOLOGICAL BIOGRAPHY

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repertoire of light classics, he eventually learned to play many of the “old songs” of the time by Jerome Kern, Victor Herbert, Rudolf Friml, and Harry von Tilzer, and to improvise compositions of his own in these styles.7 His other main interest besides music in these early years was theater. Douglas’s earliest full-fledged attempt at theatrical production was at age seven in 1900, when he acted, directed, and managed The Bride’s Fate, a melodramatic play presented at the “Hall Theater” for his Uncle Ned that was largely improvised in the attic of the Moore home on MacDonough Street, with Dorothy and two neighbor children as actors.8 He also saved his lunch money to be able to buy tickets to the theater on Saturday nights. This theatrical flair and desire to perform at an early age was remembered by the family servants, who recounted a lecture he gave about the family’s trip to Washington, D.C., illustrated with postcards.9 Acting, the theater, and music remained active interests for Moore throughout his life. Moore attended elementary school at the Adelphi Academy in Brooklyn, which included among its founders Henry Ward Beecher (1813–1887) and Horace Greeley (1811–1872). By the time Moore attended the school, it was coeducational and under the direction of the progressive educator Charles Levermore (1856–1927). When Moore was thirteen he transferred to the Fessenden School, in West Newton, Massachusetts, a boys’ boarding school; he graduated at the end of the 1906–7 academic year. The headmaster’s daughter, Louise Fessenden, remembers Moore playing the piano and imitating opera singers dressed in one of her mother’s old dresses at the some of the school’s weekly Saturday night entertainments. However, he resisted piano lessons and practicing so much that his mother relented and allowed him to stop piano lessons during this year.10 In the fall of 1907 he enrolled at the Hotchkiss School in Lakeville, Connecticut, which proved to be a major influence on his later life, for it was here during these four years that he met his lifelong friend Archibald MacLeish (1892–1982); the stage designer for The Ballad of Baby Doe, Donald Oenslager (1902–1975); and his future wife, Emily Bailey. Emily was a student at Taconic School, also in Lakeville, and they met in 1909.11 But without Moore’s knowledge, his mother arranged for the dreaded piano lessons at Hotchkiss with the piano teacher Benjamin Lamboard, who also taught him some harmony and composition.12 Unfortunately, Lamboard died and was replaced by Grover Tilden Davis, whom Moore found so disagreeable that he quit lessons once again. During this time his earliest attempts at composition were “making up little tunes.”13 A short Waltz in C Major labeled “first written composition” dates from either 1907 or early 1908. In a letter to Frederick Fessenden (1862–1943) in the fall of 1908, he presented his “Song to Fessenden,” written to a text by his mother, which he composed during his first year at Hotchkiss. In the letter, he asks Fessenden not to judge the song too harshly, as this was only his second composition.14 The composition remains the school song to this day. Moore refers to himself during his school years as a “meatball,” meaning that he was not handsome or popular, but he was voted “Most Original.”15 He was well liked and sought out for social events and organizations, both during his student days and in adulthood.

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

One of the first concerts Moore recalls attending was Josef Hoffmann (1870–1956) playing the Prelude in C  Minor by Rachmaninoff. He attended the Metropolitan Opera for the first time when he was sixteen with his brother, Arthur, to hear Die Meistersinger and Madama Butterfly. He learned to play both the Rachmaninoff Prelude in C  Minor and excerpts from Puccini operas, but he claims never to have heard any Beethoven until he went to college.16 He also began composing more, beginning in 1909 with a satirical musical comedy about his family entitled Then and Now. The text was written by Moore and one of his brothers, and the melody lines of the songs were written by Moore, with accompaniments provided at the piano by a cousin. He acted in the starring role as the principal of Dana Hall, with one of his brothers as the “builder man,” and Dorothy as Elizabeth Mulvany. The work was written, produced, and performed at the Salt Meadow house in Cutchogue to entertain friends and family, but Myra nearly stopped the enterprise because she thought it would be too embarrassing for Stuart, who was satirized the most.17 Another family theatrical attempt was The March of Time, from June 1909; it included the song “Kimogenor,” with text by Myra. His dramatic interests carried over into school, where at Hotchkiss he was a member of the dramatic association and acted in productions during his last two years there.18 Moore’s “op. 1” was “Hotchkiss Day,” a school fight song (published by Leo Feist in 1910) with words by his friend Philip R. Mechem (1892–1969), who later became an eminent legal scholar. Mechem was also the author of the text for “Good Night, Harvard,” Moore’s most famous school song, although Mechem, as a Harvard alumnus, did not take credit for it until many years later.19 Also from 1910 are a minuet, a Fugue for String Quartet in D major, and an anthem, Oh Lord, Our Lord. Moore also set to music a number of poems by his friend Archibald MacLeish, including “To an April Lady” (1909), “Song of a Canoe” (1910), “The Reed Player” (1911), “Dreams” (1911), “The Brook” (after 1911), “The Evening Wind” (ca. 1911–14), “Thine Eyes” (after 1911), and “Sweet” and “Gifts” (both before 18 January 1914). MacLeish later destroyed most of the poems on which these songs are based, and so the texts are known only through Moore’s songs. YALE UNIVERSITY Moore’s friendship with MacLeish continued when both entered Yale University in the fall of 1911. At first Moore continued his interest in music as a member of the banjo and mandolin club, for which he wrote a Concerto for Piano and Mandolins; he also performed the work as the piano soloist. Moore’s talents as a musician and composer and his social popularity were overshadowed by those of Cole Porter (1891–1964), his senior by two years. Both men were known for writing witty popular songs. As a freshman at Yale, Moore and his friends frequented Eli’s Restaurant on York Street, a few blocks from Garland, where Moore was living. Either Porter or MacLeish suggested writing a song about the very beautiful waitress at Eli’s, but

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Douglas Moore sailing in Peconic Bay Moore was the one to act on the idea. In 1912 the song was published by Charles F. Smith of New Haven, Connecticut, as “Naomi: My Restaurant Queen.” Moore recounts the genesis of this song: Archie suggested we write a song for Naomi, and then he never got around to doing it, and so I did the whole thing: wrote the lyrics and the music. And the great triumph was when Ethel Green, who was a Broadway star, was touring in vaudeville. I approached her at the Hotel Taft and asked her if she would sing this song. And toward the end of the week’s engagement, she did sing it.20

His next two compositions were Yale fight songs: “Parabalou” (1912) and “Good Night, Harvard” (1913). The latter song is the better-known of the two; it has been recorded numerous times, including by Rudy Vallée (1901–1986), and exists in several different arrangements. Although he was not writing a great deal of music in these early Yale years, he attended the New York Philharmonic or musicals and operettas on Broadway nearly every week. He was particularly interested in stage works by Jerome Kern (1885–1945) and Victor Herbert (1859–1924).21 Moore was a member of the Yale Glee Club (1913–1915) and took the place of Cole Porter as the club’s “soloist and stunt man,” a very tough act to follow.22 In this role he performed in “pianologues,” comedy acts that included some of his own compositions. These were quite well received and were frequently cited as the highlight of the club’s performances.23 In addition to these extracurricular musical activities, his formal music studies with David Stanley Smith (1877–1949) began in the fall of 1913. Early in 1914 Moore performed some of his own songs at a benefit concert for his mother’s music salon at his parents’ house in Brooklyn. Six of his songs (“To an April Lady,” “Gifts,” “The Song of the Canoe,” “A Song of April,” “The Rune,” and “The Evening Wind”) were performed by Harriet Villette Brown, soprano; and Emma Williams, alto, with accompaniment by Henryk Mikulski, violin, and Moore and Frederica Simmelkiaer, piano.24 Not long after this performance, the Moore home was sold for $185,000, and the family moved to the apartments at Sumner and Van Buren, also in Brooklyn.25 Later, in May 1914, Moore was selected to become a member of the Wolf ’s Head Society, one of the secret societies at Yale.26 However, it

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was the composition in June 1914 of incidental music for the Yale Dramatic Club’s productions of Quentin Durward, by Walter Scott (1771–1832), which he also conducted, and of King Lear that was to turn him toward the study of music at Yale. Through the composition and performance of these pieces, he met Horatio Parker (1863–1919), the dean of the Yale School of Music and a composition professor, who encouraged him to study composition.27 Unfortunately, in the following year, Stuart Moore died at his new home in Pasadena on 18 April 1915, just before Douglas, Stuart’s only son to attend college, completed his bachelor of arts degree in philosophy and music. Despite the death of his father, he decided to remain at Yale for two more years to finish the bachelor of music degree in composition, with Horatio Parker and David Stanley Smith as his principal professors. Among his classmates was Roger Sessions (1896–1985), who wrote in one of his letters: “I have found only one boy here [Yale] so far who appeals to me strongly—the composer of ‘Good night, Harvard.’ He seems rather facile, but has imagination. I think, though of course I don’t know, that he is trying to get me into the Elizabethan club, which is very nice, besides being more or less of a honor.”28 The two extra years also gave Moore the opportunity to pursue his other interests outside of music, including the Elizabethan Club, an exclusive literary and dramatic group at Yale, where he was quite active and met poets such as William Butler Yeats (1865–1939), Alfred Noyes (1880–1958), and Vachel Lindsay (1879–1931).29 There are photographs of Moore dressed up as Queen Elizabeth for one of the club’s functions. At this all-male university, it was common for undergraduates to play female roles on the stage. For example, on 4 March 1916 Moore played the part of Mabel Chilters in the Yale Dramatic Association production of An Ideal Husband, by Oscar Wilde (1854–1900).30 A number of Moore’s close friends were also members of the Elizabethan Club and the Yale Dramatic Association, including Stephen Vincent Benét (1898–1943), Thornton Wilder (1897–1975), and Cole Porter. His last production with the Yale Dramatic Association was in Ours, by Tom Robertson (1829–1871), on 2 January 1917. Stuart Moore’s estate was not settled until May 1916 and was worth nearly one million dollars.31 As one of the heirs with his mother, two brothers, and sister, Moore was not left enormously wealthy, but the money allowed him to live comfortably for the rest of his life, with funds for the family to employ a butler and a cook. It also enabled him to finance the remainder of his musical studies in the United States and France. In the summer of 1916 Moore attended the MacDowell Colony for the first time as a young composer, having shown signs of a promising career. His cousin, Mrs. Prince, had donated the funds to build Colony Hall, a connection that no doubt improved his chances of acceptance as a MacDowell fellow. Moore attended the MacDowell Colony several times in his career and was a close friend of Marian MacDowell, the founder of the colony and the wife of the composer Edward MacDowell.32 Moore enjoyed his studies at Yale with Parker and Smith, despite the fact that they were strict and demanding, but he did not get along with the orchestration teacher, nor did Parker provide much instruction in that subject. Perhaps this early negative experience with orchestra-

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tion contributed to his lack of confidence in this area, for he felt insecure about his orchestration abilities and asked advice on orchestration from other composers, such as Henry Brant (1913– 2008) and Jack Beeson (b. 1921), long after he had become a successful composer. Nonetheless, Moore’s final composition project was to compose and conduct an orchestral overture. Although Parker approved Moore’s composition in 1917, he told Moore to call it Fantaisie Polonaise, because the work was not an overture.33 In the last two years at Yale, his compositional activity increased. Revisions of the earlier MacLeish songs “The Reed Player” and “Dreams” and other songs were joined by instrumental works resulting from formal studies with Parker, such as a Fugue for Organ, sonatas for piano, violin, and cello, a set of variations for string quartet, an orchestration of Beethoven’s Pathétique Sonata, and the Fantaisie Polonaise. However, there was still time for extracurricular music making, resulting in some incidental music for a production of Twelfth Night, music for the Yale Pageant, and another football song, “Snake Dance.” WORLD WAR I Moore’s graduation from Yale coincided with the American entry into World War I, and he enlisted in the Navy as a first lieutenant for two years, from 1917 to June 1919. There is no evidence that he was involved in any active combat, but military life provided the opportunity for some music making and composition. The songs from these years were meant to entertain the sailors by joking about naval life or romantic liaisons with local women when on leave from duty. The most well-known of these songs is “Destroyer Life,” which was later published in an anthology by John Jacob Niles (1892–1980),34 and was so widely known among sailors that Niles originally thought it was a folk song.35 Other songs from this period are found among Moore’s manuscripts (“Santy Anna,” “When I Lays Down,” “Ate My Breakfast” (incomplete), “Hanging Johnnie,” and “Jail Song”) and were probably written by him during this time. Another manuscript of military songs includes some songs with texts in African American dialect (“Sittin’ in de Cotton,” “De Six-Bit Express,” “Way Out West,” “Ambulance,” and “Willie the Weeper”). Whether Moore actually wrote these songs or only transcribed them is not certain. Other songs have a different character but show the influence of Tin Pan Alley, vaudeville, and the “old songs” that Moore heard when growing up. “Jessie Wilhelmina Glotz” is about a soldier who falls in love with a woman whose full name is “Jessie Wilhelmina Kunkle Volavah Snickelfritz Underdunk Glotz.” This type of humor extended to pieces such as Le doughboy s’en fiche, a march for piano, and Jungle Heroes—Tarawa Stampede—Marine Parade March: Grande Fantaisie Marin de Concert ou Salon, op. 89A, for piano four-hands, which he attributed to the fictitious composer Fernand Klabosz. PARIS AND MARRIAGE Following Moore’s military service and his return to New York, his brother Arthur, now the head of the family business, encouraged him to join the firm, but Douglas was interested in

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pursuing a musical career. He solicited the advice of Archibald MacLeish, showing him some of the songs he had written to MacLeish’s poetry, probably “Ghosts,” “The Road,” and “The Tower Bells of Tours.” MacLeish and his wife, Ada (1893–1984), were enthusiastic about the songs, but what Moore most wanted to know was whether the songs were good enough for him to consider pursuing a career as a composer. With praise and encouragement from the MacLeishes, Moore decided to continue his education in Europe. He enrolled in the Schola Cantorum in Paris from 1919 to 1921 to study composition with Vincent d’Indy (1851–1931) and organ with Charles Tournemire (1870–1939), a pupil of César Franck (1822–1890).36 These studies at first were focused on the works of Bach and Beethoven but later included music of the Renaissance, engendering a compositional style in Moore’s early works much like that of Franck. Moore credits D’Indy for developing his sense of musical form. The studies on organ complemented other work at the Schola Cantorum, but when Tournemire stopped teaching, Moore continued organ lessons with Nadia Boulanger (1887–1979), with whom he was to study composition a few years later.37 At the conclusion of his first year of study in Paris, Moore returned to the United States to marry Emily Bailey, whom he knew from Hotchkiss, on 16 September 1920 at Martha’s Vineyard. Emily, born on 24 December 1893, was from Harrisburg, Pennsylvania, where her father was a lawyer and her grandfather had been the owner of an iron mine. Following the wedding, the couple sailed back to Massachusetts and spent their honeymoon in various places along the East Coast before returning to Paris. During these two years of study in Paris, Moore renewed his acquaintance with Stephen Vincent Benét, whom he had known at Yale. Benét was Moore’s junior at Yale by two years, and both were members of Wolf ’s Head, the Elizabethan Club, and the Yale Dramatic Association. The Moores were at the social center of the first wave of American artists studying in Paris between the two world wars: A festive procession of his [Stephen Benét’s] friends was constantly in or drifting through Paris that fall [1920]. The musicians—Douglas Moore, Quincy Porter [1897–1966], Bruce Simonds [1895–1989]—were relatively serious-minded, but Moore in particular, whom he had known briefly in 1915 when the composer was a Yale senior, was a gay and entertaining companion. He and his bride provided a kind of merry stability for a group which included Don Campbell and William Douglas as well as Benét and Henry Carter.38

Douglas and Emily’s first daughter, Mary, was born on 7 July 1921, just before their return to the United States. Most of Moore’s musical compositions during these two years resulted from his studies at the Schola Cantorum, so he produced few pieces that were actually performed. The works that survive from this period are mainly either compositional exercises and sketches or separate, small instrumental works, rather than songs and vocal pieces. Nonetheless, the development of his more mature musical style is indebted to the influence of D’Indy and the Schola Cantorum,

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Emily and Douglas Moore playing croquet at Cutchogue

Douglas and Mary Moore, ca. 1921

where he learned about composing longer musical genres, counterpoint, and modal harmony, which he used frequently throughout his works. CLEVELAND AND SECOND PARIS STUDY With the help of MacLeish and upon the recommendation of Daniel Gregory Mason (1873– 1953), the head of the music department of Columbia University, Moore was selected the director of music and organist at the Cleveland Museum of Art in the fall of 1921.39 The Cleveland Museum was one of the first major art museums in the United States to have an active music program, something Moore described in an article in Fine Arts Review. The article is important because it is Moore’s first statement championing American composers and American music, which remained a lifelong cause and passion.40 As music director, Moore was responsible for performing concerts on the museum’s new Skinner organ, planning chamber music concerts, directing the children’s music program, and giving lectures in music appreciation to both children and adults. There were weekly organ concerts played on the McMyler Memorial Organ, a large, romantic, “orchestral” organ built by Ernest Skinner (1866–1960) and installed in 1922.41 Shortly after the installation and dedication of the organ, Arthur Quimby was appointed to assist Moore in the music department. The children’s program consisted of regular classes divided into two age groups: children up to nine and those nine to sixteen. In addition, Moore gave music appreciation lectures on the history of music, musical concepts, and individual pieces. Moore was still not quite done with his musical studies. He decided to join the master class in composition with Ernest Bloch (1880–1959) at the Cleveland Institute of Music from

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1921 to 1922. The class included Roger Sessions, Quincy Porter, Bernard Rogers (1893– 1968), and Theodore Chanler (1902–1961). Moore considered Bloch the best composition teacher he ever had, because Bloch encouraged each of the students to write music that was true to their own natural style and aesthetic. In addition to his musical activities and family life, he was also active as an actor at the Cleveland Playhouse, one of the earliest regional theaters in the United States, having been established in 1915. At this point in the theater’s history, both amateur and professional actors were engaged for productions. Moore performed in Magic, by G. K. Chesterton (1874–1936), as the Reverend Cyril Smith (1922–23 season); in Pygmalion, by George Bernard Shaw (1856– 1950), as Henry Higgins (1923–24 season); and in March Hares, by Harry Wagstaff Gribble (1896–1981), where he played the lead role, Geoffrey Wareham, because the character had to be able to play piano. He was a great success in the role and gave fifty performances of it, first in October 1923 and returning again in 1928. His acting was so convincing that a reviewer reported: “Mr. Douglas Moore did not have to act or, rather to appear to act. He was so spontaneous and natural, he so well achieved art’s aim which is to conceal the artist that he quite swept the large audiences with him in homeric gusts of laughter from curtain rise to curtain fall. Why he should waste his days playing an organ when—but that’s another story.”42 This was followed the next year by the equally successful Rollo’s Wild Oats, by Klare Kummer, with Moore in the lead role of Rollo, also at the Cleveland Playhouse. His success with the company caused him to seriously consider pursuing an acting career, although he never followed through with any such plan. During the summer of 1922, Moore returned to the MacDowell Colony, where he composed the Four Museum Pieces for organ and four songs on texts by authors in attendance there: “The Apple Boughs Bend” (second version), with text by Elinor Wylie (1885–1928); “April Weather,” on a text by Archibald MacLeish; and “A Nonsense Song” and “A Sad Song,” both with texts by Stephen Vincent Benét. The Four Museum Pieces form a suite that takes its inspiration from four works of art or exhibits in the Cleveland Museum of Art; the movements are entitled “XVIth Century Armor,” “A Madonna of Botticini,” “A Chinese Lion and the Unhappy Flutist,” and “A Statue by Rodin.” The first movement refers to the museum’s impressive Armor Court. The second movement refers to one of the Botticini Madonnas in the collection—probably Madonna and Child with Tobias and the Angel Raphael, or possibly the Madonna and Child.43 The identity of the artwork corresponding to the “Chinese Lion” movement has not been determined. Lastly, the Rodin statue is surely Le penseur (The Thinker), which stands at the entrance to the museum. Four Museum Pieces The Four Museum Pieces are written in a style that is not characteristic of most of Moore’s compositions, in that it contains far more dissonance and harmonic experimentation than is typical and shares a number of traits with his later symphonic poem, Moby Dick. The work contains many open perfect fifths, fourths, and tritones throughout the piece. The first movement, “XVIth Century Armor,” is nominally in D minor and begins with a theme in the Dorian mode.

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There are key centers in D and G, but the chromatic voice leading results in rapid changes in tonality from measure to measure. A second, martial theme sometimes accompanied by tritones in the bass evokes a medieval image of knights in armor. “A Madonna of Botticini” is in a much clearer F major tonality. Beginning with an unaccompanied melody, the movement alternates between this melody and short chromatic, chordal episodes. The “Chinese Lion” movement is the most harmonically adventurous, employing starkly contrasting polytonality. It opens immediately with a trill on a pedal E0, followed by a low sustained E  2 and terminating in a rapid E major scale up to a high F  6 in the right hand, harmonized by a B minor chord. The juxtaposition of tonalities one half step apart and accompaniments employing parallel open fifths produces a strange effect that continues throughout the movement. The second theme area, labeled “flute solo,” starts with an unaccompanied melody in E major; this is followed by block chords moving in parallel motion. The opening melody in E major is stated again against an accompaniment of parallel fifths in A  major until the movement concludes on a dissonant chord combining a perfect fifth and tritone (G–C  –D). The last movement, “A Statue by Rodin,” starts pianissimo with a pedal D2 that gradually builds up into a tritone chord (D–G  –C  –E  ), which is immediately followed by another chord that gradually builds up into a sonority of fifths (D–A–E). The introduction ends by clearly establishing the tonality on an open fifth, D–A. The principal theme is stated in D harmonic minor and developed through rapidly changing, turgid, chromatic harmonies that eventually resolve on a fortissimo D major chord dissolving into the D–A open fifth. The work sounds as if Moore were trying to write a “modern” piece. The writing moves aimlessly through keys a minor second apart without preparation. Parallel fifths and octaves, cross-relations, tritones, and major sevenths abound for no apparent musical or extramusical reason. It is almost as if he were trying to see how many rules of traditional harmony could be broken in a single piece. Moore orchestrated the Four Museum Pieces at the suggestion of Daniel Gregory Mason the following year, in 1923, when he was a fellow once again at the MacDowell Colony, and it was performed later that year by the Cleveland Orchestra on 15 November.44 That summer he also wrote a Scherzo for Organ in G Major dedicated to his colleague at the museum, the organist Arthur Quimby. In addition to Moore’s duties at the art museum, he was also organist for Adelbert College at Western Reserve University from 1923 to 1925.45 But by far the single most important event during this time was his meeting Vachel Lindsay. Although Moore first learned about Lindsay as a student at Yale, this encounter with the poet at the Cleveland Art Museum was a pivotal point in his compositional career. Moore invited him to his house, where Lindsay read some of his poems, as Moore recounts: “We became great friends, and I was fascinated by him. And when he read me his poetry—I remember particularly his reading of the poem, ‘Bryan, Bryan, Bryan, Bryan’—I suddenly had the feeling I’d missed something. So I decided that I would write a set of orchestral pieces and call them after famous Americans, and the first one would be about P. T. Barnum.”46

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After this meeting with Lindsay, Moore began to seek out American subjects as the inspiration for his music, which was a dominant characteristic of many of his compositions written from this time forward. However, he did not like to be considered merely a composer of Americana: I resent the word Americana very much. I think it is perfectly absurd that anyone writes about his own country and it should be labeled Americana. It is American subject matter, but what is more natural that Americans should write about. You don’t call Lindsay Americana. You don’t call Flannery O’Connor, who writes about the South, Americana. You don’t call Faulkner Americana. Why should my operas be labeled Americana? They are just operas about American subjects.47

Moore’s work at the Cleveland Art Museum continued into 1924 and included lectures, chamber music performances, and children’s programming. He also finished the 104th Cavalry Regiment March, later arranged for band by Joseph C. Painter. The 104th Cavalry Regiment was stationed around Harrisburg, Pennsylvania, where Emily’s family lived. Nonetheless, the main preoccupation in 1924 was with the composition of The Pageant of P. T. Barnum, which he completed that summer at the MacDowell Colony. Moore read Barnum, by M. R. Werner (1897–1981), in preparation for the composition of the piece.48 Although he intended to write a suite based on several different American individuals, he became so caught up with the character of P. T. Barnum (1810–1891) that he composed a suite entirely based on the showman. The Pageant of P. T. Barnum The piece is written for a large orchestra in five movements, each describing scenes from the life of Barnum or featuring one of the people he promoted. Barnum was born in Bethel, Connecticut in 1810, and the first movement, “Boyhood in Bethel,” evokes the spirit of that time through a patchwork of “American”-sounding themes ranging from fiddle tune–like melodies, fife-and-drum march themes, and an expansive hymnlike tune first stated by the trombone, which some think is an arrangement of Leonard P. Breedlove’s “Happy Land.”49 The subject of the slow second movement, “Joice Heth,” is the old African American woman (d. 1836) whom Barnum exhibited, claiming she was 161 years old and had been George Washington’s nursemaid. This movement is in ternary form and begins with a quotation of a version of “Nobody Knows de Trouble I Seen,” stated by a solo cello in the Aeolian mode. The opening of the movement uses the spiritual to evoke the black slave past. For the B section Moore wrote a lullaby text to which he composed a melody, and then removed the text, leaving just the orchestral setting. Moore explains this by saying: “I wanted to get the effect of her teaching, so I tried to figure out what she would say. You know, Barnum exhibited her in churches for twenty-five cents and this old woman would sit there and croak, and she’d talk like that, I presume.”50 The text is as follows:

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Oh yes-suh, I remember the little Georgie Washington How he sat on my knee and I sang him the softest lullaby As he sat on my knee Oh Georgie, oh my honey, no one ever loves you like your mammy Oh Georgie, Oh my honey, Oh yes-suh, I remember the little George Washington How he sat on my knee.51

The piece gives a somber and yet tender feeling of this very old slave who cared for and loved the first president as a small child, much as she was portrayed by Barnum, with no hint in the music that whole thing was a hoax. The central movement, “General and Mrs. Tom Thumb,” contrasts markedly with the second movement. The “General” was another of Barnum’s exaggerated hoaxes. He began to exhibit Charles S. Stratton (1838–1883) when Stratton, a pituitary dwarf, was a boy. Barnum claimed that Stratton was older than he actually was, gave him the title of General, and changed his name to Tom Thumb. The exaggeration was extremely successful, and Barnum added other little people to his entertainments. Later, Stratton married Lavinia Warren (1841–1919), also a little person, who joined the act. In this movement, Moore uses a march as the General’s theme and a waltz for Lavinia. The march theme has several novelties: the use of a muted trumpet to imitate a bugle; inserting a quotation, “You’re In the Army Now,” in the middle of the march melody; and ending a snare drum solo with a shot from a cap gun. The march and ragtime rhythms of the General’s theme in 2/4 in the key of D major contrasts with Lavinia’s theme, a lyrical 3/4 melody in B major. Both themes are stated in a recapitulation in D major, much in the manner of a sonata form, but with very little thematic development. The fourth movement, “Jenny Lind,” contains one of the most beautiful themes in all of Moore’s compositions. The solo flute states the Mixolydian melody in E in the first section of this ternary form. As is characteristic of so many of Moore’s pieces, the B section is in a key a third distant, G  minor. The theme returns in a restatement in the strings with a florid flute countermelody, evoking the idea of the coloratura “Swedish Nightingale,” as Jenny Lind (1820–1887) was known. The movement has a mood of great dignity, tenderness, and beauty. The finale depicts the circus—the culmination of Barnum’s career—and combines all of the themes from the other four movements into a colossal pastiche. The movement is a circus march, with its own theme, where the listener observes each act as it passes in review. Moore adds a calliope melody to the opening march theme, played by clarinets (with directions to play out of tune) and accompanied by trills on the piccolo, bassoons supporting with an Alberti bass figure, and harmonizing flutes and oboes, with the flutes playing lower than the oboes. The calliope passes, and a Hawaiian hula theme emerges, followed by a paraphrase of the nostalgic Stephen Foster (1826–1864) song, “Old Dog Tray,” perhaps an allusion to memories of the circus in days gone by. Each of the characters is represented by its theme from the previous movements, separated by a drum roll and ratchet and modulating to a higher key. After this reprise of all of the themes, there is a final statement of the circus march as a coda to end the piece.

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The work is a symmetrical structure in its key relations and in its use of form in each of the five movements. The first and fifth movements are through-composed. Movements two and four are ternary forms, and the middle movement is a short sonata form. The key relations of the movements follow a basic pattern of thirds in relation to B major: (1) B major, (2) G  minor, (3) D major, (4) E major (subdominant), and (5) D  modulating back to B major. In February 1925 Moore organized a men’s music club in Cleveland with twenty-seven founding members, and he regularly gave music appreciation lectures for the group.52 As part of his work for the Cleveland Museum of Art, he published an article about the role of music in an art museum. He felt that music enhanced the artistic experience of the museum visitor and was an ideal place to perform early and modern musical works in addition to pieces from the standard repertoire. At this time there were very few opportunities for the general public to hear music outside of the standard repertoire in concert.53 In addition to his museum duties, Moore was also the organist for Adelbert College at Western Reserve University in Cleveland; the university newspaper reported that in April he accidentally fell from his chair during a rehearsal and fractured his arm.54 At around the same time, Moore submitted the Four Museum Pieces to be considered for the Pulitzer Traveling Scholarship, and in April 1925 was awarded $1,500, which he used to return to Paris and study with Nadia Boulanger. There were so many worthy applicants for the Pulitzer that year that two prizes were awarded, in contrast to the previous year, when there were no winners. Moore shared the prize with Leopold Mannes (1899–1964).55 He resigned his position with the Cleveland Museum, left for Europe in the fall, and was settled in Paris by December. Before his departure he fulfilled a commission for the experimental American Laboratory Theatre, founded by Richard Boleslavsky (1889–1937), for incidental music to Twelfth Night, which opened on 16 October at the newly renovated La Salle School Building at 107 W. Fifty-eighth Street. Moore’s decision to study with Boulanger was influenced by his earlier organ studies with her and by her growing reputation as a composition teacher of many other young American composers at the time. Surely, Moore attended her lecture on 13 February at the Cleveland Institute, where Bloch taught composition, during her 1925 U.S. tour. Undoubtedly Bloch recommended her as a teacher to Moore, as he did for a number of his students.56 Moore’s studies with Boulanger were not much to his liking, especially compared to his recent work in Cleveland with Bloch. Boulanger required him to review basic skills of sightsinging and clef reading, but the return to basic musicianship skills was not the problem. Rather, it was the clash between their aesthetic values. Moore recalls: “We never got along in composition. She didn’t like what I could do and I didn’t like what she taught. She was a devotee of Fauré and Stravinsky. She didn’t want you to be yourself.”57 The last time he was in Paris, he had studied at the Schola Cantorum with D’Indy, who had cofounded the school in opposition to the Paris Conservatory, where Boulanger had studied with Fauré. Moore’s conservative musical

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tastes—based on his love of the “old songs,” musical theater, and opera; his emphasis on melody and sentimentality; and his newfound interest in American subject matter—were bound to clash with Boulanger’s interest in and promotion of progressive and forward-looking composers and music. However, his study with her was useful for reinforcing basic musical skills and improving his grasp of counterpoint, and for the contacts he made with other Boulanger students at the time. Moore composed a few small pieces as part of his studies with Boulanger. Among these are a number of works for woodwind duet or trios that were probably composition exercises. Moore’s first work for the stage, a musical, Oh, Oh, Tennessee, was composed around this time, but the work was never performed. It is unknown whether Boulanger had any influence on this piece or even approved of it. The Ballad of William Sycamore The most important work from this time is a song, The Ballad of William Sycamore, based on a poem by Stephen Vincent Benét and scored for baritone voice, flute, trombone, and piano. The poem consists of nineteen stanzas of four lines each, which Moore set in its entirety. William Sycamore is a mythical character—a quintessential American pioneer born in Kentucky and similar to the legendary Daniel Boone (1734–1820). The poem celebrates the rough, tough, independent nature of Sycamore, who can endure all manner of hardships, including the deaths of his sons at the Alamo and Custer’s last stand, but he gives up and dies when the land is fenced and taken over by civilization. The work opens with a fanfare in the flute and trombone and a marching bass in the piano. The baritone sings the main theme for the first two stanzas; this is followed by an interlude. In general, Moore groups the stanzas in pairs followed by a short interlude usually featuring the flute and trombone. The third and fourth stanzas present a gentler theme. The two themes are the basis for the settings of the remaining verses, but Moore rarely repeats the themes exactly, preferring to alter them to fit the words of the text or to emphasize a musical mood. The diverse instrumentation adds to the overall drama of the piece. The flute provides fifelike passages or florid counterpoint to the voice, while the trombone sometimes emphasizes the masculine and martial aspects of the text, while at others it adds humorous touches such as the wah-wah mute and frequent portamentos. The unusual instrumentation gives it an almost operatic quality that foreshadows Daniel Webster’s aria “I’ve Got a Ram, Goliath” in The Devil and Daniel Webster, composed over a decade later. COLUMBIA UNIVERSITY YEARS While in Paris the Cleveland Orchestra premiered The Pageant of P. T. Barnum on 28 March 1926, conducted by Nikolai Sokoloff (1886–1965), followed by additional performances. That year Moore was appointed to the board of directors of the Edward MacDowell Association.58 Upon returning to New York, he was hired to teach at Barnard College at Columbia University

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Douglas Moore; with permission of the University Archives, Columbia University in the City of New York

by the head of the music department, Daniel Gregory Mason, and he stayed at Columbia for the next thirty-six years. His duties included conducting the university orchestra, which he did until 1935. He also returned to work with the American Laboratory Theatre, where “regular courses of an intellectual nature were instituted in 1926–27. . . . First Douglas Moore and then Martha Alter (1904–1976) taught appreciation of music.”59 Throughout 1927 the Cleveland Orchestra toured with The Pageant of P. T. Barnum, including a performance at Carnegie Hall on 18 January, where the performance was received

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with a standing ovation.60 The work also won the Eastman School of Music Orchestra Contest by a unanimous vote on 21 November.61 In addition to receiving the award and being played by the orchestra, it was published by the Eastman School of Music, giving Moore his first widespread recognition as a composer. On top of this success, he was promoted to assistant professor in the music department at Columbia University, and head of the music department at Barnard College on 1 July.62 Much of Moore’s composing in 1927 was incidental music for the American Laboratory Theater. He wrote the music for the production of Much Ado About Nothing, which opened on 18 November, and for The Road to Rome, by Robert Sherwood (1896–1955). As in previous years, he attended the MacDowell Colony during the summer. However, the symphonic poem Moby Dick was the work that occupied most of his attention in late 1927 and early 1928. Moby Dick was not such an obvious choice for subject matter at that time, since it was not yet recognized as one of the great masterworks of American literature.63 The piece, like The Pageant of P. T. Barnum, did not attempt to be narrative, but rather evoked scenes and characters from the novel. The work was for a large orchestra and consisted of three movements played without pause: “The Mast Head,” “Ahab, Mighty Lord of Leviathans,” and “The White Whale.” Each one of the movements was based on a quotation from the novel written on the inside cover of the score. Although the subject matter was typical of Moore’s music, the piece was a departure from his melodic and harmonic style. During his studies with Boulanger, he continued to write in the conservative style with which he was comfortable. But in Moby Dick he seems to be attempting to write in a more modern, dissonant fashion, perhaps as a result of his studies with Boulanger, or perhaps in response to the general trends in composition in the late 1920s of which he was now aware. The opening movement of Moby Dick has three main themes, the last of which occurs in all of the movements, suggesting that it may represent the narrator, Ishmael. The main theme of the second movement is in F major; it is played by the cellos and horns and is harmonized by chords containing perfect fourths, fifths, and tritones to evoke the image of Ahab. These harmonies, areas of polytonality, uncertain tonal centers, and frequent meter changes are quite uncharacteristic of Moore. Together with the use of tremolos, string harmonics, and harp glissandos, these compositional techniques combine to create a mysterious and sinister mood. The theme from the second movement and the recurring theme combine to form a transition to the final movement that begins with an ostinato consisting of a perfect fourth, fifth, and tritone presented harmonically in the second movement, possibly to signify the whale. The whole work concludes with the opening theme of the first movement and in the original key of B minor, perhaps alluding to the eternal nature of the sea. The work also employs more contrapuntal writing than is typical of Moore’s other works. The dissonant harmonies, increased contrapuntal writing, and shifting meters make up a style to which Moore did not return or explore further. Moore’s teaching at Barnard College occupied a lot of his time in 1928, but there was still time to complete Moby Dick and attend the MacDowell Colony that summer. He worked with

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John Jacob Niles on a collection of songs from World War I entitled Songs My Mother Never Taught Me.64 Most of the songs in this volume are anonymous army and sailor songs. At first Niles thought that the Destroyer Song was also an anonymous work, until it was brought to his attention that it was composed by Moore. Niles had included that song in his previous publication, Singing Soldiers,65 which led to his collaboration with Moore on Songs My Mother Never Taught Me. Similarly, Moore contributed two children’s songs, “The Cupboard” and “Fingers and Toes,” to the anthology New Songs for New Voices.66 However, the main compositional project for the summer at the MacDowell Colony was Jesse James. The American Laboratory Theatre was planning to produce a pantomime for the 1928–29 season by John Mason Brown (1900–1969) based on the life of Jesse James; it was to include motion pictures and have music by Moore. The work was left unfinished and unperformed because of lack of funding for the American Laboratory Theatre.67 This experience seemed to have soured Moore somewhat on writing music for dramas, as indicated by the title of an article he wrote at this time about the problems of composing incidental music: “The Inhospitable Theatre.68 With the beginning of the academic year, Moore worked tirelessly to improve the quality of the Columbia University Orchestra performances by arranging for orchestra members to receive university credit for playing in the orchestra and lessons on their instruments with private teachers. Also, scholarships were awarded for accomplished players on instruments needed to fill out the orchestra (such as the bassoon), and qualified women instrumentalists were admitted for the first time.69 These efforts were so successful that a Columbia student reviewer reported that Chalmers Clifton (1889–1966), conductor of the American Orchestral Society, considered the Columbia University Orchestra to be one of the top orchestras of its kind in the eastern United States.70 Although Thornton Wilder urged Moore to write an opera, this was not to occur for several years.71 The only work he completed in 1929 was the Violin Sonata, written for the young violinist Hildegard Donaldson. The Rochester Philharmonic Orchestra performed Moby Dick on 22 November, but it was not well received and remains the only performance of the work to date. Unlike two years before, when Moore won the Eastman publishing prize for The Pageant of P. T. Barnum, Moby Dick was passed over for this honor.72 In January 1930 Moore helped two Barnard College students, Edith M. Gould and Gena (Tenney) Branscombe (1881–1977), orchestrate music for the annual Greek Games, a major student festival held in April. However, his main compositional activity for the year was his first symphonic work, A Symphony of Autumn, begun in the summer at Cutchogue and completed the following year. A Symphony of Autumn The three-movement Symphony of Autumn, dedicated to Howard Hanson (1896–1981), is scored for a standard-size orchestra. Moore was prompted by Lawrence Gilman (1878–1939) to write about the symphony in a letter published in the New York Herald Tribune that explains in detail the inspiration and moods behind the composition.73 The opening theme of the slow in-

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troduction in the horns is in C major, but the melody contains an augmented fourth followed by a diminished fourth, producing an ominous quality. Motives from this theme are incorporated into the first theme of the first movement, which is a standard sonata form with the second theme in the dominant. The development emphasizes D major before returning to the recapitulation and ending with a coda cadencing on C major. However, the timpani’s C and F  , drawn from the slow introductory theme, leave an unsettled conclusion to the movement. The second movement is in ternary form, starting in A minor, but with dissonant chords evoking the sounds of katydids accompanied by an ostinato representing the sounds of tree frogs. The symphony concludes with a sonata rondo movement in C major expressing a joyful mood, and the first theme is in 5/8 meter. The second theme, in the dominant, is in 6/8, but the basic beat alternates between duple and triple meter. Moore intentionally omitted a fourth movement because he felt that the traditional scherzo movement would detract from the finale.74 Although Moore uses harmonic devices that are more advanced, such as polytonality, dissonant intervals, irregular rhythms, quartal harmonies, and even modal, whole-tone, pentatonic, and/or chromatic scales, in the symphony as a whole, the overall harmonic language is clearly tonal, and the listener is rarely in doubt for long what the tonal center of the music is. A Symphony of Autumn was finished in 1931 and was premiered by Howard Hanson and the Rochester Philharmonic on 2 April. It contains programmatic elements while still maintaining the forms of the classical symphony. Moore followed this work with a programmatic piece, the Overture on an American Tune, dated September 1931 and premiered by the Manhattan Symphony Orchestra on 11 December 1932 with the composer conducting. The work was originally entitled Babbitt, after the Sinclair Lewis (1885–1951) novel of 1922. The score contains a note: “a few musical ideas about a much-maligned figure in American life, arranged in the form of an overture.”75 The overture is in sonata form and begins with an introduction that quotes a portion of the familiar tune “Sweet Adeline.” The harmony is influenced by the barbershop harmonies of the melody, but Moore uses contrapuntal procedures such as augmentation, diminution, retrograde, and so on to develop the motive and to provide more musical interest. Teaching activities occupied a large part of Moore’s time during these years. He was conducting university orchestra concerts frequently and teaching music appreciation, which led to the publication of his first book, Listening to Music, in March 1932. The book covers essential topics such as rhythm, melody, harmony, tonality, polyphony, and various musical forms of the common-practice period. No prior musical training was assumed on the part of the reader, but descriptions of music in the text require the reader to either be familiar with a work or to listen to it in concert or on recordings. The book is not intended to provide original or new insights into the nature of music, but it does illuminate Moore’s attitudes and aesthetic concerning basic compositional elements. The appendix contains all of the musical examples as well as suggested readings and recordings to supplement the text. The list of recordings was a novel addition to a music textbook in the early 1930s, as recorded music was just beginning to be used in instruction.

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Moore began the composition of his String Quartet on 29 December 1932 and completed it in August 1933. It was the only work that he composed during these years and is dedicated to the Roth Quartet, although it was premiered by the Arion String Quartet in 1933. String Quartet The String Quartet (1933) consists of four movements and is an example of Moore’s gift for melodic writing. The opening movement employs two main themes with modal harmonies that undergo slight development, leading to a quiet conclusion in E major. The second movement is a quasi scherzo in 2/4 that begins with a pizzicato accompaniment to a sprightly G major melody in the first violin. The quartet introduces a new theme in 3/4 and modulates through C and A major before returning to a variation of the first theme in G. The coda follows, and this movement also ends quietly. The third movement is based on a single theme, which is developed throughout the movement with polytonal harmonies. The opening theme is in G major, with a countermelody in B major in the second violin. The movement builds to a lyrical climax and subsides to a final pianissimo G major chord. The finale is a sonata form in E. Most of the quartet consists of simple melodies supported by harmonic accompaniment, without complex counterpoint or long development sections. However, Moore maintains the listener’s interest through the interesting and effective use of modal harmonies and complementary countermelodies. The end of 1933 was not a happy time for the Moore family, since his mother, Myra, died on 1 December at her home in Pasadena.76 Moore wrote to his mother every week whenever they were not living together, from the time he was at the Fessenden School until her death. Their correspondence, which is preserved at the Columbia University Library, serves as a chronicle of Moore’s life up to this time. THE EARLY OPERAS Moore had been interested in writing an opera for some time. In 1934 he was granted a sabbatical from teaching and decided to spend the time in Bermuda. The days away from teaching duties and the award of a Guggenheim Fellowship gave him the financial means and enough time to concentrate on composing a major work. In 1926 he first saw the Broadway play White Wings, by Philip Barry (1896–1949), who was at the height of his popularity as a playwright at this time.77 The play was not immediately successful with audiences. By the time attendance increased, the producer had decided to close the production, resulting in only twenty-seven performances. Barry had not expected the play to be a big success, but he felt that it had potential.78 He wanted to revive interest in the work through a musical setting. Henry Luce (1898– 1967), a friend of Moore’s from Hotchkiss, introduced Moore to Barry to discuss such a proposal.79 Several other composers were interested in setting the play, including Kurt Weill (1900– 1950). However, Stephen Vincent Benét, a friend of both Barry and Moore, encouraged Barry to have the play set by Moore, and Barry’s agent, Audrey Wood (1905–1985), thought that

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Barry would benefit from the prestige of having the play produced as an opera. Barry agreed to the idea of an opera and hoped that it could be produced on Broadway, where there was potential for a greater financial return. Thus, Moore entered into a noncontractual agreement to compose an opera on White Wings. In this agreement, Moore was responsible for actually writing the libretto, but Barry retained the right to approve the final text and receive sole credit for its authorship. Consequently, Moore set virtually all of the text, making for a heavy and ponderous libretto.80 This was just the beginning of his problems with the opera. The original play consists of three acts, with the second act divided into two scenes. After writing the libretto, Moore sought the advice of Archibald MacLeish, who suggested that the last act be omitted.81 Ending with act 2, scene 2 would end the story with the very dramatic scene where the automobiles destroy the monument to the horse, providing a satisfying conclusion. However, Barry felt that the last act was important for the story to make sense. In this act the tension between the main characters, Archie Inch and Mary Todd, was resolved, releasing Archie from his promise to his mother to remain a White Wing and allowing him to marry his true love, Mary. Eventually, Moore set the whole play, but he restructured the scenes from the original three acts into two acts to better sustain the action in a musical setting.82 Barry reluctantly agreed to have the opera produced by the WPA, but a union strike resulted in cancellation of the production.83 Further, Moore hoped to publish the opera with G. Schirmer, but neither Barry nor, later, his widow would release the rights, and the work remained unpublished. White Wings Barry’s play has a strange plot with elements of fantasy. The White Wings are the guild of street cleaners that clean the city of horse manure. The comedy is set in the early part of the twentieth century at the dawn of the automotive age. Archie Inch is the youngest of the Inch family, who have a long tradition as White Wings, and he takes great pride in his work and their traditions. Archie’s father, Ernest, is less devoted to the cause, but his wife, Fanny, has the zeal of a convert. Major Inch, Archie’s grandfather, is the elder White Wing, whose long service all the others admire. Mary Todd is a young woman whose father, Charlie, has designed an automobile, and Mary is enthusiastic about the future of the invention. Charlie also used to work as a servant of Major Inch. At the beginning of the play, Mary and Archie have just met at a dance, and they are smitten with one another. As the comedy progresses, their love remains constant, but Archie reveres the horse and maintains his loyalty to the White Wings. Mary tries to encourage him to look to the future and to accept that cars will eventually replace horses. He refuses to join her father’s business and remains with the White Wings, while his rival for her affections, Kit Canari, goes with her instead. As the number of cars increases and the White Wings’ business decreases, they take a desperate step to regain their dignity by erecting a monument to the horse in the main city park, only for the park to be stampeded by automobiles, which destroy the monument and their world. Mary, still in love with Archie, returns to find the White Wings impoverished and broken, but Archie remains loyal because of a deathbed promise to his mother to remain a

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White Wing as long as there is one horse in the city. Mary shoots Joseph, the last horse in town, releasing Archie from his vow, and the opera ends with them united and Mary teaching him how to drive. The music of the opera is a through-composed musical setting of nearly the entire text of the play. In the play, none of the characters have any dialog long enough or significant enough to set as a song. Moore, believing that Barry was unwilling to rewrite the text or alter it significantly in any way, made almost no changes in the text except for a few cuts. Under these conditions, though, it is unlikely that Barry would ever have found a composer who could have turned the play into a Broadway musical. There are only two songs in the opera. In the first one, the White Wings’ song, they sing of their loyalty to the horse and their jobs. The other song is a biting parody of the hymn, “God Be With You,” set to Barry’s words about the collapse of the White Wings’ world as the result of the automobile. Where there are long stretches of dialogue, Moore sets it as a melodrama, spoken text accompanied by the orchestra, a practice that he used quite effectively in his next opera, The Devil and Daniel Webster. Naturally, Moore wanted to see a performance of White Wings mounted, but that was not to occur for many years. In the meantime, he returned to teaching, including conducting the Columbia orchestra, which played for the opening of the new Butler Library at the university.84 Responsibility for conducting the orchestra passed to Moore’s colleague, Herbert Dittler (1890–1951), the following year. Moore was also the chairman of an executive committee for a study sponsored by the Carnegie Corporation under Randall Thompson (1899–1984), who was the project director and author of the report. The study examined the place of music in the liberal arts college as represented in thirty institutions during 1932–33; the final report was published in 1935.85 The most important event for Moore at this time was the death of a Colorado woman named Elizabeth Tabor (1854–1935). Moore read an article in the New York Times about the impoverished heiress of Horace Tabor, who froze to death in a shack outside the entrance to the Matchless Mine during a blizzard.86 Moore was fascinated by the story of the Tabors and suggested to the writer Pierson Underwood (1896–1960), a friend of his and fellow student from both Hotchkiss and Yale, that they write an opera based on this story. However, nothing came of the idea at the time.87 In hopes of creating interest in White Wings, Moore worked on the overture to the opera in June 1935 and prepared it to be played separately. It was premiered on 23 October by the Brooklyn Symphony Orchestra, conducted by Franco Autori (1903–1990). Moore returned as a fellow at the MacDowell Colony during the summer, but the White Wings Overture and some piano pieces, later collected into a suite entitled Tintypes, were the only works he composed in 1935. Moore was a staunch advocate for American music throughout his career and spoke out frequently for improving the status of American musicians and composers. In his article “Imported Virtuosi for America’s Music?”88 he denounces the American public’s preference for

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foreign-born conductors to lead the country’s major orchestras. He particularly singles out Arturo Toscanini (1867–1957), whom he criticizes for not being a part of the local musical community and thereby failing to sustain audiences and permanently build the orchestra. The Moore family was fortunate to employ Sylvester Major as a butler beginning on 30 May 1936, and he was an important person in the household. He remained with them throughout Moore’s life. Music was an important part of Moore’s home and social life. He wrote pieces for the private entertainment of his friends. A good example is the cantata The Crossing, for alto, tenor, and bass voices, 2 combs, violin (open strings), double bass, triangle, cymbal, clarinet, bassoon, and piano. The piece was written on 13 January 1936 for a farewell party for his friends the Dittlers, who were going on a voyage to Europe. The piece concludes with a parodic setting of Beethoven’s “Ode to Joy,” with humorous words about the Dittlers’ trip. Moore also began composing his next opera, The Headless Horseman, based on the story by Washington Irving (1783–1859), for the Bronxville High School. The Headless Horseman The Headless Horseman is a traditional operetta, very much in the style of Gilbert and Sullivan. The work was commissioned by Willard Rhodes (1901–1992), the music director for the Bronxville schools and later Moore’s colleague at Columbia University.89 Moore turned to his longtime friend Stephen Vincent Benét to adapt the story into a libretto. In contrast to Philip Barry’s play, Benét’s poetic text can easily be set to music. Moore’s setting makes use of choruses, solos for the main characters, and duets connected by spoken dialogue. Unlike White Wings, where the music is more or less continuous, this is a number opera. Some of the features of this opera are developed further in The Devil and Daniel Webster, Moore’s next opera. The aria “Cornelius Van Tassel’s my name!” is a blustering, confident song of pride and virility in the same spirit as Daniel Webster’s “I’ve Got a Ram, Goliath.” Also, at the dramatic climax of the opera, when the Headless Horseman is about to appear, Moore sets the dialogue of Van Tassel’s speech over musical accompaniment as a melodrama, a technique he uses again in Daniel Webster to highlight Webster’s highly dramatic speech to the jury. In The Headless Horseman, Moore experimented with several new ideas and techniques that he was able to use even more effectively later. The music for the operetta consists of choruses and arias composed of melodies with simple accompaniments and fairly limited vocal ranges, suitable for production with a cast of schoolchildren. Choruses are used extensively, allowing for maximum participation. The cast comprises four soloists, Katrina Van Tassel, Cornelius Van Tassel (Katrina’s father), Brom Bones (local hero and Katrina’s boyfriend), Ichabod Crane (the new schoolteacher and Brom’s rival for Katrina), and choruses of boys and girls. The libretto follows the story loosely. In the opening choruses, Katrina explains that she is in love with Brom Bones, but her father insists that she marry a schoolteacher. According to a family legend, the eldest daughter of the Van Tassels must marry a schoolteacher or she will be

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carried away by a ghost. In their duet, “When I was a reckless, roving youth,” Brom and Katrina sing about their ill-fated love for one another. Cornelius then introduces himself through his aria and confirms the impossibility of their wedding. Eventually, the local children usher in Ichabod Crane, urging him to tell a tale like the Van Tassel ghost story. He considers the Van Tassel story to be nonsense, and Brom Bones follows with an aria about the Headless Horseman, “I have a fearful tale to tell.” Ichabod still dismisses the ghost stories and courts Katrina in their duet, “Not with a wistful sueing,” in which he sings of his love for her in a humorously pedantic manner. Cornelius begins an engagement speech for Ichabod and Katrina, given as a melodrama, but is interrupted by the appearance of the Headless Horseman. Ichabod is so frightened that he jumps out of the window, never to return. Brom Bones reveals himself as the Headless Horseman and announces that he can wed Katrina, because he has been taking correspondence courses to get his degree to become a schoolteacher. Katrina, Brom, Cornelius, and the chorus sing the finale for the happy ending. Moore was always active in the life of Columbia students. He participated in the Barnard Faculty Follies on 13 February 1937, acting in the skit “Lecture and Recital—The Polyphonic Poetry Society of New York.”90 He was also sought after by the New York musical community, where he gave a lecture entitled “The Value of Integration in Music Education” and participated in a discussion entitled “The Problem of Encouraging Creative Art in America.”91 As a supporter of the MacDowell Colony, which he attended that summer for the last time, he helped with fund-raising, even sponsoring a benefit at his home.92 Moore’s musical activities in 1937 included the premiere of The Headless Horseman on 5 and 6 March and the radio broadcast performance of the work on WJZ on 22 August. Two choral compositions were finished. Perhaps to Dream, on a text by Stephen Vincent Benét, was written for Berta Elsmith, the music director of the Brearley School, a highly selective school for girls in New York; and Simon Legree, for men’s vocal quartet or chorus and piano, set the complete poem by Vachel Lindsay. Although Moore was a great admirer of Lindsay, who was Moore’s major inspiration for turning to American subjects for his compositions, he only set two of Lindsay’s poems to music, of which this is one. Legree was the wicked and cruel overseer of slaves in Harriet Beecher Stowe’s book Uncle Tom’s Cabin. The piece is in a sinister-sounding F  minor, and Moore uses dissonances for dramatic effect, emphasizing the tritone intervals in the diminished seventh chord in setting the final chorus, “Down with the Devil.” The work harks back to the character vignettes of The Pageant of P. T. Barnum and looks forward to the court scene of The Devil and Daniel Webster. The Devil and Daniel Webster Moore started working on The Devil and Daniel Webster in 1937, but most of the composition was done from 1938 up through the premiere performance on 18 May 1939. The original short

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story by Benét was published in the Saturday Evening Post in the 24 October 1936 issue. Benét approached Moore about an operatic treatment for the piece because other authors were writing unauthorized dramatizations of the story.93 The adaptation of the story into a libretto was a collaborative effort between the two men. Benét’s antipathy to traditional opera undoubtedly influenced Moore’s treatment of the libretto. Benét felt that they “wanted to keep away from the hifalutin as much as possible and use a good deal of casual, everyday speech. . . . So we tried, without set numbers, to work out a scheme of things whereby music and verse would be employed in moments of heightened emotion, but a great deal of the lot would be carried in prose.”94 Above all, the piece attempts to retain a naturalness of speech and drama within the context of a musical setting. Thus, recitative was abandoned in favor of spoken dialogue or spoken dialogue accompanied by music, and highly dramatic arias that interrupt the flow of the story were avoided. It was not “a dressshirt opera and we don’t mean it to be. Throughout, in both verse and music, we have tried to stick to the rhythms and the salty character of American speech. The people are New England people—the devil is an American devil, and admits it. We have tried to keep away from the pretentious, the over-operatic and the aria delivered straight in the audience’s teeth.”95 Again, Benét states: “We were both interested in the same kind of American folk-material, . . . Well, why not try and do something about it—something without the pretensions of grand opera but something which, if we were lucky, could use American speech and American folk-music and do it with sincerity.”96 They subtitled the work Folk Opera in One Act, to indicate the difference between this work and a traditional opera. The opera eventually came to the attention of Orson Welles (1915–1985) and John Houseman (1902–1988) at the Mercury Theatre, which eventually led to a production, generously funded by Eli Lilly, by the new, experimental American Lyric Theatre.97 The premiere generated a great deal of excitement as the American Lyric Theatre’s first production, with major talents in charge of the performance (John Houseman, director; Fritz Reiner (1888–1963), conductor; Richard Aldrich (1902–1986), associate producer; and Robert Edmond Jones (1887–1954), stage designer), and the subsequent critical reviews were generally positive. Olin Downes (1886–1955) reported that it “entertained; it had popular pulse and the quality of the vernacular, and it showed American artists in admirably coordinated efforts in the direction of a real musical theatre.”98 Nonetheless, the American Lyric Theatre was short-lived. The audiences were small for the first productions, and plans for a second season in the fall leading with The Devil and Daniel Webster never materialized. This was possibly because the first production was very late in the theatrical season, the World’s Fair was opening, and World War II was just beginning.99 Once again Moore had difficulties with rights to the work. While he retained performance rights to the opera, Benét assumed complete rights to the libretto, despite the fact that it was a collaborative effort. Benét adapted the libretto, rather than the original short story, into a stage play, which was then used as the basis for the movie, titled All That Money Can Buy, directed by

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William Dieterle (1893–1972) and starring Edward Arnold (1890–1956) as Webster and Walter Huston (1884–1950) as Scratch. Even the opportunity to compose the film score was not offered to Moore; rather, it was composed by Bernard Herrmann (1911–1975).100 The plot of the opera concerns a poor New Hampshire farmer, Jabez Stone, who became quite prosperous and was elected to the Senate. The opera opens with a country dance scene at a party to be attended by Daniel Webster (1782–1852) and where Jabez announces his impending marriage to Mary. When Daniel Webster arrives to the crowd’s acclaim, an unknown visitor, Scratch (the devil), in the person of a Boston lawyer, appears playing tritones on his fiddle, singing “Listen to my doleful tale,” and putting a damper on the festivities. Jabez sold his soul to the devil out of desperation to make a decent living, and Scratch is now here to collect on the debt. Jabez explains the situation, and Mary and he appeal to Webster for help. Webster offers to fight the devil in court and sings a song of great confidence, “I’ve Got a Ram, Goliath.” Mary, seeing the good in Jabez, wants to help and expresses her love in the song known as Mary’s Prayer. Scratch returns and meets Webster, who will represent Jabez in a court that Scratch summons from hell. The judge is Justice Hathorne (1641–1717), of the Salem witch trials, and the jury consists of the most notorious criminals in American history. Webster appears to have lost the trial until his summation speech before the jury, where he reminds them of the difficulties and challenges of human life. Thanks to Webster’s oratorical eloquence, the jury returns a verdict of not guilty. Jabez’s neighbors help him to get rid of Scratch in a triumphant finale. The work was Moore’s first highly successful stage piece and has remained in the operatic repertoire ever since. There are several elements in this piece that are characteristic of his operas. The opening scene is an old-fashioned country dance. In his instrumental works, Moore frequently introduces passages of music that sound like fiddle tunes, and he uses this same type of music to open The Ballad of Baby Doe and Carry Nation. Moore favors the lower-pitched voices rather than the conventional operatic vocal ranges for the main characters. Jabez is a bass, Webster is a baritone, but Scratch is a tenor. The role of Mary is for mezzo-soprano. Moore frequently casts his heroes as baritones and the villains, or weak male characters, as tenors. However, the opera is unique in its use of spoken and accompanied dialogue. The sung portions of the work develop and give insight into each character: Scratch’s sly tricks, Jabez’s desperation and temptation, Webster’s strength and integrity, and Mary’s love and loyalty. The melodrama and spoken portions of the opera carry the plot but also are given the moments of greatest dramatic intensity. Webster’s speech accompanied by music would not have had the same dramatic impact had it been sung. In 1938, aside from The Devil and Daniel Webster, Moore composed two works: a song for baritone and piano, “Adam Was My Grandfather,” and the motet, Dedication, written for the Westminster Choir. In 1939 he composed two small pieces. The Museum Piece for piano was written for David Barnett (1907–1985), a colleague of Moore’s at Columbia, who premiered it there on 31 March. It is a short work in ternary form in the Aeolian mode on D. The other

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work, Dirge, was dedicated to Moore’s teacher Horatio Parker. It is also in the Aeolian mode on D and is a passacaglia with a four-measure theme. It was written for the Contemporary Organ Series, published by H. W. Gray and edited by William Strickland (1914–1991), who premiered the work on 4 March 1940 at Trinity College in Hartford, Connecticut. The variations on the theme become more and more florid and build in intensity and volume until the work concludes with rapid flourishes in the right hand and a long-held D minor chord with an added B  . The following spring, after the retirement of Daniel Gregory Mason, Moore was promoted to full professor and appointed head of the music department at Columbia, a post he retained for the next twenty-two years.101 He was also becoming more active in matters affecting ASCAP. The rights organization decided to double its fees on 31 December. In a retaliatory move, the radio stations formed the rival organization BMI and boycotted ASCAP music. Moore worked to get ASCAP music reinstated in radio broadcasts, which eventually resulted in a compromise, even though BMI continued as a rival organization.102 He was also becoming more prominent as a spokesman for American musicians and composers. On 23 October he spoke at the Forum on Current Problems held at Columbia, where he urged composers to use their artistic talents to further the war effort by writing patriotic music rather than to influence events through committee work or professional organizations. He also held that America was an important refuge for musicians and artists fleeing the war, a move that he recognized would result in the cultural enrichment of the United States.103 In a different arena, his seminal article in Modern Music about contemporary American opera built the intellectual argument for the establishment of opera workshops throughout college and university campuses during the decade.104 During this period he wrote his only film scores, two of which were commissioned by the National Youth Administration. The score of Youth Gets a Break was written for chorus and orchestra, and a suite was also derived from the work. However, the score to Power and the Land is the most significant of these works. The film, directed by Joris Ivens (1898–1989) with a script written by Stephen Vincent Benét, was about a day in the life of a family in Appalachia. The film was part of the Roosevelt administration’s effort to publicize the need for and the success of the rural electrification program, which effectively constructed the electrical infrastructure throughout all parts of the United States. The film crew, including Moore, actually lived at the family’s farm in St. Clairsville, Ohio. Moore’s style is perfectly suited to these scenes of country life, and he reused portions of music from the film for an orchestral suite and other works. His music underscores scenes of rural life as it was lived before and after electricity was delivered to the farm. The last of Moore’s film scores, Bip Goes to Town, was composed in 1941. That summer the publisher Music Press commissioned him to write a piece for use by amateur or school orchestras, for which Moore turned back to earlier film scores to compile the suite Village Music, dedicated to his longtime friend and colleague at Columbia Herbert Dittler and the Columbia University Orchestra. The work was written for a chamber orchestra (1.0.2.0/0.2.1.0/timp./

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perc./strings), but piccolo, oboe, bassoon, and two horns can be added for a performance by full orchestra. The first movement is entitled “Square Dance”; it was originally the “Farmhands” scene from Youth Gets a Break. The movement employs simple melodies in ternary form in the key of G with frequent use of the Mixolydian mode. The next movement, “Procession,” is also in ternary form with key centers of C and B major and frequent use of G minor; it is intended to depict local dignitaries. Its mock seriousness is achieved by a slower, andante tempo and marchlike rhythms. The third movement, “Nocturne,” was taken from the “Lamplight” scene in Power and the Land; it is a slow sonatina in the Aeolian mode on E. The last movement, “Jig,” is based on a single lively dance theme in the Mixolydian mode on G. Village Music was premiered on 5 December by the National Youth Administration Orchestra, conducted by Dean Dixon (1915–1976). In addition to his composing, teaching, and administrative duties at this time, Moore was elected to the National Institute of Arts and Letters. With the prestige of this honor, as chair of the music department at Columbia and as secretary of the Alice M. Ditson Fund, established at Columbia for the aid and encouragement of musicians, Moore was in a unique position to assist a number of musicians seeking refuge in the United States from the war raging in Europe. The most notable of these was Béla Bartók (1881–1945). Harvard University owned the Milman Parry Collection of ethnomusicological recordings from Yugoslavia, which was known to Bartók from one of his previous tours to the United States. Moore arranged for Bartók, newly arrived from Hungary, to receive a $3,000 stipend from the Ditson Fund, which had to be renewed every six months, to transcribe the folk songs in the collection. While not a huge sum of money, it provided Bartók with an income at a time when he had no other means of support.105 Another important example of Moore’s advocacy for composers was Benjamin Britten (1913–1976). Through the Ditson Fund, Britten was commissioned to write the opera Paul Bunyan for the Columbia Opera Workshop shortly after he and W. H. Auden (1907–1973), who wrote the libretto, moved to the United States to avoid the war. Again, this helped Britten by providing him some income from composition. Later, learning of an opening for the head of the music department at the University of New Mexico, Moore offered to recommend him for the position, although Britten declined the offer so that he could concentrate on composing.106 Through the administration of the Ditson Fund, Moore established the Columbia Opera Workshop, where he could actively encourage the composition and performance of new American operas. In addition to Britten’s opera, the workshop also commissioned and performed The Mother of Us All, by Virgil Thomson (1896–1989), and The Medium, by Gian-Carlo Menotti (1911–2007). Otto Luening (1900–1996) served as the conductor for many of the workshop’s fifteen opera productions. Moore’s advocacy for American music was particularly strong in the 1930s and 1940s, during which time he also established an annual festival of contemporary music at Columbia University.107 Moore’s second book, From Madrigal to Modern Music,108 was published in early 1942. Like his earlier publication, Listening to Music, this is also a music appreciation textbook for the

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Moore at Columbia University; with permission of the University Archives, Columbia University in the City of New York

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liberal arts undergraduate. In it he surveys the major musical styles and genres and combines this with instruction on the elements of music theory and history, beginning in the Renaissance. Most of Moore’s time for composition was relegated to the summers, when there were no responsibilities for teaching, administrative work, or activities related to professional and cultural organizations. However, during sabbatical years that pattern changed. In 1942 the Moore family lived for a time in Tucson, where Moore intended to work on an opera based on Fall of the City, a radio play in verse by Archibald MacLeish, but the work was never finished. While the play may have been successful for radio, it would have posed interesting challenges as an opera libretto, which is probably one of the reasons Moore did not compose more than eight pages. Another reason may be that he was diverted from composition by playing the lead role of Joe in the comedy The Time of Your Life by William Saroyan (1908–1981), produced by the Tucson Little Theatre, an amateur theater group. Moore clearly enjoyed being back on the stage and was appreciated by the audience and the local reviewer, who characterized him in this performance as “a first rate, imaginative actor, dominating the stage whenever his part called for such treatment, and making Joe lovable, kindly, intriguing.”109 In April Moore turned his attention to composing again and produced three songs on texts by John Donne (1572–1631), “Thou Hast Made Me,” “Batter My Heart,” and “Death, Be Not Proud,” which were later gathered together and published as a song cycle. A few months later, he composed a fourth song on a John Donne text, “The Token,” and a fifth work, “The Sea That Is My Song.” All five of these songs were dedicated to the soprano Maria Maximovitch. Back in New York, he composed the Prayer for the United Nations, for medium voice, mixed chorus, and piano, for the occasion of Roosevelt’s United Nations Flag Day speech; he orchestrated the piece later in November. Aside from the John Donne songs, the Quintet for Winds, composed in August, was his most significant composition from this year. Quintet for Winds The quintet, dedicated to the League of Composers, is an unjustly neglected work full of wit and charm. The first movement, marked Maestoso, is in three movements in B  major and resembles the overture to an opera or musical. It opens with an introductory fanfare theme by a solo horn. This is taken up by the woodwinds preparing for the Allegro moderato, where the main theme of the work is stated in highly syncopated ragtime rhythms. It is followed by a second ragtime theme in the dominant, leading to a short development section that introduces a soft but stately theme played by the horn. But this theme does not retain its character: the ragtime elements reappear to reintroduce the main theme, which ends with a grand pause. At that point the opening fanfare serves as the concluding coda. The second movement, Andante espressivo, begins with a ten-measure solo bassoon theme in the Aeolian mode on G that is treated as a ground bass for the first two variations. The instruments enter one at a time with each statement of the theme until all five instruments are playing: clarinet, oboe, flute, and horn. The counterpoint of the variations becomes more florid

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until the fortissimo climax of the movement, whereupon the original theme returns. The movement ends quietly. The last movement, Allegro marziale, is a sprightly 4/4 march in B  major dominated by dotted-eighth- and sixteenth-note rhythms. Halfway through the movement the flute changes to piccolo. The fifelike sound of the piccolo provides a quasi–“Stars and Stripes” conclusion to the piece. Moore was invited to be the guest editor for the annual music issue of the Saturday Evening Review, which appeared on 30 January 1943.110 In addition to two book reviews in this issue, he also wrote one of his more influential articles, “The Importance of Music in Wartime.”111 Here Moore argued that music was becoming more available to the general public in America thanks to recordings and radio broadcasts. This greater availability led to the commercialization of the musical art, subjecting it to exploitation through advertising and promotion by music managers and critics, who tend to promote European performers and composers over Americans. As a result, no American musicians were leading major U.S. symphonies or opera companies, to the detriment of the art. Moore believed that “when more Americans become capable of forming independent judgments and develop a mind of their own about the value of performances, compositions, or books about music, we shall have better music and shall enjoy it a lot more, because it will be more truly our own.”112 The death of Stephen Vincent Benét on 13 March from a sudden heart attack was a significant personal and professional loss to Moore. The two men had first become friends at Yale and cemented a lifelong friendship in Paris during the 1920s. Benét was the librettist for Moore’s first two successful operas, The Headless Horseman and The Devil and Daniel Webster. Moore set four texts by Benét as solo songs and choral works. Benét also wrote the script for the film Power and the Land, to which Moore provided the music. In later years, Moore struggled to find librettos suitable for operatic treatment, and his attempts were not always successful. Had Benét lived longer and their collaboration continued, Moore might have composed more operas of the caliber of The Devil and Daniel Webster. Once again Moore returned to acting on the stage. In early May he played a small part, the Reverend, in a Columbia University student production of Ernst Bacon’s (1898–1990) opera A Tree on the Plains. Olin Downes reported in the New York Times that Moore’s comic role was the best acting of the evening.113 As usual, Moore turned to composition in the summer when he returned to the family home in Cutchogue. He composed the Destroyer Song for orchestra on a commission from the League of Composers and dedicated the work to the U.S. Navy. (This is not to be confused with the song “Destroyer Life,” which he wrote while in the navy in World War I.) Destroyer Song was never performed under this title, but it was intended for an August 1943 radio performance by the New York Philharmonic conducted by Artur Rodzinski (1892–1958). It is based on music in Power and the Land and was later used with minor modifications as the

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fourth movement, “Harvest Song,” of Farm Journal.114 The most important work from 1943 is In Memoriam, also commissioned by the League of Composers. It was completed in September and dedicated “To Those Who Die Young.” In December Moore composed several songs: “Brown Penny,” on a text by William Butler Yeats (1865–1939), and two songs to texts found in Shakespeare plays: “The Cuckoo” from Love’s Labour’s Lost and “Blow, Blow Thou Winter Wind” from As You Like It. The song, “Not This Alone,” on a text by Pierson Underwood, and an incomplete humorous song, “The Cat Sat (Art Song) = (Katze Sitze) (ein Kunstlied),” were also composed this year. The latter was composed with his friend Henry Brant (1913–2008), a fact revealed by the attribution in the manuscript to “H. Douglas Bránt-Möore.” In Memoriam Moore claimed that In Memoriam was his favorite piece among his instrumental works.115 It is a brief programmatic work of which Moore said: “Although it is written at a time when our thoughts go out to the youth of the country who give their lives in battle, it is not conceived specifically as a war memorial. For death in battle, cruel as it is, has not the tragic futility of early death with all promise unfulfilled. This music speaks rather of the bitterness of youth cut down in its prime to no purpose, the irreconcilable loss to us and to them.”116 The piece was inspired by the Dead Woman’s soliloquy from MacLeish’s Fall of the City and by the last scene of Thornton Wilder’s Our Town.117 The work is in ternary form. The A section is a dirge with two themes, the first an ostinato in C minor introduced by the strings, and the second in F  minor stated by the trumpet. The B section has the character of a recitative, as if the words of the soliloquy were set silently to music beginning in B minor and moving to B major. The fortissimo climax of the piece occurs almost exactly in the center of the work; the A section then returns, followed by a short coda.118 Moore followed this work with three more pieces in 1944. He composed a song on a text from Twelfth Night, “O Mistress Mine,” on 23 January, and another Shakespeare setting, “Under the Greenwood Tree,” from As You Like It on 5 March. However, the Down East Suite for violin and piano, commissioned by Henri Temianka (1906–1992), is the most important of these works which he composed in the summer. The premiere took place at Carnegie Hall the following year on 24 January. Moore draws on his store of folklike-sounding themes for the outer fast movements, but with virtuosic passages that go far beyond simple fiddle tunes. The slow movement gives the soloist the opportunity for greater lyric expression. Also during the year, Moore was elected vice president of the National Institute of Arts and Letters for a two-year term. His oldest daughter, Mary, was married on 13 October to Bradley Kelleher (1920–2007), a corporal in the army and a student at Yale. He went on to have a distinguished career as an executive for the Metropolitan Museum of Art in New York. In 1945 Moore was named the Edward A. MacDowell Professor of Music at Columbia University, a position he retained for seventeen years and through which he had considerable in-

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Mary and Brad Kelleher and Sarah Moore fluence on musical life in New York. One of his responsibilities was the administration of the Alice M. Ditson Fund, established in 1940 by the widow of the music publisher Oliver Ditson (1811–1888). Moore ensured that funding went to assist contemporary and, usually, American music, opera, composers, and conductors. The Annual American Music Festival at Columbia was one of the projects funded by the Ditson endowment from 1945 to 1952 under Moore’s direction.119 The concerts were each centered around the piece which won the Pulitzer Prize in music for that year, and the NBC Orchestra played one concert on the radio directed by a guest conductor noted for championing American music. In addition to the concerts, there was also a performance of an original opera commissioned by the Ditson Fund as part of the festival. The concerts were by invitation only, and the halls, seating twelve hundred and three hundred, were always filled to capacity. Moore was looking for ways to have American operas performed, since traditional opera companies, such as the Metropolitan Opera, were closed to American composers and in many cases to American conductors, singers, and musicians as well.

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The Columbia University Opera Workshop was an outgrowth of Moore’s efforts to secure American opera and opera performers a place in the country’s concert halls. Moore assembled a core of faculty to produce the operas: Otto Luening, conductor; Milton Smith, stage director; and Herbert Graf (1903–1973) and Willard Rhodes, vocal coaches and chorus directors. The operas were produced in a very small hall, about three hundred seats, and sung in English. The repertoire consisted of new works, many commissioned from American composers, and lesserknown operas. Young, still unknown professional singers working in New York were cast in the leading roles, and Columbia students filled out the lesser roles and the chorus. It was a period of astonishing creativity and innovation.120 With all of this activity, Moore’s composing time must have been rather limited. His main composition from this year is the Symphony no. 2 in A Major, which was composed at the request of the conductor Alfred Wallenstein (1898–1983) and dedicated to the memory Moore’s friend Stephen Vincent Benét. Symphony no. 2 in A Major The Symphony no. 2 in A Major follows the classic symphonic form very closely. The first movement is a sonata form, beginning with a slow introduction opened by the trumpets playing softly in octaves. Motives from the two main themes of the movement are present in this introduction. The violins state the first theme at the Allegro giusto, a jaunty, syncopated melody in 2/4. The second theme, made up of a dotted eighth and sixteenth-note melody, is stated by solo trumpet in the dominant and repeated by the strings. Although in a different key from the first theme, it is not much different in character. The development, recapitulation, and coda all proceed according to standard sonata form. The second movement was influenced by James Joyce’s Chamber Music, a set of thirty-six verses of love poems.121 This movement, marked Andante quieto e semplice, is through-composed and is in D major. A quiet, mysterious mood is initiated by choralelike woodwind chords of A major followed by B minor, both with an added G  over a D pedal tone. From this a solo oboe melody emphasizing perfect fourths emerges. The main theme played by the strings begins in the style of a recitative, and the rest of the movement grows out of these three elements toward a dramatic, fortissimo, dissonant sonority (F  –F  –G–B) before subsiding to a pianissimo conclusion on D major. The Allegretto movement is a short scherzo-rondo (ABACA) in 3/4 time in A major. It is built around a single theme that is usually accompanied by an ostinato pattern consisting of eight sixteenth notes and two eighth notes. Variation is achieved by changing keys and orchestration when the theme is stated or varied slightly. The finale, marked Allegro con spirito, is the most harmonically, rhythmically, and formally adventurous of the four movements, but it is still clearly in A major. This rondo begins with a brass fanfare leading directly to the first theme in the strings, whose 6/8 melody vacillates rapidly and unpredictably between groups of two and three per measure. The second

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theme, played by the clarinet and flute, is in F  minor with a more regular 6/8 rhythm and is lyrical in nature. Overall, the movement contains polytonal sections, liberal use of seventh chords, and quartal harmonies, making for an exciting conclusion to the symphony. During 1946 Moore once again served as the guest editor for the annual music issue of the Saturday Review published in January, and he was elected president of the National Institute of Arts and Letters, a post in which he served until 1953. He also received an honorary doctorate from the Cincinnati Conservatory for his work as a composer. On 12 October he signed a letter, together with Serge Koussevitzky (1874–1951), Aaron Copland (1900–1990), and Howard Hanson (1896–1981), which was sent to the attorney general and the president, protesting the State Department’s requirement that two Ukrainian singers, Zoya Haidai and Ivan Patorzhinsky (1896–1960), register as foreign agents while on tour of the United States under the auspices of the Ukrainian Society for Cultural Relations with Foreign Countries.122 Quintet for Clarinet and Strings From June to August 1946, Moore composed the Quintet for Clarinet and Strings on a commission from the Juilliard School of Music, which was premiered by Harry Noble (1912–1966) with the Juilliard String Quartet the following year. The quintet opens with a highly rhythmic, syncopated ostinato figure in the viola and cello that initially gives the listener a feeling of duple rhythm because of the accents, which displace the strong beats. However, the meter is actually 3/4, which becomes clear when the first violin enters with the melody. The movement is a modified sonata form with the tonality centered on G. The clarinet enters on a long, sustained G5 that ushers in the first theme in the Phrygian mode. The second theme is much less aggressive and softer, with a regular 3/4 rhythm in G major. The extended development section modulates to D major and rapidly changes to the Phrygian mode before arriving at the recapitulation, where the themes are shortened and varied from the original statement. The movement ends without resolution on D, played in octaves by the clarinet, viola, and cello. The Andante comodo is a set of variations on an eight-bar melody in the Aeolian mode on G, played by the first violin and harmonized in C by the other strings. The clarinet enters in the first variation with a countermelody clearly in C major. The rest of the variations continue with different changes of key, passing the theme back and forth between the parts until ending on C2 in the cello and B  3 in the clarinet. The third movement, Adagio recitativo, is a quite short, through-composed movement based on an opening motive played by the solo clarinet: an ascending perfect fifth followed by a descending perfect fourth (A  3–E  4–B  3). The clarinet is joined by the viola three measures later for a duet lasting the first eleven bars. The piece moves through a variety of keys, finally concluding on an E minor chord. The final Allegro ritmico is a rondo (ABACA) with a scherzo feeling, of even more rhythmic complexity than the first movement. The cello begins with an ostinato made up of the notes

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G and D in alternating 3/8 and 4/8 meters. The clarinet enters with the sixteen-bar theme in the Aeolian mode on G; its meter consists of one bar of 4/8 followed by three bars of 3/8, a pattern repeated to the end of the theme. The second theme alternates between one bar each of 3/8 and 4/8 and is closely related melodically to the first theme. The third theme is more legato and in 4/8, except that the melody is interrupted by a full tutti fortissimo 3/8 measure. The coda concludes with a flourish by the clarinet up to a high G6 followed by the quartet playing in octaves. The quintet is one of Moore’s most effective and satisfying chamber works. Moore was faced with a difficult administrative problem as president of the National Institute of Arts and Letters when on 7 May 1947 he discovered that the sculptor William H. Diederich (1884–1953), a member of the National Institute of Arts and Letters, had, without the knowledge of the institute’s council, mailed anti-Semitic propaganda written on institute stationery. Moore immediately called for Diederich’s expulsion, an unprecedented action necessitating an amendment to the institute’s by-laws. The vote to expel Diederich was confirmed on 29 May.123 Once again Moore’s composing time was relegated primarily to the summer, when he composed “Old Song” on a text by Theodore Roethke (1908–1963) on 7 June and reworked material from the film score Power and the Land into the suite Farm Journal. He also began working on a chorus, Vayechulu, and a children’s opera, The Emperor’s New Clothes, both to be finished the following year. The children’s opera was later recorded on the Young People’s Records label along with four other recordings for the YPR Instrument Series with music by Moore: The Hunter’s Horn, Licorice Stick, Said the Piano to the Harpsichord, and The Wonderful Violin. Said the Piano to the Harpsichord is an ingenious set of variations on The Old Gray Mare. The recordings combine an engaging text with Moore’s music, which is designed to introduce young children to the sounds of musical instruments. Farm Journal, written in July and August 1947, is the most significant of these compositions and was written for the conductor Thomas Scherman (1917–1979) and the Little Orchestra Society. Several of the movements borrow music from the film score to Power and the Land about an Ohio farm family in the 1940s. The first movement, “Up Early,” is a rondo based on a theme that was whistled by the Parkinson family’s youngest son as he started the day’s chores.124 The second movement, “Sunday Clothes,” is in ternary form; its melodic material was not taken from the film but was inspired by events of Moore’s childhood.125 The next movement, “Lamplight,” uses music from the scene where the family gathers for dinner by the light of a single oil lamp before their home is wired for electricity. The final movement Moore composed first as the “Harvest Song” in Power and the Land, used it again for the orchestral work Destroyer Song, and recycled it here once again as “Harvest Song.” It is a sonata-rondo form with themes written to accompany the scene where corn is being harvested by hand with scythes.126 Political issues once again surfaced at the National Institute of Arts and Letters. Lewis Mumford (1895–1990) resigned from the institute to protest the presentation of the gold

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medal award to Charles Beard (1874–1948), because Mumford claimed that Beard inserted his isolationist viewpoint into his historical studies rather than maintaining a more objective stance. This was the first such resignation in the institute’s fifty-year history, but, as president, Moore did not back down. Instead, he upheld the award, saying, “Our answer to Mr. Mumford’s resignation is simply to pay our tribute to Dr. Beard.”126 Shortly after this, Moore sent a letter from the institute to the Speaker of the House of Representatives protesting the methods of interrogation used by the House Un-American Activities Committee underchairman, J. Parnell Thomas (1895–1970), since he felt that such methods undermined basic civil liberties.128 At the same time, Moore’s compositions were receiving more and more performances. The New York Philharmonic performed the Symphony no. 2 in A Major on 19 February 1948, which received uniformly positive reviews. The premieres of the Jewish liturgical piece Vayechulu (7 May), of Farm Journal (19 January), and of the Suite for Piano (November) took place within the year. Moore also received an honorary doctorate from the University of Rochester, home of the prestigious Eastman School of Music. Among Moore’s most important compositions from 1948 was the Suite for Piano, written between 13 August and 17 September for Andor Foldes (1913–1992), who played the premiere at the University of Minnesota. The work consisted of six movements, most of which capitalized on Moore’s American style: “Prelude,” “Reel,” “Dancing School,” “Barn Dance,” “Air,” and “Procession.” One of Moore’s few works of sacred music was Vayechulu, composed for cantor, chorus, and organ, for David Putterman (1900–1971), cantor at the Park Avenue Synagogue, specifically for the service on 7 May. The text, Genesis 2:1–3, was set in the original Hebrew and was translated: “Thus the heavens and the earth were finished, and all the host of them. And on the seventh day God ended his work which he had made; and he rested on the seventh day from all his work which he had made. And God blessed the seventh day, and sanctified it: because that in it he had rested from all his work which God created and made.” Moore provides a very dignified and majestic setting for this text in B  major. Moore’s fourth opera, The Emperor’s New Clothes, was written for the Young People’s Record label with their principal writer, Raymond Abrashkin (1911–1960), as the librettist, and was completed in June 1948. Moore considered revising the opera in 1956 for child performers but never finished the revision. Abrashkin was coauthor of the Danny Dunn series of science fiction books for children, but he is best known as the screenwriter and director for the Academy Award–winning movie Little Fugitive. The Emperor’s New Clothes is in one act with four scenes and follows the Hans Christian Anderson story. Much like his previous children’s opera, The Headless Horseman, it is a number opera. There is only one solo aria, which is sung by the emperor in scene 3. The remainder of the vocal parts of the opera consists of duets between the various characters. Recitative is used sparingly, and the dramatic action is usually advanced through spoken dialogue or by melodrama, as in The Devil and Daniel Webster. Moore’s musical language is simple and direct, making it easy to perform and easy for children to appreciate.

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After many years, Moore’s first major opera, White Wings, was performed on 9–12 February 1949 by the Hartt Opera Guild at the Julius Hartt School of Music in Hartford, Connecticut. It was conducted by Moshe Paranov (1895–1994), with stage direction by Elemér Nagy (1906–1971). Unfortunately, none of the reviewers liked the opera, laying much of the blame on the libretto but also criticizing the music as bland and uneventful. Despite this disappointment after many years of trying to get the opera performed, it was followed by the very successful premiere of The Emperor’s New Clothes in concert version at a children’s concert on 19 February played by the New York Philharmonic and broadcast over WQXR. In the fall of 1948 Moore met the author Arnold Sundgaard (1909–2006), who was teaching playwriting at Columbia and had just finished writing the libretto for Down in the Valley by Kurt Weill. Ever since finishing The Devil and Daniel Webster, Moore had been looking for a libretto for another opera. Sundgaard suggested the novel Giants in the Earth, by O. E. Rølvaag (1876–1931), as a possible source, an idea that appealed to Moore. Sundgaard, who did not have a permanent position at Columbia, moved to teach at the University of Illinois in January 1949 but was unable to find suitable housing. He then moved again, in the fall of 1949, to Bennington, Vermont. Moore received the Rome Prize, which allowed him to spend his sabbatical during the winter and spring of 1949 at the American Academy in Rome, where he was in residence. Sundgaard sent each scene of the libretto as he finished it to Moore throughout the spring months, completing it by summer.129 Moore was able to finish most of the vocal score before classes started in 1949.130 In September, soon after returning from Rome, Moore composed another opera for the Young People’s Records, Puss in Boots, again with Raymond Abrashkin as the librettist. Based on the fairy tale by Charles Perrault, the work is in one act with three scenes, has four characters, and uses only a small chamber orchestra. Unlike The Emperor’s New Clothes, most of the musical numbers are solo arias. The most important of these was “When I was just a teeny, weeny kitty,” which opens the opera, and “Oh, a camel,” sung by John before he becomes a prince. The latter aria is the only one in strophic form; the remainder of the pieces were written in a through-composed, arioso style. The arias are set apart by spoken dialogue with no musical accompaniment, choruses, and one duet by John and the princess. Giants in the Earth Giants in the Earth was Moore’s first full-length opera in fifteen years. It is a very dark and tragic work about American pioneer life set in three acts, the last consisting of two scenes. The plot concerns Norwegian immigrants who are pioneers in the bleak plains of North Dakota. Beret and Per Hansa and their two children are the main characters, and they join their Norwegian friends to settle the prairie. Per is determined to forge a new life as a farmer by staking a claim in the virgin land, which is free to settlers, but Beret is intensely homesick and depressed. She pleads desperately with Per to return to Norway. Their son Ole discovers a bone from a dead Indian, which foreshadows the death that will be exacted from the family in this harsh land.

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In the second act, Beret and her friends Sorrine and Kjersti are at home while the men are away, and Beret discovers land-claim stakes not belonging to Per. Soon, two men, O’Hara and Sullivan, appear looking for land-claim stakes that they believe should be where the Hansas are now living. The Irishmen leave, saying that they will return later. Beret is very troubled by this revelation. Per and his friend return home, and later, when they are alone, Beret confronts Per about the stakes. Per found the stakes after registering his claim in town and after building their house. Thus, he feels that the land is theirs. When the Irishmen return, they get in a fight with Hans and Per, who force them off the land. Nonetheless, Beret feels that her husband is wrong and that this is yet another bad sign. The last act begins with the marriage of Henry and Dagmar, also new settlers and friends of Per and Beret. This is followed by the baptism of Per and Beret’s baby, but she will not allow the baptism to be carried through to the end, since she feels that there is too much evil present in the land. This is soon borne out by the arrival of a plague of locusts, driving Beret further toward insanity while the rest of the settlers battle to save their crops. This tragedy is followed by a blizzard during which Per and Beret’s son is very sick. Per would like to have a doctor for the child, but in Beret’s twisted mind a priest is needed more because the baby was never baptized. She convinces Per to go out into the blizzard to bring a priest, and after he is gone she prays to God. Her prayer restores her to sanity, but it is too late. She realizes that she is responsible for sending Per into the storm, where he will never find his way, and, consequently, to his death. Moore’s compositional style was fully mature by the time he started Giants in the Earth at the age of fifty-five. He composed vocal music by starting with the text, which he would repeat to himself, letting the rhythm and inflection of the words suggest the melodic line. His daughter, Sarah, remembers that he “was very conscious of words. He would say words over to himself. Even if it were an instrumental piece that he was working on, he would take a poem he liked and use the words in order to get a theme.”131 This accounts for the fluidity and natural feel of the vocal lines in Moore’s music and the general lack of melodic repetition, since he rarely set strophic texts. Giants in the Earth is a prime example of this method of composition. The opera has no spoken dialogue and is through-composed, with only a small amount of repetition of thematic material within sections. The arias are generally short, with the majority of the opera being made up of accompanied recitative. Beret has several moments where she sings short solo arias, and Per also has one short aria in act 1, the “Home Founding Song.” There is a highly dramatic duet between Per and Beret ending act 1 and a humorous duet between Henry and Dagmar in act 2. These episodes and a few choruses serve to break up the overall flow of the continuous melodic recitative. Moore quotes the Norwegian national anthem, “Ja, vi elsker ditto Landet,” early in act 1 when the pioneers arrive in North Dakota, but all of the rest of the music is original. While the story is compelling and very dramatic, the characters in the libretto do not always quite come to life. The continuous melody of the score fits the voice well but does not always provide enough points of variety to hold the listener’s attention throughout. However, the opera moves toward a very powerful conclusion when in terror Beret and the audience realize

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that she has indirectly caused Per to freeze to death in the blizzard. The ending, on a sharply dissonant chord, finally releases the tension that has steadily built over the course of the entire work. The orchestration for Giants in the Earth was completed in 1950 and was Moore’s major compositional activity for the year. In addition, the children’s opera Puss in Boots was successfully performed by the New York Philharmonic on 18 November. The performance was enhanced by cartoons drawn by Milton Caniff projected on a screen while the work was being played.132 As the principal administrator of the Ditson Fund, Moore was constantly looking for ever more effective ways to further the cause of American music and composers. For several years the fund sponsored the annual Contemporary Music Festival at Columbia University. However, this year it was decided that, instead of concerts, a recording would be issued of pieces selected from the previous six festivals. One thousand copies would be distributed nationally through a newly established record company.133 This was the seminal idea behind what was to become Composers Recordings, Inc. (CRI), established in 1954, whose specific purpose was to record and distribute compositions by contemporary American composers. So far, Moore had not been able to obtain a performance of Giants in the Earth. It was finally produced by the Columbia Opera Workshop on 28 March–7 April 1951, conducted by Moore’s colleague Willard Rhodes. Unfortunately, despite the strong performance by Brenda Miller as Beret, the most demanding role, the overall performance was disappointing. Most of the reviews were mixed or negative, usually faulting the libretto for lack of character development and the work’s excessive length.134 Olin Downes criticized the music as stagnant and consisting primarily of “recitative of little inherent significance.”135 This was quite a disappointment to Moore, who in a later interview “thought it was a ‘moving and beautiful work’ which included some of the best music he had ever written. He was touched by the subject matter and in many ways considered it his favorite opera.”136 Ironically, in May Moore was awarded the Pulitzer Prize in Music for the opera, which made up for the lack of recognition for his most ambitious work to date. With the Pulitzer in hand, Moore hoped to have the work published and to eventually stage a fully professional performance. However, as with his earlier operas, there was difficulty securing the rights, this time from the Rølvaag estate, which was in the middle of negotiations for the film rights. Two years passed before Moore’s publisher, Carl Fischer, received permission to publish the score, but by then the public’s memory of the Pulitzer had faded and interest in publishing or performing the work had lagged. The next significant performance of the work was not until 1974, by the University of North Dakota in celebration of the centennial of Grand Forks. Moore’s only compositions in 1951 were a Piano Concerto (20 July), for which only the short score of the first movement was completed, and a few songs (“I Heard a Bird Sing,” “Machinery,” and “When the Drive Goes Down”). Yet, at the end of the year he received the honor of being elected to the American Academy of Arts and Letters.137

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Moore composed two suites in 1952: the Four Pieces for Piano (“Escalator,” “Decoration Day,” “The Princess and the Pea,” and “Mississippi”) and Cotillion Suite for string orchestra. The latter has become the better-known of the two and is a collection of six pieces in early American dance styles: “Grand March,” “Polka,” “Waltz,” “Gallop,” “Cake Walk,” and “Quickstep.” It was written for the bicentennial of Columbia University and dedicated to Alfredo Antonini (1901–1983), who conducted the premiere of the full suite with the CBS Radio Orchestra on 15 February 1954. All of the pieces are written in Moore’s familiar American folk style and contain easily memorable tunes and diatonic harmonies in standard forms. The “Gallop” and “Quickstep” have delightful harmonic surprises. Although the “Gallop” is clearly in D major, as is most of the suite, the opening theme is tonally ambiguous, containing both F natural and F  , B  and B  , and C  and C  , allowing Moore to exploit modal and chromatic harmonies including seventh, ninth, quartal, and polychords. The “Quickstep” has a typical 6/8 fiddle-tune theme, but Moore departs from his usual modulations by thirds by stating the theme in D major, then restating it in G  and E  major before returning to D major. The piece is a prime example of the effectiveness of Moore’s conservative compositional style, where melodic inventiveness is combined with simple forms and just enough harmonic originality to hold the listener’s attention. At the end of the year Moore was made director of the board of the American Academy of Arts and Letters. Soon afterward he assumed the position of secretary when Mark Van Doren (1894–1972) resigned to work in Europe.138 Even with the extra responsibilities of the American Academy, Moore composed quite a number of pieces in 1953, among which was the song The Mysterious Cat, for children’s chorus, on a text by Vachel Lindsay. In April he revised the final quartet of The Devil and Daniel Webster for a new production performed on 18 July–3 August in the new amphitheater at the first Old Sturbridge Village Festival. Old Sturbridge is an entire village maintained as a museum of traditional New England life—a perfect setting for the opera, which was preceded by performances of Farm Journal performed as a ballet. The performances were well attended and quite successful. The song “Friends, Elis, Countrymen,” was written in June on a text by Alfred Whitney Griswold (1906–1963), the president of Yale University and a fellow member of Wolf ’s Head. The term “Elis,” like “Yalies,” is a nickname commonly used for Yale students, after the university’s founder, Elihu Yale. Moore matches the humorous text with references in the music to Schumann, Beethoven, and Wagner. In addition, he composed two arrangements of traditional folk songs, the Birds’ Courting Song, for soprano, tenor, and mixed chorus, and Poor Wayfaring Stranger, for mixed chorus and piano. Moore finished his most important work of the year in September: the Piano Trio, drafted in three movements. The opening Allegro molto marcato is based on two themes. The first is eight bars long and stated by the violin over an ostinato accompaniment in the piano in D. The second is more lyrical and is in E  major. The Adagio begins with block chords in D minor in

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Moore at Columbia; with permission of the University Archives, Columbia University in the City of New York

the piano, followed by the theme played by muted strings. The movement elaborates on this theme with ever more ornate melodic lines, and the work ends with a sprightly jiglike movement based on a twelve-bar theme in A major. While working on these projects, Moore was approached to write an opera about the Tabors of Colorado. He started in June, and it occupied his attention for the next two years—the most enduring of all of his compositions, The Ballad of Baby Doe.

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The Ballad of Baby Doe Moore’s most successful work has an interesting and, as usual for Moore, troubled history. It begins in 1953 with the Central City Opera, a small opera house high in the Rockies of Colorado. The opera house, which was built during the silver mining boom in 1878, was reopened in 1932 for the purpose of presenting a summer opera festival. By the 1950s the opera’s board was considering how to revitalize the festival, and the idea of commissioning a work specifically for Central City was proposed.139 The stage designer Donald Oenslager, together with the director Herbert Graf, contacted Paul Green (1894–1981), the eminent dramatist, to write a play about Horace Tabor (1830–1899), the Colorado mining tycoon and politician. Oenslager, a longtime friend of Moore, suggested his name as composer and arranged for a meeting of Green and Moore to work on the project.140 Moore was enthusiastic about the project, having had a similar idea for an opera in 1935 after reading of the death of Elizabeth Tabor, and the two men began the collaboration. The board president, Frank Ricketson, fearing that the project was too ambitious, at first canceled the project at the November board meeting. The board reversed his decision the next month and commissioned Moore and Green for $5,000 each to write a two-hour opera with Caroline Bancroft (1900–1985), a Colorado historian and writer serving as an unpaid advisor, about Horace Tabor.141 Bancroft is a curious and querulous character in the story of the creation of the opera. She had recently published a small book about the life of Elizabeth Tabor, Silver Queen: The Fabulous Story of Baby Doe Tabor.142 Green was familiar with the book, and parts of his play were based on the historical facts presented in it. After initially agreeing to the advisory role, Bancroft then claimed copyright on the name of Baby Doe and asserted rights over the basic story.143 The board voted to grant her a $250 honorarium, but she countered with a request for $500, 2 percent of the gross receipts, and billing as “The Tabor authority of the world.”144 In the meantime, the board continued its contract negotiations with Green and Moore, who were experiencing their own difficulties. The two men had different conceptions of the work. Green wanted to write a play with accompanying music rather than an opera, resulting in a text that was impossible for Moore to set musically.145 Moore proposed that the board pay off Green’s contract and allow him to choose his own librettist. Ricketson, unsure of the varying claims of the two artists, received outside confirmation of Moore’s assertions and agreed to Moore’s plan if it could be done economically. Ricketson followed up with a meeting with Green, who expressed dissatisfaction with Moore as an opera composer and asserted his rights as the author over the Tabor story. Green similarly wanted the right to choose his own composer, having written most of the text already, and then to produce the work in New York after the Central City performances. If there were not enough problems at this point, Bancroft showed up again and claimed additional Baby Doe “facts” as her exclusive property.146 Between May and June 1954 Green dropped out of the project owing to conflicts with both Bancroft and Moore.147 At one of the performances of The Devil and Daniel Webster at the

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Old Sturbridge Village festival in the summer of 1953, Moore met the librettist John Latouche (1917–1956), and he later contacted him as a possible collaborator on the Tabor opera project to replace Green. Latouche had been approached earlier by Jerome Kern to write a libretto for a musical on the Tabors, but Kern died before beginning work on it.148 Latouche accepted Moore’s offer but had to delay starting on the piece due to other work commitments and travel.149 However, things were not looking promising. Paying Green for his work and the cost of possible litigation with Bancroft placed a financial strain on the Central City Opera. Fortunately, the Koussevitzky Foundation had commissioned a work from Moore for the bicentennial of Columbia University (1954), and Moore was able to convince them to accept an opera rather than an instrumental work to fulfill the terms of the commission. The foundation supported the cost of writing the libretto and allowed the Central City Opera to premiere the work, saving the project.150 Latouche and Moore worked from original historical sources, which made Bancroft’s claims to the rights much less credible and eventually removed her interference.151 With these major obstacles out of the way, the path was clear for Moore and Latouche to write the opera. Moore retained the story outline he had worked out with Green. Although Latouche and Moore worked very well together, Latouche kept delaying work on the libretto. As a result, Moore wrote some of the lyrics himself while he was waiting for Latouche. Three of the most dramatic and memorable arias from the opera were written entirely by Moore: the Willow Song, the Letter Song, and Augusta’s Aria from act 1, scene 3. The last of these was revised by Latouche, but the other two were not changed.152 By March 1954 had Moore played through the first act of the opera for Ricketson, and on 14 October he presented it to the Central City Opera Board, which agreed to program it for the 1956 season, its twenty-fifth anniversary. Up to this point the name of the opera had not been determined. “The Saga of Baby Doe” was suggested, but the board finally decided upon The Ballad of Baby Doe. Emerson Buckley (1916–1989) was chosen to conduct the work.153 Troubles were not over with Bancroft, who threatened once again to sue for recognition as the historic advisor, but she eventually settled for the $500 payment.154 In January 1955 the casting for the opera was completed, with two singers in each of the principal roles so that they could alternate between performances.155 Leyna Gabriele, a Columbia student, sang portions of the score for Moore as he was composing the opera, and her teacher suggested that she learn the part as he was writing it, which lead to her being cast as the alternate Baby Doe in the premiere.156 Frances Bible (1919–2001) was selected for the part of Augusta, and Moore selected Walter Cassel (1910–2000) for the part of Horace. Also, plans were being laid for a public-relations campaign for the premiere. A large reception was scheduled for the Brown Palace Hotel in Denver, which donated rooms, food, liquor, and stationery. United Airlines donated round-trip airfares for music critics, many from New York and other major U.S. cities, to attend the premiere. Special newspaper sections for the premiere were planned for the Denver Post and the Denver Rocky Mountain News. The production staff consisted of Donald Oenslager as set designer and Hanya Holm (1893–1992) and Ed Levy co-directing, with Holm focusing on choreography and Levy on the operatic aspects.157

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After the opera was produced in Central City, Moore and Latouche worked on several revisions to strengthen the score and dramatic impact. A square dance scene, which originally preceded the saloon scene that now opens the opera, was cut. Horace’s aria “Out of the Darkness” was replaced with “Warm as the Autumn Light” in act 1, scene 2, which he sings after he first meets Baby Doe in Leadville. Baby Doe’s aria “Wake Snakes” was cut from act 2, scene 1 as too harsh for her character and replaced by “The Fine Ladies Walk” to still give a sense of the Tabors’ ostracism by Denver society. A gambling scene, act 2, scene 2, was added to explain Horace’s reckless spending and resulting financial problems. Lastly, a short scene of children’s games was cut leading up to the introduction of William Jennings Bryan (1860–1925) in act 2, scene 2.158 Synopsis The opera opens in Colorado in 1880 with a rousing scene in the local Leadville saloon owned by Horace Tabor, a newly minted silver mining tycoon. A drunken miner has just sold his seemingly worthless claim, the Matchless Mine, to Horace for a large amount. Horace revels in the excitement of the saloon and is proud that he is rich enough to own it, the new opera house, and much of the rest of the town. His wife, Augusta (1833–1895), enters after a night at the new opera house. She does not approve of Horace’s rowdy friends and urges him to be more respectable. Augusta returns to the opera house, but Horace lingers at the saloon a while. He meets a young woman who asks him how to get to the Clarendon Hotel. After the concert is over, Horace overhears women gossiping about the new arrival they call “Baby Doe.” He sees Baby Doe in the window of the Clarendon and hears her sing the Willow Song, a coloratura aria about lost love. Baby Doe is unaware of Horace’s presence until he applauds her singing, and they begin a conversation. When Baby Doe leaves the scene, Horace sings “Warm as the Autumn Light” to express his infatuation with her, only to be summoned home by Augusta. The stage is now set for a confrontation with Augusta, who until now has been unaware of Horace’s love for Baby Doe. Augusta is rummaging through Horace’s business papers and is appalled by the reckless amounts he is spending to buy up mining claims. Then she finds a pair of woman’s gloves and a love letter from Horace accompanying them. When she realizes that this gift is for Baby Doe and not for her, she is both angry and devastated. She recounts the many sacrifices she made for Horace that led to his financial and social success. She confronts him with the evidence of his affair and threatens to expose his misdeed to the town, creating a scandal. However, he no longer loves Augusta, whom he sees as a cold and demanding woman interested only in their social standing, in contrast to the beautiful, tender, and loving Baby Doe, and he refuses to break with Baby Doe. Soon Baby Doe concludes that she should leave Horace because he is married, and she sings about this to her mother in the Letter Song. Augusta enters to persuade Baby Doe to leave Horace, and Baby Doe assures her that she has already decided to do so. However, Augusta’s scorn for Baby Doe and Horace leads Baby Doe to feel empathy for Horace, and she changes her mind. Horace sees Baby Doe after Augusta’s departure, and the two pledge their love for one another. Augusta does not give up, and in a scene with her respectable women friends she vows to fight for her rights as Mrs. Tabor. She decides to threaten

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Horace with a scandal should he try to divorce her, but her efforts are to no avail. Horace and Baby Doe are next seen at their wedding reception in the Willard Hotel in Washington, D.C., where Horace is now the senator from Colorado. The scene is a mixture of a happy wedding and national politics. Horace’s political friends are talking about government policies that affect the price of silver, upon which Horace’s fortunes depend, and Baby Doe supports her husband by singing the Silver Aria, where she extols her admiration for the qualities of silver over gold. Baby Doe’s mother is present and reveals to the priest who has just married them that both have been divorced. The news of this scandal among the wedding guests is averted at the last moment by the arrival of President Chester A. Arthur (1829–1886). The second act opens in 1893 in Denver at the Governor’s Ball, but Horace and Baby Doe are shunned by Denver society. Augusta, who still has feelings for Horace, comes to talk to Baby Doe to warn her of Horace’s precarious financial future created by his spending and the imminent adoption of the gold standard. Baby Doe is prepared to listen, but when Horace arrives, he is not interested in anything Augusta has to say. He then asks Baby Doe to promise never to sell the Matchless Mine, the greatest source of his wealth. Two years later Augusta’s predictions have come true. Horace joins his friends at a poker game, asks them for a loan until his luck returns, and urges them to support William Jennings Bryan (1860–1925), the freesilver candidate for president, but their loyalty has dimmed along with Horace’s fortunes. Horace arranges a political rally outside the Matchless Mine in 1896, where Bryan sings an aria consisting of a portion of Bryan’s famous “Cross of Gold” speech. Following the election, Augusta hears the news of Bryan’s defeat and knows that Horace is ruined. Baby Doe’s mother visits Augusta to entreat her to help Horace and Baby Doe financially, but Augusta has been rejected so many times by Horace that she cannot bring herself to help him even though she still loves him. The final scene is set in 1899 on the stage of the Tabor Grand Opera House in Denver, the monument to Horace’s wealth, which he no longer owns. Horace is impoverished, old, and dying. He sees visions of his past successes gradually turning to failures one by one. Baby Doe comes to him as he is dying and holds him in her arms as they pledge their eternal love for one another. As Baby Doe sings the final aria, “Always through the Changing,” we see her age. The snow begins to fall, signifying her own end—frozen to death outside the Matchless Mine. The Music The Ballad of Baby Doe is without question Moore’s best work, both dramatically and musically. The work is a number opera, nearly fourteen in all, and is sung throughout. The arias are linked with sections that are more arioso in nature than recitative. In most of Moore’s operas, recitative is abandoned in favor of a more natural, speechlike melody. The vocal writing always lies well for the voices, and the text is easily understandable. Typically, the vocal setting is largely syllabic, but in Baby Doe a number of the arias contain more melismatic sections. A noteworthy example of this is the long vocalise in Baby Doe’s Willow Song. The vocal ranges employed are also typical for Moore with one exception, that of Baby Doe. Moore’s strong, heroic characters tend to be cast for medium or low voices, but Baby Doe

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is a lyric soprano. She is also the most complex character to play, because Baby Doe is both a strong and a tender character. If she is not played strongly enough, the audience’s sympathies will tip toward Augusta, and yet she must be tender enough that the audience will believe she really loves Horace and is not just after his money. The part of Augusta is one of the best characters and vocal parts in the opera. Frances Bible remarked: “Originally, the part of Augusta was written for a dramatic soprano, and then the composer decided that he wanted a little heavier voice than that in the part, but he didn’t rewrite the part.”159 The writing for Augusta, a mezzosoprano, is powerful in expressing the sorrow, pain, and rejection felt by the wronged spouse. Horace, a baritone, is both hero and villain, both strong and weak. He falls deeply in love with Baby Doe and in the early part of the opera is a brash, confident entrepreneur with great wealth; but he is also the unfaithful husband who hides his infidelity at first and gradually loses his wealth through bad judgment and bad luck. Not until the very end of the opera do we see Horace as a tragic figure, a broken and dying man. In the minor roles, William Jennings Bryan, the hero of the people, is cast as a bass-baritone, again signifying strength. All of the other minor male roles are sung by tenors: Chester A. Arthur, Father Chapelle, a miner, a hotel clerk, the mayor, and the theater doorman. The opera has only one repeated musical theme (Ex. 1). This is the waltz theme, which was inspired by the music used in J. M. Barrie’s play The Little Minister.160 It is played at Baby Doe’s first entrance when she asks Horace for directions to the Clarendon Hotel, and Moore uses it with the sound of a honky-tonk piano to make the transition between the saloon scene and the Clarendon Hotel. It reappears in various places in the opera to evoke the remembrance of Baby Doe, but it is not employed as a recurring motive to specifically signal the presence of Baby Doe. The opera also gives Moore many opportunities to write in his “American” folk style, since the drama is set in the American West. He does so by briefly quoting “Clementine” in the first scene, imitating a saloon piano, and writing waltzes, polkas, and music for a presidential political rally. There are several memorable arias, beginning with the Willow Song in act 1, scene 2, sung by Baby Doe. In this soliloquy, Baby Doe sings to the weeping willow tree about her lost love— the emptiness, the loss of friends, a love never to return. The song, framed by a beginning and ending vocalise, is in B  major in ternary form and reaches its climax on a high D6. Horace’s lyrical answer, “Warm as the Autumn Light,” changes from Baby Doe’s duple meter in 4/4 to a triple meter starting in 12/8 and moves to E major, giving a warmth to the text describing his newfound love for Baby Doe and remembering past loves when he was a young man in Vermont. He realizes that his material success has not given him the happiness and love he has found in her as the melody ascends to a high E4 on the name of Baby Doe. In act 1, scene 4, Baby Doe sings another soliloquy, the Letter Song, expressing to her mother that although her husband left her, it was for the best. Now she has found a love that her mother would feel is deserving of her. But he is married, and they must leave one another forever. The A major song is in ternary form and reaches a high C  6 in the middle section, where she describes her ideal husband.

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Example 1. Baby Doe theme, act 1, scene 1, mm. 516–532 (New York: Chappell, 1958). Waltz-Allegro moderato (in 1)

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When Horace is confronted by the Washington dandies about the shaky future of silver, Baby Doe responds with the inspiring Silver Aria, where she extols the virtues of silver and claims to be a “child of the moon and silver.” The orchestration of the song uses woodwind embellishments to provide a shimmering, dreamlike background to her arching, lyric lines, which culminate on a high C  6 on the words “I am mining heavenly ore / Gold is the sun / But silver lies hidden in the core of dreams.” Act 2, scene 1 contains Baby Doe’s aria “The Fine Ladies Walk,” where she reacts to the snubs of Denver society. This aria, in E major, is more harmonically complex than some of the other arias she sings and modulates through the keys of C, B  , and D  major before returning to E major. This complexity parallels the text where Baby Doe sings about how the jealous Denver ladies will never know or understand the love she and Horace have.

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The William Jennings Bryan aria in act 2, scene 3 begins in a somber E minor but ends in a triumphant G major. The opening text quotes Bryan’s famous “Cross of Gold” speech, building to the words “Never shall we bow down in worship / Before the calf of gold!” After addressing the miners as the “sinews of our nation’s strength,” he is interrupted by the Tabors’ daughter, who brings him roses. Back in E minor, Bryan reaches into a bag of silver dust and christens the innocent child “Silver Dollar.” After this, Bryan builds his speech to the lines “Renew the ancient covenant / Between mankind and God!” on a resounding G major chord, followed by the repeated shouts of “Bryan!” by the chorus. Augusta has some very powerful scenes in the opera, especially the duet between her and Horace in act 1, scene 3, where she finds the lace gloves for Baby Doe, but her main solo aria occurs in act 2, scene 4. Augusta knows that Horace is financially ruined and sings “Augusta! How can you turn away?” The aria is in D minor and begins with a repeated descending minor second. She remembers her love for and devotion to him, but also her bitterness and defeat. The aria turns to D major as she remembers their joy together and argues with herself to forget the pain of his betrayal. Then the music returns to D minor as she concludes that her fear makes her unable to go to him even as he is calling her. Baby Doe’s final aria, “Always through the Changing,” sung while holding the dying Horace in her arms, is unforgettable. It is in B major and in ternary form. In the middle of the aria she moves away from Horace, and at the words “Death cannot divide my love,” she removes the hood of her cloak to reveal her whitened hair. Still singing of her love for Horace, she moves toward the opening of the Matchless Mine as the snow falls and the aria ends. The final scene is a very powerful moment for both the audience and the performers. In an interview, Beverly Sills (1929–2007) talked about her reaction to playing the part of Baby Doe with Walter Cassel. Sills recounted what happened on stage after he spoke his line, “You were always the real thing, Baby:” I was destroyed. Then the tears began to flow, and he had tears down his face, and I thought, “Well, how will I ever get through the last aria?” But it happened over and over and over again. That’s just instinct. I really don’t know why that line always gets me. And then she says, “Sleep, close your eyes, rest . . . the only real thing.” And I tell you, I don’t know how I ever get through that last aria.161

Virtually all of Moore’s spare time was devoted to composing Baby Doe in 1954 and 1955. The vocal score was completed in the spring and the orchestration during the summer of 1955.162 While Moore was engrossed in writing Baby Doe, The Devil and Daniel Webster was broadcast on the BBC on 5 June, one of the first American operas broadcast in that country.163 Later that month Moore’s alma mater, Yale University, conferred on him an honorary doctorate. The premiere of The Ballad of Baby Doe was scheduled for 7 July 1956 in Central City, and for Moore the year’s activities were focused on the premiere. Final touches on the opera and rehearsals with the singers took place in New York. The principal singers for the premiere consisted of Dolores Wilson (b. 1929) (Baby Doe), Walter Cassel (Horace), Martha Lipton

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(1913–2006) (Augusta), Alan Smith (Chester A. Arthur), Lawrence Davidson (William Jennings Bryan), and Beatrice Krebs (b. 1924) (Mama McCourt). To give the singers a rest, performances were alternated with the understudy cast: Leyna Gabriele (Baby Doe), Clifford Harvuot (1912–1990) (Horace), Joseph Folmer (Chester A. Arthur), Norman Treigle (1927– 1975) (William Jennings Bryan), and Frances Bible (Augusta). The opera requires a large cast and many scene changes, and the costumes and sets for the premiere of The Ballad of Baby Doe were the most elaborate in the history of the Central City Opera up to that time, costing more than $30,000.164 The premiere of the opera was a major social event in the Denver area, and a massive public-relations campaign promoted the Central City Opera’s twenty-fifth anniversary season. Some of the pre-performance events included rock-drilling contests, gold-panning exhibitions, horsecart races, a parade of antique vehicles, band concerts, a Pony Express race, and the arrival of the governor of Colorado by helicopter.165 The winner of the Pony Express race from Idaho Springs to Central City was fifteen-year-old Clyde Turner. He received $200, the trophy cup, and a kiss from the movie star Kim Novak (b. 1933).166 The newspapers reported that seven thousand people attended the celebration.167 A number of famous people, celebrities, and the social elite of Denver attended the premiere, including Kim Novak; the opera singer Lily Pons (1898–1976); the opera director Elemér Nagy; the music reviewer Lucius Beebe (1902–1966); Olga Koussevitzky (1901–1978); and Mrs. Martin Beck, widow of the famous theater manager.168 These luminaries and numerous music critics from around the country were invited to the pre-premiere party at Denver’s Brown Palace Hotel in Denver, and they were wined and dined again on the evening of the premiere at the conclusion of the opera.169 The Broadway producer Michael Myerberg (1906–1974) also attended and seriously intended to produce the work on Broadway, but the project never materialized.170 In large part the reviews were positive. Howard Taubman (1907–1996), writing for the New York Times, says that the opera gives “a tender sentimental evocation of the past, with the character of Augusta providing the redeeming bite that gives it dimension as art.”171 The New York Herald Tribune’s Lucius Beebe thought the opera was “uneven, but with a calculated unevenness obviously intended by the authors; ranging from an almost Gilbert and Sullivan quicktime and rhyming at the outset to authentic grand opera of emotional volume.”172 Albert Goldberg (1898–1990) of the Los Angeles Times gave one of the few negative reviews.173 The local press was uniformly impressed with the production. The work attracted national attention with reviews in both Life and Time.174 It was even broadcast over the Voice of America.175 Nearly all of the critical response to the opera notes the strength of the character and the performances of the role of Augusta by both Martha Lipton and Frances Bible. Augusta is a strong character, and Moore has written such convincing music for the part that it is easy for the audience to feel more sympathy for Augusta than for Horace and Baby Doe unless all three performers are equally excellent singers and actors.

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Following the performances, Moore and Latouche worked on revisions to scenes in the opera that could be strengthened. Then, on 7 August, Latouche suffered a massive heart attack and died at age thirty-eight. This tragedy was difficult for Moore both personally, since Latouche had become a good friend, and professionally, since the success of Baby Doe was due in large part to Latouche’s skill as a librettist. Although Latouche completed all of the revisions to Baby Doe before his death, this likely had a negative effect on the plans to produce it on Broadway. Once again, as with Stephen Vincent Benét, Moore suffered the death at an early age of a valuable colleague and friend, one who could have collaborated successfully with him on future works. Had they had an opportunity to work together again, Moore’s later works might have had a chance to be as successful as Baby Doe. The excitement of the Baby Doe performances continued into 1957, and excerpts of the opera were aired on the CBS (later ABC) television series Omnibus on 10 February.176 Moore was interested in writing another opera, and the idea of writing an opera based on the format of a television soap opera was probably suggested by his Columbia colleague William C. Fels (1916–1964).177 Moore proceeded to outline the story of Gallantry and handed it over to Arnold Sundgaard, with whom he had collaborated earlier on Giants in the Earth. Sundgaard managed to complete the libretto in the spring, and Moore worked on the vocal score from 29 June to 16 August, completing the orchestration in the fall. Moore also composed some smaller pieces, including a hymn on a text by Henry Hallam Tweedy (1868–1953), “Eternal God,” that was included in an anthology of newly composed hymns published by Columbia University Press.178 There were also the Two Pieces for Piano (“Prelude” and “Dance for a Holiday”), written on 17–18 April, and a song, “Brown Penny,” on a text by William Butler Yeats that was started on 29 December 1943 but not finished until 1957. In addition to composing, Moore was involved in the very first releases from Composers Recordings, Inc. (CRI), including Farm Journal (CRI 101) and the Cotillion Suite (CRI 107). Gallantry Gallantry is a one-act comic chamber opera that is frequently performed by student opera workshops but is not as well-known by the general opera-going public as it deserves to be. The composer and librettist instruct the performers to play their parts with total seriousness so that the intended satire of a stereotypical soap opera will be effective.179 The cast consists of four characters—a classic love triangle Dr. Gregg (baritone), Lola (soprano), and Donald (tenor)), the announcer (mezzo-soprano), and three dancers. The setting is a 1950s television studio where a soap opera is being taped, complete with advertising commercials for Lochinvar Soap and Billy Boy Wax. The drama revolves around Dr. Gregg, who is trying to seduce his nurse assistant, Lola, but Lola is engaged to Donald, who works in the cashier’s office. In the second scene, Lola prepares a patient for an operation and is surprised to find that Donald is the patient. They sing of their love for one another until Dr. Gregg arrives, ready for the operation. Just as Donald is being anesthetized, he asks Dr. Gregg how Mrs. Gregg is. This infuriates Lola,

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who did not know that Dr. Gregg was married. She expresses her indignation to the doctor, who continues his attempted seduction during the operation, eventually threatening Donald with the scalpel, until Lola rushes out of the operating room with the doctor in pursuit. Donald revives from the anesthesia, and Lola returns to reassure him that another surgeon will be coming because they cannot trust Dr. Gregg. The finale is a grand quartet where the announcer and Dr. Gregg extol the virtues of Lochinvar Soap while Lola and Donald declaim their love for each other. Most of the dramatic parts of the opera consist of duets between Lola and either Dr. Gregg or Donald, except for Lola’s dramatic aria (“Now, Dr. Gregg, you have gone too far”), where she condemns the doctor for his despicable behavior. In contrast, the announcer’s music is divided between recitativelike passages to introduce the plot and full arias, usually accompanied by jazzy music, to be sung in a sexy manner for the commercials. The tonality is clear throughout the opera, and special effects, such as jazz, are used to heighten the parody. The vocal parts are not demanding but require good acting. Major performances were produced in 1958. Gallantry received its premiere performance on 19 March as part of the Columbia University Opera Workshop, with Emerson Buckley conducting a professional orchestra. The performance received good reviews from the New York critics, including Harold Schonberg (1915–2003), Jay Harrison (1927–1974), and Winthrop Sargeant (1903–1986).180 The New York premiere of The Ballad of Baby Doe by the New York City Opera secured Moore’s reputation as a significant composer of American opera. City Opera presented an entire season of operas by American composers in 1957–58 under the sponsorship of the Ford Foundation, and Baby Doe was premiered on 3 April. The production starred Walter Cassel (Horace), Martha Lipton (Augusta), and Beverly Sills (Baby Doe). It was acclaimed by the New York critics, who awarded the opera the New York Music Critics’ Circle Award for 1958 over The Turn of the Screw, by Benjamin Britten, and Vanessa, by Samuel Barber (1910–1981).181 The opera was so successful that the New York City Opera programmed it to open the 1958–59 season and maintained the opera in its repertoire. Cassel and Lipton had sung their parts at Central City. The addition of Sills to the cast was an important choice. She auditioned for the role after one hundred other sopranos had tried out, though she was reluctant to do so because she had heard that Moore thought she was too tall for the part. She arrived at the audition in high heels and said: “Mr. Moore, this is how tall I am before I begin to sing for you and I’m going to be just as tall when I’m finished. We could save your time and my energy if you’d tell me now that I’m too big to play Baby Doe.” Following her singing of the Willow Song, Moore is reported to have said: “Miss Sills, you are Baby Doe.”182 Sills claimed that the difficulty of the Baby Doe role is “getting that female part of the audience to move over to her [Baby Doe’s] side—to understand that this was a great love and a great passion.”183 In addition to overseeing the performances of Gallantry and the New York premiere of The Ballad of Baby Doe, Moore arranged a march for concert band from some of the political

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rally music in Baby Doe and titled it The People’s Choice. The work was commissioned by the Goldman Band and dedicated to the memory of Edwin Franko Goldman (1878–1956), the famous bandmaster. In November Moore wrote a song on the Irish text “Dear Dark Head” and a two-part chorus for children’s voices, The Pelican Chorus, on a text by Edward Lear (1812– 1888). The New York success of The Ballad of Baby Doe led to more performances of Moore’s works. In the 1958–59 season of the New York City Opera, The Ballad of Baby Doe and The Devil and Daniel Webster were programmed in April and May. These were followed by a production of Daniel Webster in June by the Boston Arts Festival. The success of Baby Doe awakened interest in Moore’s earlier opera. In fact, John Houseman (1902–1988) proposed a CBS television production of it, but Stephen Vincent Benét’s estate blocked it, claiming that the estate had the sole rights to the play. Instead, NBC produced a dramatic version of the work after the legal wrangling subsided.184 The Goldman Band performed the premiere of The People’s Choice on 17 June in Central Park. In addition to these performances, The Ballad of Baby Doe, Cotillion Suite, and The People’s Choice were all published, and The Ballad of Baby Doe, In Memoriam, and The Pageant of P. T. Barnum all appeared on recordings. Also, Moore was elected president of the American Academy of Arts and Letters, a post he retained until 1962. The Wings of the Dove Although he wrote Gallantry shortly after Baby Doe was finished, Moore was looking for a good libretto and a chance to compose another major opera. He first considered various works with Arnold Sundgaard as the librettist, including Wilbur D. Steele’s (1886–1970) story “How Beautiful with Shoes,” for the source of an opera libretto. However, Sundgaard had just been awarded a Fulbright fellowship to Ireland and recommended instead his student Ethan Ayer, whom Moore met at the performance of Gallantry at Columbia University. Moore and Ayer also considered The Mother’s Recompense, by Edith Wharton (1862–1937), The Woman in White, by Wilkie Collins (1824–1889), Java Ahead, by Joseph Hergesheimer (1880–1954), and Washington Square, by Henry James (1843–1916) before settling on a different James novel, The Wings of the Dove. Understandably, Moore had reservations about trying to adapt the James novel for musical treatment, but both Chalmers Clifton (1889–1966) and Moore’s daughter, Sarah, eventually persuaded him to continue with the idea after Moore had seen a television adaptation of the book.185 The novel also had the advantage of being in the public domain, so that Moore would not need to worry about all of the difficulties of securing rights. Given his previous experiences, this was a major advantage.186 Moore wrote the basic plot outline. Ayer wrote the libretto for each of the scenes and sent them to Moore as he finished them. Moore actually conceived the work as a grand opera, in hopes of a Metropolitan Opera performance, but Julius Rudel (b. 1921) at the New York City Opera made the first offer to produce it a day before the Met called Moore to say that they were interested. Thus, Moore missed the opportunity for a Metropolitan premiere.187

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Synopsis The Wings of the Dove is in six scenes and follows the basic plot outline of the novel. In the first scene, Kate Croy is in her Aunt Maud Lowder’s parlor in London, where she is met by her father, Homer Croy, whose incessant gambling has destroyed his family’s finances and seriously jeopardized Kate’s prospects for marriage and a secure financial future. Kate now lives under Aunt Maud’s care and support. Homer persuades Kate to give him money, to which she finally consents. After Homer leaves, Miles Dunster, a journalist who is in love with Kate, arrives to see her. Aunt Maud enters the scene and informs him of her plan to secure a man of greater social standing and financial means than Miles for Kate’s husband. After Miles leaves, Kate tells Aunt Maud that she has declined Lord Mark’s proposal because she loves Miles. Aunt Maud is displeased and says that Kate and Miles will not be left alone ever again. In the second scene, Aunt Maud’s house is being prepared for a party for the American heiress Milly Theale, who is on a European tour. Aunt Maud has invited Lord Mark, who she hopes will be attracted to Kate, and Miles, who knows Milly from his travels in America, as it turns out. In the conversation before the arrival of Milly, Lord Mark mentions that he met Milly at a resort and that the portrait of Constanza Leporelli hanging in the ballroom looks exactly like her. The guests observe the portrait and the dancing begins. Milly’s arrival is then announced. The guests are astounded at the closeness of the resemblance of the portrait to the guest of honor. The dancing resumes, and Lord Mark leads Milly to the portrait, where he tells her about the subject of the painting. He declares his love for her and proposes to her on his knees. Aunt Maud is not pleased and coldly tells Lord Mark to get up. She then invites Milly to sing a song for the party, and Kate and Lord Mark each notice that she is in love with Miles, to whom she directs her singing. Milly faints from the exertion of the singing and is helped by Kate and Miles. After Milly leaves, Kate asks Miles about his meeting with Milly in America. The scene concludes with Kate’s soliloquy to the portrait, in which she reveals how she will use Milly and Miles to achieve her ends. The next scene is in the National Gallery, where Milly and her friend Susan meet Kate and propose that they all go to Italy together. Miles also appears and is included in the invitation. After Milly and Susan leave, Kate explains to Miles how fortunate it is that they are all going to Italy. She tells Miles to marry Milly, which will make him a rich man. Milly is in poor health and has only a year to live. When she dies he will be free to marry Kate, and they will be able to live comfortably on the inheritance. Miles is reluctant to carry out this plan, since it is Kate that he loves, but Kate convinces him that their love depends upon it. He agrees to go to Venice, but only if he and Kate consummate their love first. The next scene takes place at the Palace Leporelli in Venice. It begins with a pantomime on the Janus myth watched by Miles and Milly. The Janus dance reinforces the two-faced nature of the role Miles plays in the drama. Following the Janus masque, Miles and Milly remain in the garden, and Milly expresses her affection for Miles. After Miles leaves, Lord Mark, who has been hiding in the palace, reveals himself to Milly and discloses that Kate and Miles are lovers, which

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is devastating news to Milly. In scene 5, Milly, who is very sick, is visited by Miles in her flowerfilled room. They sing about their wishes for each other’s happiness. Milly tells Miles that Lord Mark revealed Miles’s and Kate’s secret and that she does not want to come between him and Kate. She says that Miles has made her happy, and he admits that he loves both Milly and Kate. She gives Miles her shawl to give to Kate and asks him not to send any more flowers. After she leaves the room, he sings about their lost love. In the final scene, Kate reads a letter bearing news of Milly’s death and leaving Miles as her heir. Kate’s father enters and tells her the rumor he heard from Lord Mark of Miles’s inheritance. When Miles enters, he tells Kate that he is eligible to inherit Milly’s money, but he will not accept it and marry Kate also. He wants to know if she will still marry him. When she asks him if he loves her, he admits that he does not, and she is crushed. He then leaves, and she calls for Aunt Maud, who comes to comfort her by putting Milly’s shawl around Kate, who is horrified by the gesture. Aunt Maude and Kate are left looking at the portrait of Constanza Leporelli that resembles Milly. The Music The opera has not received the recognition given to Moore’s other mature operas. The vocal parts are sung throughout, and for the most part the vocal lines are written in a style between arioso and recitative, much like the vocal writing for Giants in the Earth. Moore adheres to a speechlike rhythm that fits English very well, setting the words almost entirely syllabically, thus making the words more easily understandable to the audience. As in Baby Doe, the drama is centered on a love triangle between two women interested in the same man. Again, Moore casts the stronger characters in lower vocal ranges. Kate Croy, as the scheming woman, is cast as a mezzo-soprano, the lower voice suggesting a darker character than the more virtuous, honest, and innocent Milly Theale. The soprano voice for Milly suggests her spiritual purity and, at the same time, the physical weakness caused by her terminal illness. As a mezzo-soprano, Kate is physically stronger and has a stronger will than Milly does. Kate is strong enough to influence Miles, but she is subject to Aunt Maud’s authority, gives in to her father’s demands for money, and does not have enough strength of character to accept Miles as a husband when he is a mere journalist without a fortune. Aunt Maud’s alto voice convinces the audience that she is in charge of the household and is the protector of Kate’s interests. Miles Dunster, a baritone, plays a semi-heroic part. Manipulated by Kate at first because of his love for her, eventually he follows his own convictions and sees her for the unethical person she is. Lord Mark, the tenor, is the other man in the drama and is a bit of a foolish character, which is first revealed when he proposes to Kate on his knees in public. He is a suitor of both Kate and Milly but cannot win the affection of either. In a desperate attempt to win Milly for himself, he reveals Kate’s scheme to Milly, further lowering himself in her eyes. In the first scene the music helps to introduce the main characters and establish the mood of the opera. There is almost no repetition of melodic material, yet there is a motive that is used

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Example 2. Wings of the Dove, scene 1, mm. 13–16 (New York: G. Schirmer, 1963). Andante con moto >

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to accompany Mr. Croy’s solo lines when he is in the parlor and that appears in orchestral interludes to connect dialogue and heighten the drama. The motive consists of a string of two thirtysecond notes and a sixteenth note a third apart that descend in an arpeggiated pattern (Ex. 2). The focal point of the scene is the duet between Dunster and Kate where they reminisce about their first meeting and sing of their love (“Do you remember meeting face to face”). The party scene gives Moore the opportunity to write music in the style of a late nineteenthcentury dance orchestra, which he does in an opening gavottelike piece that later leads into a waltz and a polka. Lord Mark’s proposal to Milly, and Kate’s final soliloquy ending the scene, are highly dramatic vocal pieces. However, Milly’s “Dove Song” (“When all is fair and still”) is the vocal high point of the scene. Despite the rhymed text and a few repeated lines, Moore still sets the text as a through-composed song. The vocal line is the most melismatic of all the arias in the opera, reflecting Milly’s gentle and spiritual nature. The museum scene reveals the plot devised by Kate to secure Milly’s fortune for Miles so that they will be free to marry; it contains some of the most dramatic vocal writing in the opera. At one point Milly is left alone in the museum and sings a short aria, “Ev’rything is likely looking,” which reaches a climax on a high C  6. Moore reserves his most tender and lyrical writing for Milly. As Milly exits the scene, the music builds to a dissonant fortissimo chord as Kate and Miles embrace. The music suddenly becomes quiet and modulates from E major to D minor. This is where Miles and Kate’s duet begins. The two characters have difficulty controlling their emotions as they discuss the plans for Miles to go to Venice and marry Milly, and the dynamics

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fluctuate constantly between soft passages and loud outbursts. The scene ends when Miles convinces Kate to consummate their love now, which they pledge to do that night, ending their duet and the scene in F minor with Kate and Miles singing a high A  5 and high F4, respectively. The orchestra closes the scene on an F minor seventh chord with a dissonant added C . The next scene is set in Venice at the Palace Leporelli and begins with the “Masque of Janus,” the play within a play. While the minstrel sings, two actors pantomime the action between the maiden and the god Janus. The song sung by the minstrel is set to a poem written in rhymed couplets of four feet followed by three feet in iambic rhythm, setting it apart from the rest of the text of the opera. The melody of the song begins in F minor with traditional harmonic progressions. As the song progresses and the deceit of Janus becomes apparent, the harmonies move further from F minor and become more dissonant. The third verse opens with a C  minor chord and a C major chord sounding simultaneously as the song depicts the disdain of Janus for the maiden. The song continues, concluding on G  minor as the maiden’s love withers from the betrayal. Although the meter and rhyme of the text are regular, Moore sets it to a through-composed melody so that the drama and significance of the words can build to the very end of the song. After the masque, Milly is quite upset and Miles is angry, but the mood quickly subsides, and they sing about their happiness in an arioso style that serves as a bridge to Miles’s exit and Lord Mark’s appearance. As the scene concludes, the same quasi-recitative style continues for the dialogue between Mark and Millie in which he reveals that Kate and Miles are lovers. The fifth scene is mainly composed of recitative melodies in which Milly tells Miles that she knows of his love for Kate. She gives Miles her shawl with instructions for him to give it to Kate. Miles is left on the stage alone to sing a brief aria of remorse about his and Kate’s deceit. His agitation is played out in the music, which modulates through many keys finally, finally concluding in F minor and cadencing on a dissonant concluding sonority (C–E–F). The last scene returns to Aunt Maud’s parlor and begins with Kate singing an extended aria. She reads the text of a letter from Milly’s servant telling of Milly’s death, alternating her attention during the aria between the letter and the portrait of Constanza Leporelli. The aria culminates on a high G5, followed by Kate’s being reduced to weeping. Kate’s father enters to give her the news that Miles has inherited Milly’s fortune, but his money-grubbing attitude causes Kate to dismiss him angrily. Kate shares the news with Aunt Maud in a long duet in which they gradually become more and more elated at the prospect that Miles and Kate will now be able to marry. The duet starts in dark F minor but moves to a brighter A  major as the two women sing about Miles returning to marry Kate. The announcement of Miles’s entrance confirms their joy, but the music returns to the F minor tonality as Miles gives Kate Milly’s shawl and tells of her death. Miles has decided to refuse the inheritance but still wants to marry Kate. As Kate presses Miles to declare his love for her and not to marry her simply out of a sense of obligation, the key shifts suddenly to B minor, and Kate presses him to tell her that he loves her. But he cannot do it, and answers with “no” on a B  3 against a sharply dissonant sonority (B  –G–C–E–F ). Miles

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leaves, and Kate collapses in devastation. Aunt Maud attempts to comfort her by placing Milly’s shawl around Kate, but she recoils from it. The opera concludes as the lighting and Kate’s gaze focus on the portrait. The music in the orchestra begins pianissimo, then rises to a climactic fortissimo as Aunt Maud enfolds Kate in the shawl. The curtain falls on a tragically dissonant B minor chord with an added G  . Moore was honored with the Great Teachers Award of the Society of Older Graduates of Columbia University on 13 January 1960.188 The society was made up of people who were Columbia alumni for thirty or more years. Moore most likely received the award for his popular music appreciation classes, because he did not particularly like to teach music composition, as Otto Luening relates: “I think one time he made the remark that ‘you can’t teach composition.’ . . . I never talked to him about it except that he said he didn’t want to do it; he didn’t want to tangle with all these eager beavers who come around you, you know, and they do. There is quite a difficulty about it.”189 Among Moore’s most successful composition students were Robert Lawrence (1912–1981), director of opera at Peabody; Homer Pearson, a music professor at Vassar; and John Kander (b. 1927), the Broadway composer.190 During the New York City Opera’s 1959–60 season, the company toured nineteen cities in the United States and performed The Ballad of Baby Doe twelve times, generally with a positive reception. The Ford Foundation, which funded the performance of Baby Doe and other American operas, awarded Moore a grant to compose The Wings of the Dove, again for the New York City Opera.191 This success was reinforced by the award of the Henry Hadley Medal, given by the National Association for American Composers and Conductors for Moore’s service to American music as a teacher and as the composer of Baby Doe.192 In addition to all this, Moore also received an award from the Huntington Hartford Foundation of $1,000 and a six-month residency in Pacific Palisades, California, where he could work on his new opera.193 The Ballad of Baby Doe received major performances in the summer of 1961 at the Boston Arts Festival and the Santa Fe Opera, which followed up its American success with the opera with a tour that included the West Berlin Music Festival and locations in Eastern Europe. Moore finished the composition of The Wings of the Dove while at the Huntington Hartford Foundation in the winter, and the work was premiered by the New York City Opera on 12 October with the help of a Ford Foundation grant. The work was not as successful with audiences as The Ballad of Baby Doe, since it did not make use of Moore’s more familiar Americana style. Also, it did not contain the sort of melodic arias found in Baby Doe, nor did it satisfy those in the audience who wanted a more musically adventurous work. A number of reviews of the premiere reported that the work was booed, which was attributed to the “avant-garde” members in the audience.194 Near the end of the year, Moore was invited back to Yale as an Arts and Letters Fellow of Timothy Dwight College. This week in November allowed him to interact with the Yale students, which he thoroughly enjoyed. Aside from finishing The Wings of the Dove, Moore also began working on the children’s Christmas entertainment The Greenfield Christmas Tree. Moore returned to his friend Arnold

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Sundgaard for the libretto. The opera is in one short act and concerns the appearance of a fully decorated tree at the stroke of midnight on Christmas Day at the New England home of John Frothingham, grandfather to recently orphaned children who have always celebrated Christmas with a tree. The grandfather at first denies the children a tree because of his Puritanical beliefs. However, once the Reverend Flood approves of the first Christmas tree in New England, Frothingham accepts it and joins in the celebration. In May 1962 Moore retired from teaching and administration at Columbia University, a position he had held for thirty-six years. However, he continued to teach the music appreciation class in the fall each year. The New York City Opera continued performances of The Ballad of Baby Doe in the spring season and The Wings of the Dove in the fall. For these performances of The Wings of the Dove, the Janus scene was revised from a full ballet to a simpler and shorter pantomime with a male and a female dancer. Moore’s chamber opera Gallantry was produced on television for the CBS program Arias and Arabesques on 30 August, but it would have benefited from being performed in front of a live audience, because the lack of any audience response or laughter to the satire of the score on the television set made the work feel lifeless. During the summer, Moore accepted a commission from the University of Kansas to write an opera for the university’s centennial in 1966. The commission was supported by the remaining half of the Huntington Hartford grant and another grant from the Rockefeller Foundation.195 Moore’s previous opera, The Greenfield Christmas Tree, was premiered on 8 December by the Hartford Symphony, conducted by Fritz Mahler (1901–1973). By 1963 Moore was able to enjoy his retirement, which largely left him free to pursue composition at his own pace. In June he was awarded an honorary doctorate by Columbia University. Carl Fischer asked him to revise Giants in the Earth in hopes that additional performances would result, so in August Moore responded by improving the orchestration and changing the Beret character to make it easier to understand her actions. On 10 August he celebrated his seventieth birthday. Next he turned his attention to his final opera, Carry Nation. The vocal score of the work was completed by the summer of 1964, and it was orchestrated the following fall. While writing the opera in February and March, Moore was composer-in-residence at the University of South Florida in Tampa, where he worked with students and supervised performances of his works. All of the details of the score of the opera were finished by October 1965.196 Carry Nation Choosing the topic and librettist were always the most critical aspects of starting the work on any opera. The dean of the University of Kansas School of Fine Arts, Thomas Gorton (1910– 1997), who commissioned the work, left the topic of the opera up to Moore but preferred one with a Kansas theme.197 Moore considered and rejected the idea of an opera about John Brown (1800–1859), and then Gorton suggested Carry Nation (1846–1911), the fiery temperance leader.198 In February 1963 Moore met William North Jayme (1925–2001) at a party at the house of Eldon Eller, the scene designer for Giants in the Earth. Jayme worked in direct marketing

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Douglas Moore at his study in Cutchogue; photograph by Charles H. Meredith and as an advertising copywriter for major national magazines. He had seen Baby Doe at the New York City Opera, and they talked about writing a libretto for Moore’s next project. Jayme wanted to write a musical about the woman famous for going over Niagara Falls in a barrel, Annie Edson Taylor (1838–1921), but Moore needed to work on the Carry Nation commission and passed on Jayme’s offer to write the music for that libretto.199 However, later in June Moore and Jayme met for lunch to discuss the Carry Nation idea, and Jayme proposed a scenario based on the early life of Carry. In this version of her life, the opera would show her violent saloon smashing as a prologue, while the main plot of the opera would depict her early life and the reasons leading to her crusade against alcohol. The meeting ended with Jayme agreeing to prepare an outline of the story. Eldon Eller delivered this prospectus to Moore on 12 July in

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Cutchogue, and Moore offered Jayme the chance to write the libretto almost immediately.200 The first scene was sent to Moore in August, and the composer used the entire story without alteration just as Jayme wrote it. He based the libretto on two books, Carry’s autobiography and Herbert Asbury’s Carry Nation, with most of the material coming from chapter4 of the latter book.201 The manuscript of the opera dates the beginning of the composition to 12 September. Synopsis The opera begins with a prologue set in a saloon in Topeka in 1901. Men and dancing girls are drinking, singing, and smoking when Carry and her group of women arrive to put a stop to it, causing havoc throughout the bar. The marshal arrives and handcuffs Carry, but her supporters carry her out on their shoulders as a heroine, with the marshal in tow. Act 1 opens in 1865, just after the end of the Civil War, in the Moore house in Belton, Missouri, with Carry and her father, a fundamentalist preacher, reading from the Bible. Carry’s mother, who suffers from mental illness, enters, and Carry tells her that they will be accepting a boarder. Although the mother has difficulty accepting that they must accept a boarder, she prepares for his arrival. Dr. Charles Gloyd arrives and is not feeling well, but is invited to join the family for evening prayers. The second scene occurs in a churchyard the following spring while Reverend Moore is preaching. Charles moves away from the group, singing of his hatred for fire-and-brimstone religion and his love for Carry, who soon joins him. Her father finds them alone in the graveyard and accuses them of sinful behavior, which Charles denies. The father continues his tirade against the couple, orders Carry back to church, and accuses Charles of sinning and being an alcoholic. Charles deliberately drinks from his flask, and Reverend Moore orders him to leave his house while the chorus sings “Hallelujah” in the background. When Carry goes to a hoedown the following fall, Charles arrives to ask her to marry him. Carry’s parents enter, and Charles asks for her father’s blessing but is strongly rebuffed. Carry accepts the proposal over her father’s objections, believing that Charles is a good man who needs help and prayers to overcome his alcoholism. The parents leave with a curse from the father. The dancers toast the couple, and the dance continues. The second act opens in 1867 in Charles and Carry’s new home in Holden, Missouri, at the meeting of the Ladies’ Auxiliary. The ladies are sewing and reading from Wuthering Heights. When Carry goes to the kitchen, the ladies gossip about Charles’s drinking problem, which Carry overhears. The ladies leave quickly when Charles comes home. Carry confronts Charles about his drinking and tells him that he must stop not only for her sake but for that of the child she now bears. The two sing of their love, but when Carry asks him to pray to God for the strength to stop drinking, he flees from the room. The scene shifts to the following fall at the Moores’ house. Carry’s mother has received a letter from Carry telling them that she will soon have a baby. Carry’s mother is preparing to send some of Carry’s old toys to her when the reverend enters and asks what she is doing. When he finds out that Carry will be having a baby, he immediately decides to bring Carry home. The mother denounces the father’s overly zealous

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religious attitudes and destructive actions. The next day, in a saloon in Holden, Charles is remembering the horrors of war in the company of other Civil War veterans and getting drunk. Carry enters to try to get him to come home, but her father appears. Carry’s father tries to persuade her to leave Charles and come with him for the sake of the baby. Charles pleads with her not to go, and as she hesitates, she realizes that she must choose between her husband and her child. She finally decides in favor of the child and leaves Charles slumped over in the bar. In the final scene on Easter Monday, 1868, at the churchyard back in Belton, Carry appears with her infant daughter and is reading a letter from Charles in which he tells her that his life is getting better. Her father appears. He tells Carry that her mother never loved him, but that he has always loved Carry and wants her to stay with him. He then tells her that he has received news by telegram of Charles’s death. She is now free of Charles, but she is devastated by the news and feels responsible for his death. Carry then dedicates her life to the eradication of drinking through her fervent faith in God, and she appears transformed from a young mother into the ax-wielding temperance fanatic. The Music Moore was a fully experienced opera composer when he started writing Carry Nation. Although the opera has not received the acclaim of The Ballad of Baby Doe, it is a strong dramatic work that builds to a powerful conclusion. Moore is able to make use of American-sounding melodic material such as nineteenth-century dance tunes and revival hymns, since the opera takes place in pioneer American towns. As in Moore’s other operas, the vocal lines lie easily for the voice. The libretto is set almost entirely syllabically with almost no melodic melismas, making it easy for the listener to understand the text. Aside from the ensemble pieces, most of the opera is written in an arioso style, rarely breaking into full arias or strict recitative. Like Giants in the Earth, the plot of the opera is very dark, a mood reflected in the largely minor-mode music. This darkness is also expressed in the vocal ranges chosen for the main characters. Moore tends to favor lower vocal ranges for roles which are strong characters and higher vocal ranges for those with weaker wills. Carry, a mezzo-soprano, and her father, a bass-baritone, are the central singers and are both strong characters. The father dominates the family and is also the leader of his religious community. He imposes his will on Carry, on her mother, and on Charles, Carry’s husband. His voice signifies the weight of his authority. The father is trapped in a marriage to a woman with mental problems, with whom he has little in common, whom he does not love, and who does not love him. Carry becomes the focus of his love. While he rightly assesses Charles as a hopeless alcoholic and opposes the marriage as bad for Carry, he also selfishly tries to keep her under his control by filling the place of her husband, who fails to adequately provide for Carry and her daughter. He rejoices at the death of Charles, which finally alienates him from Carry completely. Although Carry is respectful of her father, she challenges his authority. Her mezzo-soprano voice emphasizes the serious and determined side of her character. Carry balances all the relationships of the family: the dominating father, the mentally ill mother,

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the alcoholic husband, and the infant child. She believes that Charles is a good man, and she truly loves him. She believes that ultimately her love and the birth of their child will cause him to give up drinking. When Charles cannot reform, she leaves him in order to protect her child. When she learns of his death, she blames herself and dedicates her life to saving the lives of other alcoholics through the temperance movement. Carry’s mother is mentally unstable and unable to fulfill her role in the family as mother and wife. Like Mama McCourt, who plays a comic part in Baby Doe, the mother is cast as a soprano. Moore uses the higher vocal range to suggest a less serious character than Carry. Likewise, Moore casts the alcoholic Charles, haunted by the horrors of the Civil War, as a tenor. Although Charles defies Carry’s father, he is not strong enough to conquer either his drinking or his depression, become a respectable member of society, or act as a responsible husband and father. The chorus sings the one theme in the opera that is repeated more than once. Its first occurrence is in act 1, scene 2, with the chorus singing about guilt, sin, and shame, and it returns again in the chorus at the very end of the opera as Carry is transformed from a grieving young widow into the twisted and hardhearted temperance leader (Ex. 3). Moore injects his Americana style in scenes where he wants to evoke a sense of the Wild West. This first occurs in the prologue in the saloon scene, with a ragtime piano solo accompanying the dancing. In scene 3, for the hoedown, Moore employs his pseudo–fiddle tune melodies. In another saloon scene in act 2, scene 3, Moore composes a nineteenth-century soldier’s song for Charles and his veteran friends to sing as he falls into a drunken stupor. The first scene introduces the four main characters and culminates in a quartet sung at evening prayers. Act 1, scene 2 begins with Charles’s aria in the churchyard, “How can they revel so in punishment?,” where he denounces the religious fanatics and an unfair god. He is joined by Carry, and the centerpiece of the scene is their touching love duet. In scene 3 Charles proposes with his aria “You know the town,” sung in a positive D major, about the prospect of their life together and their dreams in a new place. The father appears. His passages are harsh and dissonant, and he never answers Charles’s request for a blessing to the marriage. He denounces Charles, who stumbles in his drunkenness. At this point Carry emphatically stops the arguing between the men and the laughter of the crowd with a powerfully strong aria in D  major, “I know this man,” in which she sings of her acceptance of Charles’s good and bad qualities and her love for him. Although a short aria, it is the dramatic culmination of the scene and of the first act. In act 2, Carry sings a heart-rending aria, “What am I doing wrong?,” a highly dramatic song that ascends to a high G  5 on the words “cry to God.” In this aria, she confronts Charles about his drinking and her loneliness as she lies awake by herself listening to his sign creaking in the wind. The aria is set apart in its own key of E  minor, preceded by a transition scene of a conversation between Carry and Charles in D major, leading to Charles’s response to Carry in D  major. The hopeful major key emphasizes the confidence Charles gives Carry that their situation will improve, that their love will triumph, as they conclude their duet on a high A  5 and F4

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Example 3. Carry Nation, act 1, scene 2, mm. 6–10 (New York: Galaxy Music, 1968).

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to the words “Across the heavens the dawn streaks sun!” Carry then reveals that they will soon have a child and asks Charles to join her to pray and pledge to God that he will stop drinking. Confronted by his “sinfulness,” he flees from the room as the scene concludes back in the despair of the E  minor key. Carry’s mother is the focus of act 2, scene 2 when she is seen alone with Carry’s old toys, and the curtain rises with a happy E major introduction. The mother begins her unaccompanied soliloquy in A minor, but the father enters as she is brought to tears thinking about her unhappy marriage. After she tells him about the baby and he decides to bring Carry home, the music changes to C  minor for the mother’s aria, “One by one the stitches unravel.” She becomes more and more hysterical as she rails against the father’s decision to break up Carry’s marriage. At the height of her raving, the vocal line has three melismas and a trill on a G5 on the words “Wide is the gate and broad is the way.” This shows the instability of her mental state, since Moore has set all of the text syllabically up to this point. Her aria concludes on a high C  6 on the word “Destroy,” and the scene concludes on a dissonant C  minor chord with an added major sixth (A  ). The third scene begins with a chorus of former Civil War soldiers in a saloon. Moore composed the chorus in the style of a sentimental, nostalgic nineteenth-century soldier’s song, “Kiss Goodbye to Jennie,” in a waltz tempo. The former soldiers remember the camaraderie of the army camp and the glory of patriotism. Charles is in the bar listening to their song, but is very drunk. The music changes from the soldiers’ D  major to F minor at Charles’s entrance as he

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remembers a badly wounded soldier who begged him to end his life as a mercy killing. With Carry’s entrance, the music modulates to E minor as she encourages him to come back home to her care, but the father arrives, denouncing Charles and urging Carry to leave him. Moore switches to the major mode (G major) when the father sings with hope about the secure home he can offer Carry and the baby, “Leave him, Carry, come with me.” The music becomes a trio as Carry is caught between the two men. Eventually she decides to follow her father for the sake of the baby, and the scene ends in Carry’s key of E minor. The final scene opens on Easter Monday back in the churchyard, with quartal chords creating an ambiguous mood. This soon turns to a bright B  major with the entrance of the churchyard caretaker, who sings of the recent celebration of the Resurrection. Carry enters with her baby, and as she reads from a recent letter from Charles, the mood brightens even more into D major as Charles’s letter describes his improving health and his hopes for the future. There is also a reprise of the melodic material from their earlier duet from act 1, scene 3, “You know the town,” and her aria ends in C major on a triumphant high G5 as she sings about going home. But the father enters on a discordant F  , and the mode changes to minor as he tells her that her home is with him and, finally, that Charles is dead. In disbelief Carry orders her father to leave and begins a long final aria introduced by the “guilt and sin” motive first introduced in the chorus of act 1, scene 2. She blames herself for Charles’s death and asks God how she can repent and atone for his death. The music turns now to B  major when she sings “Possess me, God, possess me!,” accompanied by a trumpet solo, in a triumphant aria affirming the B  major tonality as she searches for the cause that will bring purpose to her life. But this is soon lost as Carry changes into the prohibitionist fanatic focused on sin and damnation, a transformation underscored by harsh dissonances in the orchestra and the chorus’s reprise of its fire-and-brimstone theme as the aria passes through E  and A  major. The opera ends with full chorus and Carry singing a high A  5, and the orchestra’s last, unresolved A  major chord with a dissonant added C  signifying the warped and twisted life of Carry Nation. The premiere of Carry Nation took place at the University of Kansas on 28 April 1966. Instead of receiving a commission for the work, Moore accepted the Rose Morgan Professorship for the entire spring term at the university, where he gave lectures, taught a seminar, and was available for all the opera rehearsals. He also was able to live in residence at the Rose Morgan House. He encouraged the university to cast four professional singers in the major parts, rather than just one professional for the part of Carry. The four professionals sang in the premiere performance; a cast of four student understudies gave the second performance and also performed the work at high schools in Wichita and Kansas City.202 The first fully professional performance was given by the San Francisco Opera in June. The stage director for San Francisco, Frank Corsaro (b. 1924), suggested that some changes would improve the work, so Jayme and Moore inserted Charles’s scene at the church graveyard to give greater depth to his character and added measures at the end of act 1, scene 2 to show that Charles is happy about being a father until Carry insists that he turn to religion to cure him of alcoholism and he flees.203

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The next important performance of Carry Nation was with the New York City Opera on 28 March 1968. Although the performance was generally praised by the critics, the opera itself did not receive positive reviews for the most part. Moore expressed some ambivalence about Carry Nation as a subject, because he had lived through Prohibition and knew firsthand the problems that it caused. Also, Jayme was not a professional librettist and did not provide a text nearly as suited to Moore’s talent as had John Latouche with Baby Doe. It is also important to consider the context in which the opera appeared. It was written in 1966 and received its premiere in 1968, some of the most turbulent years in American society. The rest of the country was being urged by Timothy Leary (1920–1996) to “turn on, tune in, and drop out,” and this new tonal opera about the evils of alcohol was seriously out of sync with its time. The New York City Opera recorded the work, but the performance did not live up to the expectations of the composer, who was “ ‘greatly disturbed’ by the extremely sluggish tempi, especially those of the opening pages.”204 Moore had achieved national recognition as an opera composer for The Ballad of Baby Doe and Carry Nation, and the New York City Opera produced another performance of Baby Doe for its 1969 season. At the age of seventy-five, he was at the height of his career, but on 25 July 1969 he died in Greenport, New York. The funeral was held at the Cutchogue Presbyterian Church, and he was buried in the Cutchogue Cemetery on 28 July. COMPOSITION Moore’s early compositions were mainly songs and instrumental works, and his first great success was an orchestral work, The Pageant of P. T. Barnum. Nonetheless he had a great affinity for vocal music, literature, and the theater, which eventually led him to concentrate on opera as a mature composer. Moore frequently commented on the importance of starting with a good libretto, and the words were the starting point for the composition of his melodies. His daughter Sarah observed: “Daddy was very conscious of words. He would say words over to himself. Even if it were an instrumental piece that he was working on, he would take a poem he liked and use the words in order to get a theme.”205 By repeating a text to himself over and over again, Moore would formulate rhythms into a melody that specifically fit the sound and shape of the words.206 In composing songs or opera, he generally began at the beginning of the text and composed through to the end, rather than writing the major arias and high points and then filling in the recitatives and choruses.207 This is quite apparent in the manuscripts of the later operas, where he wrote in the date when he began composing for the day. His reliance on the text for musical inspiration means that most of the music in the operas is through-composed—unless the text itself repeats, as in a strophic form. Occasionally he uses ternary forms, as in the “Letter Aria” in Baby Doe. The text is almost always set syllabically; there are very few melismas in Moore’s vocal writing, which is what makes it seem so natural, speechlike, and easy for the listener to understand. The range of the melodies rarely exceeds a major sixth, with the melodic

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patterns relying more on intervals of seconds and thirds. The meters are usually simple but may change frequently to accommodate the text. Moore’s harmonic language was tonal but not simplistic. His works make frequent use of modal harmony and on occasion polytonality, with modulations to keys frequently a major or minor third apart. These qualities can be traced to his training at the Schola Cantorum with Vincent d’Indy and Charles Tournemire in the 1920s. Unlike many of his contemporaries, he uses sharp dissonances specifically to heighten dramatic tension and conflict and not as a regular part of his compositional language. Melodic invention is the core of Moore’s compositional technique, as is evident from his earliest pieces. John Kander observed this characteristic in all of Moore’s compositions: One cannot separate Moore as a symphonist and as an operatic composer. His love for the theatre pervades everything he writes. He is conscious of the dramatic structure. He always thought about how long you can go without boring the listener. . . . Douglas is essentially a song writer—a composer of song. His own natural lyricism, his own melodic gift is always a very personal one. His slow movements, even in his instrumental works, come through with the picture of him—full of song. . . . Schubert has an incredible lyric quality in his orchestral works. You hear the song line breaking through. Moore was much the same.208

The mature operas take on the quality of one long, continuous melodic line derived and springing forth from the text, many times without much thematic repetition. Otto Luening referred to this lyricism: In spite of external stylistic differences each work reveals a new aspect of this lyric urge—whatever the purpose of a particular composition; it is achieved primarily through the melodicrhythmic line. He possesses the one quality which can’t be learned, that is, the desire to sing. In his music this is manifested as an emotional drive; his spring of melody seems overflowing. Harmonic innovations, new rhythmic devices, complicated contrapuntal manipulations may follow as a consequence of this drive. More often, however, in Moore’s music, tried and well-known harmonic progressions take on a new life; a rhythmic pattern is animated and counterpoint becomes countermelody through the magic of his song.209

Although Moore frequently writes melodies and music that are reminiscent of nineteenthcentury musical genres and styles such as fiddle tunes, ballads, reels, folk songs, Victorian popular songs, or Broadway tunes, he rarely quotes other composers’ music. When he does, the quotation is usually quite short. Asked if he used folk songs in Farm Journal, he responded: Scarcely at all, because it’s so easy to write melodies yourself. I don’t want to be handicapped by familiar melodies that assert their tyranny. You take a folk song, and it doesn’t want to be varied. It wants to come to an end when it does; it doesn’t want to be expanded, and so on; whereas you make up your own things and you get much more freedom. So I scarcely use it at all. There’s one brief reference to “My Darling Clementine” in Baby Doe but that’s only because it’s called for in the libretto.210

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Melodic invention was Moore’s strength, but he felt that orchestration was his weakness. A number of his colleagues helped him with orchestration, including Jack Beeson, who said: Douglas once told me that at Yale he was taught to double the first violin with the flute, the second violin with the oboe. He had to change a lot of things when he went to Paris. This is probably where he got over his formalized orchestral practices. You can’t make the distinction that Douglas did between composition and scoring for orchestra. Orchestration is a part of the music; it wasn’t for Moore. He always orchestrated with a great deal of trouble and took no pleasure in it whatsoever. He hated doing it. He once told me, “When it comes to scoring I’m a real limper.” He enjoyed orchestrating more toward the end of his life, however, because he felt more competent. Very often he would show me a page and ask me what to do. It was rather peculiar for one so secure about vocal setting and dramatic timing to be so insecure about orchestration. When he asked me about Wings of the Dove, I suggested that a particular passage that was supposed to be vague wasn’t strong enough and why didn’t he add a piccolo part that wandered in and out of the key. I made the suggestion; he thought up the notes. Any composer will accept suggestions; but he had doubts, and that was the difference.211

Henry Brant also assisted him with advice on orchestration and even orchestrated the entire score to Power and the Land over a two-week period at Moore’s home in Cutchogue.212 Moore’s insecurity about orchestration probably stems from poor instruction at Yale and from the fact that he played piano and organ, but no orchestral instruments. However, it is strange that he would doubt his abilities, since even an early work such as The Pageant of P. T. Barnum shows a quite competent and even inventive use of the orchestra. Moore composed almost all of his works when he was away on sabbaticals or in a small studio converted from a boathouse set apart from his home in Cutchogue, in the woods next to the water. The studio contained a piano, but he tended to use it only for working out more complex harmonic passages.213 While he was in New York, he was generally too busy with teaching and administrative duties, but this is when he worked on the orchestrations.214 The characteristics of his composition are a direct reflection of his musical aesthetics. He decided early in his career to write tonal music, and in this he remained consistent throughout his whole career. In an interview he spoke with confidence about his style: I never felt any need to change the style. I think that the trouble with men like Picasso and Stravinsky is that they sort of run dry and they look around for some idea, some angle to feed their inspiration. But I’ve never been at a loss for anything to say musically. I suppose the style has matured somewhat, but it is essentially the same style that I’ve always been writing and I don’t see why I should change it.215

Moore favored the music of Bach, Mozart, Brahms, Mussorgsky, Schubert, Tchaikovsky, the “old songs,” and early Tin Pan Alley but was somewhat indifferent to Beethoven and Wagner.216 He was not interested in the more adventurous music of his own time, especially twelve-tone music, of which he remarked: “I was very sympathetic to Bartók and Milhaud, but

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people like Milton Babbitt get a hold of students and feed them geometry at the blackboard.”217 Although he liked Petrouchka, he thought that Stravinsky was “a dry, heartless composer.”218 Moore was always very strong in his defense of the uniqueness of American composers and the effect that being an American has on music. He felt himself to be a part of this distinct American character, which he tried to capture in his compositions, and of the romantic aspects of his own works: The particular ideal which I have been striving to attain is to write music which will not be selfconscious with regard to idiom, and will reflect the exciting quality of the life, traditions, and country which I feel all about me. We are a very different people from the French, for instance, and I cannot believe that the fashions decreed by such elegant courtiers as the Parisian Stravinsky or Ravel, successful as they are in permitting a post-war Europe to express herself in music, are likely to be appropriate or becoming for us. To begin with we are incorrigibly sentimental as a race, and our realism in drama and literature usually turns out to be meltingly romantic in execution. Then again, there are few of our endeavors in which we excel by pure cerebration. The best of what we accomplish is usually achieved by dint of high spirits, soft-heartedness, and a great deal of superfluous energy. The Neo-classic school has no use for those qualities; but must they be denied us in music entirely for that reason? It is idle, of course, to assume that we shall be unaffected by what European composers do. Certain tendencies of this age which they advocate, such as condensation, simplification, and a greater objectification of music, will naturally appear in our work for the reason that this is 1931, and that these are universal tendencies. But if we happen to feel romantically inclined, if we like a good tune, now and then, if we still have a childish love for atmosphere, is it not well for us to admit the fact, and try to produce something which we like ourselves?219

Moore was one of the few composers in America writing operas at this time. He did so with a certain resignation, knowing that there would be few performances and little acceptance by audiences and critics. Yet he was drawn to this genre more than any other: [Opera] must be a play whose dramatic values are enhanced by music. Music is the most powerful emotional force there is. You get a situation enforced by music and you have the greatest theatrical expression that there can be. The great moments of opera are the most moving things that there are anywhere, and what you have to do with opera is move people. Opera has to be a great, true situation with conflict between characters, enhanced by the power of music and for that there is nothing like melody.220

He believed that one day opera in America would be accepted as much as instrumental music and that American conductors were the key to the greater acceptance of this music. The main impediment for the American composer to overcome was the preference for foreign, and specifically European, music by audiences, administrators, and critics. He hoped that opera would not be just for the rich, but would become as common as going to the movies. However, for this to happen, funding for new productions was critical. In this way Julius Rudel was his hero as a champion of the cause of American opera, while Rudolf Bing (1902–1997) and the Metropolitan Opera represented everything he believed was wrong with opera.

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One of Moore’s foremost problems as an opera composer was finding a libretto on a subject for which he felt an affinity or a librettist with whom he felt comfortable. For Moore the plot of an opera demands rich, emotional content and psychological tension between the characters. Everyday subjects rarely do because everyday situations sound grotesque when they are put into song. . . . Operas need to be removed from the everyday. The libretto must be poetic enough for the audience not to be made uneasy at hearing the text sung. The notion of “realistic” opera is nonsense. The trick is to get the audience to accept the unreality.221

Moore used various sources for his librettos, including a novel, a play, short stories, and historical characters. Of these, he found the novel to have the most problems, because the “essence of the novel” must be captured, and it may not be possible to develop the characters enough for the audience to fully understand them.222 With historical characters, though, he believed that “you have to get lesser figures. What I like to do is to get figures that are a bit larger than life . . . because they are figures that lend themselves to the extravagance of opera. Opera has got to be extravagant in order to support the idea of singing rather than speaking.”223 Although Moore is known primarily as a composer, he made great contributions as an administrator and professor of music. He established the policies of the music program as the curator of music at the Cleveland Museum of Art, his very first music position. His talents as an administrator were recognized early on by Daniel Gregory Mason, who was the head of the Columbia University music department. Mason hired Moore first to teach at Barnard College, the women’s college associated with Columbia University at that time, and then made him his assistant. Upon Mason’s retirement Moore advanced to be the head of the department, a position he held for about thirty years. He was a good administrator because he treated people with his typical genteel charm; but at the same time, he knew how to get what he wanted and needed. As the department head, he was in charge of administering the Ditson Fund, which allowed him to influence and assist the cause of American music and composers. Moore led or was a member of a number of influential professional organizations. He was a member and president of both the National Institute of Arts and Letters and the American Academy of Arts and Letters. He was also the director of the American Society of Composers, Authors, and Publishers, and he led all three of these organizations through times of controversy. He was on the executive committee of the American Composers Alliance; a member of the board of directors for the American Music Center, the American Academy in Rome, and the League of Composers; and one of the founding members of Composers’ Recordings, Inc. He both attended the MacDowell Colony and was on its board of directors. Moore’s attitude toward teaching was somewhat ambivalent. His favorite class to teach was music appreciation, one of the most popular classes at Barnard College and Columbia University.224 He published two textbooks on this subject and continued to teach this one class even after he was an emeritus professor. He taught classes on Bach and twentieth-century music to graduate students and conducted the orchestra for ten years before relinquishing it to his friend

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and colleague Herbert Dittler. In addition to music, he taught the required Humanities B course for sophomores with Everard Upjohn (1903–1978) of the fine arts department.225 Teaching composition was a different matter, as he felt that composition could not be taught. Few of his composition students had major careers with the exception of John Kander, the composer of Broadway musicals. Instead, he preferred teaching the elements of composition to musicologists or music appreciation students, with the objective of imparting to them a love of music.226 PERSONALITY, FAMILY, AND SOCIAL LIFE Moore had a rich and close family life with his wife, Emily, and daughters, Sarah (1923–1995) and Mary (1921–2008). The family employed a governess, Elisabeth Farrel, who lived with the family until her death in 1942, and a butler, Sylvester Major, who was equally devoted to the family, from 1936 to the end of Moore’s life. Both of these people were treated like part of the Moore family.227 Arnold Sundgaard, Moore’s librettist and friend, observed: “That marriage, that love affair—and it certainly was. . . . There was a devotion in that family that I have never encountered in any other family I have known . . . somehow or another, I don’t know, he held them together. He held them together in some incredible way. Oddly enough, I think they held him together, too.”228 Sarah never married and lived at the Moore home her entire life. She was an amateur writer and was also interested in opera.229 Mary, the older daughter, married Bradford Kelleher (1920–2007), also descended from Mayflower ancestors (Governor Bradford). He was an executive manager of the gift store and merchandising for the Metropolitan Museum of Art from 1949 until his death.230 The whole family was interested in reading and literature, which served as the inspiration for many of Moore’s compositions, and the daughters continued their father’s interest in theater. The Moore house at Cutchogue has a stage built into the living room where family productions were staged for their own, and their guests’, entertainment. Just as Moore had done as a child in his parents’ house, his own daughters wrote and produced plays for the living room theater.231 His friends and family frequently talked with him about the stories and librettos of the operas upon which he was working, and he sometimes incorporated their ideas into his compositions.232 He also used the names Emily, Sarah, and Mary for minor characters in the operas. The family led an active social life with colleagues from Columbia University and neighbors. Many of the social events included music as a major part of the evening. Several of Moore’s compositions were written expressly for such occasions, such as The Crossing; “Friends, Elis, Countrymen”; “The Cruise”; “Down at the North Fork Country Club Cabaret”; “Jessie Wilhelmina Glotz”; and other songs. They also played parlor games primarily of Moore’s and his family’s own invention, including the Insult Game, Russian Spy, and Receptions, and he also hosted elaborate parties for friends in which his house would be transformed into a ship or a doctor’s waiting room, for example.233 From the memories of his family, friends, and colleagues, a picture of a gentle man, who loved life and whom other people liked and respected, emerges. The words of Lewis Hardee, Jr.,

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Moore in his Willys

Salt Meadow living room

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give a sense of his personality: “I came to understand that behind the essentially pleasant, undramatic façade of Douglas Moore is a personality of grand proportions. Here was a gentleman of the old school, a kindly, gracious man, an Edwardian aristocrat living smoothly (or nearly) in a jet age; a patriot, a lover of life.”234 Despite his gentle and likable exterior, Moore was a shrewd administrator and negotiator who knew how to get what he wanted and still remain on the best of terms with people—a true gentleman in the best sense of the word. His student Norman Lockwood (1906–2002) said: “I have never seen a man who could touch another and make him better as an artist, as a person, as a whole, than did Douglas Moore.”235 NOTES: Harold Weitzel, “A Melodic Analysis of Selected Vocal Solos in the Operas of Douglas Moore” (Ph.D. diss., New York University, 1971), 14. 2 Lewis J. Hardee, Jr., “The Musical Theatre of Douglas Moore” (master’s thesis, University of North Carolina at Chapel Hill, 1970), 7. 3 Ibid., 10–11. 4 Weitzel, 14–15. 5 “Music Room in Stuart Hull Moore Home,” Brooklyn Daily Eagle, 19 January 1914, sec. Picture and Sermon, p. 8, cols. 5–7. 6 Weitzel, 21. 7 Hardee, 14–16. 8 Ibid., 13. 9 Weitzel, 28. 10 Fessenden School Centennial Book Committee, Along Right Lines from the Beginning: The Fessenden School, West Newton, Massachusetts: An Illustrated History of the First Hundred Years, 1903–2003 (West Newton, MA: Fessenden School, 2004), 186–87. 11 Weitzel, 15, and Hardee, 16–17. 12 Madelaine Goss, “Douglas Moore,” in Modern Music-Makers: Contemporary American Composers (New York: E. P. Dutton, 1952), 155; Weitzel, 22. 13 Hardee, 14. 14 Along Right Lines from the Beginning, facsimile, 187. 15 Hardee, 17. 16 Ibid., 14–16. 17 Ibid., 18. 18 Weitzel, 29. 19 “From the Archives,” Yale Alumni Magazine (April 2001), http://www.yalealumnimagazine .com/issues/01_04/vintage.html, accessed 12 November 2006. 20 Hardee, 19–20. 21 Ibid., 21–22. 22 Weitzel, 24. 23 “Yale Quartet Give Concert: Clever Program Rendered by University Singers,” 1913 or 1914, clipping from the Moore family scrapbook. 1

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“Young Moore’s Songs Heard: Yale Student Is Soloist at Mother’s Concert,” unidentified publication, 1914, clipping from black Moore family scrapbook. 25 “Moore Residence in $185,000 Deal: Handsome Home in McDonough Street Exchanged for Two Big Apartments: May Become Clubhouse: Many Transactions in Eastern Parkway Section Started, Broker Says, by Subway Plans,” Brooklyn Daily Eagle, 18 January 1914, p. 16, cols. 1–4. 26 “Denatured Tap Day Comes to Old Yale: Inside Fenced Inclosure [sic] Historic Ceremony Is Carried Out while Few Look On: Old Oak Put in Crepe: Senior Societies Pick Most of Their New Members from Men Nominated by Their Classmates,” New York Times, 15 May 1914, p. 15, col. 3. 27 Weitzel, 25. 28 Letter from Roger Sessions to George Bartlett, undated, 1915, in Sarah Chapin, ed., The Tin Box Collection: Letters of Roger Sessions and His Family and Friends (Concord, MA: Sarah Chapin, 1992), 53. 29 Weitzel, 30. 30 “Yale Men in Wilde Play: Large Audience at the Presentation of ‘An Ideal Husband,’ ” New York Times, 5 March 1916, p. 17, cols. 4–5. 31 “Stuart H. Moore Left $933,437,” New York Times, 9 May 1916, , p. 18, col. 2. 32 Goss, 156. 33 Hardee, 22–24. 34 First published without attribution as “Destroyer Song,” in John J. Niles, Singing Soldiers, illus. Margaret Thomiley Williamson (New York: Charles Scribner’s Sons, 1927), 166–67. 35 This should not be confused with the orchestral overture entitled Destroyer Song from 1943, based on music in Power and the Land and later used with minor modifications as the fourth movement, “Harvest Song,” of Farm Journal. 36 Goss, 157. 37 Weitzel, 26. 38 Charles A. Fenton, Stephen Vincent Benét: The Life and Times of an American Man of Letters (New Haven, CT: Yale University Press, 1958), 100. 39 Hardee, 26. 40 Douglas Moore, “Music and Museums,” Fine Arts Review 1, no. 2 (April 1922): 8–9, 18. 41 Paul Cox, “The Early Evolution of the McMyler Memorial Organ,” http://www.clevelandart.org/ educef/musarts/html/8013680.html, accessed 20 July 2009. 42 “ ‘March Hares’ at The Play House,” unidentified publication, 20 October 1923, clipping from green Moore family scrapbook. 43 For images of these art works, see Cleveland Museum of Art, 1916.789 (http://www.clevelandart .org/explore/work.asp?searchText=madonna+botticini&view=more&recNo=0&tab=2&display=; accessed 20 July 2009), and 1916.788 (http://www.clevelandart.org/explore/work.asp?searchText=madonna+ botticini&display=&view=more&tab=2&recNo=1; accessed 20 July 2009), respectively. 44 Willard Rhodes, “A Columbia Composer Follows the American Way in Music: Douglas Moore’s Music,” Columbia University Quarterly 32 (October 1940): 229. 45 Weitzel, 17. 46 Donald Joseph Reagan, “Douglas Moore and His Orchestral Works” (Ph.D. diss., Catholic University, 1972), 9. 47 Weitzel, 39. 24

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M. R. Werner, Barnum (New York: Harcourt, Brace, 1923). Reagan, 15. 50 Hardee, 118. 51 Reagan, 26. 52 “27 Men Organize Club to Study Art of Music: Jerome Gross Elected President; Russell Lampus, Secretary; Mr. Moore in Charge,” Western Reserve Weekly [?], February 1925; unverifiable citation for an article from the Moore clipping file at Columbia University. 53 Moore, Douglas. “Music’s Place in the Art Museum,” Museum Work 7, no. 6 (March–April 1925): 162–72. 54 “Choir Organist Fractures Arm,” Western Reserve Weekly, 29 April 1925, p. 3. 55 “Pulitzer Prizes Awarded to Two Young Composers,” Musical America 42, no. 2 (2 May 1925): 1–2. 56 Léonie Rosenstiel, Nadia Boulanger: A Life in Music (New York: W. W. Norton, 1982), 188. 57 Weitzel, 27. 58 Ibid., 17. 59 J. W. Roberts, Richard Boleslavsky: His Life and Work in the Theatre, Theater and Dramatic Studies 7 (Ann Arbor, MI: UMI Research Press, 1981), 146. 60 “Music: Americana,” Time, 31 January 1927, 19–20. 61 “Audience and Critics Vote on Compositions: Works by Moore and Still Win Recognition in Eastman School Experiment,” New York Times, 22 November 1927, p. 32, col. 5. 62 “Columbia Reports Faculty Changes: Dr. Butler Announces 67 New Appointments and Promotions on Teaching Staff: All Are Effective July 1: Dr. Alfred Owre of University of Minnesota Becomes Dean of Dental School,” New York Times, 28 April 1927, p. 14, cols. 7–8; “Barnard Adds Department: Music Section Created Under $110,000 Joline Bequest,” New York Times, 18 April 1928, p. 14, col. 3. 63 Reagan, 61. 64 Songs My Mother Never Taught Me, comp. John J. “Jack” Niles, Douglas S. “Doug” Moore, and A. A. “Wally” Wallgren (New York: Gold Label Books, 1929). 65 John J. Niles, Singing Soldiers, illus. Margaret Thorniley Williamson (New York: Charles Scribner’s Sons, 1927). 66 Louis Untermeyer and Clara and David Mannes, eds., New Songs for New Voices, with pen drawings by Peggy Bacon (New York: Harcourt, Brace, 1928). 67 Roberts, 213–14. 68 Douglas Moore, “The Inhospitable Theatre,” Theatre Arts Monthly 12, no. 8 (August 1928): 559–65. 69 “Orchestra to Plan Season’s Concerts: New Program Will Be Arranged at Reorganization Meeting Tonight,” Columbia Daily Spectator, 3 October 1928, p. 1, col. 2; “To Admit Women Players: Columbia University Orchestra Will Expand Membership,” New York Times, 5 October 1930, p. 29, col. 2. 70 “Orchestra to Give Symphony Concert Tomorrow Evening: Prof. Douglas Moore Will Conduct Entire Program in McMillin Theatre: Simonds Is Scheduled to Render Piano Solo: Noted Musician Will Play a Beethoven Concerto, Accompanied by Full Orchestra,” Columbia Daily Spectator, 9 December 1929, p. 1, col. 6. 71 Weitzel, 33. 72 M[ary] E[rtz] W[ill], “Rochester Hears American Novelties: Five New Symphonic Works Get Hearty Reception by Large Audience,” Musical America 49, no. 23 (10 December 1929): 33. 48 49

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Lawrence Gilman, “A New American Symphony,” New York Herald Tribune, 17 May 1931, sec. 8, p. 6, cols. 1–2. 74 Ibid. 75 Reagan, 115. 76 “Mrs. Stuart H. Moore Dies in California: Ex-Editor of The Ladies World and Widow of New York Publisher,” New York Times, 2 December 1933, p. 13, col. 5. 77 Hardee, 51. 78 Brendan Gill, “The Dark Advantage,” in States of Grace: Eight Plays by Philip Barry, ed. Brendan Gill (New York: Harcourt Brace Jovanovich, 1975), 39. 79 Weitzel, 49. 80 Hardee, 51. 81 Weitzel, 50. 82 Hardee, 54. 83 Weitzel, 50–51. 84 “Columbia Opens Its New Library; Buchan Outlines Role for Colleges: Ceremony Held in 1,000Seat Reading Room of Structure Donated by Harkness: Briton Praises Fostering of Modesty in Politics and Learning,” New York Times, 1 December 1934, p. 15, cols. 3–4. 85 Randall Thompson, College Music: An Investigation for the Association of American Colleges (New York: Macmillan, 1935). 86 “Widow of Tabor Freezes in Shack: Famed Belle Dies at 73 Alone and Penniless, Guarding Old Leadville Bonanza Mine: Fortunes Thrown Away: Fought to Last for Husband’s Dying Belief That Matchless Would Come Back,” New York Times, 8 March 1935, p. 23, cols. 7–8. 87 Hardee, 74. 88 Douglas Moore, “Imported Virtuosi for America’s Music?” American Scholar 5, no. 3 (Summer 1936): 270–79. 89 “Opera to Have Its Premiere at Bronxville High: Modern Operetta by Benet and Moore Is Based on ‘Legend of Sleepy Hollow’: To Be Offered March 5: Fits Emotional and Technical Scope of Student,” New York Herald Tribune, 31 January 1937, sec. 2, p. 6, col. 6. 90 “Faculty of Barnard Entertains Students: Farce Called ‘Faculty Follies’ Is Presented in Aid of Fiftieth Anniversary Fund,” New York Times, 14 February 1937, sec. 2, p. 3, col. 7. 91 “How Music for All Aids Daily Living: Education Week Will Reveal Extent to Which Project Contributed to City: Five Days of Exercises: Mayor and Large Group Sponsor Demonstrations of Variety and Scope of Activities: Typical School Houses in Neglected Areas,” New York Times, 14 March 1937, sec. 2, p. 6, cols. 2–4; “Programs of the Current Week: The WPA Federal Project Sponsors an American Festival at the Theatre of Music: Operas, Ensembles and Recitalists,” New York Times, 2 May 1937, sec. 11, p. 6, cols. 1–5. 92 “Plan Evening of Music: Douglas S. Moores and Chalmers Cliftons to Be Hosts Tuesday,” New York Times, 9 May 1937, sec. 6, p. 3, col. 8. 93 Weitzel, 57. 94 Stephen Vincent Benét, “Words and Music,” Saturday Evening Review of Literature 20, no. 4 (20 May 1939): 10. 95 Stephen Vincent Benét, “Daniel Webster and One,” New York Times, 14 May 1939, sec. 11, p. 1, cols. 6–7. 73

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Fenton, 351. Weitzel, 59. 98 Olin Downes, “World Premiere for Benet Opera: American Lyric Theatre, for Its Bow, Gives ‘The Devil and Daniel Webster’: New England Folk Tale: Music Is by Douglas Moore: Text in English Idiom of Time and Place” New York Times, 19 May 1939, p. 26, cols. 1–3. 99 Weitzel, 60. 100 Hardee, 61. 101 “Moore Named Head of Columbia Music: Composer, Barnard Associate, Gets Full Professorship: Succeeds Daniel Mason,” New York Times, 25 April 1940, p. 26, col. 4. 102 “Examining Petitions Received in Radio Music Dispute,” New York Times, 23 December 1940, p. 22, cols. 2–4. 103 “Role of Musicians in Defense Is Described by Douglas Moore: Columbia Professor Says Composers and Artists as Group Help with Patriotic Songs, and as Individuals through Duties as Citizens,” New York Herald Tribune, 24 October 1940, p. 16, cols. 4–5. 104 Douglas Moore, “Our Lyric Theatre,” Modern Music 18, no. 1 (November–December 1940): 3–7. 105 Béla Bartók, “233. To Douglas Moore—New York,” in Béla Bartók, Letters, collected, selected, ed. and annotated by János Demény, preface by Sir Michael Tippett, trans. Péter Balabán and István Farkas, translation rev. Elisabeth West and Colin Mason (New York: St. Martin’s Press, 1971), 300–301; Douglas Moore, “Bartók at Columbia University,” Long Player 2, no. 10 (October 1953): 16–17. 106 Benjamin Britten, “321 To Douglas Moore,” in Letters from a Life: The Selected Letters and Diaries of Benjamin Britten, 1913–1976, ed. Donald Mitchell, assistant eds. Philip Reed and Rosamund Strode, associate eds. Kathleen Mitchell and Judy Young (Berkeley: University of California Press, 1991), 2:946–48. 107 Hardee, 35–36. 108 Douglas Moore, From Madrigal to Modern Music: A Guide to Musical Styles (New York: W. W. Norton, 1942). 109 Betty Bandel, “Theatre Play One of Finest: Tucson Group Produces Saroyan Drama in Best Form,” Arizona Daily Star, 20 March 1942; from the Moore clipping file at Columbia University. 110 Douglas Moore, guest ed., “Music Supplement,” Saturday Review of Literature 26, no. 5 (30 January 1943): 12–30. 111 Douglas Moore, “The Importance of Music in Wartime,” Saturday Review of Literature 26, no. 5 (30 January 1943): 12. 112 Ibid. 113 Olin Downes, “Ernst Bacon Work Is Presented Here: Chamber Opera, ‘A Tree on the Plains,’ Seen in Hall at Columbia University: Paul Horgan librettist: Two Acts Divided Under Four Titles: A Small Orchestra Furnishes the Score,” New York Times, 6 May 1943, p. 24, col. 1. 114 Reagan, 209. 115 Ibid., 166. 116 C. Warren Fox, program notes for the “Festival of American Music,” Rochester, NY, 4 April 1944. 117 Reagan, 152. 118 Ibid., 156–58. 119 Douglas Moore, “Columbia University Festivals.” Music Journal 4, no. 5 (September–October 1946): 25, 58. 96 97

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Douglas Moore, “Opera Productions at Columbia University,” Opera News, 16 April 1945, 12–13. Reagan, 168. 122 “U.S. Seen Snubbing 2 Russian Singers: ‘Indignity’ of Treating Them as Foreign Agents Protested by 4 Prominent Musicians: Here on ‘Cultural’ Tour: Artists, with 3 Others, Went Home Rather Than Comply with Washington Order,” New York Times, 15 October 1946, p. 27, col. 6; “Comment,” New York Times, 20 October 1946, sec. 2, p. 7, col. 1. 123 “Anti-Semitic Letters Are Traced by Art Institute Here to Member: Scurrilous Propaganda Is Laid by a Handwriting Expert to Well-Known Sculptor, Who Faces Expulsion,” New York Times, 7 May 1947, p. 29, cols. 6–7, and p. 34. 124 Reagan, 190. 125 Ibid., 198. 126 Ibid., 209. 127 “Group Unperturbed by Mumford Action,” New York Times, 8 February 1948, p. 9, col. 2. 128 “Institute Splits on Thomas Attack: Majority of Arts and Letters Group Says Committee Endangers Freedom,” New York Times, 14 February 1948, p. 18, col. 1. 129 Hardee, 63–65. 130 Weitzel, 65. 131 Reagan, 249. 132 P[eggy] G[lanville]-H[icks], “Concert for Children Given by Philharmonic,” New York Herald Tribune, 19 November 1950, sec. 1, p. 75, col. 6. 133 “Columbia’s Contemporary Music Festival Will Be Given on Disks Instead of ‘Live,’ ” New York Times, 5 February 1951, p. 18, col. 5. 134 Virgil Thomson, “Music: ‘Giants in the Earth,’ ” New York Herald Tribune, 29 March 1951, p. 18, cols. 3–4. 135 Olin Downes, “New Moore Opera Is Presented Here: ‘Giants in the Earth’ Offered by Columbia Theatre Associates: Book by Sundgaard,” New York Times, 29 March 1951, p. 25, col. 1. 136 Weitzel, 71. 137 “Academy of Arts Adds 6 to Roster: Miss Buck, Leonard Bacon, Carl Milles, Douglas Moore, F. L. Wright, Mann Chosen,” New York Times, 1 December 1951, p. 11, cols. 4–7. 138 “Douglas Moore Elected Arts Academy Director,” New York Herald Tribune, 12 December 1952, p. 9, col. 2; “Mark van Doren Resigns: Quits Arts and Letters Academy to Take Up Work Abroad,” New York Times, 27 June 1953, p. 13, col. 7. 139 Duane A. Smith and John Moriarty, The Ballad of Baby Doe: “I Shall Walk Beside My Love” (Boulder: University of Colorado Press, 2002), 2. 140 Hardee, 74. 141 Smith and Moriarty, 2–3. 142 Caroline Bancroft, Silver Queen: The Fabulous Story of Baby Doe Tabor (Denver: Golden Press, 1950). 143 Bancroft’s account of the life of Elizabeth Tabor was in many respects more a work of historical fiction than one of historical research. For a fuller account of the mixture of legend and historical facts in the published biographies of Elizabeth Tabor, including Bancroft’s books, and the Tabor family, see Judy Nolte Temple, Baby Doe Tabor: The Madwoman in the Cabin (Norman: University of Oklahoma Press, 2007). 144 Smith and Moriarty, 3–4. 120 121

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Hardee, 75. Smith and Moriarty, 5–6. 147 Ibid., 7. 148 Frances Melrose, “ ‘Baby Doe Ballad’ Rates Attention in Theater Mag,” Denver Rocky Mountain News, 8 July 1956, sec. Everybody’s, p. 1, cols. 3–4. 149 Weitzel, 73. 150 Smith and Moriarty, 7. 151 Hardee, 78. 152 Ibid., 80. 153 Smith and Moriarty, 9–10. 154 Ibid., 11. 155 Ibid. 156 Ibid., 94. 157 Ibid., 11–13. 158 Ibid., 54–55. 159 Ibid., 98. 160 Hardee, 118. 161 Ibid., 84–85. 162 Weitzel, 74. 163 Hardee, 62. 164 “Windsor Hotel among 10 Settings: Colorful Sets and Costumes Make ‘Baby Doe’ Outstanding,” Denver Rocky Mountain News, 6 July 1956, p. 18, cols. 1–3. 165 “Central City Event: Festivities Precede ‘Baby Doe’ Premiere,” Denver Post, 4 July 1956, p. 12, cols. 1–2. 166 “Blushing Lad Gets Kiss, Prize in News Race,” Denver Rocky Mountain News, 8 July 1956, p. 12, cols. 1–4. 167 Reva Cullen, “7000 See Central City Premiere Events,” Denver Rocky Mountain News, 8 July 1956, p. 12, cols. 1–5. 168 “ ‘Baby Doe’ Premiere Attracts Country’s Top Opera Critics,” Denver Post, 6 July 1956, p. 2, cols. 4–5. 169 “Pre-Premiere Party: Top ‘Baby Doe’ Guests Feted.” Denver Post, 7 July 1956, p. 3, cols. 3–6; Pat Collins, “The Smart Set: Champagne Supper to Follow Opera Premiere,” Denver Post, 4 July 1956, p. 32, cols. 1–8. 170 “ ‘Baby Doe’ Going to N.Y.: Myerberg,” Denver Post, 10 July 1956, p. 28, col. 1. 171 Howard Taubman, “Opera: Rooted in West: ‘Ballad of Baby Doe’ Sung in Colorado,” New York Times, 9 July 1956, p. 26, col. 5. 172 Lucius Beebe, “Romantic West in ‘Baby Doe,’ ” New York Herald Tribune, 15 July 1956, sec. 4, p. 1, cols. 1–2, and p. 4. 173 Albert Goldberg, “The Sounding Board: New American Opera, ‘The Ballad of Baby Doe,’ Receives Premiere at Central City Festival,” Los Angeles Times, 15 July 1956, sec. 5, p. 1, cols. 1–3. 174 “Baby Doe and Her Silver King: Historic Love Story Is an Operatic Hit,” Life, 6 August 1956, 109–10, 112; “Baby Doe,” Time, 16 July 1956, 40, 42. 175 “ ‘Voice’ Broadcasts U.S. Opera,” New York Times, 28 August 1956, p. 55, col. 3. 145 146

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“Sunday ‘Central City Day’ on TV: ‘Baby Doe,’ ‘The Lark’ Debut at the Same Hour,” Denver Post, 10 February 1957, sec. Sunday Denver Post TV and Radio Roundup, p. 15. 177 Weitzel, 89. 178 “Eternal God,” in American Hymns Old and New, ed. Albert Christ-Janer, Charles W. Hughes, and Carleton Sprague Smith, text by Henry Hallam Tweedy (New York: Columbia University Press, 1980), 1:786–87. 179 Douglas Moore, Gallantry: A Soap Opera in One Act, libretto by Arnold Sundgaard (New York: G. Schirmer, 1958), p. [1]. 180 H[arold] C. S[chonberg], “Moore’s Opera, ‘Gallantry,’ in Premiere,” New York Times, 20 March 1958, p. 34, cols. 3–4; Jay Harrison, “ ‘Gallantry’ and ‘Boor’: Brander Matthews Theater Gives 2 Opera Premieres,” New York Herald Tribune, 20 March 1958, sec. 1, p. 16, cols. 3–4; Winthrop Sargeant, “Musical Events: A Glimpse Ahead,” New Yorker, 29 March 1958, 107–8, 111. 181 “Piston and Moore Get Music Critics’ Award,” New York Herald Tribune, 21 January 1959, sec. 1, p. 15, cols. 6–7. 182 Smith and Moriarty, 105. 183 Ibid., 106. 184 Val Adams, “News of Television: ‘Devils,’ ” New York Times, 23 August 1959, sec. 2, p. 11, cols. 4–5. 185 Clifton was primarily known as a conductor. He also taught at Columbia University. 186 Weitzel, 95; Hardee, 92–93. 187 Hardee, 97–98. 188 “Two Columbia Teachers Honored,” New York Times, 14 January 1960, p. 18, cols. 5–6. 189 Hardee, 33, Otto Luening, tape recorded interview, NY, 10 November 1969. 190 Hardee, 32. 191 Ross Parmenter, “The World of Music: Ford Foundation Is Aiding Moore to Write New Opera for City Center,” New York Times, 13 March 1960, sec. 2, p. 11, cols. 4–6. 192 “Douglas Moore Gets Award,” New York Times, 20 May 1960, p. 27, col. 5. 193 “2 Get Arts Awards: Hartford Fund Honors Conrad Aiken and Douglas Moore.” New York Times, 10 December 1960, p. 21, col. 2. 194 Harold C. Schonberg, “Opera: ‘Wings of the Dove’ in Premiere: Douglas Moore’s New Work at City Center,” New York Times, 13 October 1961, p. 31, cols. 1–3. 195 Ross Parmenter, “Music World: Moore’s Seventh,” New York Times, 18 November 1962, sec. 2, p. 9, cols. 4–5. 196 Weitzel, 112, 108. 197 Ibid., 109. 198 Ibid., 110. 199 Hardee, 100. 200 Ibid., 102. 201 Carry A. Nation, The Use and Need of the Life of Carry A. Nation, rev. ed. (Topeka: F. M. Steves & Sons, 1905); Herbert Asbury, Carry Nation (New York: A. A. Knopf, 1929); Hardee, 105–6. 202 Weitzel, 113. 203 Hardee, 108. 204 Ibid. 176

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Reagan, 249. Weitzel, 44. 207 Hardee, 113. 208 Reagan, 249. 209 Ibid., 265. 210 Ibid., 251. 211 Ibid., 263–64. 212 Ibid., 264. 213 Weitzel, 43. 214 Hardee, 120. 215 Weitzel, 42. 216 Ibid., 40. 217 Hardee, 43, interview, Cutchogue, 23 July 1967. 218 Weitzel, 41. 219 Lawrence Gilman, “A New American Symphony,” New York Herald Tribune, 17 May 1931, sec. 8, p. 6, cols. 1–2. 220 Weitzel, 35. 221 Ibid., 36. 222 Ibid., 37. 223 Ibid. 224 Rhodes, 228. 225 Ibid. 226 Reagan, 258. 227 Hardee, 36. 228 Ibid., 38. 229 Weitzel, 16. 230 Ibid. 231 Reagan, 256–57. 232 Hardee, 121. 233 Ibid., 38; Ruth Jernick, “The Lighter Side of a Famous Son,” Suffolk Times, 22 July 1993, pp. 16–17, 40. 234 Hardee, 41. 235 Reagan, 259. 205 206

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A. MANUSCRIPTS, SCORES, AND RECORDINGS “Adam Was My Grandfather” Alternate title: “For All Blasphemers” Genre: Song Text: Stephen Vincent Benét Instrumentation: Baritone voice and piano Date of composition: 1938 1st line: “Adam was my grandfather, a tall, spoil’d child . . .” Vocal range: C4–F  5 Dedication: To Sarah Scores: Pencil ms. score (5 pp.); Library of Congress Ink ms. score (4 pp.); Library of Congress Adam Was My Grandfather. Poem by Stephen Vincent Benét. Plate no.: G.M. 897-5. New York: Galaxy Music, 1938. Adventures in the Latin Quarter Waltz Alternate title: Improper pieces. I, Adventures in the Quarter Genre: Movement from a suite Instrumentation: Piano Date of composition: 1919 Score: Ink ms. score (7 pp.); Library of Congress Adventures in the Latin Quarter Carillon Genre: Movement from a suite Instrumentation: Piano Date of composition: Paris 1920; revised New York 1936 Score: Ink ms. (3 pp.); Columbia University

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“Ahab, Mighty Lord of Leviathans” see Moby Dick “Allentown Ambulance” see War Songs “Always through the Changing” see The Ballad of Baby Doe. Farewell Song “Americana” see Oh, Oh, Tennessee Andante (incomplete) Genre: Trio (sketches) Instrumentation: Flute, clarinet in A, and piano Date of composition: unknown Key: D major Scores: Pencil ms. sketch (3 pp.); Columbia University “The Apple Boughs Bend” Alternate title: “Never Ask the End” Genre: Song Text: Elinor Wylie Instrumentation: Baritone or bass and piano Date of composition: July–August 1922 1st line: “The apple boughs bend down with fruit . . .” Vocal range: A2–E  4 Scores: Ink ms. score by a copyist (4 pp.); Yale University Ink ms. score (4 pp.) in sketchbook; Columbia University “April Weather” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: August 1919 (1st version); 13 July 1922 (2nd version) 1st line: “It’s April weather, summer’s coming . . .” Vocal range: D4–A5 Scores: Pencil ms. score (2 pp.) in sketchbook; Columbia University Ink ms. score (3 pp.), 1st version; Columbia University Pencil ms. score (3 pp.), 2nd version; Columbia University

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“Ate My Breakfast” see War Songs L’Atlantique du Nord see North Atlantic Suite “Atterboy, Columbia” (incomplete) Genre: Fight song Text: Douglas Moore (?) Instrumentation: Voice or unison chorus and piano Date and place of composition: February 1934, Bermuda 1st line: “Come on let’s give the boys the works, Columbia . . .” Vocal range: A3–B4 Score: Pencil sketch (3 pp.), incomplete; Columbia University “Augusta! How Can You Turn Away?” see The Ballad of Baby Doe. Augusta’s Aria Babbitt see Overture on an American Tune The Ballad of Baby Doe Genre: Opera Text: John Latouche Characters: Mrs. Elizabeth (Baby) Doe, Sarah, Mary, Kate, sopranos; Elizabeth, child soprano; Augusta Tabor, Emily, Effie, Samantha, Meg, adult Silver Dollar, mezzo-sopranos; Mama McCourt, alto; Chester A. Arthur, Father Chapelle, old silver miner, clerk at the Clarendon Hotel, mayor of Leadville, stage doorman, Sam, Bushy, two Washington dandies, tenors; Horace Tabor, bouncer, Albert, hotel footman, Denver politician, Barney, two Washington dandies, Jacob, baritones; William Jennings Bryan, bass-baritone; child Silver Dollar, silent part; chorus. Instrumentation: 2.pic.2.2.1./2.2.2.1./timp./perc./harp/piano/strings Acts: Act 1 Scene 1. Outside the Tabor Opera House, Leadville, 1880 Scene 2. Outside the Clarendon Hotel, later that evening Scene 3. The Tabor apartment, several months later Scene 4. The Lobby of the Clarendon Hotel, shortly thereafter Scene 5. Augusta’s parlor in Denver, a year later Scene 6. A suite in the Willard Hotel, Washington, D.C., 1883 Act 2 Scene 1. The Windsor Hotel, Denver, 1893 Scene 2. A club room in Denver, 1895

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Scene 3. The Matchless Mine, 1896 Scene 4. Augusta’s parlor, November, 1896 Scene 5. The stage of the Tabor Grand Theatre, April 1899 Date of composition: June 1953–April 1956 Duration: ca. 2:15:00 Dedication: To the memory of Serge and Natalie Koussevitzky Commissioned by: Koussevitzky Foundation of the Library of Congress in honor of the Columbia University Bicentennial Scores: Pencil ms. vocal score (315 pp.); Library of Congress Pencil ms. vocal score (4 pp.), from the Bryan scene in act 2, used in Notations, John Cage Collection, Northwestern University Pencil ms. sketches and deleted portions of the ink ms. vocal score; Columbia University 3 typescript libretti; Columbia University The Ballad of Baby Doe. Publisher’s no.: 9471. New York: Chappell, 1958.Vocal score. The Ballad of Baby Doe. Publisher’s no.: HL 00312019. New York: Chappell; Winona, MN.: Distributed by Hal Leonard, 1958. Vocal score. “Sketch for the Bryan Scene in Act II of The Ballad of Baby Doe.” In Notations, s.v. “Douglas Moore,” compiled by John Cage. New York: Something Else Press, 1969. The Ballad of Baby Doe: Opera in Two Acts. New York: Tams-Witmark Music Library, 1977. 4 vols. Accompanied by “Errata” (10 leaves of music). Photocopy of the ms., full score. [The Ballad of Baby Doe. Selections.] In The Chappell Collection of Great Theatre Composers, 2:68–78, edited and designed by Lee Snider. Publisher’s no.: 0117408-123. [New York]: Chappell Music, [197-]. Vocal score. Includes the Willow Song and the Letter Song. [The Ballad of Baby Doe. Selections.] In The Chappell Collection of Great Theatre Composers, book ed., 2:168–78, edited and designed by Lee Snider. Publisher’s no.: HL l 00312074. New York: Chappell Music; Milwaukee, WI: Distributed by Hal Leonard, [198-]. Vocal score. Includes the Letter Song and the Willow Song. [The Ballad of Baby Doe. Selections.] In Opera American Style: Arias for Soprano, 5–25, compiled by Richard Walters. Publisher’s no.: HL00660180. Milwaukee, WI: Hal Leonard, 1990. Vocal score. 5–25. Includes the Willow Song, “Dearest Mama,” the Silver Aria, and “Always through the Changing.” [The Ballad of Baby Doe. Selections.] In G. Schirmer American Aria Anthology: Soprano, compiled and edited by Richard Walters, 32–52. Publisher’s no.: HL50484623. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 2004. Vocal score. 32– 52. Includes the Willow Song, “Dearest Mama,” the Silver Aria, and “Always through the Changing.” [The Ballad of Baby Doe. Selections.] In G. Schirmer American Aria Anthology: Baritone/ Bass, compiled and edited by Richard Walters, 30–44. Publisher’s no.: HL50484626. New

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York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 2004. Vocal score. Includes “Warm as the Autumn Light,” “Turn Tail and Run Then,” and “Good People of Leadville.” Recordings: The Ballad of Baby Doe: An Opera. Beverly Sills (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta Tabor); Jack DeLon (Sam, Chester A. Arthur); Joshua Hecht (William Jennings Bryan); Beatrice Krebs (Mama McCourt); Grant Williams (old silver miner, Father Chapelle, theater doorman); Chester Ludgin (saloon bartender, Denver politician); Keith Kaldenberg (Bushy, hotel clerk); George DelMonte (Barney); Arthur Newman (Jacob, hotel footman); Greta Wolff (Kate, McCourt family member); Helen Baisley (Meg, McCourt family member, adult Silver Dollar); Lynda Jordan (Samantha); Robert Atherton (Albert); Mary LeSawyer (Sarah); Jennie Andrea (Mary); Lou Rodgers (Emily); Dorothy White (Effie); Edson Hoel, Dan Marek, Peter Sliker, John Dennison (Washington dandies); Donald Arthur (McCourt family member); William Saxon (McCourt family member, mayor); New York City Opera Orchestra and Chorus; Emerson Buckley, conductor. [New York?]: MGM, 1959. Mono. set no.: 3GC-1. Mono. disc nos.: 59 MG 584 3CG-1 S1 (side 1); 59 MG 585B 3GC-1 S2 (side 2); 59 MG 586 B 3GC-1 S3 (side 3); 59 MG 587 3GC-1 S4 (side 4); 59 MG 588 3GC-1 S5 (side 5); 59 MG 589 3GC-1 S6 (side 6). Stereo. set no.: SE3-GC1, on spine, Se-GC1. Stereo. disc nos.: 45/45 (S3-CG1 OSS Stereo # 0604598 59-ST#356 [side 1], S3-CG1 OSS Stereo # 0605591 59-ST#357 [side 2], S3-CG1 OSS Stereo # 0610591 59-ST-358B [side 3], S3-CG1 OSS Stereo # 0605593 59-ST#359 [side 4], S3-CG1 OSS Stereo # 0605598 59-ST#360 [side 5], S3-CG1 OSS Stereo # 0605599 59-ST#361 [side 6]). 3 discs (33¹⁄³ rpm records); 12 in. MGM Academy Series. Recorded May 1959. Automatic sequence. The Ballad of Baby Doe: An Opera. [Los Angeles?]: Heliodor, [1966]. Mono. set no.: H25035-3. Mono. disc nos.: MG312 (side 1); MG313 (side 2); MG314 (side 3); MG315 (side 4); MG316 (side 5); MG317 (side 6). Stereo. set no.: HS-25035-3. Stereo. disc nos.: MGS-312 (side 1), MGS-313 (side 2), MGS-314 (side 3), MGS-315 (side 4), MGS316 (side 5), MGS-317(side 6). 3 discs (33¹⁄³ rpm records), 2:07:28; 12 in. Reissue of MGM 3GC-1 and MGM 3SGC-1. The Ballad of Baby Doe: An Opera. Germany: Deutsche Grammophon, 1976, p1959. Set no.: 2709 061. Disc nos.: 2584 009–2584 011. 3 discs (33¹⁄³ rpm stereo. records), 2:12:59. Reissue of MGM 3GC-1 and MGM 3SGC-1. *The Ballad of Baby Doe. Ruth Welting (Baby Doe); Richard Fredricks (Horace); Frances Bible (Augusta); David Griffith (Chester A. Arthur); Richard McKee (William Jennings Bryan); Jane Shaulis (Mama McCourt); Howard Hensel (Father Chapelle); James Billings (old silver miner, stage doorman); Don Yule (saloon bouncer, Albert, hotel footman); Valeria Orlando (Kate); Joyce Tomanec (Meg); Jerold Siena (Sam); John Lankston (Bushy); Thomas Jamerson (Barney); Philip Steele (Jacob); Rose Wildes (Sarah); Margaret Goodman (Mary); Puli Toro (Emily); Sandra Walker (Effie); Joan Campbell (Samantha);

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Melvin Lowery (hotel clerk); George Bohachevsky, Pegge Daly, Myrna Reynolds, Lester Clark, James Sergei, Dominick Farone (McCourt family members); Richard Nelson, Dan Kingman, Ray Morrison, Ronald Bentley (Washington dandies); Maria Randazzo (Elizabeth); Arin Clark (child Silver Dollar); Harris Davis (mayor); Robert Paul (Denver politician); Kathleen Hegierski (adult Silver Dollar); New York City Opera Chorus and Orchestra; Judith Somogi, conductor. New York: Lincoln Center for the Performing Arts, 1976. 1 VHS videocassette (ca. 1:20:00), b&w. Recorded in performance at the New York State Theater, Lincoln Center, 21 April 1976. The Ballad of Baby Doe. Jan Grissom (Baby Doe); Brian Steele (Horace); Dana Krueger (Augusta); Torrance Blaisdell (Chester A. Arthur, old silver miner, mayor); Mark Freiman (William Jennings Bryan); Myrna Paris (Mama McCourt); Jeffrey McCollum (bartender); Becky Budd (Kate); Jessie Raven (Meg); Erik Lautier, Theodore Green, James Taylor, Mark Freiman (Tabor’s friends); Brigitte Bellini, Gwendolyn Coleman, Lindarae Polaha, Monica Bellner (Augusta’s friends); Juline Baról (Samantha); Vale Rideout (hotel clerk, Father Chapelle, newsboy, stage doorman); Curtis Olds (bellboy, hotel footman); Erik Lautier, Steven Veguilla, Andrew Krikawa, Paul Perkins (Washington dandies); Joanna Miano (child Silver Dollar); Steven Veguilla (newsboy); Paul Bellantoni (Denver politician); Kathryn Honan-Carter (adult Silver Dollar); Central City Opera Orchestra and Chorus; John Moriarty, conductor. Newport, RI: Newport Classic, 1997. 2 compact discs, 2:17:04. Set no.: NPD 85593/2. Disc nos.: NPD 85593/1 (CD 1, 1:11:35), NPD 85593/2 (CD 2, 1:05:29). The Ballad of Baby Doe. Hamburg: Deutsche Grammophon, 1999. 2 stereo. compact discs (2:14:02). Set no.: 289 465 148-2. Disc nos.: 289 465 149-2 (CD 1, 1:10:21), 289 465 150-2 (CD 2, 1:03:41). Recorded June 1959. Reissued from MGM 3GC-1; remastered from Deutsche Grammophon 2709 061. Program booklet (63 pp.). [The Ballad of Baby Doe. Selections.] In American Girl. Helen-Kay Eberley, soprano; Donald Isaak, piano. Evanston, IL: Eb-Sko Productions, 1983. Eb-Sko 1007. 1 disc (33¹⁄³ rpm stereo record); side 2, bands 4 (“Gold Is a Fine Thing,” 3:06) and 5 (“Willow, Where We Met Together,” 4:10). [The Ballad of Baby Doe. Selections.] In Beverly Sills and Friends. Beverly Sills (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); New York City Opera Orchestra; Emerson Buckley, conductor. Hamburg: Deutsche Grammophon, 2006. Deutsche Grammophon B0007330-02. 2 compact discs; on CD 2 (1:07:05), tracks 4 (Willow Song, 3:02), 5 (“Oh, Mr. Tabor,” 1:14), and 6 (“Warm as the Autumn Light,” 4:09). Recorded June 1959 in New York. The disc also includes twenty-two pieces by other composers. Program notes by Julius Rudel. The Ballad of Baby Doe. Augusta’s Aria Alternate title: “Augusta! How Can You Turn Away?” Genre: Aria from an opera

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Text: John Latouche Character: Augusta Tabor Instrumentation: Alto and piano Act: Act 2, scene 4 Date of composition: ca. 1956 1st line: “Augusta! Augusta! How can you turn away? . . .” Vocal range: B3–A  5 Scores: Augusta’s Aria: [ from] The Ballad of Baby Doe. Book and lyrics by John Latouche. Plate no.: 5075-7. New York: Chappell, 1957. Vocal score. Augusta’s Aria: [ from] The Ballad of Baby Doe. Libretto by John Latouche. Bloomington, IN: Frangipani Press, 1958. Vocal score. “Augusta! How Can You Turn Away?” In Arias for Mezzo-Soprano, compiled and edited by Robert L. Larsen, 211–16. G. Schirmer Opera Anthology. Publisher’s no.: HL50481098. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 1991. Vocal score. Program note on 23. “Augusta’s Aria.” In G. Schirmer American Aria Anthology: Mezzo-Soprano, compiled and edited by Richard Walters, 30–35. Publisher’s no.: HL50484624. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 2004. Vocal score. The Ballad of Baby Doe. Farewell Song Alternate title: “Always through the Changing” Genre: Aria from an opera Text: John Latouche Character: Baby Doe Instrumentation: Soprano and piano Act: Act 2, scene 5 Date of composition: ca. 1956 1st line: “Always through the changing of sun and shadow . . .” Vocal range: D  4–B5 Scores: Farewell Song: [ from] The Ballad of Baby Doe: A Musical Drama. Plate no.: 5080-6. New York: Chappell, 1957. Vocal score. Recordings: “Always through the Changing.” In Taking a Chance on Love: The Lyrics & Life of John Latouche: A New Musical Revue. York Theatre Company (Eddie Korbich, Terry Burrell, Jerry Dixon, and Donna English). Georgetown, CT: Original Cast Records, 2000. Original Cast Recording OC-4444. 1 compact disc (79:28); track 31 (3:27). Recorded 10 April 2000 at Manhattan Beach Recording Studios, New York. The booklet includes program notes by Erik Haagensen.

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“Always through the Changing.” In Beverly Sills: The Great Recordings. Beverly Sills, soprano; New York City Opera Orchestra; Emerson Buckley, conductor. Hamburg: Deutsche Grammophon, 2004. Deutsche Grammophon B0002469-02. 2 compact discs (2:00:02); on CD 2 (1:03:22). On track 14 (4:17). Recorded June 1959 in New York. Previously issued on MGM. The set includes eighteen other opera arias. The Ballad of Baby Doe. Letter Song Alternate title: “Dearest Mama” Genre: Aria from an opera Text: Douglas Moore Character: Baby Doe Instrumentation: Soprano and piano Act: Act 1, scene 4 Date of composition: 1953 1st line: “Dearest Mama, I am writing . . .” Vocal range: E4–C  6 Scores: Letter Song: [from] The Ballad of Baby Doe: A Musical Drama. Libretto by John Latouche. Plate no.: 5081-5. New York: Chappell, 1957. Vocal score. Letter Song: [ from] The Ballad of Baby Doe. Libretto by John Latouche. Bloomington, IN: Frangipani Press, 1958. Vocal score. “Letter Song (The Ballad of Baby Doe).” In Broadway Repertoire for Soprano: A Selection of Broadway’s Best in Their Original Keys for Soprano Voice, edited by Gregory Boals, 48–52. Publisher’s no.: HL00312048. [N.p.]: Chappell/Intersong Music Group; Milwaukee, WI: Distributed by Hal Leonard, 1979. Vocal score. Recordings: “Dearest Mama.” In The Art of Eileen di Tullio. Eileen di Tullio, soprano; Aldo di Tullio, piano. N.p.: Legato Classics, [199-]. LCD196-1. 1 compact disc (1:19:32); track 23 (3:02). “Letter Song.” In I Want Magic! Renée Fleming, soprano; Metropolitan Opera Orchestra; James Levine, conductor. New York: London, 1998. London 289 460 567-2. 1 compact disc (58:00); track 2 (3:39). Program notes by Evans Mirageas. Recorded at Manhattan Center Studios, New York, 26–30 May 1998. The disc also includes works by Bernard Herrmann, Gian Carlo Menotti, George Gershwin, Leonard Bernstein, Carlisle Floyd, Igor Stravinsky, Samuel Barber, and André Previn. The Ballad of Baby Doe. Silver Aria Alternate title: “Gold Is a Fine Thing” Genre: Aria from an opera Text: John Latouche

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Character: Baby Doe Instrumentation: Soprano and piano Act: Act 1, scene 6 Date of composition: ca. 1956 1st line: “Gold is a fine thing . . .” Vocal range: E4–C  6 Scores: Silver Song: [from] The Ballad of Baby Doe: A Musical Drama. Plate no.: 5083-5. New York: Chappell, 1957. Vocal score . Silver Song: The Ballad of Baby Doe: Voice and Piano. Publisher’s no.: 3235. Van Nuys, CA: Alfred, 1958. Vocal score. Silver Song: [ from] The Ballad of Baby Doe. Bloomington, IN: Frangipani Press, 1958. Vocal score. “Silver Aria: from The Ballad of Baby Doe.” In Arias for Soprano, compiled and edited by Robert L. Larsen, 194–98. G. Schirmer Opera Anthology. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 1991. Recordings: “Gold Is a Fine Thing.” In The Art of Beverly Sills. Beverly Sills, soprano; New York City Opera Orchestra; Emerson Buckley, conductor. Hamburg: Deutsche Grammophon, 2002. Deutsche Grammophon 289 471 766-2. 2 compact discs (2:15:00); on CD 2 (1:02:37), track 6 (3:16). Recorded June 1959 at the State Theater, Lincoln Center, New York. Previously issued on MGM. The disc also includes nineteen pieces by other composers. “Gold Is a Fine Thing.” July 1956. Leyna Gabriele, soprano; Central City Opera Orchestra; Emerson Buckley, conductor. http://www.babydoe.org/audio/goldIsAFineThing.mp3, accessed 25 January 2009. The Ballad of Baby Doe. “Warm as the Autumn Light” Genre: Aria from an opera Text: John Latouche Character: Horace Tabor Instrumentation: Baritone and piano Act: Act 1, scene 2 Date of composition: ca. 1956 1st line: “Warm as the autumn light . . .” Vocal range: B2–E4 Scores: Warm as the Autumn Light (Tabor’s Love Song): [ from] The Ballad of Baby Doe: A Musical Drama. Plate no.: 5082-4. New York: Chappell, 1957. Vocal score. Warm as the Autumn Light: (Tabor’s Love Song) [ from] The Ballad of Baby Doe. Bloomington, IN: Frangipani Press, 1958. Vocal score.

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“Warm as the Autumn Light.” In Arias for Baritone, compiled and edited by Robert L. Larsen, 198–201. G. Schirmer Opera Anthology. Publisher’s no.: HL50481100. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 1991. Vocal score. Recordings: “Warm as the Autumn Light.” In Songs of Gambling and the Sea. Thomas Steward, baritone; Klaus Rössner, piano. Ft. Lee, NJ: VAI Audio, 1996. VAI Audio VAIA 1122. Recorded 1958, mono. 1 compact disc (59:39); track 13 (2:24). The disc also includes six traditional sea chanteys arranged by Celius Dougherty, five folk songs arranged by John Jacob Niles, three duets with Evelyn Lear of folk songs, and songs by Samuel Barber, Aaron Copland, Stephen Foster, Vittorio Giannini, and Charles Ives. The Ballad of Baby Doe. Willow Song Genre: Aria from an opera Text: Douglas Moore Character: Baby Doe Instrumentation: Soprano and piano Act: Act 1, scene 2 Date of composition: ca. 1953 1st line: “Ah, ah, ah, ah, willow, where we met together . . .” Vocal range: F4–D6 Scores: Willow Song: [ from] The Ballad of Baby Doe: A Musical Drama. Plate no.: 5073-6. New York: Chappell, 1957. Vocal score. “Willow Song: from The Ballad of Baby Doe.” In Arias for Soprano, compiled and edited by Robert L. Larsen, 189–93. G. Schirmer Opera Anthology. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 1991. Recordings: “Willow Song.” In Queen of the Night: Electric Eclectic Opera. B. J. Ward, soprano; New Synthony Orchestra (New Synthony orchestral impressions realized by Alan Steinberger); Andy Waterman, conductor. [New York]: Dorchester Classic CD, 1994. Dorchester Classic DORC 1001, mastered by Nimbus. 1 compact disc (36:42); track 4 (3:22). Recorded at the Bakery, North Hollywood, CA. The disc includes arrangements of arias by Verdi, Cilèa, Puccini, Bizet, Delibes, Mozart, and Catalani. Label: “Produced & conceived by Andy Waterman and B. J. Ward for the Bureau of Sound in association with Syrinx Inc.” Program notes by B. J. Ward inserted in the container. “Willow Song.” In The World So Wide. Dawn Upshaw, soprano; Orchestra of St. Luke’s; David Zinman, conductor. New York: Nonesuch, 1998. Nonesuch 79458-2. 1 compact disc (45:00); track 5 (3:43). Program notes by Jaimie James and text included. Recorded December 1995 at Hit Factory, New York.

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“Willow Song.” In Queen of the Night. Tempe, Ariz.: Summit Records; 2000. Summit DCD 252. 1 compact disc (36:42); track 5 (3:22). Previously released as Dorchester Classic DORC 1001. The disc includes arrangements of arias by Verdi, Cilèa, Puccini, Bizet, Delibes, Mozart, and Catalani. The program notes by B. J. Ward incorrectly attribute the Willow Song to Puccini. “Willow Song.” In Beverly Sills: Made in America. Hamburg: Deutsche Grammophon, 2006. Deutsche Grammophon B0007999-09. 1 DVD (1:23:29). (Great Performances). Douglas Moore introduces Beverly Sills singing the Willow Song in this excerpt from a television broadcast. Program notes by Bill Grayson. A production of Thirteen/WNET, New York. The Ballad of William Sycamore Genre: Song Text: Stephen Vincent Benét Instrumentation: Baritone, flute, trombone, and piano Date and place of composition: 1926, Paris 1st line: “My father, he was a mountaineer . . .” Vocal range: A  2–E4 Scores: Pencil ms. score (18 pp.); Library of Congress Pencil sketches (12 p), following sketches for Twelfth Night; Columbia University Ink ms. score (17 pp.); Columbia University Ink ms. score on transparencies (16 pp.); Columbia University The Ballad of William Sycamore: for Bass Voice, Flute, Trombone, and Piano. Columbia University Press Music Publication. Publisher’s no.: GMC 1.2554.7. New York: King’s Crown Music Press; sole agents, Galaxy Music, 1974. Score and 2 parts. The Ballad of William Sycamore (incomplete) Genre: Song Text: Stephen Vincent Benét Instrumentation: Baritone voice with orchestra (2.pic.2.2.2.cbsn./4.2.2.1./timp./perc./ strings) Date of composition: Unknown 1st line: “My father, he was a mountaineer . . .” Scores: Ink full score ms. (8 pp.), incomplete; Columbia University “Batter My Heart” see Three Sonnets of John Donne Bigger Better Babbitts see Oh, Oh, Tennessee

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Bip Goes to Town Genre: Film music Instrumentation: Piano and piccolo Movements: Titles Bip walks away Trucks Mother on porch Barn sequence Bip runs out, Frank in car Truck comes into town and crosses RR tracks They get out of car Lollipop The ride home Date of composition: March–April 1941 Score: Pencil sketches in short score (20 pp.); Columbia University Film: Bip Goes to Town. Joris Ivens, director; Lora Hays, editor; music by Douglas Moore. Produced by the Rural Electrification Administration. U.S. Department of Agriculture. [Washington, D.C.]: Rural Electrification Administration; 1941. 1 film. http://www .youtube.com/watch?v=HhOaMm6Zqic, accessed 12 December 2008. Bip Goes to Town. In Rural Electrification in Ohio: Historic REA Films, 1940–1941. Joris Ivens, director; Lora Hays, editor; music by Douglas Moore. Produced for the U.S. Department of Agriculture, Rural Electrification Administration. Fresno, CA: Heritage Productions, 2008. 1 DVD (56:43); chapter 4 (9:28). Filmed in 1940. Note: Contents include Power and the Land and Worst of Farm Disasters. The Birds’ Courting Song (arranged by Douglas Moore) Genre: Song Text: unknown (5 verses) Instrumentation: Soprano, tenor, chorus (SATB), and piano; entire soprano and tenor sections may be used in place of the solo voices Date of composition: ca. 1953 (194?) 1st line: “ ‘Hi!’ said the blackbird, sitting on a chair, . . .” Vocal range: D4–F5 for solo voices Scores: Ink ms. score (3 leaves); Library of Congress Facsim. ms. score (1 p.); Columbia University

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The Birds’ Courting Song. American Folk Song Choral Series, edited by Elie Siegmeister. Plate no.: 312-40262-3. Bryn Mawr, PA: Theodore Presser, 1955. “Blow, Blow Thou Winter Wind” see Five Shakespeare Songs “Boyhood at Bethel” see Pageant of P. T. Barnum “The Blue Flame,” see Devon Folk Songs “Brek-ek-co-ex-co-ex” see “Parabalou” “The Brook” see MacLeish Songs “Brown Penny” Genre: Song Text: William Butler Yeats Instrumentation: Voice and piano Date of composition: 29 December 1943, completed 1957 1st line: “I whispered ‘I am too young’ and then I am old enough . . .” Vocal range: D4–E5 Scores: In sketchbook and loose sketches; Columbia University Ink ms. score transparencies (2 pp.); Columbia University “Burial of Euclid” see Music for Yale Pageant Canon at the Seventh in E  Major Instrumentation: Unspecified Date of composition: 5 February 1915 Score: Ink ms. score (2 pp.); Yale University Note: For “Professor Parker. Strict Composition Exam D. S. Moore Feb. 5th”—p. 2. “Careful Etta” see Tintypes Carillon see Adventures in the Latin Quarter Carry Nation Genre: Opera in two acts Text: William North Jayme Characters: Carry’s mother, girl, members of the Ladies Auxiliary (3 women), sopranos; Boy, boy soprano; Carry Nation, mezzo-soprano; man in saloon, Ben, young man, tenors;

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Charles, man in saloon, marshal, preacher, caretaker, baritones; Carry’s father, bass-baritone; saloon boy, tap dancer; chorus Instrumentation: 2.pic.2.E.H.2.2./3.2.3./timp./perc./piano/harp/strings Acts: Prologue: A barroom in Topeka, Kansas, 1901 Act 1 Scene 1. An afternoon in late spring 1865. The parlor of the parents’ home in Belton, Missouri Scene 2. A churchyard in Belton. A Sunday morning the following spring Scene 3. An evening that autumn. A barn in Belton decorated for a hoedown Act 2 Scene 1. 1867. Charles and Carry’s home in Holden, Missouri Scene 2. Early that autumn. The mother’s bedroom Scene 3. The next day. A saloon in Holden Scene 4. Easter Monday the following spring. The churchyard in Belton Date of composition: 12 September 1963–66 Dedication: To the University of Kansas in honor of its Centennial, 1966 Commissioned by: University of Kansas Scores: Pencil ms. sketches; Columbia University Ink ms. full and vocal scores on transparencies; Columbia University Typescript libretto; Columbia University Carry Nation: An Opera in Two Acts: Prologue & Seven Scenes. Plate no.: GMC 2427. New York: Galaxy Music; London: Galliard, 1968. Vocal score. Includes historical notes and synopsis. Recordings: Carry Nation [An Opera in 2 Acts]. Beverly Wolff (Carry Nation); Ellen Faull (mother); Julian Patrick (Charles); Arnold Voketaitis (father); Dan Kingman (first man in saloon); Don Carlo (second man in saloon); Don Yule (city marshal); Kellis Miller (Ben); Edward Pierson (preacher); Ronald Bentley, John Stewart (young men at hoedown); Arlene Adler (young girl at hoedown); Jack Bittner (toaster, caretaker); Michael Ahearn (boy); Colette Martin (girl); Joan August, Maria West, Lila Herbert, Donna Owen (ladies’ auxiliary); New York City Opera Company Orchestra; Samuel Krachmalnick, conductor. New York: Desto (CMS Records), 1968. Desto DC-6463–DC-6465. 3 records (33¹⁄³ rpm, compatible stereo., automatic sequence), 12 in. Booklet (24 pp.) includes program notes, plot synopsis, and libretto. Carry Nation. Culver City, CA: Bay Cities, 1990. BCD-1012—BCD-1013. 2 CDs (2:03:46). Reissued from Desto DC 6463–DC 6465. The booklet (42 pp.) includes program notes, a plot synopsis, and the libretto.

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Carry Nation. “I Lie Awake and Listen” Genre: Song Text: William North Jayme Instrumentation: Mezzo-soprano and piano Acts: From act 2, scene 1 Date of composition: 1963–66 1st line: “I lie awake and listen . . .” Vocal range: B  3–G  5 Score: I Lie Awake and Listen: Aria from the Opera “Carry Nation.” Libretto by William North Jayme. Publisher’s no.: GMC 2483. New York: Galaxy Music; London: Galliard, 1968. Vocal score. “The Cat and the Moon” (incomplete) Genre: Song Text: William Butler Yeats Instrumentation: Voice and piano Date of composition: 19 June 1944 1st line: “The cat went here and there and the moon spun round like a top . . .” Vocal range: C4–E5 Score: Pencil ms. (2 pp.), incomplete, (13 measures), in Manuscript Music Book no. 8; Columbia University “The Cat Sat (Art Song) = (Katze Sitze) (ein Kunstlied)” (incomplete) Genre: Song Text: Douglas Moore or Henry Brant Instrumentation: Voice and piano Date of composition: 1943 1st line: “The cat lies in the lilac bush . . .” Vocal range: D4–F5 Scores: Pencil ms. score (2 pp.), incomplete, consisting of only the vocal line; Columbia University Note: Ms. attributes song: “by H. Douglas Bránt-Möore.” “Childe the Hunter,” see Devon Folk Songs “A Chinese Lion and the Unhappy Flutist” see Four Museum Pieces Chorale Varié in F Minor Genre: Theme and variations

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Instrumentation: Piano Movements: Chorale Variation 1. Andantino Variation 2. Allegro moderato Variation 3. Variation 1 avec autre contrepoint Date of composition: ca. 1919 Score: Sketches and ink ms. (5 pp.); Columbia University Note: From studies with Vincent d’Indy. “Circus Parade” see The Pageant of P. T. Barnum “Class Song” (incomplete) Form: Song Text: Untexted Instrumentation: Voice and piano Date of composition: May 1921 Vocal range: C4–D5 Score: Pencil ms. score (1 p.), incomplete, ending at the chorus; Columbia University “Cleopatra’s Mother” (incomplete) Genre: Song Text: Untexted Instrumentation: Voice and piano Date of composition: after 1919 Vocal range: C4–E5 Score: Pencil ms. score (4 pp.), incomplete; Columbia University “Close of Civil War Episode” see Music for Yale Pageant Columbia the Gem of the Ocean see Oh, Oh, Tennessee “Come Away, Death” see Five Shakespeare Songs and Suite from Shakespearean Music “Complainin’ Annie” see Tintypes. “Grievin’ Annie” Concerto for Mandolins and Piano (lost) Date of composition: ca. 1915

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Score: Manuscript: Unknown Note: Written for the Yale Elizabethan Club. Concerto for Piano (incomplete) Instrumentation: Piano and orchestra Date of composition: 20 July 1951 Score: Pencil sketch short score (9 pp.) for first movement only; incomplete; Columbia University Cotillion Suite Genre: Suite Instrumentation: String orchestra Movements: I. “Grand March” II. “Polka” III. “Waltz” IV. “Gallop” V. “Cake Walk” VI. “Quickstep” Date of composition: June–July 1952 Duration: 15:15 Dedication: Alfredo Antonini Commissioned by: CBS Orchestra Scores: Pencil ms. score (62 pp.); Library of Congress Facsim. ms. score (57 pp.); Library of Congress Pencil sketches (5 pp.); Columbia University Cotillion: Suite for String Orchestra. Carl Fischer Academic String Orchestra Series, 20–22. Publisher’s no.: AS20-AS22; plate no.: N3015-N3017. New York: Carl Fischer, 1959. 3 vols. and parts. Recordings: Cotillion Suite. In Punch and the Judy, Robert McBride; Fishhouse Punch, Avery Claflin; Cotillion Suite, Douglas Moore. Oslo Philharmonic Orchestra; Alfredo Antonini, conductor. New York: Composers Recordings, [1957]. Composers Recordings CRI 107. 1 disc (33¹⁄³ rpm mono. record), 12 in.; side 2. Recorded November 1956. Cotillion Suite. In Punch and the Judy (1941) by Robert McBride. Fishhouse Punch (1947–48) by Avery Claflin. Cotillion Suite (1952) by Douglas Moore. New York: Composers Recordings, [1970]. Composers Recordings CRI SD 107. 1 disc (33¹⁄³ rpm stereo. record), 12 in.; side 2. Reissued from CRI 107.

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Cotillion Suite. In Douglas Moore, Marion Bauer. CRI American Masters. New York: Composers Recordings, 1996. Composers Recordings CD 714. 1 compact disc (71:12); tracks 5–10 (14:06). Reissued from CRI 107. Disc also includes Farm Journal, the Symphony in A Major, and works by Marion Bauer. “The Country Farmer’s Son,” see Devon Folk Songs The Crossing Genre: Cantata Text: Douglas Moore Instrumentation: Alto, tenor, bass, 2 combs, violin (open strings), double bass, triangle, cymbal, clarinet, bassoon, and piano Movements: No. 1. Prelude No. 2. Alto solo (“Herbert hurry up . . .”) No. 3. Tenor solo (“Peace Mary, just relax . . .”) No. 4. Tenor solo (“Poor little Marly left behind . . .”) No. 5. Alto solo (“Oh my sweet Herbert don’t be disturbed . . .”) No. 6. Duet, alto and tenor (“Fooey, fooey, Columbia, Department of Music, too . . .”) [Bass voice recitative between each number] Date of composition: 13 January 1936 Dedication: To Herbert and Mary [Dittler] On the eve of their great adventure, With much love Douglas Moore, 13 January 1936. Scores: Ink ms. vocal score (24 pp.); Yale University Note: The title page includes an ink drawing by Mary Moore. There is also a setting of the Ode to Joy from Beethoven’s Ninth Symphony with humorous words by Moore honoring the Dittlers’ voyage. Pencil ms. score (28 pp.); Columbia University Note: “Respectfully dedicated to Their Serene Majesties Herbert and Mary.” 1 set of ink ms. parts; Columbia University “The Cruise” Genre: Private entertainment (song) Text: Robert Loveman Instrumentation: Voice and piano Date of composition: Unknown 1st line: “The crescent moon’s a yellow boat upon the evening sea . . .” Vocal range: D  4–D5 Scores: Ink piano acc. (2 pp.); Columbia University Vocal part (1 p.); Columbia University

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“The Cuckoo” see Five Shakespeare Songs “The Cupboard” Genre: Song Text: Walter de la Mare Instrumentation: Voice and piano Date of composition: 1928 1st line: “I know a little cupboard with a teeny tiny key . . .” Vocal range: C4–D5 Score: Pencil sketch (1 p.), incomplete; Columbia University “The Cupboard.” In New Songs for New Voices, edited by Louis Untermeyer and Clara and David Mannes with pen drawings by Peggy Bacon, 28–32. New York: Harcourt, Brace, 1928. “The Cupboard.” In Songs to Sing to Children, selected with additions by Albert E. Wier, from New Songs for New Voices, edited by Louis Untermeyer and Clara and David Mannes, 104–5. The Singer’s Music Shelf, vol. 1. New York: Harcourt, Brace, 1935. “Dance for a Holiday” see Two Pieces for Piano (1957) Danses pour flute, clarinette, et basson Genre: Dances Movements: Sarabande Gigue Date of composition: 1920 or 1926 Scores: Ink ms. score (3 pp.) and parts (12 pp.); Harvard University, Houghton Library, Nadia Boulanger Collection Pencil sketch (1 p.), Gigue; Columbia University Pencil ms. score (2 pp.), Gigue; Columbia University Pencil sketch (2 pp.), incomplete version in C  minor, Gigue; Columbia University “Dear Dark Head” Genre: Song Text: Translated from the Irish by Sir Samuel Ferguson Instrumentation: Voice and piano Date of composition: November 1958 1st line: “Put your head, darling, . . .” Vocal range: F  4–A5 Duration: 2:30

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Scores: Ink ms. on transparencies (3 pp.); Columbia University Dear Dark Head. Translated from the Irish by Sir Samuel Ferguson. Publisher’s no. GMC 2293. New York: Galaxy Music, 1963. “Dear Little Wisp of a Girl” Genre: Burlesque song Text: Unknown Instrumentation: Voice and piano Date of composition: Unknown 1st line: “Dear little wisp of a girl with your sparkling eyes of blue . . .” Vocal range: D4–E  5 Dedication: G. Schirmer Score: Pencil ms. score (2 pp.); Columbia University “Dearest Mama” see The Ballad of Baby Doe. Letter Song. “Death, Be Not Proud” see Three Sonnets of John Donne “The Death of Theodore Winthrop,” see Music for Yale Pageant “Decoration Day” see Four Pieces for Piano Dedication Genre: Motet Text: Archibald MacLeish Instrumentation: Mixed chorus (SSATBarB) Date of composition: 1938 1st line: “Oh sun, Oh sun! Instigator of cocks . . .” Dedication: To Dr. John Finley Williamson and The Westminster Choir Scores: Ink ms. score (8 pp.); Library of Congress Facsim. ms. (8 pp.), revised version; Columbia University Pencil ms. score (8 pp.); Harvard University, Houghton Library, Hans Moldenhauer Collection, bMS MUS 230 (614) Dedication: Motet for Six Voices. Publisher’s no.: OF-1; plate no.: Dedication-8. New York: Arrow Music Press, 1938. Dedication: Motet for Six Voices (S.S.A.T.B.B.). Arrow Music Press ed. Publisher’s no. A.P.42; plate no.: Dedication-8. [New York]: Boosey & Hawkes, 1956. “Destroyer Life”1 Text: Douglas Moore?

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Genre: Song Instrumentation: Voice and piano Date of composition: 1917 1st line: “The boys out in the trenches . . .” Vocal range: A3–D5 Scores: “Destroyer Song.” In John J. Niles, Singing Soldiers, pp. 166–67. Illustrated by Margaret Thorniley Williamson. New York: Charles Scribner’s Sons, 1927. Note: Contains the melody line and variant texts for the chorus only “Destroyer Life.” In The Songs My Mother Never Taught Me, pp. 86–91. According to John J. “Jack” Niles, Douglas S. “Doug” Moore, and A. A. “Wally” Wallgren. New York: Macaulay, 1929. “Destroyer Life.” In The Songs My Mother Never Taught Me, pp. 86–91. According to John J. “Jack” Niles, Douglas S. “Doug” Moore, and A. A. “Wally” Wallgren. New York: Gold Label Books, 1929. “Destroyer Life.” In American Ballads and Folk Songs, 514–17. Collected and compiled by John A. Lomax and Alan Lomax. New York: Macmillan, 1934. “Destroyer Song.” In John J. Niles, Singing Soldiers, 166–67. Illustrated by Margaret Thorniley Williamson, and with a new introduction by Leslie Shepard. Detroit, MI: Singing Tree Press, 1968. Recording: “Destroyer Life.” Douglas Moore, voice; John Kander [?], piano. Recorded at Salt Meadow, Cutchogue, NY, ca. 1950. http://www.babydoe.org/moore.htm, accessed 27 July 2009. Destroyer Song Genre: Program music Instrumentation: Orchestra (2.pic.3.E.H.3.bs.cl.2.cbsn./4.3.3.1./timp./perc./xylo./strings) Date of composition: August 1943 Dedication: United States Navy Commissioned by: League of Composers and CBS Scores: Ink ms. full score on transparencies (31 pp.); Columbia University 1 set of ink ms. parts for strings and perc. on transparencies; Columbia University Note: This work was never performed under this title, but was intended for an August 1943 radio performance by the New York Philharmonic, conducted by Artur Rodzinski. It is based on music in Power and the Land and was later used with minor modifications as the fourth movement, “Harvest Song,” in Farm Journal. Destroyer Song see also Farm Journal and Power and the Land

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The Devil and Daniel Webster Genre: Folk opera in one act Text: Stephen Vincent Benét Characters: Mary Stone, mezzo-soprano; Mr. Scratch, Miser Stevens, Simon Girty, tenors; Daniel Webster, clerk, Blackbeard Teach, baritones; Jabez Stone, King Philip, basses; fiddler, Justice Hathorne, Walter Butler, speaking parts Instrumentation: 2(pic.).2(E.H.).2(bs.cl.).2(cbsn.)/2.2.1.0/timp./perc./harp/strings or 1.1.1.1/1.1.1.0/perc./piano/strings or small orchestra with electric organ Date of composition: 1937–39 Dedication: For Emily Scores: Facsim. ms. vocal score (105 pp.); Library of Congress Ink ms. full score; Library of Congress Pencil sketch (3 pp.) in sketchbook; Columbia University The Devil and Daniel Webster. Book by Stephen Vincent Benét. Plate no.: U.S. No. 90. [New York]: Boosey & Hawkes, 1939. Vocal score. Includes synopsis. The Devil and Daniel Webster: Folk Opera in One Act. Book by Stephen Vincent Benét. Publisher’s no.: U.S. No. 90. London; New York: Boosey and Hawkes, 1943. Vocal score. The Devil and Daniel Webster. Book by Stephen Vincent Benét. Publisher’s no.: VSB-3; plate no.: U.S. no. 90. New York: Boosey & Hawkes, 1964. Vocal score. The Devil and Daniel Webster: Folk Opera in One Act: Opening Chorus. New York: Boosey & Hawkes, 1943. Chorus score. [The Devil and Daniel Webster. Selections] Two Songs from The Devil and Daniel Webster. Lyrics by Stephen Vincent Benét. Plate no.: No. 2422 (high voice); No. 2423-8 (low voice). New York: Boosey Hawkes; Belwin, sole distributors, U.S.A. for Boosey & Hawkes, 1941. Vocal score. Contents: “I’ve Got a Ram, Goliath”: Webster’s Song (dedicated: To Carl Lohmann); “Now May There Be a Blessing”: Mary’s Prayer (dedicated: To Ada MacLeish) Recordings: The Devil and Daniel Webster: (Folk Opera in One Act). Lawrence Winters (Daniel Webster); Joe Blankenship (Jabez Stone); Doris Young (Mary Stone); Frederick Weidner (Mr. Scratch); James de Groat (fiddler, Miser Stevens); Eugene Hartzell (Justice Hathorne, King Philip); Werner Harms (clerk); Frederic Milstein (Walter Butler); Werner Harms (Blackbeard Teach); Nigel Douglas (Simon Girty); Thomas Eva (old man); Jane Paul (old woman); Liane Dubin, Sheila Gayle, Virginia Kondakjian (other women). New York: Westminster, [1958]. Westminster OPW-11032 (mono.); Westminster WST 14050 (stereo.). 1 disc (33¹⁄³ rpm record), 12 in. Recorded 1957. Program notes by Otto Luening. The Devil and Daniel Webster: Folk Opera in One Act. New York: Desto (CMS Records), 1970. Desto DC-6450 (label); Desto DST-6450 (cover). 1 disc (33¹⁄³ rpm stereo. record), 12 in. Also issued as Desto D-450 (mono.), 1965. Reissued from Westminster OPW11032 and WST 14050.

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The Devil and Daniel Webster: Folk Opera in One Act. [New York]: Phoenix, 1988. Phoenix PHCD 103. 1 compact disc (53:37). The disc includes biographical notes on the composer and librettist, program notes, and a libretto. Reissued from Westminster OPW11032 and WST 14050. The Devil & Daniel Webster. Brian Steele (Daniel Webster); John Stephens (Jabez Stone); Joyce Guyer (Mary Stone); Darren Keith Woods (Mr. Scratch); Robert Gibby Brand (fiddler); Matthew Foerschler (Miser Stephens); Cary Miller (Justice Hathorne); Andrew Stuckey (King Philip); David Soxman (clerk); Benjamin Bongers (Walter Butler); Michael Lanman (Blackbeard Teach); Michael Philip Davis (Simon Girty); Kansas City Symphony Orchestra; Kansas City Lyric Opera Chorus; Russell Patterson, conductor. [Newport, RI]: Newport Classic, 1996. Newport NPD 85585. 1 compact disc (56:38). The Devil and Daniel Webster. Final Quartet Genre: Excerpt from an opera Text: Stephen Vincent Benét Characters: Mary Stone, Scratch, Daniel Webster, Jabez Stone Instrumentation: Solo voices (STBarBar) and orchestra Date of composition: 1937–39; revised April 1953 Dedication: For Emily Score: Pencil ms. sketches (11 pp.); Columbia University The Devil and Daniel Webster. Invocation Genre: Aria from an opera Text: Stephen Vincent Benét Character: Scratch Instrumentation: Tenor and piano Date of composition: ca. 1938 1st line: “In God’s name, who are these . . .” Vocal range: E  3–A  4 Score: Facsim. ms. vocal score (6 pp.); Columbia University The Devil and Daniel Webster. “I’ve Got a Ram, Goliath” Alternate title: Webster’s Song Genre: Aria from an opera Text: Stephen Vincent Benét Character: Daniel Webster Instrumentation: Baritone and orchestra Date of composition: 1937–39 1st line: “I’ve got a ram, Goliath . . .”

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Vocal range: B  2–G  4 Dedication: For Emily Scores: Facsim. ms vocal score (4 pp.); Yale University I’ve Got a Ram: from “The Devil and Daniel Webster.” Lyrics by Stephen Vincent Benét. Separate ed. Plate no.: S.2422. [New York]: Boosey & Hawkes, 1960. Vocal score. Recordings: The Devil and Daniel Webster: I’ve Got a Ram. In Vocal Masterworks. Frank Pullano, baritone; John Wustman, piano. Buffalo, NY: Mark Educational Recordings, [1970]. Mark Educational Recordings 32321. 1 disc (33¹⁄³ rpm stereo. record), 12 in. The Devil and Daniel Webster: I’ve Got a Ram, Goliath. In A Salute to American Music: Richard Tucker Music Foundation—Gala XVI. Sherrill Milnes, baritone; Members of the Metropolitan Opera Orchestra; James Conlon, conductor. New York: RCA Victor Red Seal; BMG Classics, 1992. RCA Victor 09026-61508-2. 2 compact discs (1:53:07); on CD 1, tracks 18–19 (3:31). Recorded live on 10 November 1991, Avery Fisher Hall, Lincoln Center, New York City. The Devil and Daniel Webster. “Now May There Be a Blessing” Alternate title: Mary’s Prayer Genre: Aria from an opera Text: Stephen Vincent Benét Character: Mary Stone Instrumentation: Mezzo-soprano and piano Date of composition: ca. 1938 1st line: “Now may there be a blessing . . .” Vocal range: C4–F5 Dedication: To Ada MacLeish Scores: Manuscript: Unknown Now May There Be a Blessing: Mary’s Wedding Prayer from “The Devil and Daniel Webster.” Lyrics by Stephen Vincent Benét. Separate ed. Publisher’s no.: S. 2423; plate no.: No. 2422-8. S.l.: Boosey & Hawkes, 1959. Vocal score. Dedicated: To Ada MacLeish. The Devil and Daniel Webster. “Now May There Be a Blessing” Alternate title: Mary’s Prayer Genre: Aria from an opera Text: Stephen Vincent Benét Instrumentation: Soprano and women’s chorus (SSA) with piano for rehearsal Date of composition: This arrangement 1962

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1st line: “Now may there be a blessing . . .” Vocal range: E  4–A  5 (solo) Scores: Manuscript: Unknown Now May There Be a Blessing: Mary’s Wedding Prayer from “The Devil and Daniel Webster”: Solo Soprano and S.S.A. a Cappella. Verse by Stephen Vincent Benét. Plate no. Oct. 5413. [New York]: Boosey & Hawkes, 1962. 7 pp. Piano for rehearsal only. The Devil and Daniel Webster. Scratch’s Song Genre: Aria from an opera Text: Stephen Vincent Benét Character: Scratch Instrumentation: Tenor, violin, and piano Date of composition: ca. 1938 1st line: “Young William was a thriving boy . . .” Vocal range: E4–G  5 Score: Facsim. ms. vocal score (7 pp.); Columbia University Devon Folk Songs, settings from Songs of the West (incomplete) Genre: Folk song settings Text: Anonymous Instrumentation: Voice and piano Movements: “Childe the Hunter” “May Day Carol” “Flora, the Lily of the West” “The Simple Ploughboy” “The Blue Flame” “The Fox [?]” “The Country Farmer’s Son” “The Old Man Can’t Help His Wife at Home” “Old Adam the Poacher” Date of composition: 1930 Score: Sketches; Columbia University Note: Song melodies taken from S. Baring-Gould, H. Fleetwood Sheppard, and F. W. Bussell, Songs of the West: Folk Songs of Devon & Cornwall: Collected from the Mouths of the People, new and rev. ed. under the musical editorship of Cecil J. Sharp (London: Methuen, [1910]).

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Dirge Alternate title: Passacaglia for organ Instrumentation: Organ; arranged for band by Keith Wilson (2 fl.(pic.)/2 ob./E.H./bsn./ E  cl./3 cl./bs.cl./2 alto sax./ten.sax./bar.sax./3 cor./2 tpt./4 hrn./3 trb./bar.hrn./ tuba/str.bs./timp./perc.) Date of composition: September 1939 Dedication: To the memory of Horatio Parker Scores: Ink ms. score (9 pp.); Library of Congress Pencil ms. score (8 pp.); Library of Congress Set of ink ms. parts (band arrangement); no score; Yale University Band Library Dirge (Passacaglia for Organ). Contemporary Organ Series, no. 4. Plate no.: C.O.S.No.4. New York: H. W. Gray, 1941. “Dirge (Passacaglia for Organ).” In Contemporary Masterworks for Organ, 57–64. Publisher’s no.: GB 653. [New York]: H. W. Gray; Melville, NY: Belwin-Mills, 1983. The Discouraged Church Bells Genre: Program music Instrumentation: Flute, clarinet in A, piano Date of composition: 1926 Scores: Ink ms. reduced score (3 pp.); Columbia University Ink ms. score (4 pp.) and 2 parts (3 pp. each); Harvard University, Houghton Library, Nadia Boulanger Collection Le doughboy s’en fiche Genre: March Instrumentation: Piano Date of composition: ca. 1917–19 Score: Ink ms. (4 pp.); Columbia University “The Dove Song” see The Wings of the Dove. The Dove Song “Down at the North Fork Country Club Cabaret” Genre: Song Text: Douglas Moore? Instrumentation: Voice and piano Date of composition: Unknown 1st line: “Now Charlie Hudson said he wanted a cabaret . . .”

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Vocal range: C4–E  5 Score: Ink and pencil ms. score (2 pp.); Columbia University Down East Suite Instrumentation: Violin and piano (or orchestra) Movements: I. Allegro con brio II. Molto andante III. Allegro moderato Date of composition: Summer 1944, revised March 1945 Dedication: To Henri Temianka Commissioned by: Henri Temianka Scores: Pencil ms. score (29 pp.); Library of Congress Ink ms. score (21 pp.) + 1 ink ms. part (8 pp.); Library of Congress Pencil sketches (4 pp.); Columbia University Facsim. ms. score, 1st version (21 pp.); Columbia University Facsim. ms. score, revised version (21 pp.) having only minor annotations on p. 1; Columbia University Down East Suite. Publisher’s no.: 03412; plate no.: 30033-30. New York: Carl Fischer, 1946. Score with part. “Dreams” see MacLeish Songs “Early Song” Genre: Song Text: without text Instrumentation: Voice and piano Date of composition: Early work Vocal range: C4–F5 Score: Ink ms. score (3 pp.); Columbia University The Emperor’s New Clothes Genre: Children’s opera Text: Raymond Abrashkin, after Hans Christian Andersen Characters: Narrator, child, father, son, speaking; handmaidens, sopranos and altos; emperor, first and second tailors, court jesters, inner guards, tenors; prime minister, baritone; palace guards, outer guards, basses; chorus Instrumentation: 2.pic.1.2.bs.cl.1/3.3.0.0/timp./perc./strings

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Act: One act Scene 1. An emperor’s court Scene 2. The imperial tailor shop Scene 3. The emperor’s dressing room Scene 4. A street scene Date of composition: 1947–June 1948; revised 1956 Duration: 14:00 Commissioned by: Young People’s Records Scores: Vocal score ms. (31 pp.); Columbia University Pencil ms. sketches (2 pp.); Columbia University Typescript libretto excerpt (3 pp.); Columbia University Facsim. ms. vocal score (31 pp.), with textual interpolations accompanied by pencil ms. sketches of revised version of 1956 for scene 1 only (10 pp.); the cover says: “Emperor’s New Clothes + Sketches for expanded version” and “Draft for School Version” (incomplete); Library of Congress Annotated proof copy (43 pp.); Eastman School of Music The Emperor’s New Clothes: A Short Opera for Young Audiences in One Act (Four Scenes). Publisher’s no.: O 3756; plate no.: N2032. New York: Carl Fischer, 1956. Vocal score. Includes synopsis. Full score and parts on rental. Recording: The Emperor’s New Clothes. George Rasely (emperor); Leonard Stokes (prime minister); Earl Rogers, James Ballister (tailors); Madeline Lee (the child); Norman Rose (narrator); Gene Lowell Chorus; Max Goberman, conductor. [New York]: Young People’s Records, 1949. Young People’s Records 1007–1008. 2 discs (78 rpm records), 10 in. Recorded 3 February 1949. Includes libretto. Automatic sequence. The Emperor’s New Clothes. Same cast. [New York]: Children’s Record Guild, 1953. Children’s Record Guild 1007–1008. 2 discs (78 rpm records), 10 in. The Emperor’s New Clothes. Same cast. [New York]: Young People’s Records, 1953. Young People’s Records 45x 1007–45x 1008. 2 discs (45 rpm records) 7 in. The Emperor’s New Clothes. Same cast. [New York]: Young People’s Records, 1960. Young People’s Records 15007. 1 disc (33 1/3 rpm mono. record), 12 in.; side 1. The disc also includes Harvest Time, and the Indian Suite by Edward MacDowell. “Escalator” see Four Pieces for Piano Eternal God Genre: Hymn Text: Henry Hallam Tweedy Instrumentation: Chorus (SATB) with accompaniment

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Date of Composition: 1957 1st line: “Eternal God, whose power upholds both flower and flaming star . . .” Commissioned: For the publication American Hymns Old and New Scores: Pencil ms. score (1 p.) in sketchbook; Columbia University “Eternal God.” In American Hymns Old and New, edited by Albert Christ-Janer, Charles W. Hughes, and Carleton Sprague Smith, 1:786–87, v. 2:50, 2:492–93, 2:577. 2 vols. New York: Columbia University Press, 1980. The hymn is published in vol. 1. A note about the hymn and biographies of Moore and Tweedy are printed in vol. 2. Etude in Tenths, op. 1, no. 3 Alternate title: Impromptu in C major [title crossed out] Instrumentation: Piano Date of composition: Early work Scores: Ink ms. (5 pp.), 1st draft; Columbia University Ink ms. (7 pp.), fair copy; Columbia University “The Evening Wind” see MacLeish Songs “Exit of Kansas Settlers” see Music for Yale Pageant Fall of the City (incomplete) Genre: Opera Text: Archibald MacLeish Instrumentation: 2.2.2.2./4.2.3.1./perc./strings Date of composition: 1942 1st line: “First the waters rose with no wind . . .” Scores: Pencil ms. sketch (7 pp.); Columbia University Pencil ms. full score (11 pp.), incomplete; Columbia University Pencil vocal score sketch (8 pp.), incomplete; Columbia University Fanfare Instrumentation: Brass ensemble (3 horns, 3 baritone horns, 3 trumpets, 2 trombones, bass trombone, 2 tubas, snare drum, bass drum, cymbals) Date of composition: 1945 Duration: 0:37 Scores: Pencil ms. sketches (1 p.); Columbia University Pencil ms. score (2 pp.); Columbia University

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Fantaisie Polonaise Instrumentation: Orchestra (2.2.2.bs.cl.2./4.2.3.1./timp./cym./harp/strings) Date of composition: 1917 Scores: Ink ms. full score (50 pp.); Yale University Ink ms. full score (50 pp.); Columbia University Note: Final composition project for Yale B. Mus. degree. Farm Journal Genre: Suite derived from film score for Power and the Land Instrumentation: Chamber orchestra (2(pic.).2.2.2./2.1.0.0./perc./piano/strings) Movements: I. “Up Early” [from film Power and the Land] II. “Sunday Clothes” III. “Lamplight” [from film Power and the Land, no. 7B] IV. “Harvest Song” [from film Power and the Land, no. 9A; revised version of Destroyer Song] Date of composition: July–August 1947 Duration: 13:00 Commissioned by: Little Orchestra Society Scores: Manuscript excerpted from the ink ms. full score (originally 185 pp.) for Power and the Land; Columbia University Farm Journal: Suite for Chamber Orchestra. Fischer Concert ed. for orchestra. A Carl Fischer Orchestration. Publisher’s no.: C153; full score, plate no.: N1573; piano-conductor score, plate no.: 30564. New York: Carl Fischer, 1950. 1 score, 1 piano-conductor score, and parts. Published with three different sets of string parts: set A, 1st and 2nd violins (2 each), viola, cello, and bass (1 each); set B, 1st and 2nd violins (5 each), viola, cello, and bass (3 each); set C, 1st and 2nd violins (8 each), viola, cello, and bass (5 each). Score and piano-conductor score also published separately. Recordings: Farm Journal. In Farm Journal, Douglas Moore; Suite for String Orchestra, Prelude and Fugue for Flute and Strings, Marion Bauer. Oslo Philharmonic Orchestra; Alfredo Antonini, conductor. New York: Composers Recordings, [1956]. Composers Recordings CRI-101. 1 disc (33¹⁄³ rpm mono. record), 12 in.; side 1. Farm Journal. In Farm Journal, Douglas Moore; Suite for String Orchestra, Prelude and Fugue for Flute and Strings, Marion Bauer. Oslo Philharmonic Orchestra; Alfredo Antonini, conductor. New York: Composers Recordings, [197-]. Composers Recordings CRI SRD 101. 1 disc (33¹⁄³ rpm stereo. record), 12 in.; side 1. Reissued from Composers Recordings CRI-101.

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Farm Journal. In Douglas Moore, Marion Bauer. CRI American Masters. New York: Composers Recordings, 1996. Composers Recordings CD 714. 1 compact disc (71:12); track 1 (14:20). Reissued from Composers Recordings CRI-101. The disc also contains Cotillion Suite, the Symphony in A Major, and two works by Marion Bauer. “Fiddlin’ Joe” see Tintypes “Fingers and Toes” Genre: Song Text: Arthur Guiterman Instrumentation: Voice and piano Date of composition: 1928 1st line: “Such funny songs my grandma sings . . .” Vocal range: C4–D5 Score: Manuscript: Unknown “Fingers and Toes.” In New Songs for New Voices, edited by Louis Untermeyer and Clara and David Mannes, with pen drawings by Peggy Bacon, 38–39. New York: Harcourt, Brace, 1928. Five Shakespeare Songs “Blow, Blow Thou Winter Wind” Genre: Song Text: William Shakespeare (from As You Like It) Character: Duke Instrumentation: Voice and piano Act: Act 2, scene 7, lines 174–90 Date of composition: December 1943 1st line: “Blow, blow thou winter wind . . .” Vocal range: C3–E  4 Scores: Ink ms. score (3 pp.), transparencies, also various pencil sketches in sketchbook; Columbia University “Come Away, Death” Genre: Song Text: William Shakespeare (from Twelfth Night) Character: Feste Instrumentation: Bass-baritone; bass-baritone and string quartet version, incomplete Act: Act 2, scene 4, lines 51–66

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Date of composition: 1916–28 1st line: “Come away, come away, death . . .” Vocal range: B  2–D4 Scores: Ink ms. (2 pp.), transparencies; Columbia University Pencil sketch (2 pp.), incomplete version in D minor for bass-baritone and string quartet; Columbia University Ink ms. (1 p.), transparencies of incomplete version; Columbia University Pencil ms. of text (2 pp.); Columbia University Come Away, Death: From Shakespeare’s Twelfth Night: for Unaccompanied Bass-Baritone. New York: Mills Music, 1962. Note: The relationships between the manuscripts are complex and require further study that is beyond the scope of this book. The song first appeared in the incidental music to Twelfth Night composed for a Yale production in 1916. Moore returned to this music for the American Laboratory Theatre production of October 1925. It was then recast as one of the movements of the Suite from Shakespearean Music (1928). It appears in its final form as published by Mills Music. Recordings: “Come Away, Death”; “Death, Be Not Proud.” In Songs of American Composers. Donald Gramm, baritone; Richard Cumming, piano (1st work); Eleanor Steber, soprano, and Edwin Biltcliffe, piano (2nd work). N.p.: St/And, 1963. St/And SPL-411–SPL-412 (mono.); St/And SLS 7411–SLS 7412 (stereo.). 2 discs (33¹⁄³ rpm records), 12 in.; “Come Away, Death” on disc 1, side 2, band 2; “Death, Be Not Proud” on disc 2, side 1, band 7. Program notes by Jack Beeson. “Come Away, Death”; and, “Death, Be Not Proud.” In Songs by American Composers. Eleanor Steber, soprano; Edwin Biltcliffe, piano (2nd work); Donald Gramm, baritone, Richard Cumming, piano (1st work). [New York]: Desto, [1964]. Desto D-411–D412 (mono.); Desto DST-6411–DST-6412 (stereo.). 2 discs (33¹⁄³ rpm records), 12 in.; “Come Away Death” on disc 1, side 2, band 2; “Death, Be Not Proud” on disc 2, side 1, band 7. Reissued from St/And SPL-411–SPL-412. With songs by Ernst Bacon, Samuel Barber, Jack Beeson, William Bergsma, Paul Bowles, John Alden Carpenter, Theodore Chanler, Aaron Copland, Henry Cowell, David Diamond, John Edmunds, Irving Fine, William Flanagan, Charles T. Griffes, John Gruen, Charles Ives, John La Montaine, Otto Luening, Edward A. MacDowell, Vincent Persichetti, Daniel Pinkham, Ned Rorem, Virgil Thomson, Robert Ward, and Ben Weber. “Come Away, Death”; “Death, Be Not Proud.” In Love’s Secret: and Other Songs by American Composers. Donald Gramm, bass-baritone; Richard Cumming, piano (“Come Away, Death”); Eleanor Steber, soprano; Edwin Biltcliffe, piano (“Death, Be Not Proud”). The American Composers Series. Englewood Cliffs, NJ: Vox Box, 1996. Vox CDX 5129. 2 compact discs; “Come Away, Death” on CD 1 (49:37), track 12 (2:38);

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“Death, Be Not Proud” on CD 2 (54:21), track 7 (2:34). The disc also includes songs by David Diamond, Vincent Persichetti, Otto Luening, Irving Fine, William Flanagan, Ned Rorem, Charles Ives, Jack Beeson, Paul Bowles, John Edmunds, John Alden Carpenter, Ernst Bacon, Samuel Barber, William Bergsma, Charles T. Griffes, John La Montaine, Virgil Thomson, Edward A. MacDowell, Theodore Chanler, Aaron Copland, Robert Ward, John Gruen, Daniel Pinkham, Ben Weber, and Henry Cowell. “Come Away, Death.” In Enclosure Five: Harry Partch (1901–1974) . . . On an Ancient Greek Theme. George Bishop, baritone. Saint Paul, MN: Innova, 1998. Innova 405. 3 compact discs; on CD 2 (1:16:11), track 18 (3:02). Recorded in Chicago, 1942. “The Cuckoo” Alternate title: “Spring and Winter” Genre: Song Text: William Shakespeare (from Love’s Labour’s Lost) Character: Don Adriano de Armado Instrumentation: Voice and piano Act: Act 5, scene 2, lines 894–911 Date of composition: 31 December 1943 1st line: “When daisies pied and violets blue and lady smocks all silver white . . .” Vocal range: E4–F5 Scores: Ink ms. score (2 pp.), transparencies; Columbia University Pencil sketch in sketchbook (2 pp.); Columbia University “O Mistress Mine” Genre: Song Text: William Shakespeare (from Twelfth Night) Character: Feste Instrumentation: Voice and piano; also C minor version for voice, flute, and harpsichord Act: Act 2, scene 3, lines 39–44, 47–52 Date of composition: 1916, 23 January 1944 1st line: “O mistress mine, where are you roaming . . .” Vocal range: D4–E5 Scores: Pencil ms. score (3 pp.) in sketchbook; Columbia University Ink ms. score (2 pp.), transparencies; Columbia University Pencil sketch (3 pp.), version in C minor for voice, flute, and harpsichord; Columbia University Ink ms. full score (2 pp.), version in C minor for voice, flute and harpsichord; Columbia University Ink ms. score (1 p.), for voice and piano in C minor; Columbia University

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Note: “O Mistress Mine” has a history similar to that of “Come Away, Death” (see note above). It was part of the incidental music to Twelfth Night for the Yale (1916) and American Laboratory Theatre (1925) productions. It was also a movement of the Suite from Shakespearean Music (1928). The latest dated version, from 1944, is a pencil manuscript found in a sketchbook at Columbia University. “Sigh No More, Ladies” Genre: Song Text: William Shakespeare (from Much Ado About Nothing) Character: Balthasar Instrumentation: Voice and piano Act: Act 2, scene 3, lines 59–72 Date of composition: 1927 1st line: “Sigh no more, ladies . . .” Vocal range: D4–E5 Dedication: For Mrs. Benjamin Prince Scores: Manuscript: Ink ms. score (1 p.); Columbia University Sigh No More, Ladies: From Shakespeare’s ‘Much Ado About Nothing’: Song. Plate no.: 2444-2. New York: Boosey & Hawkes; sole distributors, U.S.A., Boosey, Hawkes, Belwin, 1944. Note: The song first appeared as part of the incidental music for a production of the American Laboratory Theatre production of November 1927. It was then included as a movement of the Suite from Shakespearean Music (1928). The final form was published by Boosey and Hawkes. “Flora, the Lily of the West,” see Devon Folk Songs “For All Blasphemers” see “Adam Was My Grandfather” Four Museum Pieces Genre: Suite Instrumentation: Organ; arranged for orchestra (3.pic.2.E.H.2.bs.cl.3.cbsn./4.3.3.1./timp./ perc./2 harps/organ/strings) Movements: I. “XVIth Century Armor” II. “A Madonna of Botticini” III. “A Chinese Lion and the Unhappy Flutist” IV. “A Statue by Rodin” Date of composition: July 1922 at the MacDowell Colony; arranged 1923

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Scores: Ink ms. score (16 pp.); Library of Congress In sketchbook; Columbia University Orchestra arrangement: Ink ms. full score (41 pp.), bound, and 1 set of ink ms. parts; Columbia University Four Pieces for Piano Genre: Suite Movements: “Escalator” “Decoration Day” “The Princess and the Pea” “Mississippi” Date of composition: 1952 Scores: Ink ms. (6 pp.); Library of Congress Pencil sketch (7 pp.) in sketchbook; Columbia University Contemporary Piano Literature, Book 3, selected and correlated by Frances Clark and edited by Louise Goss. Frances Clark Library for Piano Students. Publisher’s no.: SUMCO 5040. [Chicago]: Summy, 1957. “Decoration Day,” 36–38; “Mississippi,” 39–40. Contemporary Piano Literature, Book 4, selected and correlated by Frances Clark and edited by Louise Goss. Frances Clark Library for Piano Students. Publisher’s no.: SUMCO 5041. [Chicago]: Summy, 1957. “Escalator,” 44–45; “The Princess and the Pea,” 46–47. Recordings: *“Decoration Day”; “Mississippi.” In My First Ball. Bob L. Bennett, piano. Educo 3109. 1 disc (33¹⁄³ rpm record); bands 7–8. “The Fox,” see Devon Folk Songs “Friends, Elis, Countrymen” Genre: Private entertainment (song) Text: A. Whitney Griswold Instrumentation: Voice and piano Date of composition: June 1953 1st line: “In Roman days when it came time for Caesar to retire . . .” Vocal range: C4–E  5 Scores: Pencil sketch (4 pp.); Columbia University Facsim. ms. score (5 pp.); Columbia University

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Typescript text (3 pp.); Columbia University Note: “Music by Douglas Moore with additional tributes by Schumann, Beethoven and Wagner.” Fugue in A Instrumentation: Flute and clarinet Date of composition: [1926] Scores: 2 ink ms. scores (2 pp. each); Harvard University, Houghton Library, Nadia Boulanger Collection Fugue in D Major Instrumentation: String quartet Date of composition: ca. 1910 Score: Pencil ms. (7 pp.) in sketchbook; Columbia University Fugue in E Minor Instrumentation: Organ Date of composition: 1921 Score: Ink ms. score (6 pp.); Library of Congress Note: Written for the “II Cours” at the Schola Cantorum, Paris, and includes comments on the last page by Vincent d’Indy. Fugue in E Minor (incomplete) Instrumentation: Keyboard Date of composition: 22 July 1924 Score: Pencil sketch (2 pp.), incomplete; Columbia University Fugue in F Minor Instrumentation: Organ Date of composition: June 1915 Scores: Ink ms. score (7 pp.); Yale University Ink ms. of Fugue for Piano (possibly same piece) in F minor (3 pp.), incomplete, in the Yale University Copy Book, 1916–17; Columbia University Note: Written for a Yale University class in strict composition. Gallantry Genre: Soap opera

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Text: Arnold Sundgaard Characters: Lola, soprano; Announcer, mezzo-soprano; Donald, tenor; Dr. Gregg, baritone; Billy Boy Girls, 3 dancers Instrumentation: Chamber orchestra (2.1.2.1./2.2.1./perc./harp/strings) Act: One act; a television studio, the present Date of composition: 29 June–16 August 1957 Duration: ca. 35:00 Scores: Pencil ms. vocal score (63 pp.); Library of Congress Facsim. ms. vocal score (61 pp.); Library of Congress Pencil sketches (6 pp.); Columbia University Typescript libretto (10 pp.), incomplete; Columbia University Gallantry. Publisher’s no.: Ed. 2309; plate no.: 44407. New York: G. Schirmer, 1958. Vocal score. Recording: Gallantry. In Happy Endings: Comic Chamber Operas. Margaret Bishop (Lola Markham); Julia Parks (announcer); Carl Halvorson (Donald Hopewell); Richard Holmes (Doctor Gregg); New York Chamber Ensemble; Stephen Rodgers Radcliffe, conductor. Albany, NY: Albany, 1995. Albany TROY 173. 1 compact disc (60:49), side 1 (27:16). Recorded at LeFrak Concert Hall, Queens College, Flushing, NY, 30–31 May 1994. Gallantry. Lola’s Aria Genre: Aria from an opera Text: Arnold Sundgaard Instrumentation: Soprano and piano Date of composition: 1957 1st line: “Sleep, my love, imagine dark . . .” Vocal range: E  4–F  5 Scores: Ms. excerpted from full opera; Columbia University “Lola’s Aria from Gallantry.” In American Arias for Soprano: A Diverse Selection of Arias From Operas by American Composers, 33–37. Publisher’s no.: HL50481197. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 1990. Vocal score. “Lola’s Aria.” In G. Schirmer American Aria Anthology: Soprano, compiled and edited by Richard Walters, 65–69. Publisher’s no.: HL50484623. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 2004. Vocal score. Gavotte in C  Minor Instrumentation: Organ Date of composition: 1921

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Scores: Pencil sketch (1 p.) in sketchbook; Columbia University Ink ms. score (3 pp.); Library of Congress Note: Written for the “II Cours” at the Schola Cantorum, Paris, and includes comments on the last page by Vincent d’Indy. Gavotte in D  Major (incomplete) Instrumentation: Keyboard Date of composition: Unknown Score: Pencil sketch (1 p.), incomplete; Columbia University “General and Mrs. Tom Thumb” see The Pageant of P. T. Barnum “Ghosts” Alternate title: “I Have Followed Lonely Down the Marne” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: July 1919 1st line: “I followed lonely down the Marne from Epernay to Meaux . . .” Vocal range: E4–F5 Scores: Pencil ms. score (4 pp.) in sketchbook; Columbia University Ink ms. score (6 pp.); Columbia University Ink ms. score (1 p.) with pencil annotation by D’Indy; text reads: “I have followed lonely. . . .”; Columbia University Giants in the Earth Genre: Opera in three acts Text: Arnold Sundgaard after O. E. Rølvaag Characters: Beret, Kjersti, Dagmar, sopranos; Sorrine, alto; Syvert, Henry, tenors; Per Hansa, Preacher, baritones; Hans Olsa, bass-baritone; O’Hara, bass; Sullivan; Ole; Anna Instrumentation: Orchestra (2(pic.).2(E.H.).2.2/2.2.2.0./timp./perc./piano/strings) Acts: The action takes place in Dakota Territory, in 1873. Act 1. The crest of a low hill, early morning in spring Act 2. Interior of the sod hut of Per Hansa, a June afternoon Act 3. Scene 1. Outside the hut, a Sunday morning in September Scene 2. Interior of the hut, late at night in February

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Date of composition: 1949–50; revised 1963 Scores: Numerous ink and pencil ms. sketches; Columbia University Pencil ms. score excerpts (7 pp.); Columbia University Pencil ms. vocal score (179 pp.); Columbia University Stage manager’s vocal score (179 pp. ozalid copy ms., annotated with 29 pp. pencil ms. additions to the vocal score); Columbia University Facsim ms. full score (3 vols.); Columbia University Music Library Typescript libretto; Columbia University Recording: Giants in the Earth. Josh Wheeler (Per Hansa); Brenda Miller (Beret); Roy Johnson (Hans Olsa); Viviane Bauer (Sorrine); Samuel Bertsche (Syvert Tönetsen); Helen Dautrich (Kjersti); James Cosenza (Henry Solum); Frances Paige (Dagmar); Raymond Sharp (Preacher); Edward Block (O’Hara); Roger Farrand (Sullivan); Donald Stammer (Ole); Ellen Spencer (Anna); Columbia Opera Workshop; Felix Brentano, director; Willard Rhodes, conductor [New York]: Columbia University; 28 March–7 April 1951. DM1–DM-3. 3 discs (33¹⁄³ rpm record), 12 in “Gifts” see MacLeish Songs God Rest You Merry, Gentlemen Genre: Christmas carol Text: Traditional Instrumentation: Mixed chorus (SATB) Date of composition: before 1932 1st line: “God rest you merry, Gentlemen . . .” Scores: Manuscript: Unknown God Rest You Merry, Gentlemen: Christmas Carol: Four-Part Chorus for Mixed Voices (S.A.T.B.), arranged by Douglas Moore. Carl Fischer’s Choir Music Edition. Publisher’s no.: C.M. 380; plate no.: 26360-14. New York: Carl Fischer, 1932.1 score. Piano acc. for rehearsal purposes “Gold Is a Fine Thing” see The Ballad of Baby Doe. Silver Aria “Good Night, Harvard” (Yale Football Song) Alternate title: “Good Night, Princeton” Genre: Song Text: Philip R. Mechem

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Instrumentation: Voice and piano; arranged for band by Paul Yoder (pic./fl./ob./3 cl./alto cl./bs.cl./2 alto sax./ten.sax./bar.sax./bs.sax./bsn./3 cor./2 tpt./4 hrn./3 trb./euph./ bar.horn/tuba/drums/str.bs.); arranged for dance orchestra by Paul Weirick (2 alto sax./ 2 ten.sax./3 tpt./2 trb./drums/piano/guitar/vln./bass) Date of composition: Fall 1913; 1945 1st line: 1913 version words only for the chorus: “Good-Night poor Harvard (Princeton) . . .”; 1945 version: “Hail, stalwart sons of Yale . . .” Vocal range: A3–E5 Scores: Manuscript: Unknown Good Night Harvard. Cover illustration by Beverly S. King. Plate no.: Good-Night Harvard. 3. New Haven, CT: Loomis’ Temple of Music, 1913. “Good Night, Poor Harvard.” In Songs of Yale, compiled and edited by Marshall Bartholomew, 132–33. Plate no.: 36143. New York: G. Schirmer, 1934. Good Night, Harvard (Yale Football Song). Song ed. Plate no.: Good Night, Harvard - 4. New York: Shapiro, Bernstein, 1945. Good Night, Harvard (Yale Football Song): March, arranged by Paul Weirick. Dance orchestra ed. New York: Shapiro, Bernstein, 1945. 1 piano score and parts. Good Night, Harvard (Yale Football Song): March, arranged by Paul Yoder. Gem Band ed. New York: Shapiro, 1946. 1 conductor score and parts. Parts for standard band and symphonic band. “Good Night, Harvard.” In Songs of Yale, compiled and edited by Marshall Bartholomew, 210–11. 250th anniversary ed. Plate no.: 36143. New York: G. Schirmer, 1953. “Good Night, Poor Harvard!” In Songs of Yale: in New Settings for Mixed Chorus and in Traditional Male Chorus Arrangements, compiled by Fenno Heath, [35–37]. [N.p.]: Yale Glee Club Associates, 1978. The last song in a football medley arr. by Heath. “A souvenir booklet prepared by Fenno Heath for the annual Singing Dinner of the Yale Glee Club Associates held at the University Club, New York City on April 5, 1978”—cover. Recordings: Good-Night Harvard March. United States Marine Band; Lieut. Wm. H. Santelmann, conductor. Camden, NJ: Victor, [1914]. Victor 17603-A. Matrix no. B-14615. Take 2. 1 disc (78 rpm record), 10 in. Recorded 22 March 1914. Side B contains “Whoop It Up” with Arthur Pryor’s Band. “Good Night, Harvard.” In Yale Songs—Medley I. Shannon Four; S. P. Friedman, supervisor. New York: Columbia, [1922]. Columbia A3723. Matrix no. 80564. Take 3. 1 disc (78 rpm record), 10 in.; on side 2, band 3. Recorded 25 September 1922. S. P. Friedman from Yale class of 1905. The disc contains: “Yale Boola,” “Whoop It Up,” “Good-Night Harvard,” “Bingo Eli Yale,” and “Down the Field.” Side 2 titled: Yale Songs—Medley II.

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Good Night Poor Harvard. Rudy Vallée and His Connecticut Yankees. Camden, NJ: Victor, [1930]. Victor 22545-A. Matrix no. 22545A. 1 disc (78 rpm record), 10 in. 1st selection on side A. Also contains: side A, “Down the Field;” side B, “The Triple Cheer” and “The Princeton Cannon Song March.” “Goodnight, Poor Harvard.” In Songs Of Yale. Yale Band and Glee Club. [N.p.]: Victor, [19—]. Victor EO-CB-4185–EO-CB-4190. 3 discs (78 rpm records), 10 in.; on side 2A (EO-CB-4187). “Goodnight Poor Harvard.” In Songs of Yale. Yale Glee Club; Marshall Bartholomew, conductor; Yale Band; Keith L. Wilson, conductor. Camden, NJ: RCA Victor; produced and published by Recorded Publications Co., [1951]. RCA Victor E1-LCB-292. 1 disc (33¹⁄³ rpm record), 10 in.; on side 2. Also includes “Bingo,” “Whoop It Up,” and “Bulldog.” “Good Night, Poor Harvard.” In Yale University Band. Yale University Band; Keith Wilson, conductor. New York: Carillon Records, [1957]. Carillon Records LP 109. 1 disc (33¹⁄³ rpm record), 12 in.; on side 2, band 6, which also includes “Here’s to Good Old Yale,” “Glory for Yale,” and “Boola.” “Good Night, Poor Harvard.” In Yale University Band. Yale University Band; Keith Wilson, conductor. New Haven, CT: Yale University Audio Visual Center, 1957. Yale University Audio Visual Center H8 OP4961. 1 disc (33¹⁄³ rpm record), 12 in.; on side 2, band 6. “Good Night, Poor Harvard.” In Favorite Songs of Yale. Yale Glee Club; Fenno Heath, conductor; Yale University Band; Keith Wilson, conductor. New York: Carillon Records, [195?]. Carillon Records LP 126. 1 disc (33¹⁄³ rpm record), 12 in.; on side 1, band 1, entitled “Football Medley.” “Good Night, Poor Harvard.” In A Song for Old Yale. Yale Glee Club; Fenno Heath, conductor; Yale University Band; Keith Wilson, conductor. New Haven, CT: The Campaign for Yale, [195?]. Yale University YU 2. 1 disc (33¹⁄³ rpm record), 12 in.; on side 1, band 1. Same performance as on “Favorite Songs of Yale.” “Good Night, Princeton” see “Good Night, Harvard” Greek Games (Sophomore Ballet): by Edith M. Gould and Gena Tenney with orchestration by Moore Genre: Ballet Instrumentation: Flute, oboe, clarinet, bassoon, timpani, harp Date of composition: January 1930 Scores: Ink sketches (2 pp.) and various sketches in two sketchbooks; Columbia University Ink full score (19 pp.); Columbia University 1 set of ink ms. parts; Columbia University Note: Written for the 1930 Barnard Greek Games

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The Greenfield Christmas Tree Genre: Christmas entertainment Text: Arnold Sundgaard Characters: Sheep, soprano; Brita, the Norwegian housekeeper, cow, altos; goat, tenor; Grandfather, John Frothingham, baritone; donkey, bass; Susan, age 6; Prudence, age 8; Toby, age 11; Samuel, the hired man; Reverend Flood; choral leader; chorus (SATB) Instrumentation: Orchestra (2.pic.2.E.H.2.2./2.2.2.0./timp./perc./harp/strings) Act: One act 1. “Prelude” 2. “Shepherds, Rise” 3. “On Greenfield Mountain” 4. “It’s Christmas Eve” 5. “Christmas in Minnesota” 6. “Dance” 7. “We Are So Glad on Christmas Eve” 8. “Shepherds, Rise” 9. “The Animals on Christmas Eve” 10. “Introduction and Chorus: The Stars Came Down” 11. “Finale” Date of composition: 1961–62 Duration: ca. 45:00 Scores: Pencil sketches (14 pp.); Columbia University Ink ms. full score (156 pp.); Columbia University Facsim. ms. (62 pp.), annotated proofs; Columbia University Typescript of text; Columbia University The Greenfield Christmas Tree: A Christmas Entertainment ( for Chorus and Principals). Libretto by Arnold Sundgaard. Plate no.: 45183. New York: G. Schirmer, 1963. Vocal score. “Grievin’ Annie” see Tintypes “Hail to Thee, Fessenden” see “Song to Fessenden” “Handsome Dan” see Tintypes “Hanging Johnnie” see War Songs “Harvest Song” see Farm Journal The Headless Horseman Genre: Operetta Text: Stephen Vincent Benét, after Washington Irving, The Legend of Sleepy Hollow

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Characters: Katrina Van Tassel, soprano; Ichabod Crane, the village schoolmaster, tenor; Brom Van Brunt (Brom Bones), baritone; Cornelius Van Tassel, her father, a wealthy farmer, bassbaritone; boys and girls of Sleepy Hollow (SSATTB); small fry (small boys and girls) of the village school (unison children’s chorus); the Headless Horseman Instrumentation: Orchestra Act: One act 1. Overture 2. “We’re Maidens of Dutch Descent” 3. “Dear Katrina, Happy Bride” 4. “Alas, Alas!” 5. “For Shame! For Shame!” 6. “Welcome with a Dashing Song!” 7. “When I Was a Reckless, Roving Youth” 8. “Cornelius Van Tassel’s My Name!” 9. “Alas, Alas, for the Loving Pair!” 10. “Hurrah, Hurrah for Our Leader Brave!” 11. “Hail Our Teacher, Hail!” 12. “I Have a Fearful Tale to Tell” 13. “For Youth and Beauty We All Adore” 14. “Not with a Wistful Sueing” 14a. “Oh Sun Be Quick to Bow Your Head” 15. “Dear Katrina, Happy Bride” 16. Melodrama and reprise 17. Finale Date of composition: 1936; revised 1940 Duration: 1:00:00 Dedication: To the Faculty and Students of the Bronxville Schools Commissioned by: Willard Rhodes for the Bronxville Schools Scores: Pencil ms. vocal score (83 pp.) with “Oh Sun Be Quick to Bow Your Head,” vocal score excerpt, March 1940; Library of Congress Ink ms. vocal score (4 pp.) of 14a, “Oh Sun Be Quick to Bow Your Head” dated “New York/March 1940”; Library of Congress Pencil ms. score (4 pp.) of the children’s sextet, no. 13, also titled “Yo Ho, for Youth and Beauty.” The Headless Horseman: An Operetta in One Act Based upon “A Legend of Sleepy Hollow” by Washington Irving. Concord Series, no. 610. Plate no.: E.C.S. No. 1062. Boston: E. C. Schirmer Music Co., 1937. Vocal score. Libretto on pp. 1–18. Orchestra parts available on rental. The Headless Horseman: An Operetta in One Act Based upon “A Legend of Sleepy Hollow” by Washington Irving. Concord Series 610. Plate no.: E.C.S. No. 1062. Boston: E. C. Schrimer, 1964. Vocal score. Libretto on pp. 1–19. Orchestra parts available on rental.

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“He’s Gone Away” (incomplete) Genre: Song Text: Unknown Instrumentation: Voice line only Date of composition: Unknown 1st line: “He’s gone away for to stay a little while . . .” Vocal range: C4–E5 Score: Ink ms. (1 p.); Columbia University Hillbilly Boy see Oh, Oh, Tennessee “Hotchkiss Day” Genre: Football fight song Text: Philip R. Mechem Instrumentation: Voice and piano Date of composition: 1910 1st line: “Yell it out, with a shout, . . .” Vocal range: B  3–E  5 Dedication: Dedicated to the members of the Hotchkiss 1910 Football Eleven Scores: Manuscript: Unknown Hotchkiss Day: A Marching Song. Plate no.: 2695-2. New York: Leo Feist, 1910. The Hunter’s Horn see Young People’s Records “I Have Followed Lonely Down the Marne” see “Ghosts” “I Heard a Bird Sing” Genre: Song Text: Oliver Herford Instrumentation: Voice and piano Date of composition: ca. 1951 ? 1st line: “I heard a bird sing in the dark of December . . .” Vocal range: G4–E5 Score: Pencil ms. score (1 p.); Columbia University “I Lie Awake and Listen” see Carry Nation. I Lie Awake and Listen Impromptu in C major see Etude in Tenths, op. 1, no. 3

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Improper Pieces see Adventures in the Latin Quarter In a Glass of Water before Retiring see Perhaps to Dream “In Ancient Times There Was a God” see The Wings of the Dove. In Ancient Times There Was a God In Memoriam Genre: Symphonic poem Instrumentation: Orchestra (2.pic.2.E.H.3.bs.cl.2.cbsn./4.4.4.1/perc./harp/strings) Date and place of composition: September 1943, Cutchogue, NY Duration: 9:41 Dedication: To those who die young Commissioned by: League of Composers Scores: Facsim. ms. score (37 pp.); Library of Congress In Memoriam. Elkan-Vogel Orchestra Score Series. Philadelphia: Elkan-Vogel, 1946. Miniature score. Parts available on rental. Recordings: In Memoriam. In Organum by Carl Ruggles. In Memoriam by Douglas Moore. Symphony #2 by Robert Ward. Japan Philharmonic Symphony Orchestra; William Strickland, conductor. New York: Composers Recordings. [1960]. Composers Recordings CRI-127. 1 disc (33¹⁄³ rpm mono. record), 12 in. (36:32); side 1, band 2 (9:41). Recorded in 1959. In Memoriam. In Organum, Carl Ruggles; In Memoriam, Douglas Moore; Symphony no. 2, Robert Ward. New York: Composers Recordings, [1972]. Composers Recordings CRI SD 127. 1 disc (33¹⁄³ rpm stereo. record), 12 in. (36:32); on side 1, band 2 (9:41). In Memoriam. In Meditations on Ecclesiastes, Norman Dello Joio; In Memoriam, Douglas Moore; Symphony no. 5, Henry Cowell. [Culver City, CA]: Bay Cities, 1990. Bay Cities BCD 1017. 1 compact disc (1:02:41); track 12 (9:41). Reissued from Composers Recordings CRI-127. In Memoriam. In Music for Shakespeare’s Romeo & Juliet [by David] Diamond. North Hollywood, CA: Citadel Records, 1998. Citadel CTD 88133. 1 compact disc (1:10:43); track 6 (9:40). Disc also contains works by David Diamond, Serge Koussevitzky, and Quincy Porter. Program notes from the CRI release. Reissued from Composers Recordings CRI-127. In Springtime Genre: Waltz Instrumentation: Piano

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Date of composition: Unknown Score: Manuscript: Unknown (1 leaf galley proof of questionable authorship) Invocation see The Devil and Daniel Webster “Jail Song” see War Songs “Jenny Lind” see The Pageant of P. T. Barnum Jesse James (incomplete) Genre: Pantomime drama Text: John Mason Brown Characters: Mrs. James; Frank James, brother; Jim; Jesse; soldier; Reverend James; citizen; Dr. Samuels; captain Instrumentation: Ensemble (0.1.0.1./0.1.1.0./harmonium/pa./timp./perc.) Acts/movements: Act 1 Scenes 1 and 2: Civil War Act 2 Bank robbery Pinkerton scene Timber Bashaw Train robbery Act 3 Bomb scene Pinkerton Café Act 4 Pursuit Death Funeral Date of composition: 9 July–September 1928 Scores: Pencil sketches (42 pp.) in sketchbook; Columbia University Pencil sketches (72 pp.); Columbia University Ink ms. full score (91 pp.), scenes 1 and 2; Columbia University “Jessie Wilhelmina Glotz” Genre: Song Text: Douglas Moore

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Instrumentation: Voice and piano Date of composition: ca. 1917–19 1st line: “Oh what a beautful girl is mine, Jessie Wilhelmina Glotz . . .” Vocal range: B3–D5 Score: Pencil ms. (4 pp.); Columbia University Note: Full title: “Jessie Wilhelmina Kunkle Volavah Snickelfritz Underdunk Glotz.” “Joice Heth—161 Year Old Negress” see The Pageant of P. T. Barnum Jungle Heroes—Tarawa Stampede—Marine Parade March: Grande Fantaisie Marin de Concert ou Salon Genre: March Instrumentation: Piano four-hands Date of composition: ca. 1917–19? Score: Pencil ms. (3 pp.); Columbia University Note: Attributed to “Fernand Klabosz, op. 892A” (joke title and composer). “The Kansas Volunteers” see Music for Yale Pageant Katydids see Summer Evening “Kimogenor” Genre: Song Text: Myra D. Moore Instrumentation: Voice and piano Date of composition: June 1909 1st line: “Kimogenor was a fat old chief . . .” Vocal range: A  3–D5 Score: Pencil ms. score (3 pp.); Columbia University Note: Written for a family play, “The March of Time.” King Lear Genre: Incidental music Text: William Shakespeare Instrumentation: Ensemble (2 trumpets, 3 trombones, tuba, timpani, and percussion) Date of Composition: 16–23 June 1914 Scores: Ink ms. score (6 pp.); 1 set of ink parts; pencil sketches, in misc. sketches folder (6 pp.); Columbia University

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“The Kitty-Cat Bird” (incomplete) Genre: Song Text: Theodore Roethke Instrumentation: Voice and piano Date of composition: after 1950 1st line: “The Kitty-Cat Bird, he sat on a fence . . .” Vocal range: B  3–E  5 Scores: Pencil sketch (2 pp.), vocal line only, incomplete; Columbia University Typescript text (1 p.) from Roethke; Columbia University “Lamplight” see Farm Journal “The Land of Heart’s Desire” see Song from The Land of Heart’s Desire Later Etruscan Excavations: A Triangular Romance Genre: Program music Instrumentation: Piano four-hands Date of composition: ca. 1920s Score: Ink ms. (4 pp.); Columbia University Legend (incomplete) Text: Unknown Instrumentation: Chorus (SATB) and piano Date of composition: Unknown 1st line: “The trees were sugared like wedding cake . . .” Score: Pencil sketch (4 pp.), incomplete; Columbia University “Liane” Genre: Song Text: Douglas Moore Instrumentation: Voice and piano Date of composition: Unknown 1st line: “An old and weary broken hearted singer . . .” Vocal range: B3–E5 Score: Pencil ms. score (3 pp.); Columbia University Licorice Stick see Young People’s Records

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“Machinery” Alternate title: “Marching” Genre: Song Text: Douglas Moore Instrumentation: Voice and piano Date of composition: ca. 1951? 1st line: “There’s always a song in the hum of the wheels . . .” Vocal range: D4–E5 Scores: Pencil ms. score (1 p.)—“Machinery” ms.; Columbia University Note: On same leaf with “I Heard a Bird Sing” and “When the Drive Goes Down” Pencil ms. score (1 p.)—“Marching” ms.; Columbia University MacLeish Songs I. “The Reed Player” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of Composition: 1911, rewritten September 1915; August 1919 Range: F3–D5 1st line: “A hollow reed against his lips . . .” Scores: Ink ms. score (5 pp.); Columbia University Ink ms. score (4 pp.); Columbia University Pencil ms. score, rewritten 1915 (3 pp.), in sketchbook; Columbia University Pencil sketch, version of 1919 (4 pp.), in sketchbook; Columbia University Ink ms. score (5 pp.), version from August 1919; Columbia University II. “Dreams” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of Composition: 1911, rewritten 1915 Key: D major and D  major versions 1st line: “When the waxen white azalea ope’s its chalice to the moon . . .” Range: F  4–A  5 (D major version); F4–A5 (D  major version) Scores: Ink ms. score (4 p.), D major version; Columbia University Ink ms. score (6 pp.), D  version, 1st section; Columbia University Pencil ms. score (4 pp.) in sketchbook, D  version; Columbia University

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III. “The Brook” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: after 1911 1st line: “Leaping, laughing, flashing, twirling . . .” Vocal range: E4–F5 Score: Ink ms. score (4 pp.); Columbia University IV. “The Evening Wind” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: ca. 1911–14 1st line: “When the evening wind comes sighing o’er the poppied fields of night . . .” Vocal range: B3–F5 Score: Ink ms. score (6 pp.); Columbia University V. “Thine Eyes” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: after 1911 1st line: “I’ve seen blue mountains misted gray against the setting sun . . .” Vocal range: F4–G5 Score: Ink ms. score (3 pp.), 2 copies; Columbia University VI. “Sweet” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: Early work 1st line: “Sweet when the world was younger and the skies a deeper blue . . .” Vocal range: B  3–E  5 Scores: Pencil ms. score (1 p.), vocal line only, incomplete; Columbia University Ink ms. score (2 pp.), 2 copies; Columbia University

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VII. “Gifts” Genre: Song Text: Archibald MacLeish Instrumentation: Soprano and piano Date of composition: before 18 January 1914 1st line: “The whole world lays its treasures at thy feet . . .” Vocal range: C4–A  5 Scores: Ink ms. score (4 pp.), in copyist’s hand; Columbia University Ink ms. score (5 pp.); Columbia University Ink ms. fair copy (5 pp.); Columbia University VIII. “To an April Lady” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: 1909 Range: B3–E5 1st line: “A rose petal fell in the lap of love . . .” Scores: Ink ms. score (3 pp.); Columbia University Ink ms. score (4 pp.); Columbia University “A Madonna of Botticini” see Four Museum Pieces “March for N.Y.A. Film” see Power and the Land. March March for Piano (incomplete) Date of composition: 29–30 June, 8 July 1943 Score: Pencil ms. sketch (1 p.), possibly intended for orchestra; Columbia University March for Tambourlaine Instrumentation: Organ Date of composition: March 1922; completed 1926 Scores: Pencil sketches (3 pp.) in sketchbook; Columbia University Pencil ms. (7 pp.); Columbia University Ink ms. (6 pp.); Columbia University

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“Marching” see “Machinery” “Martha” Genre: Song Text: Douglas Moore Instrumentation: Voice and piano Date of composition: ca. 1917–19 1st line: “Up in Brest there is a little maison . . .” Vocal range: D4–E5 Score: Pencil ms. score (4 pp.); Columbia University Mary’s Prayer see The Devil and Daniel Webster. “Now May There Be a Blessing” “The Mast Head” see Moby Dick “May Day Carol” see Devon Folk Songs Menuetto Instrumentation: Violin and piano Date of composition: ca. 1910 Key: A major Score: Pencil ms. score (2 pp.) in sketchbook; Columbia University Minuet in C Minor Instrumentation: Keyboard? Date of composition: Unknown Score: Pencil sketch (1 p.), incomplete; Columbia University “Mississippi” see Four Pieces for Piano Moby Dick Genre: Symphonic poem Instrumentation: Orchestra (2.pic.3.E.H.3.bs.cl.2.cbsn./4.4.3.1./timp./perc./2 harps/ celesta/xylo./piano/strings); also 2-piano arrangement Movements: 1. “The Mast Head” 2. “Ahab, Mighty Lord of Leviathans” 3. “The White Whale” Date of composition: 1927–28

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Scores: Ink ms. full score (71 pp.), bound; Columbia University 1 set of ink ms. parts; Columbia University 1 set of facsim. ms. negatives for string parts; Columbia University Pencil ms. sketch, short score (2 pp.) of beginning of “The White Whale”; Columbia University Pencil ms. score (32 pp.) of incomplete two-piano version; Columbia University Ink ms. of 2nd piano part (31 pp.); Columbia University Much Ado about Nothing Genre: Incidental music Text: William Shakespeare Instrumentation: Voice, flute, harpsichord Acts: Prelude Act 1, scene 2. March Act 2, scene 1. Revelers’ Scene Act 2, scene 3. “Sigh No More, Ladies” (Balthasar) Act 5, scene 2. “The God of Love” (Benedick) Date of composition: 1927 Scores: Ink ms. score (16 pp.); Columbia University Note: Includes an overture; march, wedding entrance and exit, and the Cross of Beatrice for the first act. There are four scenes for act 2, which includes Benedick’s Song: “The God of Love.” Ink ms. score (4 pp.), for the prelude and “Sigh No More, Ladies” Ink ms. score (1 p.) for the Masquerade music Ink ms. flute part (15 pp.) for the overture, act 1 march, act 2 wedding music, Act 1 Cross of Beatrice, Benedick’s Song, “Sigh No More, Ladies,” “O Mistress Mine,” overture to act 1, and Revelers’ Scene Much Ado about Nothing see also Five Shakespeare Songs. “Sigh No More, Ladies” Museum Piece Instrumentation: Piano Date of composition: 1939 Dedication: To David Barnett Scores: Manuscript: Unknown Museum Piece: for Piano Solo. Contemporary American Composers Series 5. Plate no.: CACS 5-3. Providence: Axelrod Publications, 1939.

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Music for Yale Pageant Genre: Incidental music Instrumentation: Band (D  pic./fl./ob./E  cl./3 cl./alto sax./ten.sax./bar.sax./2 bsn./2 cor./2 tpt./4 hrn./3 trb./bs.trb./bar.hrn./2 tubas/perc.) Movements: Third or Early Nineteenth Century Episode Scene 1. (No. 27) “Town and Gown Riot,” text by Henry Augustin Beers Scene 2. (No. 28) “The Burial of Euclid,” text by Arthur Colton Scene 3. “The Kansas Volunteers,” text by Robert Munger (No. 29) Snake Dance (No. 30) Auld Lang Syne [crossed out with a note, “do not play unless needed”] (No. 31) Exit of Kansas Settlers Scene 4. “The Death of Theodore Winthrop,” text by Edwin Oviatt (No. 32) Taps (No. 33) Close of the Civil War Episode (No. 34) [Noted as missing 3/14/1963] Date of composition: May 1916 Score: Ink ms. short score (13 pp.); Columbia University Ink ms. full score by copyist (48 pp.); Yale University Music Library “My Garden” (incomplete) Genre: Song Text: Margaret E. Winslow Instrumentation: Voice and piano Date of composition: Unknown 1st line: “My heart is a garden of flowers, and you are its gardener, dear . . .” Vocal range: E4–F5 Score: Ink ms. (3 pp.), vocal line only, incomplete; Columbia University The Mysterious Cat Genre: Chorus Text: Vachel Lindsay Instrumentation: Chorus (SSA) Date of composition: 1953 1st line: “I saw a proud mysterious cat . . .” Vocal range: B  3–E  5 Dedication: For the East Woods School

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Scores: Pencil ms. score (5 pp.); Library of Congress Ink ms. score (6 pp.); Library of Congress The Mysterious Cat: For Treble Voices. Publisher’s no.: Sumco 5329. Evanston, IL: SummyBirchard, 1960. Score with piano for rehearsal only. “Naomi: My Restaurant Queen” Text: Douglas Moore Genre: Song Instrumentation: Voice and piano; also arranged for voice, flute, clarinet, 2 cornets in A, trombone, drums, piano, and strings Date of composition: 1911 Range: B  3–E  5 1st line: “Down in a restaurant not far away . . .” Scores: Ink ms. vocal score (3 pp.), no words; Columbia University 1 set of ms. ink parts for arranged version; Columbia University Naomi: My Restaurant Queen. Plate no.: Naomi. 3. New Haven, CT: Chas. F. Smith, 1912. “Never Ask the End” see “The Apple Boughs Bend” “A Nonsense Song” Genre: Song Text: Stephen Vincent Benét Instrumentation: Voice and piano Date of composition: July–August 1922 1st line: “My Rosemary, Rosemary, let down your hair . . .” Vocal range: B3–G  5 Scores: Pencil ms. sketches (2 pp.) in sketchbook; Columbia University Ink ms. score (3 pp.); Columbia University North Atlantic Suite (incomplete) Alternate title: Ouverture L’Atlantique du Nord Genre: Overture Instrumentation: Orchestra (2.pic.2.E.H.2.bcl.2./4.2.3.1./timp./perc./harp/strings) Date of composition: ca. 1917–19 Scores: Pencil ms. score (7 pp.), incomplete; Columbia University Ink ms. full score (32 pp.), incomplete; Columbia University Note: For “IVme cours 1re section.”

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“Not This Alone” Genre: Song Text: Pierson Underwood Instrumentation: Voice and piano Date of composition: 1943 (high voice); revised 1945 (medium voice) Key: G major (high voice); F major (medium voice) 1st line: “Surely, it is the little ways, you have of doing things, . . .” Vocal range: D4–G5 (high voice); C4–F5 (medium voice) Dedication: For Elizabeth Scores: Pencil ms. score (4 pp.), medium voice; Columbia University Ink ms. score (4 pp.), high voice; Library of Congress Ink ms. score (4 pp.), medium voice; Library of Congress Not This Alone: For Voice and Piano. Plate no.: 41474. New York: G. Schirmer, 1947. “Now May There Be a Blessing” see The Devil and Daniel Webster “O Mistress Mine” see Five Shakespeare Songs Oh Lord, Our Lord Genre: Anthem Text: Unknown Instrumentation: Chorus (TTBB) and organ Date of composition: ca. 1910; rewritten 1915 1st line: “Oh Lord, our Lord . . .” Scores: Pencil ms. score (11 pp.) in sketchbook; Columbia University Pencil sketch, rewritten (2 pp.), incomplete, in sketchbook; Columbia University Oh, Oh, Tennessee: A Rural Revue in Three Acts Alternate titles: Americana; Hillbilly Boy; Columbia the Gem of the Ocean; Bigger Better Babbitts: Musical Comedy Genre: Musical comedy Text: Douglas Moore Characters: Mary Jane, Dandelion (Messy’s daughters), soprano; Jack Baril (moonshiner), tenor; Frank Messy (congressman), Orison Swett, Marden Fittle (Rotarian secretary), baritones; Hortense Pratt (Rotarian executive); Miss Leddy, Mrs. Higgins, Mrs. Abel, Mr. Jenkins, Mr. Sweeney, Mr. Rossheim (Rotarians); Father Somersole, Brother Sneath (Holy Rollers); Hermaphus Bright (director of Memphis Little Theatre); Gus Oppenattem (musical comedy coach of New York); Olga (parlormaid); Holy Rollers (Rotarians)

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Instrumentation: Voices and piano (not orchestrated) Acts: Act 1. In the hills near Deuteronomy, Tennessee No. 1. Chorus of Holy Rollers No. 2. Cavatina: “If you’ll elect me . . .” (Messy) No. 3. “Watch Out, Spy Out”: “Oh sin is a wily deceiver . . .” (Father Somersole) No. 4. “Moonshine”: “Daylight moon so pure and white . . .” (Mary Jane) No. 5. Duet: “Softly Spoken Nothings” (Mary Jane and Baril) No. 6 [omitted] No. 7. Entrance of Rotarians: “Right is right and truth is true . . .” (Men) No. 8. Finale: “Here’s to the beer that is near and dear . . .” (Baril and chorus) Act 2. Living room of Congressman Messy’s house No. 9. Song “Hillbilly Boy”: “I ought to give him up it’s plain to see . . .” (Mary Jane) No. 10. Newspaper Song: “Woman slain, my goodness . . .” (Dandelion) No. 11. Song “Bigger and Better Babbitts”: “Don’t you think a lot of Galla . . .” (Fittle) No. 12. Song “In Washington, D.C.”: “It’s lovely in Washington . . .” (Messy) No. 13. Waltz Duet, “Moments like These”: “When I waltz with a whiskey distiller . . .” (Mary Jane and Basil) No. 14. Melodrama: (Holy Rollers, Rotarians, and Messy) No. 15. Fittle aux chorus Finale: “The American home must be saved . . .” No. 16. [omitted] Act 3. Town Hall at Deuteronomy No. 17. Ballet “The Birth of Rotary” No. 18. Song “Flowerland”: “I have a lovely garden . . .” No. 19. Finale: “When you go a lookin’ for a place to visit” (All, Messy, Dandelion) Date of composition: 1926 Scores: Pencil sketches in sketchbook (1 vol.); Columbia University Pencil sketches (12 pp.); Columbia University Pencil ms. score (44 pp.), missing nos. 7, 14, 15, 17, and 18; Columbia University Ink ms. score (71 pp.), missing nos. 4, 7, 10, and 18; Columbia University Ink ms. vocal score (127 pp.), by Parisian copyist; Columbia University Typescript libretto (88 pp.), earlier version under alternate title; Columbia University Typescript libretto (94 pp.), later version; Columbia University Oh, Oh, Tennessee. “Watch Out, Spy Out” Genre: Song from a musical Text: Douglas Moore Characters: Father Sommersole and Holy Rollers Instrumentation: Voice, chorus, and piano

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Act: Act 1 Date of composition: 1926 1st line: “Oh sin is a wily deceiver . . .” Vocal range: A3–B4 Score: Ink ms. vocal score (3 pp.); Columbia University “Old Adam the Poacher,” see Devon Folk Songs The Old Gray Mare see Young People’s Records “The Old Man Can’t Help His Wife at Home,” see Devon Folk Songs “Old Song” Genre: Song Text: Theodore Roethke Instrumentation: Voice and piano Date of composition: 7 June 1947 Key: D minor (medium high voice); D  minor (medium low voice) 1st line: “I came to the willow alone . . .” Vocal range: C4–F5, A  3–D  5 Duration: 2:23 Scores: Pencil ms. score (3 pp.) in sketchbook; Columbia University Ink ms. score (3 pp.); Library of Congress Old Song. Publisher’s no.: V2097; plate no.: 30689-3. New York: Carl Fischer, 1950. “Old Song.” In Contemporary Songs in English: Songs by American and English Composers for Recital, Concert, and Studio Use, edited by Bernard Taylor, 43–45. Medium low voice ed. Publisher’s no.: O3820; plate no.: N2110. New York: Carl Fischer, 1956. Score. “Old Song.” In Contemporary Songs in English: Songs by American and English Composers for Recital, Concert, and Studio Use, edited by Bernard Taylor, 43–45. Medium high voice ed. Publisher’s no.: O3819; plate no.: N2109. New York: Carl Fischer, 1956. Score. 104th Cavalry Regiment March Genre: March Instrumentation: Piano; arranged by Joseph C. Painter (1924) for band? Date of composition: November 1918–May 1924 Score: Pencil ms. (4 pp.); Columbia University

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Overture on an American Tune Alternate title: Babbitt Genre: Concert overture Instrumentation: Orchestra (2.pic.2.2.2./4.3.3.1./timp./perc./harp/strings) Date and place of composition: 18 September 1931, Cutchogue, NY Dedication: To Walter Damrosch Scores: Pencil sketch (1 p.); Columbia University Pencil ms. full score (61 pp.); Columbia University 1 set of ink ms. parts; Columbia University The Pageant of P. T. Barnum Genre: Orchestral suite Instrumentation: Orchestra (2.pic.2.E.H.2.bcl.2.cbsn./4.3.3.1/timp./perc./harp/strings) Movements: 1. “Boyhood at Bethel” 2. “Joice Heth—161 Year Old Negress” 3. “General and Mrs. Tom Thumb” 4. “Jenny Lind” 5. “Circus Parade” Date and place of composition: 1924, Peterborough, NH Dedication: To Nikolai Sokoloff Scores: Pencil sketches for “Jenny Lind,” “Joice Heth,” and “Circus Parade” (11 pp.) in sketchbooks; Columbia University Pencil sketch (19 pp.); Library of Congress Ms. score (89 pp.); Eastman School of Music Pageant of P. T. Barnum. Rochester, NY: The Eastman School of Music of the University of Rochester; New York: Carl Fischer, sole agents, 1929. Score and parts. Pageant of P. T. Barnum: Suite for Orchestra. Boston: C. C. Birchard, for the Eastman School of Music of the University of Rochester, 1929. Score. Recordings: Pageant of P. T. Barnum. In The Incredible Flutist (Ballet Suite), Piston. Pageant of P. T. Barnum, Moore. Eastman-Rochester Orchestra; Howard Hanson, conductor. Olympian Series. [New York]: Mercury, [1959]. Mercury MG-50206 (mono.); SR-90206 (stereo.). 1 disc (33¹⁄³ rpm record), 12 in.; side 2. Recorded 23 November 1958 at the Eastman Theatre, Rochester, NY. Program notes by James Lyon. The Pageant of P. T. Barnum. In Adventures in a Perambulator by John Alden Carpenter. The Pageant of P. T. Barnum by Douglas Moore. Savannah River Holiday by Ron Nelson.

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(Golden Imports). Netherlands: Mercury, [1977]. Mercury SRI 75905. 1 disc (33¹⁄³ rpm stereo. record), 12 in.; side 2. Previously released as Mercury SR-90206. Pageant of P. T. Barnum. In Hanson Conducts Moore, Carpenter, Rogers, and Phillips. Mercury Living Presence. [New York]: Mercury, 1992. Mercury 434 319-2. 1 compact disc (74:05); tracks 1–5 (17:14). Reissued from Mercury SR-90206. Pageant of P. T. Barnum. In Howard Hanson Conducts American Masterworks. [New York]: Mercury Living Presence, 2004. Mercury 337 502. 5 compact discs; on CD 5 (1:14:13), tracks 1–5 (17:43). Reissued from Mercury SR-90206. The set also includes nineteen works by other composers. “Parabalou” Alternate title: “Brek-ek-co-ex-co-ex” Genre: Fight song Text: Douglas Moore Instrumentation: Voice and piano Date of composition: 1912 Range: B3–E5 1st line: “With a brek-ek co ex co ex and a brek-ek co ex co ex, We will march on down the field for Yale . . .” Scores: Ink ms. score (4 pp.); Columbia University Ink ms. score copy (4 pp.); Columbia University Parabalou. Plate no.: Parabalou 3. [New Haven, CT]: C. F. Smith, 1912. Cover art by E. B. Dielman. Passacaglia for Organ see Dirge “The Pelican Chorus” Genre: Song for children Text: Edward Lear Instrumentation: 2-part children’s chorus and piano Date of composition: November 1958 1st line: “King and Queen of the pelicans we . . .” Vocal range: D4–E5 Scores: Pencil ms. score (3 pp.); Columbia University Ink ms. score (2 pp.); Columbia University The People’s Choice! A March for Election Eve Genre: March

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Instrumentation: Band (pic./3 fl./2 ob./E  cl./3 cl./alto cl./bs.cl./2 alto sax./ten.sax./ bar.sax./2 bsn./solo cor./3 cor./2 tpt./4 hrn./2 trb./bs. trb./bar.hrn./tuba/str. bs./perc.) Date of composition: Summer 1958 Dedication: Dedicated to the memory of Edwin Franko Goldman Commissioned by: Goldman Band Scores: Manuscript: Unknown The People’s Choice! A March for Election Eve: Concert Band. Publisher’s no.: GMC-2167. New York: Galaxy Music, 1959. Score, condensed score, and parts. Recording: The People’s Choice (March for Election Eve). In The Sound of the Goldman Band. Goldman Band; Richard Franko Goldman, conductor. Decca DL-8931 (mono.); DL-78931 (stereo.). New York: Decca, 1960. 1 disc (33¹⁄³ rpm record), 12 in.; on side 2, band 4. Perhaps to Dream Alternate title: In a Glass of Water before Retiring Genre: Part-song Text: Stephen Vincent Benét Instrumentation: Women’s chorus (SSA) Date of composition: 1937 1st line: “Now the day burns away . . .” Dedication: To Berta Elsmith and the Brearley School Scores: Pencil ms. score (3 pp.); Library of Congress Ink ms. score (4 pp.); Library of Congress Pencil sketches; Columbia University Ink ms. score (2 pp.); Eastman School of Music Perhaps to Dream: Chorus for Women’s Voices (S.S.A.) a Cappella. Carl Fischer Choral Series for High School Girls’ Glee Clubs S.S.A., Series IV. Publisher’s no.: C.M. 5242; plate no.: 28132-5. New York: Carl Fischer, 1938. Perhaps to Dream: Chorus for Women’s Voices: (S.S.A.) a Cappella. Carl Fischer’s Octavo Choruses for Women’s Voices, Series II. Publisher’s no.: C.M. 5242; plate no.: 28132-5. New York: Carl Fischer, 1938. Poor Wayfaring Stranger Genre: Folk song arranged for chorus Text: Anonymous Instrumentation: Chorus (SATB) and piano Date of composition: 21 November 1953

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1st line: “I am a poor wayfaring stranger while traveling through the world of woe . . .” Scores: Pencil sketch ms. (3 pp.); Columbia University Ink ms. of vocal line (1 p.); Columbia University Ink ms. score (3 pp.); Library of Congress Poor Wayfaring Stranger: (SATB, with Piano Accomp.), arranged by Douglas Moore. American Folk Song Choral Series. Publisher’s no.: 312-40263; plate no.: 31240263-3. Bryn Mawr, PA: Theodore Presser, 1955. “Potatores exquisiti: 13th Century Drinking Song” Genre: Song Text: Douglas Moore Instrumentation: Voice and piano Date of composition: New Year’s 1945 1st line: “Potatores exquisiti, licet sitis sine siti, . . .” Vocal range: B  3–E  5 Scores: Pencil ms. score (3 pp.); Columbia University Ink ms. score (3 pp.) on transparencies; Columbia University Power and the Land Alternate title: Rural Electrification Film Music Genre: Film score Text: Film script by Stephen Vincent Benét Instrumentation: Orchestra (1(pic.).1(E.H.).2(bs.cl.).2/2.2.1.0/timp./perc./strings) Acts/movements: Movements from pencil ms. Prolog—Title 1. Milling and pumping 2. Cows and countryside 3. Sour milk sequence 4. Sawing wood—alfalfa sequence 5a. Mother and daughter at work 5b. 2nd alfalfa sequence 6. Father and son 7a. Return of wagon—Mother at work—Setting sun 7b. Inside the kitchen—Sunset—Dinner 8. After dinner work—Night 9a. Cutting the corn

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9b. The pump conference 10. Schoolhouse meeting 11. Power Station—Transformer—The farm 12. Cellar, kitchen, bathroom 13. Outside the farmhouse 14. Chicks in broods—Sewing—Washing 15. Allegro finale Date of composition: 1940 Commissioned by: Rural Electrification Administration Scores: Pencil ms. condensed score (74 pp.); Library of Congress Pencil sketches; Columbia University Ink ms. score (11 pp.) for Prolog; Columbia University Ink ms. full score (originally 185 pp.); Columbia University Set of ink ms. parts; Columbia University Recordings: *Power and the Land. Joris Ivens, director; Lora Hays, editor; commentary by Stephen Vincent Benét; Edwin Locke, script; Halen van Dongen, editor; music by Douglas Moore; Henry Brant, musical arranger; Fritz Mahler, musical director; Floyd Crosby and Arthur Ornitz, cinematographers; William P. Adams, narrator; cast: the William Parkinson family and other members of the Belmont Electric Cooperative, St. Clairsville, OH. Produced for the US Department of Agriculture, Rural Electrification Administration. [Washington, DC]: US Department of Agriculture, Rural Electrification Administration, 1940. 1 film (38:00). Power and the Land. In Three Classic Documentaries about the Land: “The River” (1937), “The Power and the Land” (1940), “The Plow That Broke the Plains” (1936). Joris Ivens, director. N.p.: Festival Films, n.d. 1 VHS cassette. Credits for Power and the Land. Commentary: Stephen Vincent Benét; music: Douglas Moore; photography: Floyd Crosby and Arthur Ornitz; narrator: William P. Adams; script: Edwin Locke; editor: Helen van Dongen; musical director: Fritz Mahler; arranging assistance: Henry Brant; technical assistant: Philip Martin, Jr.; assistant cameraman: David Smith; assistant editor: Lora Hays; recording engineer: Al Dillinger. Recorded by Western Electric. Research: Charles R. Walker; photographic research: Peter Sekaer; titles: Lester Beall; Copyright 1940 by Department of Agriculture Rural Electrification Administration and M. L. Ramsay; People appearing: the William Parkinson Family; and other members of the Belmont Electric Cooperative, St. Clairsville, OH Power and the Land. In Power and the Land: Four Documentary Portraits of the Great Depression. Joris Ivens, director. Produced for the Rural Electrification Administration, U.S. Department of Agriculture. Cinema of the New Deal. New York: Kino International,

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1994. 1 VHS cassette (38:00). Contents include The River, The Plow That Broke the Plains, The New Frontier, and Power and the Land. Material source: Film Preservation Associates. Power and the Land. In The City & Power and the Land. Joris Ivens, director. Produced for the Rural Electrification Administration, U.S. Department of Agriculture. Burbank, CA: Hollywood’s Attic, 1996. 1 VHS cassette (38:00). Power and the Land. In The New Deal Documentaries. Joris Ivens, director. Produced for the Rural Electrification Administration, U.S. Department of Agriculture (From the Blackhawk Films Collection). Image ID1997DS. Chatsworth, CA: Image Entertainment, 1997. 1 laser disc (1:47:00), 12 in. CX noise reduction. Extended Play CLV; on side 2, track 1 (38:00). Contents include The Plow That Broke the Plains, The River, and The New Frontier. Power and the Land. In Our Daily Bread: And Other Films of the Depression. Joris Ivens, director. Produced for the Rural Electrification Administration, U.S. Department of Agriculture. From the Blackhawk Films Collection. Image ID4671DSDVD. Chatsworth, CA: Image, 1999. 1 DVD (3:14:00); track 6 (38:00). Contents include California Election News No. 1, California Election News no. 2, The Plow That Broke the Plains, The River, Power and the Land, and The New Frontier. Power and the Land. In Rural Electrification in Ohio: Historic REA Films, 1940–1941. Joris Ivens, director; Lora Hays, editor; commentary by Stephen Vincent Benét; Edwin Locke, script; Halen van Dongen, editor; music by Douglas Moore; Henry Brant, musical arranger; Fritz Mahler, musical director; Floyd Crosby and Arthur Ornitz, cinematographers; William P. Adams, narrator; cast: the William Parkinson family and other members of the Belmont Electric Cooperative, St. Clairsville, OH. Produced for the US Department of Agriculture, Rural Electrification Administration. 1 DVD (56:43), chapter 3 (38:00). Fresno, CA: Heritage Productions, 2008. Filmed in 1940. Contents include Bip Goes to Town and Worst of Farm Disasters. Power and the Land. March Alternate title: “March for N.Y.A. Film” Instrumentation: Voice and piano Text: Stephen Vincent Benét? Date of composition: 1940 1st line: “Listen to us America for the future is here now . . .” Vocal range: C4–F5 Commissioned by: Rural Electrification Administration Score: Ink ms. vocal score (2 pp.); Library of Congress

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Power and the Land. Suite Alternate title: Rural Electrification Suite Instrumentation: Orchestra (1(pic.).1(E.H.).2(bs.cl.).2/2.2.1.0/timp./perc./strings) Movements: Arranged from the film score in a different order Suite no. 1. “Sunrise” Film no. 1, first half Suite no. 2. “Morning chores” Film no. 1, second half Suite no. 3. “Pasture” Film no. 2 Suite no. 4. “Hay wagons” Film no. 4 Suite no. 5. “Schoolhouse” Film no. 10 Suite no. 6. “Recess” Film no. 11, end Suite no. 7. “Harvest song” Film no. 9a Suite no. 8. “Return of the wagons” Film no. 7a Suite no. 9. “Sunset” Film no. 7b Suite no. 10. Finale Film no. 15 Date of composition: 1940 Score: Ink ms. score drawn from film score ms.; Columbia University Power and the Land see also Destroyer Song and Farm Journal Prayer for England Genre: Chorus Text: William Rose Benét Instrumentation: Men’s chorus (TTBB or TTBarB and piano) Date of composition: December 1940 1st line: “Tonight and every night, God save England . . .” Dedication: To James Giddings and the Columbia University Glee Club Scores: Pencil ms. score (9 pp.); Library of Congress Facsim. ms. score (8 pp.); Library of Congress Facsim. ms. score (8 pp.); Columbia University Prayer for England: For Male Voices T.T.B.B. Boosey Series of Choral Music. Plate no.: Oct. No. 1644-11. New York: Boosey Hawkes Belwin, 1941. Prayer for the United Nations Genre: Chorus Text: Stephen Vincent Benét Instrumentation: Alto or baritone, chorus (SATB), and piano; version for orchestra (2(pic.).2(E.H.).2(bs.cl.).2(cbsn.)/4.3.3.1/timp./perc./harp/strings)

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Date of composition: June 1942; revised for orchestra November 1942 1st line: “God of the free, However named or known . . .” Dedication: To the U.S. Treasury Scores: Pencil ms. vocal score and sketches (22 pp.); Library of Congress Ink ms. vocal score (16 pp.); Library of Congress Facsim. ms. vocal score (16 pp.); Library of Congress Pencil sketches (20 pp.); Columbia University Facsim. ms. vocal score (16 pp.); Columbia University Facsim. ms. full score (32 pp.), orchestra version; Columbia University Note: “Written for President Roosevelt’s United Nations Flag Day Address, June 1942.” Prayer for the United Nations: For Chorus of Mixed Voices with Alto or Baritone Solo and Accompaniment for Piano or Orchestra. Modern Series 626. Plate no.: Mod. 626 - (16). New York: H. W. Gray, agents for Novello, London, 1943. Vocal score. Prelude and Fugue in E Minor Instrumentation: Organ Date of composition: 1919–22 Scores: Ink ms. (10 pp.); Columbia University Prelude for Piano see Two Piano Pieces (1957) Prelude in C  Minor (incomplete) Instrumentation: Keyboard? Date of composition: Unknown Score: Pencil sketch (2 pp.), incomplete; Columbia University “The Princess and the Pea” see Four Pieces for Piano Puss in Boots Genre: Children’s operetta Text: Raymond Abrashkin, after Charles Perrault Characters: Princess, soprano; Puss, John, tenors; Prince Snickersnee, king, baritones; narrator Instrumentation: Ensemble (1.0.0.1/4.1.0.0/celesta/perc./harp/strings) Act: One act, three scenes Date of composition: September 1949 Duration: 15:00 Scores: Pencil sketches in vocal score (21 pp.); Columbia University Facsim. ms. piano score (17 pp.); Columbia University

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Recording: Puss in Boots. Arthur Malvin (Puss); Don Johnston (John); Norman Rose (Snickersnee); Percy Dove (the king); Frances Paige (the princess); Eugene Lowell, conductor. [New York]: Young People’s Records, [1952]. Young People’s Records 8003—8004. 2 discs (78 rpm records), 10 in. Recorded February 1952. Puss in Boots. Same cast. [New York]: Young People’s Records, 1953. Young People’s Records 45x 8003–45x 8004. 2 discs (45 rpm records), 7 in. Puss in Boots. Same cast. [New York]: Children’s Record Guild, 1954. Children’s Record Guild 8003–8004. 2 discs (78 rpm records), 10 in. Quentin Durward Genre: Incidental music Text: Verse by J. C. Peet Instrumentation: Orchestra (1.1.2.1./2.2.1.0./timp./perc./strings) and chorus (TTBB) Movements: I. Overture II. “Hunting Song” (act 1) III. “March” (act 1, no. 3) IV. “Intermezzo” V. “Prelude” (act 2, no. 5) VI. “Toast” (act 2, no. 6) Date and place of composition: 23 May 1914, New Haven, CT Scores: Ink piano score (15 pp.), missing “Intermezzo”; Columbia University Quintet for Clarinet and Strings Instrumentation: Clarinet, 2 violins, viola, cello Movements: I. Allegro risoluto II. Andante comodo III. Adagio recitativo IV. Allegro ritmico Date of composition: 25 June–22 August 1946 Duration: 17:15 Commissioned by: Juilliard School of Music Scores: Pencil sketches (20 pp.); Columbia University Pencil ms. sketches (22 pp.); Library of Congress Facsim. ms. score (82 pp.); Library of Congress Pencil ms. score (86 pp.) with some ink corrections; Juilliard School

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Set of ink ms. parts; Eastman School of Music Quintet for Clarinet and Strings. Carl Fischer Study Score Series: Orchestral Works-Chamber Music, no. 17. Publisher’s nos.: Sc. 17 (score), 04210 (parts); plate nos.: N3447 (score), N3448 (parts). New York: Carl Fischer, 1962. Study score and 5 parts. Recordings: Quintet for Clarinet and Strings. In Quintet for Clarinet & Strings (1946) by Douglas Moore; String Quartet No. 2, Op. 43 by Wallingford Riegger. New Music String Quartet (Broadus Erle, Matthew Raimondi, violins; Walter Trampler, viola; Claus Adam, cello); David Oppenheim, clarinet. Modern American Music Series (Columbia Masterworks). [New York]: Columbia, [1953]. Columbia ML4494. 1 disc (33¹⁄³ rpm mono. record), 12 in. Program notes by the composer. Quintet for Clarinet and Strings (1946). In Quintet for Clarinet and Strings (1946), Douglas Moore; String Quartet No. 2, William Bergsma. New York: Desto Records, [1966]. Desto D-425. 1 disc (33¹⁄³ rpm mono. record), 12 in. Reissued from Columbia ML4494. Quintet for Clarinet and Strings. In Quintet for Clarinet and Strings (1946), Douglas Moore; String Quartet no. 2, William Bergsma. [New York]: Desto, [1971]. 1 disc (33¹⁄³ rpm stereo. record). Electronically reprocessed stereo. Reissued from a Columbia recording (ML4494) under the supervision of Columbia engineering and executive personnel, the composer, and a selective committee consisting of Virgil Thomson, Aaron Copland, Henry Cowell, William Schuman, and Goddard Lieberson. Quintet for Clarinet and Strings. In American Clarinet. Raymon Kireilis, clarinet; Da Vinci Quartet (Jerilyn Jorgensen, Kay Kireilis, violins; Margaret Miller, viola; Katharine Knight, cello.) Denver: Raymon Kireilis, 1997. 1 compact disc (69:42); tracks 1–4 (18:26). The disc also includes recordings of works by Ellen Taaffe Zwilich, W. C. Handy, and Dan Welcher. Quintet for Clarinet and Strings. In American Clarinet Treasures. American Chamber Ensemble (Naomi Drucker, clarinet; Eriko Sato, Deborah Wong, violins; Lois Martin, viola; Chris Finkel, cello). New York: Elisium Recordings, 2000. Elisium GRK 718. 1 compact disc (67:46); tracks 10–13 (18:56). Recorded at the Studio, 102 Greene St., New York, 1999. Program notes on pp. 7–8 by John W. Barker. The disc also includes works by George Kleinsinger, Elliott Carter, Virgil Thomson, and Gary Schocker. Quintet for Winds Instrumentation: Flute (piccolo), oboe, clarinet, horn, bassoon Movements: I. Maestoso II. Andante espressivo III. Allegro marziale Date and place of composition: August 1942, Cutchogue, NY; revised 1948

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Duration: 11:58 Dedication: For the League of Composers Scores: Pencil sketches (14 pp.); Library of Congress Pencil ms. score (41 pp.); Library of Congress Ink ms. score (34 pp.); Library of Congress Facsim. ms. score (34 pp.); Library of Congress Set of parts; Columbia University Facsim. ms. score (34 pp.), with annotations (corrected 1st version); Columbia University Quintet for Winds. Society for the Publication of American Music. [Publication] 28th Season, 1946–47, [no.] 57. Publisher’s no.: S.P.A.M. 57. New York: Society for the Publication of American Music; G. Schirmer, 1949. Score and 5 parts. Recording: Quintet for Winds. In American Music for Wind Quintet. University of Redlands Faculty Wind Quintet (Karlin Eby, flute; Terry Row, oboe; Phillip Rehfeldt, clarinet; James Keays, horn; John Steinmetz, bassoon). [Redlands, CA]: Advance Recordings, [1988]. Advance FGC-22S. 1 cassette (39:46); side A (12:08) recorded Spring 1976. The cassette includes quintets by Elliott Carter, John Cage, and Edwin London. “The Reed Player” see MacLeish Songs Requiem (incomplete) Instrumentation: Orchestra Date of composition: 13 July–26 August 19?? Scores: Pencil ms. sketch (4 pp.); Columbia University Revivalist Prelude (incomplete) Instrumentation: Unknown Date of composition: August 1929 Score: In sketchbook (1 p.); Columbia University “The Road” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: August 1919 1st line: “I’ll go to seek my fortune . . .”

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Vocal range: B  2–D4 Score: Ink ms. score (6 pp.); Columbia University The Road to Rome Genre: Incidental music Text: Robert E. Sherwood Instrumentation: 2 trumpets and timpani Movements: 3 trumpet calls; finale to acts 2 and 3 Date of composition: 1927 Scores: Pencil sketch (3 pp.) in sketchbook; Columbia University Facsim. ms. score (3 pp.); Columbia University “The Rune” Genre: Song Text: Joseph Le Conte Bell Instrumentation: Alto and piano Date of composition: before 1914 1st line: “The tremulous fingered waters move across the sand beneath the trees . . .” Vocal range: B  3–F5 Scores: 2 ink ms. scores (3 pp.); Columbia University Rural Electrification Film Music see Power and the Land “Rutgers Marching Song” Genre: Fight song Text: Douglas Moore? Instrumentation: Voice and piano Date of composition: Unknown 1st line: “Rutgers is out to make a touchdown . . .” Vocal range: A3–C  5 Score: Ink ms. score (3 pp.); Columbia University “A Sad Song” Genre: Song Text: Unknown (possibly Stephen Vincent Benét)

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Instrumentation: Voice and piano; arranged for voice and chamber ensemble (possibly lost) Date of composition: 11 July 1922 1st line: “Rosemary, Rosemary, there’s a pig in your garden . . .” Vocal range: C4–A5 Score: Pencil ms. score (3 pp.); Columbia University Said the Piano to the Harpsichord see Young People’s Records. The Old Gray Mare “Santy Anna” see War Songs Sarabande (incomplete) Instrumentation: String orchestra Date of composition: Paris 1920; 1922 Scores: Pencil sketch (1 p.); Columbia University Pencil full score ms. (2 pp.); Columbia University Pencil sketch (1 p.), incomplete version in C  minor; Columbia University Pencil sketch (2 pp.), incomplete, dated 1922; Columbia University Note: Possibly the first movement of the Danses pour flute, clarinette et basson. Scherzo in G Major Instrumentation: Organ Date of composition: 11 June 1923 Duration: 3:00–4:00 Dedication: To Arthur W. Quimby with affectionate regard Scores: Ink ms. (7 pp.); Library of Congress Pencil sketch (2 pp.), incomplete; Columbia University Pencil ms. (4 pp.); Columbia University Ink ms. (1 p.), incomplete; Columbia University Scratch’s Song see The Devil and Daniel Webster “Sea Chantey” Genre: Song Text: Kenneth Rand Instrumentation: Baritone and piano Date of composition: Unknown; rewritten 1915

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1st line: “When the clouds at eve have slain the sun . . .” Vocal range: B3–D  5 Scores: Pencil ms. score (4 pp.) in sketchbook; Columbia University Ink ms. score (6 pp.); Columbia University “The Sea That Is My Song” Genre: Song Text: Trans. from Mirza Shafi Vazeh Instrumentation: Voice and piano Date of composition: 1942 1st line: “The splendent sun is slanting across a widening sea . . .” Vocal range: F4–A5 Dedication: For Maria Maximovitch Scores: Facsim. ms. score (2 pp.); Columbia University Pencil ms. score (3 pp.) in C minor; Columbia University A Short Symphony of Autumn see A Symphony of Autumn “Sigh No More, Ladies” see Five Shakespeare Songs, Much Ado About Nothing, and Suite from Shakespearean Music Silver Aria see The Ballad of Baby Doe. Silver Aria Simon Legree Genre: Part-song Text: Vachel Lindsay Instrumentation: Men’s chorus (TTBB) and piano Date of composition: 1937 1st line: “Legree’s big house was white and green . . .” Dedication: To Emily Scores: Pencil ms. score (18 pp.); Library of Congress Ink ms. score (16 pp.); Columbia University Simon Legree: Quartet or Chorus for Men’s Voices (T.T.B.B.). Publisher’s no.: C.M. 2230; plate no.: 28179-15. New York: Carl Fischer, 1938. Includes piano accompaniment. “The Simple Ploughboy,” see Devon Folk Songs “Sittin’ in de Cotton” see War Songs

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“De Six-Bit Express” see War Songs “XVIth Century Armor” see Four Museum Pieces “Snake Dance” Genre: Fight song Instrumentation: Voice and piano Date of composition: 1916 1st line: “Way down in an old New England town . . .” Vocal range: A3–C  5 Scores: Ink ms. score (3 pp.); Columbia University “Snake Dance” see also Music for Yale Pageant Soldier Song (incomplete) Genre: March Text: No text or vocal line indicated Instrumentation: Piano Date of composition: ca. 1920? Scores: Ink ms. (4 pp.), incomplete; Columbia University Sonata for Piano in D Minor Movements: Allegro moderato Andante Scherzo Finale—Allegro con brio Date of composition: 1915 Scores: Pencil ms. (18 pp.); Columbia University Sonata for Violin and Piano in B Minor (1916) (incomplete) Date of composition: 25 February–10 May 1916 Scores: Pencil sketches (26 pp.), incomplete, in sketchbook; Columbia University Sonata for Violin and Piano in D Major (1921) (incomplete) Alternate title: Sonate pour violin et piano

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Movement: I. Allegro con brio Date of composition: 1921 Scores: Pencil sketch (2 pp.) in sketchbook; Columbia University Ink ms. score (18 pp.); Columbia University Ink ms. part (6 pp.); Columbia University Note: For “Cours de composition II, 2me section”; French comments in pencil. Sonata for Violin and Piano in D Minor (1929) Instrumentation: Violin and piano Movements: I. Allegro energico II. Andante tranquillo III. Allegro con brio Date of composition: 1929 Duration: 21:00 Dedication: For Hildegard Donaldson Scores: Pencil ms. (1 p.) in sketchbook; Columbia University Pencil ms. score (24 pp.); Library of Congress Facsim ms. score (25 pp.), dedication written in ink; Yale University Sonata for Violin and Piano in G Major (1921?) (incomplete) Alternate title: Sonate pour violin et piano Movement: I. Largo—Allegro moderato Date of composition: 1921? Scores: Ink ms. score (22 pp.); Columbia University 2 ink ms. parts (5 pp.); Columbia University Sonata for Violoncello in D Major Movements: I. Allegro moderato II. Andante III. Allegro IV. Allegro molto Date of composition: August 1916

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Scores: Pencil sketches (3 pp.); Columbia University Pencil ms. (36 pp.) in sketchbook ; Columbia University Ink ms. part (16 pp.); Columbia University Ink ms. score (43 pp.); Yale University Note: Written for class in free composition, 1915–16. Song from The Land of Heart’s Desire Genre: Song Text: William Butler Yeats Character: The faery child Instrumentation: Soprano and piano Date of composition: Possible early work 1st line: “The wind blows out of the gates . . .” Vocal range: C4–G  5 Score: Ink ms. score (6 pp.); Columbia University “Song of a Canoe” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of Composition: 1910 Range: E4–B 5 (B  version); D4–A 5 (A  version) 1st line: “The pale moon’s wake on a silver lake . . .” Scores: Ink ms. score (3 pp.), B  version, not in Moore’s hand; Columbia University Ink ms. score (3 pp.), A  version, 2 copies; Columbia University “A Song of April” (incomplete) Genre: Song Text: Gardiner W. Wood Instrumentation: Voice and piano Date of composition: after 1910 1st line: “Down by the mill the pussy willows are winking . . .” Vocal range: B  3–B 5 Score: Ink ms. (1 p.) of vocal part only; Columbia University “Song ‘The Tale of a Carp’ ” Text: A. S. Moore and A. D. Moore

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Instrumentation: Voice and piano Date of composition: ca. 1909? 1st line: “Once an old gray carp loved a young sea bass . . .” Vocal range: C4–F5 Score: Ink ms. score (2 pp.); Columbia University “Song to Fessenden” Alternate title: “Hail to Thee, Fessenden” Genre: Song Text: Myra Moore Instrumentation: Voice and piano Date of composition: 1908 1st line: “Hail to thee, Fessenden!” Vocal range: C4–D5 Dedication: Dedicated to the Fessenden School Scores: Ink ms. score (1 p.); Library of Congress Ink ms. text of lyrics by Mrs. S. H. Moore (1 p.); Fessenden School, West Newton, MA Hail to Thee, Fessenden! Words by Mrs. S. H. Moore. N.p.: N.p., 1907. Songs of the West, see Devon Folk Songs “Spring and Winter” see Five Shakespeare Songs. “The Cuckoo” “Square Dance” see Village Music “A Statue by Rodin” see Four Museum Pieces String Quartet Instrumentation: 2 violins, viola, cello Movements: Allegro moderato Allegretto Andante con moto Finale—Allegro Date of composition: 29 December 1932–August 1933 Dedication: To the Roth String Quartet Scores: Pencil sketches (24 pp.) in sketchbook; Columbia University Pencil sketches (24 pp.); Columbia University

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Pencil ms. score (53 pp.) with ink notations; Library of Congress Quartet for Strings. Society for the Publication of American Music, 19th Season, 1937–38, no. 41. Plate no.: S.P.A.M.41. New York: Galaxy Music, 1938. Miniature score and 4 parts. Suite for Piano Alternate title: Six Pieces for Piano Movements: “Prelude” “Reel” “Dancing School” “Barn Dance” “Air” “Procession” Date of composition: 13 August–17 September 1948 Dedication: To Andor Foldes Scores: Pencil sketches (1 p.); Library of Congress Pencil ms. score (25 pp.); Library of Congress Facsim. ms. score (21 pp.); Library of Congress Ink ms. score (21 pp.); Harvard University, Houghton Library, Hans Moldenhauer Collection, bMS MUS 230 (615) Ink ms. score (4 pp.) of Procession; Eastman School of Music Suite for Piano. 6 vols. Publisher’s no.: P 2698–P 2703; plate no.: 30728–30733. New York: Carl Fischer, 1951. [Suite for Piano. Prelude.] Prelude. Edited by Isadore Freed. Contemporary Piano Music by Distinguished Composers. Plate no.: 110-40484-2. [Bryn Mawr, PA]: Theodore Presser, 1958. Suite from Shakespearean Music (arranged from the incidental music) Genre: Songs Text: William Shakespeare Instrumentation: Alto, flute, and harpsichord Movements: I. Overture II. “Sigh No More, Ladies” (also arranged for voice and piano) III. “Come Away, Death” (also arranged for baritone) IV. “O Mistress Mine” Date of composition: 1928 Scores: Manuscript: see listings and notes under Five Shakespeare Songs

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Suite from Shakespearean Music see also Five Shakespeare Songs. “Come Away, Death,” “O Mistress Mine,” and “Sigh No More, Ladies” Summer Evening Alternate title: Summer Evening, or, Katydids Genre: Program music Instrumentation: Piano Date of composition: Unknown Scores: Pencil ms. (3 pp.); Columbia University Ink ms. (2 pp.); Columbia University Printer’s proofs (2 pp.); Columbia University “Sunday Clothes” see Farm Journal “Sweet” see MacLeish Songs Symphony in A Major Instrumentation: Orchestra (2.pic.2.2.bs.cl.2./4.2.3.1./harp/perc./strings); arranged for 2 pianos Movements: I. Andante con moto; Allegro giusto II. Andante quieto e semplice III. Allegretto IV. Allegro con spirito Date of composition: 1945 Duration: ca. 22:00 Dedication: To the memory of Stephen Vincent Benét Scores: Pencil sketches (5 pp.), plus numerous other sketches, in sketchbook; Columbia University Ink ms. score (39 pp.) of 2-piano version; Columbia University Pencil ms. condensed score (29 pp.); Library of Congress Ink ms. score (162 pp.); Library of Congress Symphony in A Major. G. Schirmer’s Edition of Study Scores of Orchestral Works and Chamber Music 41. Plate no.: 41595. New York: G. Schirmer, 1947. Study score. Recordings: Symphony in A. American Recording Society Orchestra; Dean Dixon, conductor. New York: American Recording Society, [1951]. American Recording Society ARS-5. 1 disc (33¹⁄³ rpm mono. record), 10 in. Recorded October 1951. Program notes include an analysis by Moore.

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Symphony in A. In Symphony #2 by Randall Thompson; Symphony in A by Douglas Moore. 200 Years of American music. New York: American Recording Society, [1951]. American Recording Society ARS-45. 1 disc (33¹⁄³ rpm mono. record), 12 in. Reissued from American Recording Society 5. Symphony in A. In Symphony in A by Douglas Moore. Stabat Mater by Julia Perry. Japan Philharmonic Symphony Orchestra; William Strickland, conductor. New York: Composers Recordings, [1960]. Composers Recordings CRI 133 (mono.), CRI SD 133 (stereo.). 1 disc (33¹⁄³ rpm record), 12 in. Recorded 1960. Program notes by William Flanagan. Symphony in A Major. In Symphony for Eight Celli and Piano by Arnold Griller. Symphony in A major by Douglas Moore. California Symphony Orchestra; Rene Jomelli, conductor. San Francisco: Music Library Recordings, [1962]. Music Library Recordings MLR 7037. 1 disc (33¹⁄³ rpm mono. record), 12 in. The flip side is Belvedere MLR-7070. “First Edition” is printed at the top of the label. Symphony in A. In Douglas Moore, Marion Bauer. CRI American Masters. Composers Recordings CD 714. New York: Composers Recordings, 1996. 1 compact disc (71:12); tracks 11–14 (19:15). Reissued from Composers Recordings CRI SD 133. The disc also contains Farm Journal, Cotillion Suite, and two works by Marion Bauer. Symphony No. 2 in A Major. In The Cool, the Cowboyish, the Coy, the Combustible. Donald R. Peterson Recording Series, 2. Sinfonia Varsovia; Ian Hobson, conductor. Albany, NY: Troy, 2008. Troy 1042. 1 compact disc (1:08:46); tracks 7–10 (19:46). Super audio compact disc. Recorded on 15 and 17 January 2008 in Studio S1 of the Polish Radio. Program notes by Ray Bono. The disc also contains works by Morton Gould, Roy Harris, and Cecil Effinger. Symphony no. 1 in C major see A Symphony of Autumn Symphony no. 2 in A Major see Symphony in A Major A Symphony of Autumn Alternate titles: A Short Symphony of Autumn; Symphony no. 1 Instrumentation: Orchestra (2.pic.2.E.H.2.2./4.2.3.1./perc./celesta/harp/strings) Movements: I. Lento—Allegro moderato II. Andante con moto III. Allegro Date and place of composition: 1930 (completed 1931), Cutchogue, NY Dedication: To Howard Hanson Scores: Pencil ms. score (139 pp.); Library of Congress Pencil sketches (17 pp.) in sketchbook; Columbia University

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Ink ms. full score (140 pp.); Columbia University Set of ink ms. parts; Columbia University “The Tale of a Carp” see “Song ‘The Tale of a Carp’ ” Then and Now Genre: Musical Text: Douglas Moore and brother Characters: Principal of Dana Hall, Elizabeth Mulvany, Builder Man Instrumentation: Children’s voices and piano Acts: Act 1 Builder Song (“I often build a boyhood’s dreams . . .”) Miss Elizabeth (“I’m Lizzy Mulvany . . .”) Act 2 The Girls of Dana Hall (“We are the girls of Dana Hall . . .”) “How I love to charge things on the bill” String Song String Duet Hero’s Song (“Back in our childhood . . .”) Date of composition: 1909 Scores: Ink ms. (14 pp.); Columbia University Pencil ms. of the acc. only (1 p.) for “How I Love to Charge Things on the Bill”; Columbia University Note: Written by Moore and one of his brothers. Moore wrote the vocal line and a cousin wrote the accompaniment. “Thine Eyes” see MacLeish Songs “Thistledown” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: ca. 1915 1st line: “Thistles, drifting thistledown . . .” Vocal range: G4–G5 Scores: Pencil sketch (7 pp.) in sketchbook; Columbia University Pencil sketch (1 p.); Columbia University Ink ms. score (6 p.); Columbia University

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“Thou Hast Made Me” see Three Sonnets of John Donne “Three Contemporaries” see Tintypes Three Sonnets of John Donne Genre: Songs Text: John Donne Instrumentation: Voice and piano Movements: 1. “Thou Hast Made Me” 2. “Batter My Heart” 3. “Death, Be Not Proud” Date of composition: Tucson, April 1942 Vocal range: D4–A5 Dedication: To Maria Maximovitch Scores: Pencil ms. score (11 pp.) plus additional sketches; Library of Congress Ink ms. score (11 pp.); Library of Congress Ink ms. score (11 pp.); Columbia University Three Sonnets of John Donne: Set to Music for High Voice and Piano. 3 vols. Plate nos.: 40580–40582. New York: G. Schirmer, 1944. “Three Sonnets of John Donne.” In Romantic American Art Songs: 50 Songs by 14 Composers: For High Voice and Piano, 129–43. Compiled by Richard Walters. Publisher’s no.: HL50481219. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 1990. Recordings: See “Five Shakespeare Songs. Come Away, Death” for recordings of “Death, Be Not Proud.” Tintypes Alternate title: Three Contemporaries Genre: Suite; program music Instrumentation: Piano; arranged for band by Keith Wilson (fl./ob./E  cl./3 cl./alto cl./ bs.cl./2 alto sax./ten.sax./bar.sax./bsn./3 cor./4 hrn./3 trb./bar.hrn./tuba/str.bs./perc.) Movements: 1. “Careful Etta” 2. “Grievin’ Annie” (original title: “Complainin’ Annie”) 3. “Fiddlin’ Joe” 4. “Handsome Dan” (unpublished) Date of composition: ca. 1935–40 Duration: 2:30

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Dedication: To Mary (“Careful Etta”), For Stephen (“Fiddlin’ Joe”), For Sarah (“Grievin’ Annie”) Scores: Pencil sketches (5 pp.) in sketchbook; Library of Congress Careful Etta: Piano Solo. Edited by Lazare Saminsky and Isadore Freed. Masters of Our Day Educational Series. Publisher’s no.: P 2118; plate no.: 27346-2. New York: Carl Fischer, 1936. “Careful Etta.” In Masters of Our Day: 18 Solos in the Contemporary Idiom for the Young Pianist, edited by Lazare Saminsky and Isadore Freed, 8–9. Publisher’s no.: O4361; plate no.: N4102. New York: Carl Fischer, 1963. Grievin’ Annie: Piano Solo. Edited by Lazare Saminsky and Isadore Freed. Masters of Our Day Educational Series. Publisher’s no.: P2234; plate no.: 29014-2. New York: Carl Fischer, 1941. “Grievin’ Annie.” In Masters of Our Day: 18 Solos in the Contemporary Idiom for the Young Pianist, edited by Lazare Saminsky and Isadore Freed, 20–21. Publisher’s no.: O4361; plate no.: 29014-2. New York: Carl Fischer, 1963. Fiddlin’ Joe: Piano Solo. Edited by Lazare Saminsky and Isadore Freed. Masters of Our Day Educational Series. Publisher’s no.: P2119; plate no.: 27347-3. New York: Carl Fischer, 1936. “Fiddlin’ Joe.” In Masters of Our Day: 18 Solos in the Contemporary Idiom for the Young Pianist, edited by Lazare Saminsky and Isadore Freed, 13–15. Publisher’s no.: O4361; plate no.: N4102. New York: Carl Fischer, 1963. Three Contemporaries: Suite for Band. Arranged by Keith Wilson. Carl Fischer band ed. Publisher’s no.: J548; plate no.: N3020. New York: Carl Fischer, 1958. Full score, 1 conductor score and parts. Recordings: “Fiddlin’ Joe.” In Junior Festival List, 1959–62, National Federation of Music Clubs. Gerson Yessin, piano. [Jacksonville, FL]: Jacksonville University College of Music, [1962?]. 1 disc (33¹⁄³ rpm mono. record), 12 in.; side 1, band 3. “Fiddlin’ Joe”; “Grievin’ Annie.” In Twenty Pieces from Master of Our Day Series. Charlotte Martin, piano. Bach to Bartok Series. Ventura, CA: Educo, 1968. Educo 3021. 1 disc (33¹⁄³ rpm mono. record), 12 in.; side 1, band 9 (“Fiddlin’ Joe”), and side 2, band 1 (“Grievin’ Annie”). “To an April Lady” see MacLeish Songs “To Knox Our Alma Mater” (incomplete) Genre: School song Text: Douglas Moore? Instrumentation: Voice and piano Date of composition: unknown

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1st line: “To Knox our alma mater, we second formers sing . . .” Scores: Pencil sketch (2 pp.), incomplete; Columbia University Note: Possibly for the Knox School, founded in Briarcliff Manor, New York, in 1904. Second formers are students age twelve to thirteen, roughly equivalent to eighth grade in the American educational system. “The Token” Genre: Song Text: John Donne Instrumentation: Voice and piano Date and place of composition: June 1942, Cutchogue, NY 1st line: “Send me some tokens that my hope may live . . .” Vocal range: F4–B  5 Dedication: For Maria Maximovitch Scores: Pencil ms. score (6 pp.); Columbia University Ink ms. score (4 pp.); Columbia University “The Tower Bells of Tours” Genre: Song Text: Archibald MacLeish Instrumentation: Voice and piano Date of composition: July 1919 1st line: “Up above the tower bells of Tours . . .” Vocal range: D4–G  5 Scores: Pencil ms. (5 pp.) in sketchbook; Columbia University Pencil sketch (1 p.); Columbia University Ink ms. score (6 pp.); Columbia University “Town and Gown Riot” see Music for Yale Pageant Trio for Piano and Strings Instrumentation: Violin, cello, and piano Movements: I. Allegro molto marcato II. Adagio III. Allegro vivace Date and place of composition: September 1953, Cutchogue, NY

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Scores: Pencil ms. sketches (8 pp.); Columbia University Pencil ms. score (11 pp.), 1st movement; Columbia University 1 set of ink ms. parts; Columbia University Ink ms. score (38 pp.); Columbia University Pencil ms. score (27 pp.), 2nd and 3rd movements; Library of Congress Facsim. ms. score (38 pp.); Library of Congress Trio for Violin, Cello, and Piano. Publisher’s no.: GM 2276. New York: Galaxy Music, 1963. Score and 2 parts. Twelfth Night Genre: Incidental music Text: William Shakespeare Characters: Orsino, Feste, Toby, Andrew Instrumentation: Voices and piano Acts: Act 1: “If Music Be the Food of Love, Play On” (Orsino) Act 2: “O Mistress Mine” (Feste); “Farewell, Dear Heart” (Toby and Feste); Jig; “Come Away, Death” (Feste); “Hold Thy Peace” (Old Round) (Feste, Andrew, Toby); Wedding Music; Finale Act 5: “When That I Was and a Tiny Little Boy” (Feste) Dates of composition: 1916, 1925 Commission: “Composed for the American Laboratory Theatre” Scores: Pencil sketches (12 pp.); Columbia University Ink ms. (16 pp.); Columbia University Twelfth Night see also Five Shakespeare Songs. “Come Away, Death” and “O Mistress Mine” Two Pieces for Piano Movements: “Prelude” “Dance for a Holiday” Date of composition: 17–18 April 1957 Scores: Pencil sketches (3 pp.) in sketchbook; Library of Congress Ink ms. music (4 pp.); Library of Congress Dance for a Holiday. Edited by Isadore Freed. Contemporary Piano Music by Distinguished Composers. Plate no.: 110-40485-2. Bryn Mawr, PA: Theodore Presser, 1958.

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Prelude. Edited by Isadore Freed. Contemporary Piano Music by Distinguished Composers. Plate no.: 110-40484-2. Bryn Mawr, PA: Theodore Presser, 1958. “Under the Greenwood Tree” Genre: Song Text: William Shakespeare (from As You Like It) Character: Amiens Instrumentation: Voice and piano Act: Act 2, scene 5 Date of composition: 5 March 1944 Key: F major (medium voice); D  major (low voice). 1st line: “Under the greenwood tree . . .” Vocal range: F4–A5, D  4–F5 Scores: Pencil ms. score (3 pp.) in sketchbook; Columbia University Ink ms. score (3 pp.); Library of Congress Under the Greenwood Tree. Publisher’s no.: V2056; plate no.: 30594-3. New York: Carl Fischer, 1950. “Under the Greenwood Tree.” In Contemporary Songs in English: Songs by American and English Composers for Recital, Concert, and Studio Use, edited by Bernard Taylor, 46–48. Medium high voice ed. Publisher’s no.: O3819; plate no.: N2109. New York: Carl Fischer, 1956. “Under the Greenwood Tree.” In Contemporary Songs in English: Songs by American and English Composers for Recital, Concert, and Studio Use, edited by Bernard Taylor, 46–48. Medium low voice ed. Publisher’s no.: O3820; plate no.: N2110. New York: Carl Fischer, 1956. “Unforgotten” Genre: Song Text: Robert W. Service (from The Spell of the Yukon) Instrumentation: Mezzo-soprano and piano Date of composition: March 1915 1st line: “I know a garden where the lilies gleam . . .” Vocal range: E  4–E  5 Score: Pencil and ink ms. (3 pp.); Columbia University [Untitled] Genre: Waltz Instrumentation: Piano?

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Date of composition: ca. 1908–9 Key: ends in C major Range: D4–E5 Scores: Pencil score (2 pp.); Columbia University Note: Moore’s first written composition. [Untitled—Lent in A  Major] Instrumentation: Piano four-hands Date and place of composition: 1921, Paris Scores: Pencil ms. (12 pp.); Columbia University “Up Early” see Farm Journal Vai-choo-loo see Vayechulu Valse Janet Genre: Waltz Instrumentation: Piano Date of composition: Early work Dedication: Dedicated to Miss Janet Connell Scores: Ink ms. (8 pp.); Columbia University Variations on a Theme in G Major Instrumentation: String quartet Movements: Theme. Allegro moderato Var. 1. Poco andante Var. 2. Allegretto Var. 3. Recitativo Var. 4. Andante cantabile Var. 5. Allegro vivace Var. 6. Adagio Date of composition: January 1916 Scores: Pencil sketches (12 pp.) in sketchbook with the following movements: Theme, Allegro moderato; Var. I, Piu mosso; Var. II, Un poco accel; Var. III, Recitativo; Var. IV, Andante; Var.

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V, Presto (deleted); Var. V, Allegro vivace; Var. VI, Adagio (incomplete); Columbia University 1 set of ink ms. parts; Columbia University Ink ms. score (11 pp.); Yale University Note: Written for a class in free composition, 1915–16. Variations on Theme of Bingham (incomplete) Instrumentation: Undetermined Date of composition: May 1931 Scores: Pencil sketches (1 p.) in sketchbook; Columbia University Vayechulu Alternate title: Vai-choo-loo Genre: Music for synagogue Text: Hebrew, Genesis 2:1–3 Instrumentation: Cantor, chorus (SSATTB), and organ Date of composition: 1947–48 1st line: “Vay’chooloo hashaw mayorn . . .” Vocal range: F4–G5 (cantor) Commissioned by: Cantor David Putterman for the Park Avenue Synagogue Scores: Facsim. ms. score (4 pp.); Library of Congress Facsim. ms. score (4 pp.); Eastman School of Music “Vayechulu: (Genesis II: 1–3): for Cantor, Chorus (SATB), and Organ.” In Menorah Journal 36, no. 4 (Autumn 1948): 300–303. Reproduced from the composer’s manuscript. Recording: Vay’khullu. In David Diamond: Ahava—Brotherhood. Elaine Close, soprano; Patrick Mason, baritone; Christopher Bowers-Broadbent, organ; Chorus of the Academy of St. Martin-inthe-Fields; Joseph Cullen, conductor. Naxos 8.559412. American Classics, Milken Archive of American Jewish Music. Canada: Naxos, 2004. 1 compact disc (58:42); track 12 (3:39). Premiere recording. Recorded in St. Paul’s Church, Knightsbridge, London, June 2001. Program notes by Neil W. Levin on pp. 7–8, 14, and 18. The disc also includes works by David Diamond, Morton Gould, and Roy Harris. This disc is also included as part of the fifty-CD set of the Milkin Archive of American Jewish Music (Naxos 51). Village Music Genre: Suite Instrumentation: Chamber orchestra (1.0.2.0/0.2.1.0/timp./perc./strings) or full orchestra (1.pic.1.2.1/2.2.1.0/timp./perc./strings); arranged for band by James Scofield (pic./2

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fl./E  cl./3 cl./alto cl./bs.cl./2 alto sax./ten.sax./bar.sax./2 bsn./3 cor./4 hrn./2 trb./ bs.trb./euph./tuba/perc.) Movements: 1. “Square Dance” [alternate title: “Farmhands”] (from the film Youth Gets a Break) 2. “Procession” [alternate title: “Local Dignitaries”] 3. “Nocturne” [alternate title: “Lamplight”] (from the film Power and the Land) 4. “Jig” Date and place of composition: Summer 1941, Cutchogue, NY; arranged 7 July 1967 Duration: ca. 10:00 Dedication: Dedicated to Herbert Dittler and the Columbia University Orchestra Commissioned by: Music Press, Inc. Scores: Pencil ms. short score sketch (20 pp.); Library of Congress Master’s thesis (ms. facsim.), band arrangement; Northern Illinois University Village Music: For Small or Full Orchestra. Music Press Contemporary Series. New York: Music Press, 1942. Score. and 15 parts. Village Music: For Small or Full Orchestra. Kalmus Orchestra Library. Publisher’s no.: A 7727. Boca Raton, FL: Edwin F. Kalmus, n.d. Score. “Village Music: Suite for Band.” Arranged for band by James Scofield. Master’s thesis, Northern Illinois University, 1967. Score. Waltz for Piano see Adventures in the Latin Quarter [War Songs] 2 “Allentown Ambulance,” melody of traditional song “Song of a Gambolier,” setting by Moore Genre: Song Text: Contributed by Robert Ballou Instrumentation: Voice and piano Date of composition: ca. 1917–18 1st line: “They said we’d go to Allentown and get an ambulance . . .” Vocal range: D4–E5 Score: Pencil ms. score (1 p.); Columbia University “Allentown Ambulance.” In The Songs My Mother Never Taught Me, pp. 29–30 (music), 42 (text). According to John J. “Jake” Niles, Douglas S. “Doug” Moore, and A. A. “Wally” Wallgren. New York: Macaulay, 1929. Also published: New York: Gold Label Books, 1929. “Ate My Breakfast” (incomplete) Genre: Song

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Text: Unknown Instrumentation: Voice and piano Date of composition: ca. 1917–19 1st line: “I ate my breakfast but I don’t believe it . . .” Score: Pencil ms. score (1 p.), incomplete; Columbia University “Hanging Johnnie” Genre: Song Text: Unknown Instrumentation: Voice and piano Date of composition: ca. 1917–18 1st line: “They calls me hanging Johnnie but I never sprung a trap . . .” Vocal range: B3–E5 Score: Pencil ms. score (1 p.); Columbia University “Jail Song” Text: Unknown Instrumentation: Voice and piano Date of composition: ca. 1917–18 1st line: “I looked up at the captain’s face . . .” Score: Pencil ms. score (1 p.); Columbia University “Santy Anna,” song setting by Moore Genre: Song Text: Anonymous Instrumentation: Voice and piano Date of composition: ca. 1917–19 1st line: “Santy Anna run away, bravo Santy Anna . . .” Vocal range: B3–D5 Scores: Pencil ms. score (1 p.); Columbia University “Santy Anna.” In The Songs My Mother Never Taught Me, 82–83. According to John J. “Jack” Niles, Dougas S. “Doug” Moore, and A. A. “Wally” Wallgren. New York: Macauley, 1929. Also published by New York: Gold Label Books, 1929. “Sittin’ in de Cotton,” song setting by Moore Genre: Song Text: Unknown

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Instrumentation: Voice and piano Date of composition: ca. 1917–18 1st line: “When de cannon balls a singin’ and the mustard gas is low . . .” Vocal range: B 3–E  5 Scores: Pencil ms. score (1 p.); Columbia University “Sittin’ in de Cotton.” In The Songs My Mother Never Taught Me, pp. 200–201. According to John J. “Jake” Niles, Douglas S. “Doug” Moore, and A. A. “Wally” Wallgren. New York: Macaulay, 1929. Also published: New York: Gold Label Books, 1929. “De Six-Bit Express,” melody based on “Camptown Races” by Stephen Foster, setting by Moore Genre: Song Text: Unknown Instrumentation: Voice and piano Date of composition: ca. 1917–18 1st line: “Oh de 6 bit ’spress men sing dis song . . .” Vocal range: D4–D5 Scores: Pencil ms. score (1 p.); Columbia University “De Six-Bit Express.” In The Songs My Mother Never Taught Me, pp. 212–13. According to John J. “Jake” Niles, Douglas S. “Doug” Moore, and A. A. “Wally” Wallgren. New York: Macaulay, 1929. Also published: New York: Gold Label Books, 1929. “Way Out West” Genre: Song Text: Unknown Instrumentation: Voice and piano Date of composition: ca. 1917–18 1st line: “Oh way out west in the Indian plains . . .” Vocal range: B  3–E 5 Score: Pencil ms. score (1 p.); Columbia University “When I Lays Down,” song setting by Moore Genre: Song Text: Unknown Instrumentation: Voice and piano Date of composition: ca. 1918–19

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1st line: “When I lays down and dies . . .” Vocal range: D4–C5 Score: Pencil ms. score (1 p.); Columbia University “When I Lays Down.” In The Songs My Mother Never Taught Me, 218–20. According to John J. “Jack” Niles, Dougas S. “Doug” Moore, and A. A. “Wally” Wallgren. New York: Macauley, 1929. Also published by New York: Gold Label Books, 1929. “Willie the Weeper” Genre: Song Text: Unknown Instrumentation: Voice and piano Date of composition: ca. 1917–1919 1st line: “Now Willie the Weeper was a preacher’s son . . .” Vocal range: B3–B4 Score: Pencil ms. score (1 p.); Columbia University “Warm as the Autumn Light” see The Ballad of Baby Doe. “Warm as the Autumn Light” “Watch Out, Spy Out” see Oh, Oh, Tennessee “Way Out West” see War Songs “We Must Follow the Leaders” (incomplete) Genre: Song Text: Unknown Instrumentation: Voice and piano Date of composition: between 1916 and 1917 1st line: “We must follow the leaders in every good thing . . .” Vocal range: Undetermined Scores: Pencil sketch (17 pp.), incomplete, in sketchbook; Columbia University “Westren Winde” Genre: Canon Text: Anonymous sixteenth-century text Instrumentation: 2 voices Date of composition: 20 September 1946

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1st line: “Westren winde when wilt thou blow . . .” Commissioned by: Music Press, Inc., for Modern Canons Scores: Pencil ms. score (1 p.); Columbia University “Westren Winde: For Two Voices (in the Fourth).” In Modern Canons: 38 Contemporary Canons for 2–5 Voices, edited by Herman Reichenbach, 8. Plate no.: M.P. 85-35. New York: Music Press, 1947. “We’ve Always Known Each Other” see The Wings of the Dove. “We’ve Always Known Each Other” “When I Lays Down” see War Songs “When the Drive Goes Down” Genre: Song Text: P. Malloch Instrumentation: Voice and piano Date of composition: 1951 1st line: “There’s folks that like the good dry land . . .” Vocal range: E4–E5 Score: Pencil ms. score (2 pp.); Columbia University “The White Whale” see Moby Dick White Wings Genre: Chamber opera Text: Philip Barry Characters: Mrs. Fanny K. Inch, soprano; Mary Todd, mezzo-soprano; Mr. Ernest Inch, Kit Canari, Dr. Bowles, tenors; Major Philip E. Inch, Archie Inch, Dr. Derby, city employee, baritones; Charlie Todd, bass; White Wings: Ralph Otis, Everett Horton, tenors; Clyde Sims III, baritone; Ralph Pillsbury, bass; Joseph (a horse) Instrumentation: Orchestra (2.1.2.2./2.2.1.0./timp./harp/strings) Acts: The action takes place in the streets of an American city at varying intervals from 1895 on. Act 1 Scene 1. The boulevard Scene 2. The parkway Act 2 Scene 1. The parkway Scene 2. The parkway

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Date of composition: 17 February 1934–35 Scores: Sketchbook (3 pp.) with overture in short score (11 pp.); Library of Congress Pencil sketches (9 pp.); Library of Congress Pencil ms. vocal score (233 pp.); Library of Congress Ink ms. score (360 pp.); Columbia University Ink ms. vocal score (270 pp.) bound in black buckram; Columbia University Facsim. ms. vocal score (276 pp.); Columbia University Stencil chorus score (various paginations); Columbia University White Wings. Melodrama and Procession Genre: Opera excerpt Text: Philip Barry Instrumentation: Orchestra (2.1.2.2./2.2.1.0./timp./harp/strings) Date of composition: 1934–35 Scores: Set of ink ms. parts; Columbia University White Wings. Overture Genre: Opera overture Instrumentation: Orchestra (2.1.2.2./2.2.1.0./timp./harp/strings) Date of composition: June 1935 Scores: Ink ms. score (33 pp.); Columbia University Set of ink ms. parts; Columbia University “Willie the Weeper” see War Songs “Willow Song” see The Ballad of Baby Doe. Willow Song The Wings of the Dove Genre: Opera Text: Ethan Ayer, after Henry James Characters: Milly Theale, Susan Stringham, sopranos; Kate Croy, mezzo-soprano; Aunt Maud Lowder, contralto; Lord Mark, lecturer at the National Gallery, minstrel, tenors; Homer Croy (Kate’s father), Miles Dunster, Steffens (a servant), Giuliano (major-domo at the Palazzo Leporelli), baritones; museum guard, pantomime; ensemble of dancers for Aunt Maud’s party; ballet for Venice scene, twelve minimum; madrigal chorus of women for ballet, six minimum Instrumentation: 2.pic.2.E.H.2.bs.cl.2/3.2.2.0/timp./perc./strings

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Acts: Scene 1. London, 1900. The ornate parlor of Mrs. Lowder at Lancaster Gate Scene 2. Several weeks later. The same; arranged for an evening party Scene 3. Several weeks later. A room in the National Gallery Scene 4. Later that month. A courtyard and balcony of the Palazzo Leporelli, Venice Scene 5. Some days later. Milly’s apartment in the Palazzo Leporelli Scene 6. Several weeks later. Mrs. Lowder’s parlor in London Date of composition: 1959–61 Scores: Pencil ms. vocal score (168 pp.); Library of Congress Pencil full score sketches (8 p); Columbia University Fragments of the scenario in typescript and ms.; Columbia University Facsim. ms. vocal score (numerous pages including the last page for the concert ending); Columbia University Ink ms. score for the Janus scene; Columbia University Typescript libretto, 3 copies; Columbia University The Wings of the Dove: Opera Based on the Novel by Henry James. Plate no.: 45214. New York: G. Schirmer, 1963. Vocal score. Parts available on rental. The Wings of the Dove. The Dove Song Genre: Aria from an opera Text: Ethan Ayer Character: Milly Instrumentation: Soprano and piano Act: Scene 2 Date of composition: ca. 1960 1st line: “When all is fair and still . . .” Vocal range: D  4–A  5 Scores: Manuscript: From the full opera. The Dove Song: Milly’s Aria from The Wings of the Dove. Plate no.: 45120. New York: G. Schirmer, 1962. Vocal score. “The Dove Song: Milly’s Aria from: The Wings of the Dove.” In Contemporary Art Songs: 28 Songs by American and British Composers, 67–72. Publisher’s nos.: ED-2819, HL50331880; plate no.: 46679. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 1970. Vocal score. The Wings of the Dove. “In Ancient Times There Was a God” Genre: Aria from an opera

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Text: Ethan Ayer Character: Minstrel Instrumentation: Tenor and piano Act: Scene 4, The Masque of Janus Date of composition: ca. 1960 1st line: “When all is fair and still . . .” Vocal range: E  4–A 5 Scores: Manuscript: From the full opera “In Ancient Times There Was a God.” In G. Schirmer American Aria Anthology: Tenor, compiled and edited by Richard Walters, 178–83. Publisher’s no.: HL50484625. New York: G. Schirmer; Milwaukee, WI: Distributed by Hal Leonard, 2004. Vocal score. The Wings of the Dove. “We’ve Always Known Each Other” Genre: Aria from an opera Text: Ethan Ayer Character: Kate Instrumentation: Mezzo-soprano and piano Act: Scene 3 Date of composition: ca. 1960 1st line: “We’ve always known each other . . .” Vocal range: D  4–F5 Scores: Manuscript: From the full opera. “We’ve Always Known Each Other.” In G. Schirmer American Aria Anthology: MezzoSoprano, p. 204–6. Compiled and edited by Richard Walters. Pub. no.: HL50484624. New York: G. Schirmer; Milwaukee: distributed by Hal Leonard, 2004. Vocal score 224 p. Worst of Farm Disasters Genre: Film score Text: Film script possibly by Stephen Vincent Benét Characters: William Parkinson family and other members of the Belmont Electric Cooperative, St. Clairsville, OH Instrumentation: Orchestra (probably 1.pic.1.E.H.2.bs.cl.2./2.2.1.0./timp./perc./strings) Date of composition: 1940 Commissioned by: Rural Electrification Administration Duration: 6:16 Score: Manuscript unknown

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Film: Worst of Farm Disasters. Joris Ivens, director; Lora Hays, editor. [Music possibly by Douglas Moore.] Produced for the U.S. Department of Agriculture, Rural Electrification Administration. [Washington, DC]: U.S. Department of Agriculture, Rural Electrification Administration, 1941. 1 film (6:16). Worst of Farm Disasters. In Rural Electrification in Ohio: Historic REA Films, 1940–1941. Joris Ivens, director; Lora Hays, editor. [Music possibly by Douglas Moore.] Produced for the U.S. Department of Agriculture, Rural Electrification Administration. Fresno, CA: Heritage Productions, 2008. 1 DVD (56:43), chapter 5 (6:16). Filmed in 1940. Contents include Power and the Land and Bip Goes to Town. Yale Pageant see Music for Yale Pageant “Yo Ho” see The Headless Horseman, no. 13, “For youth and beauty we all adore” Young People’s Records. Instrument Series Clarinet and Horn Examples Genre: Musical examples Instrumentation: Clarinet, horn, and string quartet Movements: The Clarinet (four bars for clarinet and string quartet in B  major, example for clarinet trio; typescript of narrative text) The Horn (five examples; four for solo horn, one for horn quartet) Date of composition: December 1947 Commissioned by: Young People’s Records Scores: Facsim. ms. score (3 pp.); Columbia University Recordings: The Hunter’s Horn. Script by Douglas Moore. Narrated by Albert Grobe, orchestra conducted by Douglas Moore. [New York]: Young People’s Records, 1950. Young People’s Records 421. [Instrument Series]. 1 disc (78 rpm record), 10 in. Reissued [New York]: Children’s Record Guild, 1953. Children’s Record Guild 421. Licorice Stick: The Clarinet’s Story. Script by Douglas Moore. David Allen, narrator; instrumentalists unknown. Instrument Series. [New York]: Young People’s Records; 1948. Young People’s Records 420. 1 disc (78 rpm record), 10 in. Reissued [New York]: Children’s Record Guild, 1953. Children’s Record Guild 420. Program notes give the history of the instrument and a note to parents. The recording also contains excerpts from Mozart’s Clarinet Quintet and Tchaikovsky’s Symphony no. 5. The Old Gray Mare Alternate title: Said the Piano to the Harpsichord Genre: Variations

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Instrumentation: Piano and harpsichord Date of composition: 1948 Duration: 1:30 Commissioned by: Young People’s Records Scores: Facsim. ms. score (3 pp.); Columbia University Recording: Said the Piano to the Harpsichord. Script by Douglas Moore. Told by David Allen and Gilbert Mack. Sylvia Marlowe, harpsichord; pianist unknown. Instrument Series. [New York]: Young People’s Records, 1948. Young People’s Records 411. 1 disc (78 rpm record), 10 in. The disc also includes the “Tambourin” from the Suite in E minor by Jean-Philippe Rameau and the Polonaise in A-flat major by Chopin. Said the Piano to the Harpsichord. Same cast. [New York]: Children’s Record Guild, 1953. Children’s Record Guild 411. 1 disc (78 rpm record), 10 in. Said the Piano to the Harpsichord. Same cast. [New York]: Young People’s Records, 1953. Young People’s Records 45x 411. 1 disc (45 rpm record), 7 in. The Wonderful Violin Genre: Musical examples Instrumentation: Violin Date of composition: 1947 Commissioned by: Young People’s Records Scores: Manuscript: Unknown Recording: The Wonderful Violin. Mischa Mischakoff, violin; pianist unknown. Written and told by Douglas Moore. [Instrument Series]. [New York]: Young People’s Records, 1947. Young People’s Records 311–312. 1 disc (78 rpm record), 10 in. Youth Gets a Break Genre: Film music Instrumentation: Chorus (SATB) and orchestra (2.2.2.2./4.3.3.1./timp./perc./strings) Date of composition: September 1940 Commissioned by: National Youth Administration Scores: Pencil ms. vocal score (47 pp.); Library of Congress Pencil sketches (12 pp.); Columbia University Set of ink ms. parts; Columbia University Youth Gets a Break. Suite Genre: Suite from film score

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Instrumentation: Chorus (SATB) and orchestra (2.2.2.2./4.3.3.1./timp./perc./strings) Movements: I. Overture Film overture II. Youth Discouraged Film sequence B III. Youth Gains Confidence Film sequence E IV. Youth at Work Film sequences F, G, H V. Finale: Listen to Us, America Film part IVA—Conclusion (text by Kenneth White) Date of composition: 1940 1st line: Chorus: “Listen to us, America” Scores: Ink ms. score (83 pp.), compiled from original film score; Columbia University Sonata Pathétique, op. 13, by Ludwig van Beethoven, 1st movement; orchestrated by Moore Genre: Sonata Instrumentation: Orchestra (2.2.2.2./4.2.3.1./timp./strings) Date of composition: 1915 Scores: Ink ms. full score (40 pp.); Columbia University B. PERFORMANCES “Adam Was My Grandfather” 15 March 1941, Intercollegiate Music Guild of America Festival, New Jersey College for Women, New Brunswick, NJ; Philip Duey, baritone 12 October 1942, Department of Music and the Columbia Theater Associates, Brander Matthews Hall, Columbia University, New York, NY; Nicholas Goldschmidt, baritone 23 January 1943, John Gurney, baritone 22 February 1944, American Music Festival, WNYC broadcast, New York, NY; Nicholas Goldschmidt, baritone 7 March 1945, Town Hall, New York, NY; William Gephart, baritone; Sergius Kagen, piano 14 November 1949, Times Hall, New York, NY; John Langstaff, baritone; Felix Wolfes, piano 19 March 1964, University of South Florida Theater, Tampa, FL; Everett Anderson, bass; Jacques Abram, piano Adventures in the Latin Quarter. Waltz and Carillon 31 March [1936], McMillin Academic Theatre, Columbia University, New York, NY; David Barnett, piano Babbitt see Overture on an American Tune

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The Ballad of Baby Doe 7–8, 10, 12, 14, 17–22, 24–28 July 1956, Central City Opera, Central City, CO; cast: Dolores Wilson (Baby Doe); Walter Cassel (Horace); Martha Lipton (Augusta); Alan Smith (Chester A. Arthur), Lawrence Davidson (William Jennings Bryan); Beatrice Krebs (Mama McCourt); Joseph Folmer (old silver miner, Horace’s friend, hotel clerk, Father Chapelle, Chester A. Arthur, Leadville dignitary, stage doorman); Howard Fried (old silver miner, Horace’s friend, hotel clerk, Father Chapelle, Chester A. Arthur, Leadville dignitary, stage doorman); Alan Smith (old silver miner, Horace’s friend, hotel clerk, Father Chapelle, Chester A. Arthur, Leadville dignitary, stage doorman); Richard Wentworth (saloon bartender, Albert, hotel footman, Denver politician); James Duffin (Jacob, Horace’s friend); John Miller, Edward Reams, Neil Webster (Horace’s friends); Marilyn Winters (dance-hall entertainer, McCourt family member); Patricia Kavan (dance-hall entertainer, McCourt family member, adult Silver Dollar); Joyce Maiselsen (Samantha); Sylvia Anderson, Claire Jones, Cecelia Lomo, Judy Volkowitz (Augusta’s friends); Eldon Breford, John Heiden (McCourt family members); Harrison Boughton, Stanley Burk, Michael Livingston, Donovan Wold (Washington dandies); Emerson Buckley, conductor; Walter Taussig, assistant conductor; Roger Dexter Fee, chorus master; Hanya Holm and Edwin Levy, stage directors; Donald Oenslager, stage designer; Klaus Holm, scenery; Patton Campbell, costumes; alternate cast: Leyna Gabriele (Baby Doe); Clifford Harvuot (Horace); Frances Bible (Augusta); Norman Treigle (William Jennings Bryan) 27–31 August, 1–5 September 1956, Voice of America broadcast 10 February 1957 (abridged version), Omnibus television series broadcast; cast: Virginia Copeland (Baby Doe); William Johnson (Horace); Martha Lipton (Augusta); Sylvan Levin, conductor; Charles Dubin, director 31 March 1957 (concert version), Century Club, New York, NY; cast: Leyna Gabriele (Baby Doe); Walter Cassel (Horace); Martha Lipton (Augusta); Douglas Moore, narrator; Walter Taussig, piano 23–25 May, 30–31 May, 1 June 1957, Florence Hellman Dinkelspiel Memorial Auditorium, Stanford University, Stanford, CA; cast: Leyna Gabriele (Baby Doe); Stanley Noonan (Horace); Dorothy Ledger (Augusta); Nathaniel Lopez (Chester A. Arthur); James Standard (William Jennings Bryan); Jo Stensen (Mama McCourt); Dale Malone (old silver miner); Irving Pearson (bartender, Denver politician); Theodore Toews (Jacob, Horace’s friend, Albert, Washington dandy); Richard Storrs (clerk, Horace’s friend, Washington dandy); Robert Christiansen, Glenn Bell (Horace’s friends, Washington dandies); Claudia Andreasen, Valerie Thias (Kate, Meg); Janis Wilcox (Samantha); Joan Gibbons, Marilyn Poppino, Christine Hekimian (Augusta’s friends); Harold Schmidt (Father Chapelle); Scott Sherrill (hotel footman); Stanley Ibler (servant); Carolyn Marthens, Miriam Ratner (child Elizabeth); Dale Malone (mayor, doorman); Marilyn Poppino (Silver Dollar); Sandor Salgo, conductor; Arch Lauterer, stage designer; Marianne Crowder, choreographer

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[The Ballad of Baby Doe] 6 October 1957 (concert version), South Mountain Association, South Mountain, Pittsfield, MA; cast: Leyna Gabriele (Baby Doe); Clifford Harvuot (Horace); Martha Lipton (Augusta); Patricia Kavan (Silver Dollar); Douglas Moore, narrator; Walter Taussig, piano 3, 5, 11, 26 April 1958, New York City Opera, New York, NY; cast: Beverly Sills (Baby Doe); Walter Cassel (Horace); Martha Lipton (Augusta); Jack DeLon (Bushy, Chester A. Arthur); Joshua Hecht (William Jennings Bryan); Beatrice Krebs (Mama McCourt); Howard Fried (old silver miner, Father Chapelle, stage doorman); Robert Ruddy (mayor); Chester Ludgin (bartender, Denver politician); Keith Kaldenberg (Sam, hotel clerk); George Del Monte (Barney); Arthur Newman (Jacob, hotel footman); Naomi Collier (Kate, McCourt family member); Helen Baisley (Meg, McCourt family member, adult Silver Dollar); Lou Rodgers (Samantha); Robert Atherton (Albert); Mary LeSawyer (Sarah); Jennie Andrea (Mary); Anita Alpert (Emily); Barbara Lockard (Effie); Nicola Barbusci (McCourt family member); William Zakariasen (McCourt family member); John Wheeler, William Elliott, Peter Sliker, John Dennison (Washington dandies); Lynn Taussig/Barbara Becker (child Silver Dollar); Emerson Buckley, conductor; Vladimir Rosing, staging; Donald Oenslager, stage designer; alternate cast: Ruth Kobart (Augusta on 11 April); Jacquelynne Moody (Baby Doe on 26 April) 8–14 September 1958, Musicarnival, Warrensville Heights Theater, Cleveland, OH; cast: Beverly Sills (Baby Doe); Walter Cassel (Horace); Margery Mayer (Augusta); William C. Boehm (Chester A. Arthur); Wayne Mack (William Jennings Bryan); Beatrice Krebs (Mama McCourt); Howard Fried (old silver miner, Father Chapelle, doorman); Josef Gustern (bartender); William C. Boehm, Tom Batten, Eugene Green, Darrell Sandeen (Horace’s friends); Bobby Franklin (Kate, adult Silver Dollar); Lind Lee (Meg); Annabelle Gooch (Samantha); Tom Batten (clerk); Bob Reim (Albert); Gaylea Byrne, Charlotte Finan, Marian Mercer, Jill Way (Augusta’s friends); Joel Craig, Ray Phipps, Bob Reim, David Csanyi (Washington dandies); Darrell Sandeen (hotel footman); Nancy Greenough (Elizabeth); Lindley Greenough (child Silver Dollar); Jon Humphrey (mayor); Josef Gustern (Denver politician); Boris Kogan, conductor; Donn Driver, stage director; William Simpson, stage designer; Bob Haddad, choreographer 9, 17, 26 October 1958, New York City Opera, New York, NY; cast: Beverly Sills (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); Joshua Hecht (William Jennings Bryan); Jack Harrold (Bushy, Chester A. Arthur); Beatrice Krebs (Mama McCourt); Grant Williams (old silver miner, Father Chapelle, stage doorman); Chester Ludgin (bartender, Denver politician); Keith Kaldenberg (Sam, hotel clerk); George Del Monte (Barney); Arthur Newman (Jacob, hotel footman); Greta Wolff (Kate, McCourt family member); Helen Baisley (Meg, McCourt family member, adult Silver Dollar); Betty Pascale (Samantha); Robert Atherton (Albert); Mary LeSawyer (Sarah); Jennie Andrea (Mary); Lou Rodgers (Emily); Barbara Lockard (Effie); Nicola Barbusci (McCourt family member); William Zakariasen (McCourt family member, mayor); Edson Hoel, Dan Marek, Peter Sliker, John

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[The Ballad of Baby Doe] Dennison (Washington dandies); Lynn Taussig/Barbara Becker (child Silver Dollar); Emerson Buckley, conductor; Vladimir Rosing, staging; Donald Oenslager, stage designer; alternate cast: Ruth Kobart (Augusta on 17 October); Jacquelynn Moody (Baby Doe on 26 October); Roy Lazarus (William Jennings Bryan on 26 October) 3, 12 April, 2 May 1959, New York City Opera, New York, NY; cast: Beverly Sills (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); Jack DeLon (Bushy, Chester A. Arthur); Joshua Hecht (William Jennings Bryan); Beatrice Krebs (Mama McCourt); Grant Williams (old silver miner, Father Chapelle, stage doorman); Chester Ludgin (bartender, Denver politician); Keith Kaldenberg (Sam, hotel clerk); George Del Monte (Barney); Arthur Newman (Jacob, hotel footman); Greta Wolff (Kate, McCourt family member); Helen Baisley (Meg, McCourt family member, adult Silver Dollar); Lynda Jordan (Samantha); Robert Atherton (Albert); Mary LeSawyer (Sarah); Jennie Andrea (Mary); Lou Rodgers (Emily); Dorothy White (Effie); Donald Arthur (McCourt family member); William Zakariasen (McCourt family member, mayor); Edson Hoel, Dan Marek, Peter Sliker, John Dennison (Washington dandies); Lynn Taussig/Barbara Becker (child Silver Dollar); Emerson Buckley, conductor; Vladimir Rosing, staging; Donald Oenslager, stage designer; alternate cast: Jacquelynne Moody (Baby Doe on 12 April); Ruth Kobart (Augusta on 2 May); John Macurdy (William Jennings Bryan on 2 May); Regina Sarfaty (Mama McCourt on 2 May) 4, 5, 7, 9–11, 14–16, 18, 19, 21, 23, 25 July 1959, Central City Opera, Central City, CO; cast: Laurel Hurley/Judith Raskin (Baby Doe); Frank Guarrera/Clifford Harvuot (Horace); Martha Lipton/Mary McMurray (Augusta); Jack Harrold (Chester A. Arthur, Horace’s friend); Joshua Hecht (William Jennings Bryan); Ellen Repp (Mama McCourt); Grant Williams (old silver miner, Father Chapelle, doorman); Chester Ludgin (bartender, Denver politician); Joseph Folmer (Horace’s friend, hotel clerk); William Kellogg (Horace’s friend, McCourt family member); Osie Hawkins (Horace’s friend, Albert, hotel footman); Millie Fling (Kate, McCourt family member); Lorraine Luck (Meg, McCourt family member, adult Silver Dollar); Brenda Bowyer (Samantha, Augusta’s friend); Barbara Rondelli, Martha O’Dell, Barbara Comstock (Augusta’s friends); John Winn (McCourt family member); David Dodds, Frank Tornabene, Dale Strong, Andrew Dirga (Washington dandies); Lynn Taussig (child Elizabeth); Jackie Haagenstad (child Silver Dollar); James Kneebone (mayor); Emerson Buckley, conductor; Walter Taussig, conductor; Kurt Saffir, assistant conductor; Nathaniel Merrill, stage director; Donald Oenslager, stage designer 14, 18, 20 February 1960, New York City Opera, New York, NY; cast: Beverly Sills (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); Jack Harrold (Bushy, Chester A. Arthur); Joshua Hecht (William Jennings Bryan); Beatrice Krebs (Mama McCourt); Maurice Stern (old silver miner, Father Chapelle, stage doorman); Arnold Voketaitis (bartender, Denver politician); Keith Kaldenberg (Sam, hotel clerk); Craig Timberlake (Barney); John Macurdy (Jacob); Stephanie Reynolds (Kate, McCourt family member); Lynn Starling (Meg,

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[The Ballad of Baby Doe] McCourt family member, adult Silver Dollar); Lynda Jordan (Samantha); John Dennison (Albert); Mary LeSawyer (Sarah); Jennie Andrea (Mary); Lou Rodgers (Emily); Dorothy White (Effie); Sam Kirkham (McCourt family member); William Zakariasen (McCourt family member, mayor); Edson Hoel, Dan Marek, Glenn Dowlen, John Dennison (Washington dandies); Woody Lago (hotel footman); Lynn Taussig/Barbara Becker (child Silver Dollar); Emerson Buckley, conductor; Vladimir Rosing, staging; Donald Oenslager, stage designer; alternate cast: Judith Raskin (Baby Doe on 20 February); Chester Ludgin (Horace on 20 February); Ruth Kobart (Augusta on 20 February); John Macurdy (William Jennings Bryan on 20 February); George Del Monte (Jacob on 20 February); Kurt Saffir, conductor (on 20 February) 28 February 1960, New York City Opera, Washington, DC; cast: same as for 14 and 18 February 1960 3 March 1960, New York City Opera, Lafayette, IN; cast: same as for 14 and 18 February 1960 5 March 1960, New York City Opera, Lyric Opera of Chicago, Chicago, IL; cast: same as for 14 and 18 February 1960 7 March 1960, New York City Opera, East Lansing, MI; cast: same as for 14 and 18 February 1960 8, 10–11 March 1960, Kansas University Theatre, Lawrence, KS; cast: Robert Baustian, conductor; Bill Butler, director 10 March 1960, New York City Opera, Columbus, OH; cast: same as for 14 and 18 February 1960 12 March 1960, New York City Opera, Public Music Hall, Cleveland, OH; cast: same as for 14 and 18 February 1960 13 March 1960, New York City Opera, South Bend, IN; cast: same as for 14 and 18 February 1960 15 March 1960, New York City Opera, Kiel Auditorium, St. Louis, MO; cast: same as for 14 and 18 February 1960 18 March 1960, New York City Opera, Masonic Auditorium, Detroit, MI; cast: same as for 14 and 18 February 1960 21 March 1960, New York City Opera, Rochester, NY; cast: same as for 14 and 18 February 1960 22 March 1960, New York City Opera, Syracuse, NY; cast: same as for 14 and 18 February 1960 26 March 1960, New York City Opera, Hartford, CT; cast: same as for 14 and 18 February 1960 24–27 July 1960, Arundel Opera Theatre, Kennebunkport, ME; cast: Ann Studness (Baby Doe); Wesley Boynton (Horace); Michele Monet (Augusta); Morse Haithwaite, director and piano; Joseph La Rosa, piano; Ray Duffy, stage director; Thomas Picard, stage designer

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[The Ballad of Baby Doe] 11 August 1960, New York City Opera, Bryant Park, New York, NY 12 August 1960, Chautauqua, NY (four performances); cast: Patricia Brooks (Baby Doe); Emerson Buckley, conductor September 1960, University of Washington, Seattle, WA 1, 3, 9, 11 December 1960, University of Southern California Opera Theater, Bovard Auditorium, University of Southern California, Los Angeles, CA; cast: Emily McKnight (Baby Doe on 9 December); Diana Smith Yeaman (Baby Doe on 3 and 11 December); Orville White (Horace on 9 December); Bernard Bollinger (Horace on 3 and 11 December); Sharon Bliss (Augusta); Gene Allen (Chester A. Arthur, old silver miner); William Vennard (William Jennings Bryan); Violet McMahon (Mama McCourt); Rudolph Vejar (Father Chapelle); Karl Laufkotter (doorman); Jim Brewer (clerk, mayor); Leslie Thompson (Denver politician); James A. Warren (hotel footman); Chris Nance (Albert); Barbara Phillips, Margaret Canning, Marjorie Gibson, Elfreda Jacobson (Augusta’s friends); Clifford Reims, Rudolph Vejar, Larry Potter, Anthony Thomas (Horace’s friends); Judy Nattress (Kate); Carol Prasser (Meg); Clifford Reims, Hansel Rayner, Larry Potter, Robert Hasty (Washington dandies); Nina Shaw (Samantha); Denise Ducloux (Elizabeth); Carol McMahon (child Silver Dollar); Nina Shaw (adult Silver Dollar); Walter Ducloux, conductor; John Blankenchip, sets and costumes 14–15 April 1961, Livingston, NJ 11–13 May 1961, Portales, NM 8–10 June 1961, Boston Arts Festival, New York City Opera, Boston, MA; cast: Doris Yarick (Baby Doe); Chester Ludgin (Horace); Frances Bible (Augusta); Nicholas Di Virgilio (Chester A. Arthur); John Macurdy (William Jennings Bryan); Muriel Greenspon (Mama McCourt); Howard Fried (Father Chapelle, old silver miner, doorman); Robert Cowden (clerk); Andrew Conides (mayor); Karol Kostka (bouncer, Denver politician); Nick Cosindas (Albert); Craig Timberlake (hotel footman); Gabriella Dreher, Beverly Evans, Mary LeSawyer, Lou Rodgers (Augusta’s friends); Craig Timberlake, Nicholas Di Virgilio, Robert Cowden, Robert J. Murray (Horace’s friends); Andrew Conides, Nick Cosindas, Peter Elvins, Lee Fowler (Washington dandies); Joanne Montesanti (Kate); Coline Morse (Elizabeth); Tamsin Venn (child Silver Dollar); Millicent Monks (Meg); Corinne Jensen (adult Silver Dollar); Signe Quale (Samantha); Julius Rudel, conductor; John Daggett Howell, stage director 30 June, 3,5, 8, 22 July 1961, Santa Fe Opera, Santa Fe, NM; cast: Doris Yarick (Baby Doe); Robert Trehy (Horace); Mary McMurray (Augusta); Alexander Perkins (Chester A. Arthur, old silver miner); Robert Kirkham (William Jennings Bryan); Mary Davenport (Mama McCourt); Thomas Parish (Father Chapelle); Richard Kramer (hotel clerk, Washington dandy); Harry Hopkins (mayor, stage doorman); Norman Riggins (saloon bouncer, Denver politician); Therman Bailey (Albert); Sharon Tebbenkamp (Sarah); Marlena Kleinman

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[The Ballad of Baby Doe] (Mary); Mary Burgess (Emily); Iris Bala (Effie); William Johns (Sam); Carl Mathis (Bushy); Rodney Stenborg (Barney); Richard Best (Jacob); James Wilson, Guy Waid, Irving Pearson (Washington dandies); Catherine Christensen (Kate); Joey Vanni (Elizabeth); Marcia Baldwin (adult Silver Dollar, Meg); Jenneke Barton (Samantha); Robert Baustian, conductor; John Moriarty, chorus master; Bill Butler, stage director; Thomas Andrew, choreographer; Robert L. Benson, lighting; Eldon Elder, costumes and scenery 26–29 September 1961, West Berlin Music Festival, State Opera of West Berlin, Santa Fe Opera, West Berlin, West Germany; cast: Doris Yarick (Baby Doe); Robert Trehy (Horace); Mary McMurray (Augusta); Mary Davenport (Mama McCourt); Robert Baustian, conductor 4–5 October 1961, Santa Fe Opera, Belgrade, Yugoslavia; cast: Laurel Hurley (Baby Doe); Robert Trehy (Horace); Robert Baustian, conductor 23 March 1962 (matinee and evening), New York City Opera, New York, NY; cast: Beverly Sills (Baby Doe); William Chapman (Horace); Frances Bible (Augusta); Jack DeLon (Bushy, Chester A. Arthur); John Macurdy (William Jennings Bryan); Teresa Racz (Mama McCourt); Maurice Stern (old silver miner, Father Chapelle, stage doorman); Richard Fredricks (bartender, Denver politician); Keith Kaldenberg (Sam, hotel clerk); Fredric Milstein (Barney, hotel footman); Spiro Malas (Jacob); Jane Schwering (Kate, McCourt family member); Helen Guile (Meg, McCourt family member, adult Silver Dollar); Hanna Owen (Samantha); Fredric Milstein (Albert); Mary LeSawyer (Sarah); Nancy Foster (Mary); Beverly Evans (Emily); Charlotte Povia (Effie); Jon Berberian (McCourt family member); Norman Grogan (McCourt family member, mayor); Edson Hoel, Kellis Miller, Glenn Dowlen, John Smith (Washington dandies); Naomi Farr/Wendy Morris (child Silver Dollar); Emerson Buckley, conductor; Donald Oenslager, stage designer; Vladimir Rosing, staging; alternate cast: Doris Yarick (Baby Doe in matinee); Gladys Kriese (Augusta in matinee) 8 April 1962 (matinee), New York City Opera, New York, NY; cast: Beverly Sills (Baby Doe); Chester Ludgin (Horace); Frances Bible (Augusta); Jack DeLon (Bushy, Chester A. Arthur); John Macurdy (William Jennings Bryan); Teresa Racz (Mama McCourt); Maurice Stern (old silver miner, Father Chapelle, stage doorman); Richard Fredricks (bartender, Denver politician); Keith Kaldenberg (Sam, hotel clerk); Fredric Milstein (Barney, hotel footman); Spiro Malas (Jacob); Jane Schwering (Kate, McCourt family member); Helen Guile (Meg, McCourt family member, adult Silver Dollar); Hanna Owen (Samantha); Fredric Milstein (Albert); Mary LeSawyer (Sarah); Nancy Foster (Mary); Beverly Evans (Emily); Charlotte Povia (Effie); Jon Berberian (McCourt family member); Norman Grogan (McCourt family member, mayor); Edson Hoel, Kellis Miller, Glenn Dowlen, John Smith (Washington dandies); Naomi Farr/Wendy Morris (child Silver Dollar); Emerson Buckley, conductor; Donald Oenslager, stage designer; Vladimir Rosing, staging 1963, Chautauqua, NY

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[The Ballad of Baby Doe] 23 April 1963, Chattanooga Opera, Chattanooga, TN; cast: Patricia Brooks (Baby Doe); Chester Ludgin (Horace); Evelyn Saks (Augusta); Peter Harrower (William Jennings Bryan); Siegfried Landau, conductor 28 April, 4, 12 May 1963, New York City Opera, New York, NY; cast: Beverly Sills (Baby Doe); Walter Cassel (Horace); Ruth Kobart (Augusta); Richard Krause (Bushy, Chester A. Arthur); John Fiorito (William Jennings Bryan); Muriel Greenspon (Mama McCourt); Arthur Graham (old silver miner, Sam, hotel clerk, Father Chapelle); Don Yule (bartender, McCourt family member, Denver politician); David Smith (Barney); Ron Bottcher (Jacob, hotel footman); Leonore Lowe (Kate, McCourt family member); Helen Guile (Meg, McCourt family member, adult Silver Dollar); Lynda Jordan (Samantha); Glenn Dowlen (Albert, Washington dandy); Bonnie Heller (Sarah); Donna Precht (Mary); Anita Lynch (Emily); Marlena Kleinman (Effie); Harris Davis (McCourt family member, mayor); Kellis Miller (Washington dandy, doorman), Edson Hoel, Don Henderson (Washington dandies); Neva Small/Julia Fletcher (child Silver Dollar); Emerson Buckley, conductor; Donald Oenslager, stage designer; Ben Janney, staging; alternate cast: Patricia Brooks (Baby Doe on 4 May); Robert Trehy (Horace on 4 May); Richard Wentworth (William Jennings Bryan on 4 and 12 May); Kellis Miller (old silver miner on 4 and 12 May); Kurt Saffir, conductor (on 12 May) 14, 16, 18 May 1963, University of Tulsa, Tulsa, OK 27, 29 February 1964, Fredonia, NY 27–29 February 1964, Mankato, MN 8 March 1964, Columbus, OH 7, 19 March, 3 April 1965, New York City Opera, New York, NY; cast: Beverly Sills (Baby Doe); Walter Cassel (Horace); Ruth Kobart substituting for Claramae Turner (Augusta); Muriel Greenspon (Mama McCourt); Richard Krause (Bushy, Chester A. Arthur); Richard Wentworth (William Jennings Bryan); Kellis Miller (old silver miner, Washington dandy, doorman); Don Yule (bartender, McCourt family member, Denver politician); Robert Schmorr (Sam, hotel clerk, Father Chapelle); David Smith (Barney); Jack Bittner (Jacob, hotel footman); Jodell Kenting (Kate); Joan August (Meg, adult Silver Dollar); Anthea De Forest (Samantha, McCourt family member); Glenn Dowlen (Albert, Washington dandy); Donna Precht (Sarah); Sandra Darling (Mary); Beverly Evans (Emily); Charlotte Povia (Effie); Lila Herbert (McCourt family member); Harris Davis (McCourt family member, mayor); Paul Corder, Edson Hoel, Don Henderson (Washington dandies); Neva Small/ Karen Smith (child Silver Dollar); Robert Baustian, conductor; Donald Oenslager, stage designer; Bill Field, staging; alternate cast: Patricia Brooks (Baby Doe on 19 March and 3 April); Richard Fredricks (Horace on 19 March); Claramae Turner (Augusta on 19 March); Thomas Paul (William Jennings Bryan on 3 April); Frances Bible (Augusta on 3 April); Margaret Goodman (Mary on 3 April); Mary Burgess (Emily on 3 April)

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[The Ballad of Baby Doe] 6 April 1965, New York City Opera, Philadelphia, PA; cast: Beverly Sills (Baby Doe); Richard Fredricks (Horace); Frances Bible (Augusta); Robert Baustian, conductor 27–29 May 1965, Western Washington State College, Bellingham, WA November 1965, Ohio State University, Columbus, OH 2 December 1965, St. Paul Civic Opera, St. Paul Philharmonic Society, Schubert Club, Arts and Science Theater, St. Paul, MN (four performances); cast: Mary Ellen Jenkins (Baby Doe); Bruce Neilson (Horace); Lois Duffy (Augusta); Leopold Sipe, conductor; Glenn Jordan, director; Dahl Delu, stage designer 27 February, 2, 12 March 1966, New York City Opera, New York, NY; cast: Beverly Sills (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); Jack DeLon (Bushy, Chester A. Arthur); Malcolm Smith (William Jennings Bryan); Muriel Greenspon (Mama McCourt); Kellis Miller (old silver miner, hotel clerk, Washington dandy, stage doorman); Don Yule (bartender, McCourt family member); Richard Krause (Sam, hotel clerk, Father Chapelle); William Ledbetter (Barney); Jack Bittner (Jacob, hotel footman); Jodell Kenting (Kate); Joan August (Meg, adult Silver Dollar); Harriet Greene (Samantha, McCourt family member); Robert Lee Kelly (Albert, Washington dandy); Sandra Darling (Sarah); Donna Precht (Mary); Beverly Evans (Emily); Charlotte Povia (Effie); Lila Herbert, Maria West (McCourt family members); Anthony Safina (McCourt family member); Harris Davis (mayor); Paul Corder, Don Henderson, Richard Park (Washington dandies); Herbert Beattie (Denver politician); Anne Marie Wisnofsky/Wendy Morris (child Silver Dollar); Emerson Buckley, conductor; Ian Strasfogel, stage director; Patton Campbell, costumes; alternate cast: Patricia Brooks (Baby Doe on 2 March); William Chapman (Horace on 2 March); Ruth Kobart (Augusta on 12 March); George S. Irving (William Jennings Bryan on 2 and 12 March); Don Yule (Denver politician on 12 March) 19–21 May, June 1966, Portland State College Auditorium, Portland State College, Portland, OR; cast: Marie Rogndahl Peake (Baby Doe); David Jimerson (Horace); Linda MacNaughton (Augusta); Arthur Kayser (William Jennings Bryan); Patsy Foulk (Mama McCourt); James de Busman (old silver miner); Sharyl Oliver (adult Silver Dollar); John Stehn, conductor; Asher Wilson, stage director; Kermit Shafer, stage designer; Mary Collins, costumes 9, 10, 12, 13, 15, 16, 19–21, 23, 26, 28, 29 July 1966, Central City Opera, Central City, CO; cast: Lucille Kailer/Nadja Witkowska (Baby Doe); Frank Guarrera/Chester Ludgin (Horace); Frances Bible/Eunice Alberts (Augusta); Arthur Graham (Chester A. Arthur, old silver miner, doorman); Herbert Beattie/Lee Cass (William Jennings Bryan); Beatrice Krebs (Mama McCourt); Robert Falk/James Fleetwood (bartender, Albert, hotel footman, Denver politician); Michael Devlin, Thomas Palmer, Anthony Morton, Philip Lehmberg (Horace’s friends); Karen Pomplun (Kate, McCourt family member); Doris Peterson (Meg, Samantha, McCourt family member, adult Silver Dollar); Leo Goeke (hotel clerk, Father Chapelle, mayor); Patricia Imel, Marlene Mayland, Norma Sharp, Carol Wilcox (Augusta’s friends);

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[The Ballad of Baby Doe] James Simmerman, Dennis Wadsworth (McCourt family members); Donald Canady, Paul Nutt, Robert Seeley, Michael Warren (Washington dandies); Carol Hayward (child Elizabeth); Linda Hayward (child Silver Dollar); Emerson Buckley, conductor; Norman Johnson, conductor; James Lucas, stage director; Donald Oenslager, stage designer 14–15 April 1967, Omaha Civic Opera, Omaha, NE; cast: Virginia Duxbury (Baby Doe); William Kellogg (Horace); Dorothy Davitt (Augusta); Raymond Miller (Chester A. Arthur); Donovan Schuler (William Jennings Bryan); Mary Hansen (Mama McCourt); Robert Hahn (Father Chapelle, old silver miner); George Heiring (mayor, Denver politician); Richard Boyd (saloon bouncer); William Komstedt (hotel clerk); Marvin Smith (Albert); Harry Otis/Philip Holcomb (hotel footman); Dalienne Majors (Kate); Julie Shrier (Meg); J. F. McCartney (stage doorman); Loren Hansen (child Silver Dollar); Janet Maddux (adult Silver Dollar); Amy Duxbury (Elizabeth); Shirley Holzer (Samantha); George Killebrew, Robert Roberts, Ward Baxter, Richard Boyd (Horace’s friends); Gloria Dunbar, Josephine Harvie, Janet Wallace, Dorothy Burdic (Augusta’s friends); Joseph Levine, conductor 24, 26, 28, 30 August, 1 September 1967, Lake George Opera Festival, Glens Falls, NY; cast: Karen Armstrong/Barbara Ione Miller (Baby Doe); Robert Paul/Richard Allen (Horace); Frances Bible (Augusta); Anne Woodmansee (Mama McCourt); Thomas Martin, conductor; Lee Williams, stage director 29 October 1967 (concert version), Goddard-Riverside Community Center, Sol Bloom School, New York, NY 28–30 April 1968, North Texas State University, Denton, TX; cast: Karen Stratemeyer/Diana Herring (Baby Doe); Ralph Griffin/Jerry Doan (Horace); Carol Mayo/Cheryl Huffman (Augusta); Ralph Dowden (Chester A. Arthur); Dan Peavy/Darrell Bledsoe (William Jennings Bryan); Kathryn Keithly/Ann Philipp (Mama McCourt); Richard Honea (old silver miner); Darrell Bledsoe (saloon bartender); Linda Catt (Kate); Arlene Barkley (Meg); David Nagid, Ralph Dowden, James Nance, Robert Johnson (Horace’s friends); Karen Armstrong, Jeannie Springfield, Hope Wheeler, Bonnie Epler (Augusta’s friends); Marian Anderson (Samantha); Terry Wilkins (hotel clerk); Richard McMahan (Albert); Richard Honea, Terry Wilkins, Dan Peavy, Darrell Bledsoe (Washington dandies); Richard McMahan/David Cranford (hotel footman); David Nagid (Father Chapelle); Judy Anderson (Elizabeth); Lyn McKinley (child Silver Dollar); Beverly Cannon Griffin/Arlene Barkley (adult Silver Dollar); Terry Wilkins (mayor); Richard Honea (stage doorman); Richard McMahan (politician); Donald Kane, conductor 21–22 February 1969, Madison Civic Opera, Madison, WI; cast: Roland Johnson, conductor 7, 13, 30 March, 5 April 1969, New York City Opera, New York, NY; cast: Anne Elgar (Baby Doe); Chester Ludgin (Horace); Frances Bible (Augusta); David Clements (Sam, Chester A. Arthur); Joshua Hecht (William Jennings Bryan); Muriel Greenspon (Mama McCourt); Paul Huddleston (old silver miner, hotel clerk, stage doorman); Don Yule (saloon bartender);

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[The Ballad of Baby Doe] John Lankston (Bushy, Father Chapelle); William Ledbetter (Barney); Jack Bittner (Jacob, hotel footman); Joemy Wilson (Kate); Mary Cross Lueders (Meg, adult Silver Dollar); Anthea De Forest (Samantha); Don Yule (Albert, Washington dandy); Sandra Darling (Sarah); Judith Anthony (Mary); Beverly Evans (Emily); Janet Winburn (Effie); Lila Herbert, Maria West, Karl Patrick Krause, Ronald Bentley (McCourt family members); Harris Davis (mayor, Washington dandy); Anthony Darius, Don Henderson, Richard Park (Washington dandies); Will Roy (Denver politician); Colette Martin/Michele Himmel (child Silver Dollar); Gustav Meier, conductor; alternate cast: Marilyn Mulvey (Baby Doe on 5 April); Muriel Greenspon (Augusta on 13 March); Robert Hale (William Jennings Bryan on 13 March); Malcolm Smith (William Jennings Bryan on 30 March); Nell Evans (Mama McCourt on 13 March and 5 April); Anne Marie Wisnofsky (adult Silver Dollar on 30 March and 5 April); Dean Ryan, conductor (on 13 March) 4, 26 October, 13 November 1969, New York City Opera, New York, NY; cast: Anne Elgar (Baby Doe); William Chapman (Horace); Frances Bible (Augusta); Malcolm Smith (William Jennings Bryan); Muriel Greenspon (Mama McCourt); Joaquin Romaguera (old silver miner, hotel clerk, doorman); Don Yule (bartender, Albert); David Clements (Sam, Chester A. Arthur); John Lankston (Bushy, Father Chapelle); William Ledbetter (Barney); Jack Bittner (Jacob, hotel footman); Hanna Owen (Kate); Mary Cross Lueders (Meg, adult Silver Dollar); Anthea De Forest (Samantha); Sandra Darling (Sarah); Judith Anthony (Mary); Beverly Evans (Emily); Janet Winburn (Effie); Lila Herbert, Maria West, Karl Patrick Krause, Ronald Bentley (McCourt family members); Harris Davis (mayor, Washington dandy); Anthony Darius, Don Henderson, Richard Park (Washington dandies); Will Roy (Denver politician); Mary Ann Clatworthy/Michele Himmel (child Silver Dollar); Gustav Meier, conductor; William Field, stage director; alternate cast: Walter Cassel (Horace on 26 October and 13 November); Nell Evans (Mama McCourt on 26 October); Beverly Sills (Baby Doe on 13 November); Muriel Greenspon (Augusta on 13 November); Will Roy (William Jennings Bryan on 13 November); Nell Evans (Mama McCourt on 13 November); Lois Crane (Sarah on 13 November); Don Yule (Denver politician on 13 November) 1 December 1969, New York City Opera, Music Center, Los Angeles, CA; cast: Beverly Sills (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); David Clements (Chester A. Arthur); Will Roy (William Jennings Bryan); Nell Evans (Mama McCourt); Mary Cross Lueders (adult Silver Dollar); Byron Dean Ryan, conductor 6 December 1969, New York City Opera, Music Center, Los Angeles, CA; cast: Anne Elgar (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); David Clements (Chester A. Arthur); Will Roy (William Jennings Bryan); Nell Evans (Mama McCourt); Mary Cross Lueders (adult Silver Dollar); Byron Dean Ryan, conductor 16–17, 19–20, 22–23 February 1970, Houston Grand Opera, Houston, TX; cast: Patricia Brooks (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); Charles Rosekrans, conductor; Michael Pollock, director; Evelyn Norton Anderson, costumes

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[The Ballad of Baby Doe] 4 April 1970, California State University, Los Angeles Opera Workshop, Alhambra High School Auditorium; Alhambra, CA 28–30 May 1970, California State University, Los Angeles Opera Workshop, College Theater, Los Angeles, CA; cast: Su Harmon (Baby Doe); Wayne Dalton (Horace); Beverly Passon (Augusta); Kathy Underwood (Mama McCourt); Nancy Nordine (adult Silver Dollar, Meg); Gaylord Browne, conductor; Henry Jackson, music director; Mona Paulee, stage director; Larry Weiss, set and lighting designer 4, 6 December 1970, Ft. Worth Opera, Ft. Worth, TX; cast: Karen Armstrong (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); Edward Baird (William Jennings Bryan); Nell Evans (Mama McCourt); Ft. Worth Opera Orchestra; Rudolf Kruger, conductor; James DeBlasis, director; Donald Oenslager, stage designer 7 September 1974, Bel Canto Opera, Madison Avenue Baptist Church; New York, NY; cast: Janet Franschke (Baby Doe); Jason Byce (Horace); Claudia Catania (Augusta); Vincent Alfano, conductor; Angela Manso, piano; Richard Cerullo and Elinor Shanbaum, stage designer 11 March 1976, Tulsa, OK; cast: Constanza Cuccaro (Baby Doe); John Reardon (Horace); Jean Kraft (Augusta); J. B. Davis (William Jennings Bryan); Carolyn James (Mama McCourt); Judith Somogi, conductor; Patrick Bakman, director; John Braden, stage designer 13 March 1976, Indiana University Opera, Bloomington, IN; cast: Edith Vannerette (Baby Doe); Nicholas di Toro (Horace); Constance Fee (Augusta); Tibor Kozma, conductor; Ross Allen, stage director; Max Röthlisberger, stage designer 15, 21 (telecast), 25 April 1976, New York City Opera, New York, NY; cast: Ruth Welting (Baby Doe); Richard Fredricks (Horace); Frances Bible (Augusta); David Griffith (Chester A. Arthur); Richard McKee (William Jennings Bryan); Jane Shaulis (Mama McCourt); James Billings (old silver miner, stage doorman); Don Yule (bartender, Albert); Valeria Orlando (Kate); Joyce Tomanec (Meg); Jerold Siena (Sam); John Lankston (Bushy); Thomas Jamerson (Barney); Philip Steele (Jacob); Rose Wildes (Sarah); Margaret Goodman (Mary); Puli Toro (Emily); Sandra Walker (Effie); Joan Campbell (Samantha); Melvin Lowery (hotel clerk); George Bohachevsky, Pegge Daly, Myrna Reynolds, Lester Clark, Dominick Farone, James Sergi (McCourt family members); Richard Nelson, Dan Kingman, Ray Morrison, Ronald Bentley (Washington dandies); Howard Hensel (Father Chapelle); Maria Randazzo/Arin Clark (child Silver Dollar); Harris Davis (mayor); Robert Paul (Denver politician); Kathleen Hegierski (adult Silver Dollar); Judith Somogi, conductor; Patrick Bakman, stage designer; alternate cast: Chester Ludgin (Horace on 25 April), Muriel Costa-Greenspon (Augusta on 25 April); Elizabeth Haley (Baby Doe on 25 April) 2, 5 July 1976, Chautauqua Opera, Chautauqua, NY; cast: Julia Lovett (Baby Doe); Walter Cassel (Horace); Frances Bible (Augusta); Wolfgang Schanzer, conductor; Cary Chalmers, set designer; Whitfield Lloyd, staging 10, 11, 14–18, 21–25, 28–31 July 1976, Central City Opera, Central City, CO; cast: Gianna Rolandi/Paula Seibel (Baby Doe); Frederick Burchinal/Adib Fazah (Horace); Muriel

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[The Ballad of Baby Doe] Costa-Greenspon/Margaret Yauger (Augusta); Jonathan Green (Chester A. Arthur); Herbert Eckhoff/Malcolm Smith (William Jennings Bryan); Sharon Abel/Kathryne Fowler (Mama McCourt); Ellis Acker (old silver miner, Father Chapelle, doorman); Carlos Serrano (bartender, Albert, Washington dandy); Michael Myers (Horace’s friend, Washington dandy); Joseph Wilson (Horace’s friend, hotel clerk, Washington dandy, mayor); Robert Lyon, Robert Hussa (Horace’s friends); Kristine Ciesinski (Kate); Martha Toney (Meg, Samantha, adult Silver Dollar); Madeline Mines, Monica Robinson, Ellen Grogan, Betsy Hoover (Augusta’s friends); Bruce Hanson (McCourt family member); Michael Burt (Washington dandy, Denver politician); Kryste Johnsen, Gary Jordan, Cindy Sheppard, Marc Soto (McCourt family members); David Austin (hotel footman); Charles Emery (waiter); Juanita Pisano/Hilary Trampler (child Elizabeth); Arlette Aslanian/Christina Mason/ Nichole Burchinal (child Silver Dollar); David Effron, conductor; Emerson Buckley, guest conductor; James Lucas, stage director; Donald Oenslager, stage designer; Klaus Holm, lighting; Patton Campbell, costumes 18 September–22 October 1976, Kansas City Lyric Theater, Kansas City, MO; cast: Sharon Daniels (Baby Doe); Walter Hook (Horace); Joanne Highley (Augusta); William Dansby (William Jennings Bryan); Virginia Craig Petro (Mama McCourt); Russell Patterson, conductor; Patrick Bakman, director; Donald Oenslager, set designer 29 February, 2 March 1980, Manhasset Bay Opera Company, Great Neck North Middle School, Great Neck, NY; cast: Gail Robinson (Baby Doe) 20, 28 June, 4, 8, 10 July 1981, Metro Summer Festival of Opera, Des Moines, IA 11–12, 15, 17, 19, 21, 23, 25, 29, 31 July, 1–3, 5, 8, 12, 15 August 1981, Central City Opera Company, Central City, CO; cast: Karen Hunt (Baby Doe); William Justus (Horace); Dana Krueger (Augusta); Frank Farina (Chester A. Arthur, Horace’s friend); Brian Robertson (William Jennings Bryan); Jocelyn Wilkes (Mama McCourt); Samuel L. Cook (old silver miner); William D. Parcher (bartender, Washington dandy); Christopher Critelli (Horace’s friend, newsboy); David Neal, Curt Scheib (Horace’s friends); Jean Glennon (Kate); Jean Cantrell (Meg, McCourt family member); Ruthann Turekian, Randy Minkin, Lynn Yakes, Judy Donham (Augusta’s friends); Lisa Monheit (Samantha); Kim Scown (hotel clerk, Father Chapelle); David Orcutt (Albert); Samuel L. Cook, Richard Blocher, James McGuire (Washington dandies); Joan Campbell (McCourt family member, adult Silver Dollar); John McGhee (McCourt family member); Ken Peterson (McCourt family member); David Orcutt (McCourt family member); Steven Taylor (hotel footman); Jane Cady/Krista Waldmann (child Elizabeth); Karina Steele/Holly Byerly (child Silver Dollar); Richard Blocher (mayor, newsboy); Brian Robertson (Denver politician); John Moriarty, conductor; Michael Ehrman, assistant conductor; Peter Mark Schifter, stage director; Donald Oenslager, stage designer; Patton Campbell, costumes; Joan Arhelger, lighting

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[The Ballad of Baby Doe] 7–8 May 1982, Albuquerque Opera Theatre, Albuquerque, NM; cast: Louise Mendius (Baby Doe); Gene Ives (Horace); Jeanne Grealish (Augusta); Mark McClellen (Chester A. Arthur, stage doorman); Art Barrett (William Jennings Bryan, Denver politician); Mary Greenslet Hesse (Mama McCourt); Kenneth Genco (old miner); David Rusk (bartender, mayor); Thomas Neill (Sam); Ross Sutter (Bushy); Paul Murray (Barney); Frederick Ball (Jacob); Laura Landress (Kate); Mary Kay Johnsen (Meg); Nina Hobbs (Sarah); Linda Ewing (Mary); Janet Weed (Emily); Connee Kane (Effie); Mary Zuercher (Samantha); Duane Dill (hotel clerk); Kyle Marrero (bellboy, hotel footman); John Brabson, Tim Dooley, Peter Shaw, Jon Aase (Washington dandies); Victor M. Garcia (Father Chapelle); Laura Wasylenki (Elizabeth); Caroline Wasylenki (child Silver Dollar); Maria Herrera (adult Silver Dollar); James Bratcher, conductor; Juliette Williams, producer; Valerie Jean Coats, stage director; Clayton Karkosh, stage designer; James Gardner, lighting September 1984, Seattle Opera, Seattle, WA; cast: Claudia Cummings/Diana Walker (Baby Doe); Michael Devlin/William Parcher (Horace); Carolyn James/Shirley Harned (Augusta); Jerome Hines (William Jennings Bryan); Carolyn James/Geraldine Decker (Mama McCourt); Russell Patterson, conductor; Patrick Bakman, stage director; Robert Dahlstrom, stage designer; Kurt Wilhelm, costumes; Joan Sullivan, lighting 1 May 1986, Bielefeld Opera, Bielefeld, Germany; cast: Cynthia Makris (Baby Doe); Aldo Tiziani (Horace); Jane Henschel (Augusta); Eelco von Jordis (William Jennings Bryan); Rainer Koch, conductor; Hagen Lewandowski, chorus master; John Dew, stage director; Gottfried Pilz, stage designer 11 January 1987, Bronx Opera, Lehman College, New York, NY; 16 January 1987, Hunter College Playhouse; New York, NY; cast: Amanda Halgrimson (Baby Doe); Camellia Johnson (Mama McCourt); Nicholas Saverine; Eugene Green; Alice Lowenhaupt; Neil Cohen; Michael Spierman, conductor; Stephen Jarrett, director; John Claasen, stage designer 17 January 1987, Bronx Opera, Hunter College Playhouse, New York, NY; cast: different from 11 January 1987 8, 10, 13, 15, 17 May 1987, Long Beach Opera, Center Theater, Long Beach Convention Center, Long Beach, CA; cast: Ruth Ann Swenson (Baby Doe); Richard Fredricks (Horace); Joyce Castle (Augusta); Michael Gallup (William Jennings Bryan); Geraldine Decker (Mama McCourt); Ken Remo; Gualdiero Negrini; Randall Behr, conductor; Peter Mark Schifter, director; Michael Devine, stage designer; Michael Philips, choreographer; Barbara Cox, costumes; Craig Wolfe, lighting 17 March 1988, Florentine Opera, Milwaukee, WI; cast: Erie Mills (Baby Doe); Frederick Burchinal (Horace); Cynthia Munzer (Augusta); Irwin Densen (William Jennings Bryan); Carol Madalin (Mama McCourt); Charles Wendelken-Wilson, conductor; Patrick Bakman, stage director; Donald Oenslager, stage designer

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[The Ballad of Baby Doe] 9, 13, 15, 17, 19, 21, 23, 27, 29, 31 July, 2, 4, 6, 10, 13 August 1988, Central City Opera, Central City, CO; cast: Amy Burton (Baby Doe); Brian Steele (Horace); Dana Krueger (Augusta); Joseph Myering (Chester A. Arthur, old silver miner, mayor); Henry Kiichli (William Jennings Bryan); Jayne Sleder (Mama McCourt); Robert Holden (bartender, Denver politician); Deborah Cole (Kate); Annette Daniels (Meg, adult Silver Dollar); Frank Levar, Jeff Martin, Mark Gargiulo, Joseph Oechsli (Horace’s friends); Debrah Ehrhardt/ Susan Owen (Augusta’s friend, Samantha); Heidi Hayes, Lee Staff, Kathryn Garber (Augusta’s friends); Dean Anthony (hotel clerk, Father Chapelle, doorman); Barry Johnson (Albert, hotel footman); Curt Peterson (Washington dandy, newsboy); Robert Chafin (Washington dandy, newsboy); David Kravitz, Rod Nelman (Washington dandies); Sarah Martin (child Elizabeth); Ashley Holden (child Silver Dollar); John Moriarty, conductor; Michael Ehrman, stage director; Donald Oenslager, stage designer; Terry Wuthrich, lighting; Patton Campbell, costumes 2, 9, 12, 18 October 1988, New York City Opera, New York State Theater, New York, NY; cast: Faith Esham (Baby Doe); William Parcher (Horace); Joyce Castle (Augusta); Hal France, conductor; Donald Oenslager, stage designer 7 October 1989, Michigan Opera Theatre, Detroit, MI; cast: Cheryl Parrish (Baby Doe); Timothy Noble (Horace); Cynthia Munzer (Augusta); Mark Flint, conductor; Lou Galtiero, director; Peter Dean Beck, stage designer; Charles Caine, costumes October 1989, Michigan Opera Theatre, Detroit, MI; cast: Claudette Peterson (Baby Doe); Chester Ludgin (Horace); Cynthia Munzer (Augusta); Paul Schmidt (William Jennings Bryan); Walter Pool, Randall Reid-Smith, David Ludwig, Michael Alhonte (Horace’s friends); Elly Spiegel, Leslie Shull, Carol Porter, Janet Hopkins-Marin (Augusta’s friends); Mark D. Flint, conductor; Suzanne Acton, chorus director; Lou Galterio, stage director; Peter Dean Beck, stage designer; Charles Caine, costumes 9 March 1991, Opera Delaware, Grand Opera House, Wilmington, DE; cast: Erin Windle (Baby Doe); Alan Wagner (Horace); Joy Vandever (Augusta); Andrew Cottle (William Jennings Bryan); Jonnie Holzman (adult Silver Dollar); Evelyn Swensson, conductor; Don Smith, chorus master; Cal Brackin, stage director; Karen Armstrong, stage designer; James Zynda, costumes; Matthew Gray, lighting 18–19, 22, 24–25, 29 January 1992, Seattle Opera, Seattle Opera House, Seattle, WA; cast: Sally Wolf/Kathryn Gamberoni (Baby Doe); Dale Duesing/Stephen West (Horace); Joyce Castle (Augusta); Kevin Langan (William Jennings Bryan); Jean Kraft (Mama McCourt); Mary McLaughlin, Robin Hansen, Luanne Hargis, Sara Hedgpeth (Augusta’s friends); Paul Gudas, Barry Johnson, Byron Ellis, Archie Drake (Horace’s friends); George Manahan, conductor; Lori Larsen, director; Robert Dahlstrom, stage designer; Stephen Terrell, choreographer; Kurt Wilhelm and Cynthia Savage, costumes 3–5 April 1992, Cleveland Opera, State Theatre, Cleveland, OH; cast: Sheryl Woods (Baby Doe); Richard Stilwell (Horace); Joyce Castle (Augusta); Donald Sherrill (William Jennings

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[The Ballad of Baby Doe] Bryan); Marion Pratnicki (Mama McCourt); Ohio Chamber Orchestra; Anton Coppola, conductor; David Bamberger, stage director; Robert Dahlstrom, stage designer; Kurt Wilhelm and Cynthia Savage, costumes 19–20, 24, 26–28 February 1993, Lyric Opera Theatre, Music Theatre, Arizona State University, Tempe, AZ; cast: Cherrie Llewellyn/Joni Killian (Baby Doe); David Darling (Horace); Linda Childs/Ruth Christensen (Augusta); Robert La France (William Jennings Bryan); Bridget Everett (Mama McCourt); William Reber, conductor; Patricia Heuermann, director 15, 17 April 1994, Indianapolis Opera, Clowes Memorial Hall, Indianapolis, IN; cast: Lisa Saffer (Baby Doe); Robert Orth (Horace); Joyce Castle (Augusta); Donald Barnum (William Jennings Bryan); James Caraher, conductor; Elizabeth Bachman, stage director; Donald Oenslager, stage designer 20, 22, 26, 28–29 May 1994, Chicago Opera Theater, Athenaeum Theater, Chicago, IL; cast: Carol Gale (Baby Doe); Chris Owens (Horace); Mignon Dunn (Augusta); John Payonk (Chester A. Arthur); Arnold Voketaitis (William Jennings Bryan); Karen Brunssen (Mama McCourt); Patricia Cook (Sarah); Julianne Wetson (Mary); Barbara Landis (Emily); Susan Nicely (Effie); Mark Nienow (Sam); Edward Zelnis (Bushy); Warren Moulton (Barney); Peter Van de Graaff (Jacob); Jan Jarvis (miner); Edward Pounds (saloon bouncer); Jo Rodenberg (Kate); Claudia Kerski-Nienow (Samantha); Thomas Potter (hotel clerk); Michael Kotze (Albert, Washington dandy); Richard Markley (Washington dandy, mayor); Jan Jarvis, Ron Watkins (Washington dandies); Keith Brautigam (McCourt family member, Denver politician); Calland Metts, Cathleen Dunn, Jan Knox (McCourt family members); Mark Zolezzi (Father Chapelle); Wesley Rowell (hotel footman); Joanna Lind (Elizabeth); Allison Lind (child Silver Dollar); David Hermann, Chris Yonan (newsboys); Norman Engstrom (stage doorman); Gwen Eagleton (adult Silver Dollar); Ted Taylor, conductor; John W. Burke, chorus director; Carl J. Ratner, director; Mary Griswold, stage designer; Béa Rashid, choreographer; Shifra Werch, costumes; Tom Fleming, lighting 24, 30 June, 2, 4, 7, 16 July 1995 Des Moines Metro Opera, Blank Performing Arts Center, Indianola, IA; cast: Evelyn de la Rosa (Baby Doe); Richard L. Richards (Horace); Gwendolyn Jones (Augusta); Robert L. Larsen, conductor; R. Keith Brumley and Malabar, stage designer 11, 13, 15–16 March 1996, University College Opera, Bloomsbury Theatre, London, England; cast: Regina Nathan (Baby Doe); Omar Ebrahim (Horace); Klara Uleman (Augusta); Daniel Norman (Chester A. Arthur, hotel clerk); Michael Flanagan (William Jennings Bryan); Margaret Maguire (Mama McCourt); David Drummond, conductor; Robert Chevara, director; Katrina Lindsay, stage designer; Giuseppe di Iorio, lighting 19 April 1996, Miller Outdoor Theater, University of Houston, Houston, TX; cast: Buck Ross, director; Peter Jacoby, conductor 19, 21, 26–27 April 1996, University of Wisconsin–Madison Opera, Carol Rennebohm Auditorium, Music Hall, University of Wisconsin, Madison, WI; cast: Karlos Moser, conductor; Joe Varga, stage designer

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[The Ballad of Baby Doe] 29 June, 3, 5, 7, 13, 17, 20, 25, 27, 30 July, 3, 6, 8, 9, 11 August 1996, Central City Opera, Central City Opera House, Central City, CO; cast: Jan Grissom (Baby Doe); Brian Steele (Horace); Dana Krueger (Augusta); Torrance Blaisdell (Chester A. Arthur, old silver miner, mayor); George Hogan (William Jennings Bryan); Myrna Paris (Mama McCourt); Jeffrey McCollum (bartender); Becky Budd (Kate); Jessie Raven (Meg); Stuart Howe, Theodore Green, James Taylor, Mark Freiman (Horace’s friends); Brigitte Bellini, Gwendolyn Coleman, Lindarae Polaha, Monica Bellner (Augusta’s friends); Juline Baról (Samantha); Vale Rideout (hotel clerk, Father Chapelle, doorman); Curtis Olds (Albert, hotel footman); Erik Lautier (Washington dandy, newsboy); Steven Veguilla (Washington dandy, newsboy); Andrew Krikawa, Paul Ivan (Washington dandies); Joanna Miano/Briana Selstad (child Elizabeth); Jacquelyn Billings/Janay Hagen (child Silver Dollar); Paul Bellantoni (Denver politician); Kathryn Honan-Carter (adult Silver Dollar); John Moriarty, conductor; Michael Ehrman, stage director; Michael Anania, stage designer; Dennis Parichy, lighting; Kurt Wilhelm, costumes 19, 22 July 1996, Chautauqua Opera, Norton Hall, Chautauqua, NY; cast: Jeanine Thames (Baby Doe); Mark Delavan (Horace); Joyce Castle (Augusta); Spiro Malas (William Jennings Bryan); Melissa Parks (Mama McCourt); Mark Gibson, conductor; Jay Lesenger, stage director; Erhard Rom, stage designer; Helen Rodgers, costumes 21–24 September 1996, Amarillo Opera, Amarillo Civic Center Auditorium, Amarillo, TX; cast: Mila Gibson, director; David Stockton, conductor; Terry Beckett, stage designer 1996, University of Minnesota, Minneapolis, MN; cast: Keith Clark, conductor 10–13 January 1997, Austin Lyric Opera, Bass Concert Hall, University of Texas, Austin, TX; cast: Cheryl Parrish/Diane Alexander (Baby Doe); Timothy Nolen/Mark Delavan (Horace); Melanie Sonnenberg/Rose Taylor (Augusta); LeRoy Lehr (William Jennings Bryan); Cal Stewart-Kellogg, conductor; Joseph McCain, director; Michael Yeargan, stage designer; Kurt Wilhelm, costumes 16, 19, 22, 25, 27, 29 January, 1, 4, 7, 9, 12, 14 February 1997, Washington Opera, Eisenhower Theater, Kennedy Center, Washington, DC; cast: Elisabeth Comeaux (Baby Doe); Richard Stilwell (Horace); Phyllis Pancella (Augusta); Thomas Trotter (Chester A. Arthur); Kimm Julian (William Jennings Bryan); Kathleen Segar (Mama McCourt); Patricia Hussey (Samantha); Keith Lockhart, conductor; Roman Terleckyj, stage director; Zack Brown, stage designer and costumes; Joan Sullivan, lighting 6, 8 March 1997, Connecticut Opera, Bushnell Auditorium, Hartford, CT; cast: Mary Dunleavy (Baby Doe); Kimm Julian (Horace); Sharon Graham (Augusta); Thom King (William Jennings Bryan); Anna Maria Silvestri (Mama McCourt); Elizabeth Schmidt (Elizabeth); Courtney Ryan (child Silver Dollar); Willie Anthony Waters, conductor; Neely Bruce, chorus master; Ellen Douglas Schlaefer, stage director; Erhard Rom, stage designer; Kurt Wilhelm, costumes; James Franklin, lighting

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[The Ballad of Baby Doe] 15, 17 May 1997, Opera Theater of Pittsburgh, Byham Theater, Pittsburgh, PA; cast: Evelyn Courtenay Budd (Baby Doe); Chris Owens (Horace); Mimi Lerner (Augusta); Timothy LeFebvre (William Jennings Bryan); John Baril, conductor; Michael Ehrman, stage director; Erhard Rom, stage designer 25 October, 1, 3, 5, 7, 9 November 1997, Lyric Opera of Kansas City, Lyric Theatre, Kansas City, MO; cast: Cheryl Parrish (Baby Doe); Brian Steele (Horace); Rose Taylor (Augusta); Dan Sullivan (William Jennings Bryan); Myrna Paris (Mama McCourt); Russell Patterson, conductor; Sharon Daniels, stage director; Michael Anania, stage designer; Kurt Wilhelm and Zach Brown, costumes; Rick Goetz, lighting 11–13 January 1998, Austin Lyric Opera, University of Texas Arts Complex, Austin, TX; cast: Cheryl Parrish/Diane Alexander (Baby Doe); Melanie Sonnenberg/Rose Taylor (Augusta); Timothy Nolen/Mark Delavan (Horace); Cal Stewart-Kellogg, conductor; Joseph McClain, stage director; Michael Yeargan, stage designer; Kurt Wilhelm, costumes 14, 16, 18, 20, 23, 25 January 1998, Boston Lyric Opera, Emerson Majestic Theatre, Boston, MA, cast: Elisabeth Comeaux (Baby Doe); James Maddalena (Horace); Josepha Gayer (Augusta); James Kleyla (William Jennings Bryan); Mark Evans (Chester A. Arthur); Myrna Paris (Mama McCourt); Susan Davenny Wyner, conductor; Sharon Daniels, stage director; Zack Brown, costumes; Tom Sturge, lighting 16, 19, 22, 25, 27, 29 January, 1, 4, 7, 9, 12, 14 February 1998, Washington Opera, Eisenhower Theater, Kennedy Center, Washington, DC; cast: Elisabeth Comeaux (Baby Doe); Richard Stilwell (Horace); Phyllis Pancella (Augusta); Keith Lockhart, conductor; Roman Terleckyj, stage director; Zack Brown, stage designer July 1999, International Vocal Arts Institute of Israel, Janice and Philip J. Levin Music Center, Jaffa, Israel; cast: Patti Jo Stevens (Augusta) 17, 20 November 1999, New Orleans Opera Association, Mahalia Jackson Theatre of the Performing Arts, New Orleans, LA; cast: Cheryl Parrish (Baby Doe); Richard Zeller (Horace); Melanie Sonnenberg (Augusta); Michael Devlin (William Jennings Bryan); Melissa Parks (Mama McCourt); James Brown, David Ronis, Kyle Marrero, Francis Courtenay III (Horace’s friends); Aimee Puentes, Monika Cosson, Christine Nauert, Kristina Driskill (Augusta’s friends); Louisiana Philharmonic Orchestra; Mark Gibson, conductor; Jay Lesenger; director; Michael Yeargan, stage designer 23, 27 September, 3, 6, 8, 11, 14 October 2000, San Francisco Opera, War Memorial Opera House, San Francisco, CA; cast: Ruth Ann Swenson (Baby Doe); James Morris (Horace); Judith Forst (Augusta); Stefan Lano, conductor; Colin Graham, director; John Coyne, set designer; Susan Benson, costumes; Thomas J. Munn, lighting 17, 19 November 2000, Indianapolis Opera, Clowes Memorial Hall, Indianapolis, IN; cast: Diane Alexander (Baby Doe); Timothy Noble (Horace); Melanie Sonnenberg (Augusta);

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[The Ballad of Baby Doe] John Davies (William Jennings Bryan); Susan Nicely (Mama McCourt); Robert Zimmermann (old miner, hotel clerk, Father Chapelle, stage doorman); James Caraher, conductor; Michael Ehrman, stage director; George Maxwell, stage designer; Jeff Davis, lighting Spring 2001, Governor’s School for the Arts, Norfolk, VA; cast: Alan Fischer, director 8, 12, 14, 17, 19, 25, 28 April 2001, New York City Opera, New York State Theater, New York, NY; cast: Elizabeth Futral (Baby Doe); Joyce Castle (Augusta); Mark Delavan (Horace); John Marcus Brindel (William Jennings Bryan); Myrna Paris (Mama McCourt); Cheryl Evans (Sarah); Cheryl Hickman (Mary); Barbara LeMay (Emily); Edith Dowd (Effie); Kenneth Morris (Sam); John Lankston (Bushy); William Ledbetter (Barney); Don Yule (Jacob); George Manahan, conductor; Colin Graham, director; John Coyne and Susan Benson, stage designers 5, 7, 9, 11, 13 May 2001, Utah Opera, Capitol Theatre, Salt Lake City, UT; cast: Sally Dibblee (Baby Doe); Victor Benedetti (Horace); Judith Forst (Augusta); John Davies (William Jennings Bryan); Cal Stewart-Kellogg, conductor; Michael Ehrman, director; George Maxwell and Susan Memmot-Allred, stage designers 9–12 May 2002, Cincinnati College–Conservatory of Music, Cincinnati, OH; cast: Cory Renbarger (Horace) 2003, Robert Gill Theatre, University of Toronto, Toronto, Canada February 2004, Opera Theatre, Kendall Hall Theater, College of New Jersey, Ewing, NJ 6–7, 13–14 February 2004, Indiana University Opera Theater, Musical Arts Center, Bloomington, IN; cast: Erin Kelly (Baby Doe); Scott Skiba (Horace); Margaret Nilsson (Augusta); Jessica Vanderhoof (Mama McCourt); Brigid Berger, Carrie Reading, Anna Noggle, Sarah McCormack (Augusta’s friends); David Effron, conductor; Michael Ehrman, director; C. David Higgins, stage designer; Susan Memmott-Allred, costumes; Michael Schwandt, lighting 16, 18 April 2004, Opera Illinois, Peoria, IL 11 May 2004, Topeka Opera Society and Concert Association, Topeka, KS; cast: Deb Johnson (Baby Doe); Lee Snook (Horace); Anna McCoy (Augusta); Pat Gibson, piano; Gary Johnson, narrator April 2006, Crispus Attucks Theatre, Governor’s School for the Arts, Norfolk, VA; cast: Alan Fischer, director; Konrad Winters, producer 24, 28, 30 June, 2, 7, 11, 15, 19, 22, 25, 27, 29 July, 3, 6 August 2006, Central City Opera, Central City, CO; cast: Johanna Mongiardo (Baby Doe); Jake Gardner (Horace); Joyce Castle (Augusta); Joseph Gaines (Chester A. Arthur, old silver miner, mayor); Timothy Lefebvre (William Jennings Bryan); Victoria Livengood (Mama McCourt); Joshua Marr (bartender); Rachael Crim (Kate); Sarah Limper (Meg); Cody Fosdick, Michael-Paul Krubitzer, Benjamin Werth, Zachary Poholek (Horace’s friends); Jessica Tarnish, Desiree Wattelet, Corinne Wallace, Rebecca Jo Loeb (Augusta’s friends); Rachel Calloway (Samantha); Tanner Knight (hotel clerk, Father Chapelle, doorman); Aaron Wardell (Albert); Joshua Mochel, Mark Van Arsdale, Christopher Herbert, Campbell Vertesi (Washington dandies); Kyle Hastings (hotel

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[The Ballad of Baby Doe] footman); Mallory Lopez/Katie Walsh (child Elizabeth); Callia Stylianou/Abby Wist (child Silver Dollar); Bryan Boyce (Denver politician); Jean Broekhuizen (adult Silver Dollar); John Moriarty, conductor; Michael Ehrman, stage director; Michael Anania, stage designer; Alan Burrett, lighting; Ann Piano, costumes March 2007, Texas Tech University, Lubbock, TX March 2007, Greensboro College and the University of North Carolina, Greensboro Opera Theatre, Greensboro, NC 26, 30 January, 1 February 2008, Calgary Opera, Jubilee Auditorium, Calgary, Canada; cast: Tracy Dahl (Baby Doe); John Fanning (Horace) February 2008, Kirkpatrick Auditorium, Oklahoma City University, Oklahoma City, OK March 2008, Western Washington State University, Bellingham, WA May 2008, Brooklyn College Opera Theater, Brooklyn College Hillel, Brooklyn, NY 15–18 May 2008, Chelsea Opera, St. Peter’s Church, New York, NY 11, 15, 17, 19 July 2009, Berkeley Opera, Julia Morgan Center for the Arts, Berkeley, CA; cast: Jillian Khuner (Baby Doe); Torlef Borsting (Horace); Lisa Houston (Augusta); Ross Halper (Chester A. Arthur); John Bischoff (William Jennings Bryan, Denver politician); Marney Margules (Mama McCourt); George Arana (old silver miner, hotel clerk, Father Chapelle, mayor of Leadville, theater doorman, newsboy); Michael Crozier (bartender, hotel footman); Cass Mann (Kate, adult Silver Dollar); Kelcey Jay Poe (Meg, adult Silver Dollar); Alexander Taite (Sam, Washington dandy); Kenny Louis (Bushy, Washington dandy); Michael Beetham (Barney, Washington dandy); Wayne Wong (Jacob, Washington dandy, Albert, newsboy); Elizabeth Wells (Sarah); Angela Hayes (Mary); Elizabeth Gentner (Emily); Cary Ann Rosko (Effie); Richard Warp (Cousin Jack); Darcy Krasne (hotel clerk); Adria Swan (child Elizabeth); Danielle Margules/Tyger Rose (child Silver Dollar); Jonathan Khuner, Emily Senturia, conductors; Jeremy Knight, stage designer; Alexander Kort, lighting 9, 11 October 2009, Intermountain Opera Association, Bozeman, MT; cast: Heather Buck (Baby Doe); Robert Orth (Horace); Joyce Castle (Augusta); Christopher Johnson (William Jennings Bryan); Edith Dowd (Mama McCourt); Catherine Viscardi Savery (Kate, adult Silver Dollar); Russell Milburn (Bushy); Julian Dawson, conductor; Alan Fischer, stage director; Michael Hillenius, stage designer; Madeline Garcia, costumes The Ballad of Baby Doe. Excerpts 5 February 1960, Collegiate School for Boys, New York, NY; cast: Jacquelynne Moody (Baby Doe); Walter Cassel (Horace); Mrs. Nelson Sykes, narrator 28 November 1960, Carnegie Hall, New York, NY; cast: Patricia Fleischman, soprano (“Always through the Changing”); Gerry Koundoury, piano 1961, Mississippi Southern College, Houston Opera Guild, Houston, TX 4 January 1964, Town Hall, New York, NY; cast: Mary Robbs, soprano; Leo Taubmann, piano

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[The Ballad of Baby Doe] 23 February 1968 (selected scenes), Library and Museum of the Performing Arts, Lincoln Center, New York, NY; cast: Shelagh Vincent (Baby Doe); Brannon Hall-Garcia (Horace); Barbara Reilly (Augusta) 13 February 1969, Thirtieth Annual WNYC Festival of American Music, National Federation of Music Clubs, Donnell Library Center, New York, NY; cast: Judith Anthony, Joyce Gerber, Robert Paul, Kurt Saffir 19 January 1971, El Camino College Auditorium, Torrance, CA, cast: Carol Neblett, soprano (Willow Song); Martin Katz, piano 30 May 1992, Otterbein College Opera Theatre, Battelle Fine Arts Center; Westerville, OH; cast: Jocelyn McDonald, director 22 January 1998, “Stand-Up Opera,” Bomhard Theater, Kentucky Center, Louisville, KY; cast: B. J. Ward, soprano (Willow Song); Earl Buys, piano 9–17 November 1998, Central City Opera tour; cast: Courtenay Budd (Baby Doe); Andrew Krikawa (Horace); Allison Bowman (Augusta); Deborah Schmit-Lobis, piano 12 December 1998, A Singer’s Joy: An Evening of Beloved Vocal Music, Unitarian Universalist Church, Indianapolis, IN; Bettina Zaneteas, soprano; Sylvia Maiuri or Susan Raccoli, piano 13 September 1999, Faculty Artist Series, DeHaan Fine Arts Center, University of Indianapolis, Indianapolis, IN; Kathleen Hacker, soprano (Silver Aria); Richard Ratliff, piano 15 June 1999, Longy School of Music, Cambridge, MA; Mary Ann Lanier, soprano (Silver Aria); Margaret Ulmer, piano 12 August 2000, Twenty-first Anniversary Douglas Moore Memorial Concert, Village Green, Cutchogue, NY; Mary Kay McGarvey, soprano (“Always through the Changing”); Sound Symphony; Dorothy Savitch, conductor 22 October 2006, Domingo-Cafritz Young Artist Program of the Washington National Opera, Willard Hotel, Washington, DC; Elizabeth Andrews Roberts (Baby Doe); Trevor Scheunemann (Horace); Magdalena Wor (Augusta); Benjamin Makino, conductor; Thomas Rimes, piano The Ballad of William Sycamore 27 April 1927, Department of Music, Columbia University, McMillin Academic Theatre, New York, NY; Richard Hale, baritone; Gerald McGarrahan, flute; Mr. Wockenfuss, trombone; Douglas Moore, piano 21 May 1932, Hudson Park Branch, New York Public Library, New York, NY; Richard Hale, baritone; George Allen Foster, trombone; Gerald V. McGarrahan, flute; Douglas Moore, piano 11 February 1940, WPA Composers Forum-Laboratory, Lenox Gallery, New York Public Library, New York, NY; John Gurney, bass; Carleton Sprague Smith, flute; Frederick Marsh, trombone; Douglas Moore, piano 16 November 1940, Town Hall, New York, NY; Richard Hale, bass; Sebastian Caratelli, flute; Robert Paolucci, trombone; Felix Wolfes, piano

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3 April 1949, Program of American Music, Beta Omega Chapter of Phi Mu Alpha Sinfonia, Music and Dramatic Arts Building, Louisiana State University and Agricultural and Mechanical College, Baton Rouge, LA; James McKinney, baritone; Everett Timm, flute; Thomas Hendricks, trombone; Donald Christmas, piano 5 April 1949, Festival of Chamber Music, Quincy Chamber Music Ensemble, Quincy Art Center, Quincy, IL; J. Robert Austin, bass-baritone; William J. Dieterich, flute; John Haerle, trombone; Paul Pfeiffer, piano 13 February 1950, Providence Chamber Music Society, Providence Art Club, Providence, RI; Harry Hughes, baritone; Herman Storti, flute; Andrew Thompson, trombone; William Dinneen, piano; Francis Madeira, conductor 6 February [originally scheduled for 9 January] 1951, Institute of Contemporary American Music, Julius Hartt Musical Foundation, Julius Hartt School of Music Auditorium, Hartford, CT; Philip Treggor, baritone; Israel Kopmar, trombone; Carl Bergner, flute; Elizabeth Warner, piano 10 May [1951], Providence Chamber Music Society, Providence Art Club, Providence, RI; Harry Hughes, baritone; Herman Storti, flute; Edward DeCesaro, trombone; William Dinneen, piano (performed twice) 10 May 1959, Music in Our Time: 1900–1950, Kaufmann Concert Hall, YM-YWHA, New York, NY; Marvin Hayes, bass-baritone; Martin Orenstein, flute; Davis Shuman, trombone; Douglas Nordli, piano 25 July 1998, Slidell Musical Arts Association, Slidell Municipal Auditorium, Slidell, LA; Thomas Irwin III, baritone; Kim Hickey or Christina Roy, flute; or Celicia Slafter, flute and piccolo; William Dwyer, trombone; Sandra Larson, piano “Blow, Thou Winter Wind,” from Five Shakespeare Songs 16 November 1944, Carnegie Chamber Music Hall, New York, NY; Janet Fairbank, soprano; Paul Meyer, piano “Brown Penny” 22 February1944, American Music Festival, WNYC broadcast, New York, NY; Nicholas Goldschmidt, baritone 19 March 1964, University of South Florida Theater, Tampa, FL; Everett Anderson, bass; Jacques Abram, piano Carry Nation 28–30 April, 1 May 1966, Murphy Hall, University Theater, University of Kansas, Lawrence, KS; commissioned by: University of Kansas Centennial Celebration; cast: Beverly Wolff (Carry); John Reardon (Charles); Patricia Brooks (mother); Kenneth Smith (father); Kenneth Marsolais (Ben); Ed Ellis (caretaker); Roger Winell (preacher); Cecil Cole (saloon

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boy); University of Kansas Orchestra and Chorus; Robert Baustian, conductor; Lewin Goff, director; James Hawes, set designer; Charles Lown, lighting; Chez Haehl, costume designer; Tomi Baker, choreographer; Clayton Krehbiel, chorus director. Students in lead roles in student production: Doris Peterson (Carry); David Holloway (Charles); Michael Riley (father) and Norma Sharp (mother) 7 May 1966, West High School, Wichita, KS; cast: same as above 14 May 1966, Washington High School, Kansas City, KS; cast: same as above 14, 17 June 1966, San Francisco Opera, War Memorial Opera House, San Francisco, CA; cast: Beverly Wolff (Carry); Richard Fredricks (Charles); Ellen Faull (mother); Kenneth Smith (father); Winther Andersen (first man); James Eitze (second man); Philip Eisenberg (man at the piano); Robert Glover (Ben); Harold Enns (preacher); Carol Kirkpatrick (Edna Maud); John Gomez (boy); Donna Petersen, Walda Bradley, Ann Graber (women); Kevin Massay (boy); Marvin Klebe (caretaker); Colin Harvey (hoedown caller); Frank Corsaro, director; Eldon Elder, stage designer; Herbert Grossman, conductor 28 March, 2, 7 April 1968, New York City Opera, New York State Theater, New York, NY; cast: Beverly Wolff (Carry); Julian Patrick (Charles); Ellen Faull (mother); Arnold Voketaitis (father); Dan Kingman, Don Carlo (men in saloon); Dean Ryan (piano player); Don Yule (city marshal); Kellis Miller (Ben); Edward Pierson (preacher); John Stewart (young man); Arlene Adler (young girl); Jack Bittner (toaster, caretaker); Michael Ahearn (boy); Colette Martin (girl); Joan August, Maria West, Lila Herbert, Donna Owen (ladies’ auxiliary); Samuel Krachmalnick, conductor; Frank Corsaro, stage director; Will Steven Armstrong, stage designer; Patton Campbell, costumes; Maria Grandi, choreographer; additional cast: Ronald Bentley (second young man added on 2 April) 28 June 1990, New York University, Reimann Opera Theater, New York, NY; cast: Janet Ariosto (Carry); Richard Holmes (Charles); Patricia Iacobazzo (mother); Brannon Hall Garcia (father); Robert Wallace, conductor; Patricia Heuermann, director; Marion Kolsby, stage designer; Stephen Quandt, lighting; Austin K. Sanderson, costumes “Come Away, Death,” from Five Shakespeare Songs 25 April 1928, Department of Music, Institute of Arts and Sciences, McMillin Academic Theatre, Columbia University, New York, NY; Bernice Altstock, alto 14 October 1939, Town Hall, New York, NY; Ellen Repp, alto; Stuart Ross, piano 25 July 1940, McMillin Academic Theatre, Columbia University, New York, NY; Ellen Repp, alto 22 January 1942, Carnegie Chamber Music Hall, New York, NY; Maria Maximovitch, soprano; Gibner King, piano 1 May 1945, Wisconsin Festival 1 May 1959, Music in Our Time: 1900–1950, Kaufmann Concert Hall, YM-YWHA, New York, NY; Marvin Hayes, bass-baritone

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February or March 1964, University of South Florida, Tampa, FL; Everett Anderson 22 May 1966, Playhouse, Westminster Choir College, Princeton, NJ; Albert de Ruiter, bass-baritone Cotillion Suite Spring 1953, CBS broadcast of “Polka” and “Cake Walk”; Leopold Stokowski, conductor 10 January 1954, YMCA Auditorium, Philadelphia, PA; Arco-Arte Sinfonietta; Norman Black, conductor (title on program: Six Nineteenth Century Dances) 24 January 1954, Germantown Jewish Center, Philadelphia, PA; Arco-Arte Sinfonietta; Norman Black, conductor 14 February 1954, McMillin Theatre, Columbia University, New York, NY (broadcast on CBS Twentieth Century Concert Hall); CBS Radio Orchestra; Alfredo Antonini, conductor 16 December 1960, McMillin Theatre, Columbia University, New York, NY; Contemporary Baroque Ensemble; Daniel Antoun, conductor Cotillion Suite. Excerpts 22 March 1953 (“Polka”), New York, NY; CBS Radio Orchestra; Alfredo Antonini, conductor 25 October 1953 (“Polka” and “Cake Walk”), New York, NY; CBS Radio Orchestra; Leopold Stokowski, conductor “Dear Dark Head” 19 March 1961, Carnegie Recital Hall, New York, NY; Marian Thompson, soprano; Donald Comrie, piano 19 March 1964, University of South Florida Theater, Tampa, FL; Helen Anderson, soprano; Jacques Abram, piano “Death, Be Not Proud” Three Sonnets of John Donne 11 May 1944, Program of Pan-American Music, Department of Music, Skinner Recital Hall, Vassar College, Poughkeepsie, NY; John Pierce, baritone; Homer Pearson, piano 5 May 1957, American Music Festival, National Gallery of Art, Washington, DC; Shirlee Emmons, mezzo-soprano; John Wustman, piano 15 February 1959, Town Hall, New York, NY; Theresa Minnocci, soprano; Stanley Sonntag, piano Dedication 4 March 1939, Barnard Hall, Barnard College, New York, NY; Princeton University Glee Club, Barnard College Glee Club; Willard Rhodes, conductor Summer 1939, University of Washington, Seattle, WA; Fritz Kitzinger, conductor

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28 March 1941, Sixth Annual Three Choir Festival, Congregation Emanu-El, Temple EmanuEl, New York, NY; Emanu-El Choir; Douglas Moore, conductor 13 December 1941, Program of Contemporary American Choral Works, Department of Music, McMillin Academic Theater, Columbia University, New York, NY; Barnard College Glee Club, Columbia University Glee Club, Barnard and Columbia Singers; James Giddings, conductor 13 May 1943, School of Music and Phi Beta, University of Oregon, School of Music Auditorium, Eugene, OR; Ruth Merritt and Lolita Pierson, sopranos; Jean Burlingham, alto; Lee Ghormley, tenor; Ray Leonard, baritone; Dan Wessler, bass; Arnold Elston, conductor 4 May 1946, All American Music Concert, Town Hall, New York, NY; Teacher’s College Music Students and Faculty; Harry R. Wilson, conductor 1948, Southwestern Singers annual tour, Memphis, TN; Burnet Tuthill, conductor 8 May 1949, Festival of Contemporary Arts, Willard Straight Memorial Room, Cornell University, Ithaca, NY; Cornell A Cappella Chorus; John Kirkpatrick, piano (?); Robert Hull, conductor 2 April 1954, Seventeenth Annual Three Choir Festival, Congregation Emanu-El, Temple Emanu-El, New York, NY; Emanu-El Choir; Douglas Moore, conductor 18 November 1954, A Cappella Chorus, University of Delaware, Newark, DE; Bertram Gable, conductor 26 May 1956, Cubberley Auditorium, Education Building, Stanford University, Stanford, CA; Stanford Chorale; Harold Schmidt, conductor The Devil and Daniel Webster 18–20 May 1939, American Lyric Theatre, Martin Beck Theatre, New York, NY (six performances); cast: Lansing Hatfield/Richard Hale (Daniel Webster); Nancy McCord/Bettina Hall (Mary Stone); John Gurney (Jabez Stone); George Rasely (Mr. Scratch); Fred Stewart (fiddler); Clair Kramer (Justice Hathorne); Ernice Lawrence (Simon Girty); Philip Whitfield (King Philip); Lawrence Siegle (Blackbeard Teach); Don Lee (Walter Butler); Lee Couch (old man); Alice Tobin (old woman); Telete Lester (schoolteacher); W. H. Mende (Smeet): Paul Roberts (Dale); James Chartrand (Morton); Lee Couch, Ross Lockwood, Beulah Blake, Angela Chope, Frances Earnest, Dorothe Essig, Geraldine Hamilton, Cathryn Harvey, Helen Mastelle, Helen Oliver, Eunice Northrup, Janet Joyce, Fannie Shiff, Telete Lester, Alice Tobin, Elinor Waldron, Jean Watson, Marjorie Williamson (wedding guests); Jay Amiss, Karl Holly, Alan Stewart, James Gillis, Frank Chamberlain (jury); Edward Marshall (clerk); Fritz Reiner, conductor; Lee Pattison, music director; May Valentine, choral director; John Houseman, director; Richard Aldrich, associate producer; Robert Edmond Jones, stage designer; Eugene Loring, choreographer 9, 12 August 1940, Chautauqua Opera Association, Norton Memorial Hall, Chautauqua, NY; cast: David Otto (Daniel Webster); Gertrude Gibson (Mary Stone); John Gurney (Jabez Stone); Donald Dame (Mr. Scratch); Gilbert Gallagher (fiddler); John McCrae (Justice Hathorne); Clifford Harvuot (clerk); Philip Kaufman (King Philip); Hugh Thompson

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[The Devil and Daniel Webster] (Blackbeard Teach); Charles Austin (Walter Butler); Arthur Bailey (Simon Girty); Joseph Validzich (Dale); Donald Thiedemann (first man); Loraine Purbaugh (first woman); Howard Wilhelm (second man); Kay Glenwright (second woman); Lincoln Hunt (third man); Margaret McCandless (third woman); Warren Lee Terry (old man); Margaret McKee (old woman); Maxwell Lick, Jr. (Miser Stevens); Albert Stoessel, conductor; Alfredo Valenti, stage designer 14 December 1940 (concert performance), Barnard Hall, Barnard College, New York, NY; cast: Richard Hale (Daniel Webster); Catherine Aspinall (Mary Stone); Hugh Thompson (Jabez Stone); George Rasely (Mr. Scratch); Barnard College Glee Club; Columbia University Glee Club; Columbia University Orchestra; James Giddings, conductor 13 January 1941, South Huntington High School, Huntington Station, NY; James Giddings, conductor 13 March 1941 (concert version), Mitchell Hall, University of Delaware, Newark, DE; cast: David Otto (Daniel Webster); Margaret Dennis (Mary Stone); Hugh Thompson (Jabez Stone); Donald Dame (Mr. Scratch); Swarthmore Symphony Orchestra; Anthony J. Loudis, conductor 6 October 1941, Worcester Festival, Worcester Auditorium, Worcester, MA; cast: David Otto (Daniel Webster); Harriet Henders (Mary Stone); Hugh Thompson (Jabez Stone); Donald Dame (Mr. Scratch); Robert Harmon (fiddler); W. Roscoe Fletcher (Justice Hathorne); Richard Court (clerk); L. Ainsley Bennett (King Philip); Bruce G. Bennard (Blackbeard Teach); Archie Pullan (Simon Girty); Harold Dimock (Dale); Arthur Backgren (Walter Butler); Robert O’Brien (Morton); Vera R. Miller (old woman); Rosaire Cote (old man); Albert Stoessel, conductor; Alfredo Valenti, stage director; Florence McKeon, choreographer 1 May 1942, U.S.O. and the Composers’ Forum, Veterans’ Auditorium, San Francisco, CA (two performances); cast: Marsden Argall (Daniel Webster); Mary Helen Markham (Mary Stone); Charles Goodwin (Jabez Stone); Russell Roberts (Mr. Scratch); Colin Harvey (fiddler); James Martin (Justice Hathorne); Arnold Kohn (first man); Ann Wegman (first woman); John Burby (second man); Betany Beckman (second woman); James Orbison (old man) Sonia Trobbe (old woman); Orva Hoskinson (Miser Stevens); Colin Harvey (clerk); Robert P. Bullard (King Philip); Edward E. Ulrich (Blackbeard Teach); Otis R. Marston (Walter Butler); Charles T. Docker (Simon Girty); George Washington High School Chorus and University of California Chorus; California Youth Orchestra of Mills College; Nicholas Goldschmidt, conductor; George Altman, stage director 14 May 1942, Opera Festival, WOR-AM, New York, NY; cast: Richard Hale (Daniel Webster); Genevieve Row (Mary Stone); John Gurney (Jabez Stone); George Rasely (Mr. Scratch); Alfred Wallenstein, conductor 10, 12, 13 June 1942, Opera Studio of Los Angeles City College, City College Auditorium, Los Angeles, CA; cast: Jack Shafer (Daniel Webster); Wynne Davis (Mary Stone); John

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[The Devil and Daniel Webster] Arnold Ford (Jabez Stone); Henry Reese (Mr. Scratch); Richard Pedicini (fiddler); Richard McComb (Justice Hathorne); Craig Milligan (Miser Stevens, Simon Girty); Frank Martinez (old man); Gloria Yaberg (old woman); Randolph Griffith (clerk); Lee Wintner (King Philip); Wynn Prentice (Blackbeard Teach); Hugo Strelitzer, conductor; Donald H. Alden, stage director; Lois Waag Morgan, stage designer; Margaret E. Sweet, choreographer 19 July 1942, Sigmund Stern Recreation Grove, San Francisco, CA; cast: Marsden Argall (Daniel Webster); Mary Helen Markham (Mary Stone); Charles Goodwin (Jabez Stone); Russell Roberts (Mr. Scratch); Colin Harvey (fiddler); James Martin (Justice Hathorne); James Orbison (old man); Sonia Trobbe (old woman); Orva Hoskinson (Miser Stevens); Robert P. Bullard (King Philip); Edward E. Ulrich (Blackbeard Teach); Frederick F. Doyle (Walter Butler); Charles T. Docker (Simon Girty); members of the San Francisco Symphony Orchestra; Berthold Goldschmidt, conductor; George Altman, stage director 6 October 1942, Worcester Music Festival, Worcester, MA; cast: David Otto (Daniel Webster); Harriet Henders (Mary Stone); Hugh Thompson (Jabez Stone); Donald Dame (Mr. Scratch); Robert Harmon (fiddler); W. Roscoe Fletcher (Justice Hathorne); Richard Court (clerk); Vera R. Miller (old woman); Rosaire Cote (old man); Mildred Johnson (first woman); Mrs. Alden G. Carlson (second woman); Mrs. Olga Rousseau (third woman); John Herholz (first man); L. A. Warshaw (second man); Worcester Festival Opera Chorus, Dance Group and Orchestra; Albert Stoessel, conductor; Alfredo Valenti, stage director; Florence McKeon, dance director 31 October 1944, American Opera Society-National, Woman’s Athletic Club, Chicago, IL 1946, Columbia Opera Workshop, Columbia University, New York, NY 18–19 January 1946, High School of Music and Art, Hunter College Playhouse, New York, NY; cast: Eugene d’Adamo (Daniel Webster), Estelle Gluzman/Florence Krinsky (Mary Stone); Leslie Faber (Jabez Stone); Maurice Stern (Mr. Scratch); James Yannatos (fiddler); Ivan Majdrakoff (Justice Hathorne); Henry Leclerq (old man); Florence Goldschlag (old woman); Jackie Reese (Miser Stevens); Roy Eaton (clerk); Benjamin Rachlis (Simon Girty); Samuel Wiseman (Blackbeard Teach); Sandor Garfunkel (Walter Butler); Bernard Brazin (King Philip); Alexander Richter, conductor; Hope Rubinstein, stage designer 6–7 November 1946, Fountain Street Baptist Church, Grand Rapids, MI; cast: Earl Dunn (Daniel Webster); Evangeline Maurits (Mary Stone); Lloyd Bloomberg (Jabez Stone); Raymond Calvin (Mr. Scratch); Roland Robey (fiddler); Dorrance McCready (Justice Hathorne); Douglas Smith (Simon Girty); Clarence Hunt (Blackbeard Teach); Jeff Doerr (King Philip); William Boyle (clerk); John M. Lewis, conductor; Amy Goodhue Loomis, stage designer 1, 4 August 1947, Chautauqua Opera Association, Norton Memorial Hall, Chautauqua, NY; cast: Clifford Harvuot (Daniel Webster); Marion Manderen (Mary Stone); John McCrae

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[The Devil and Daniel Webster] (Jabez Stone); Donald Dame (Mr. Scatch); Gil Gallagher (fiddler); Norman Scott (Justice Hathorne); Fletcher Thompson (clerk); Igor Buketoff, conductor; Alfredo Valenti, stage director 7 August 1947, Syracuse University of Fine Arts Opera Workshop, Crouse Auditorium, Syracuse, NY; cast: Robert Stull (Daniel Webster); Hildegarde Bristol (Mary Stone); Jerome Reed (Jabez Stone); Vincent Reed (Mr. Scratch); Marshall Bialosky (fiddler, Justice Hathorne); Harrison Schmol (clerk); Mary Ann Clark (Miser Stevens); Lvere Winne (Blackbeard Teach); Robert Pritchard (King Philip); Alton Downes (Simon Girty); Lou White, conductor; Ruth Ives, stage director; Bernhardt Tiede, stage manager; Mary Roberts Evans, piano; Alfred Lanegger, violin 19–20 March 1948, Mobile Opera Guild, Murphy High School Auditorium, Mobile, AL; cast: Andrew White (Daniel Webster); Walter Herbert, conductor; Robert C. Bird, stage director April 1948, Calvary Episcopal Church, Pittsburgh, PA 20–21 April 1948, Pittsburgh Savoyards, Carnegie Music Hall, Pittsburgh, PA; cast: Roger Ingham (Daniel Webster); Doris Kryder (Mary Stone); Eugene Kingsly (Jabez Stone); Emerick Simboli (Mr. Scratch); James Sprague (fiddler); Robert Wakefield (Justice Hathorne); Charles Schroeder (Miser Stevens); Howard Gindele (clerk); John Seifert (Simon Girty); Andrew Maloney (King Philip); Paul Giltinan (Blackbeard Teach); Ronald McCafferty (Walter Butler); Edward Roncone, conductor; John H. Weisbrod, stage director; James W. Lindsay, technical director 16 June 1948, Hiram College, Hiram, OH 1949, University of Washington, Seattle, WA 7–9 April 1949, Cincinnati Music Drama Guild, Wilson Auditorium, Cincinnati, OH; cast: Dolph Price (Daniel Webster); Roberta Segal (Mary Stone); Sam Carter (Jabez Stone); Robert McSpadden (Mr. Scratch); Robert Donovan (Justice Hathorne); George Palmer (Miser Stevens); William Hudson (clerk); Ted Foltz (Walter Butler); John Louis (Blackbeard Teach); John Ulrich (King Philip); Fowler Nantz (Simon Girty); Hubert Kockritz, conductor; Richard Mouk, stage manager; D. Denton Studios, scenery and costumes; Anneliese von Oettingen, choreographer 27 April 1949, St. Louis Grand Opera Guild, Hanley Junior High School Auditorium, University City, MO; cast: Paul Glor (Daniel Webster); Jean Zeitler (Mary Stone); Robert Schumann (Jabez Stone); Douglass Warren (Mr. Scratch); Roger Pillet (fiddler, clerk); Millard Allen (Justice Hathorne); Aaron Carer (Miser Stevens); Bert Eisenmayer (Walter Butler); Edwin Herchert (Blackbeard Teach); Robert Wamser (King Philip); Roy Hill (Simon Girty); Edward A. Murphy, conductor; Bernard Ferguson, stage director 25–26 April 1950, Curtis Hall, Curtis Institute of Music, Philadelphia, PA; cast: Gordon Almstead (Daniel Webster); Dorothy Buck (Mary Stone); James Loomis (Jabez Stone);

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[The Devil and Daniel Webster] Vincent Donato (Mr. Scratch); Arthur Hammond (fiddler); Jan Gilburt (Justice Hathorne); Nicholas Trolio (clerk); Lloyd Oostenbrug (Walter Butler, Miser Stevens); Rene Bouchard (Blackbeard Teach); David Daniels (King Philip); Arthur Hammond (Simon Girty); John Wolmut, conductor; Robert Woodside, organ; John Pintavalle, violin 8–9 May 1950, Opera Workshop, Eastman School of Music, Kilbourn Hall, Rochester, NY; cast; Thomas Mayne/Norbert Winkler (Daniel Webster); Sara Jarvis/Diane Gruhle (Mary Stone); Donald Jensen (Jabez Stone); Roger Schmidt/Giles Hobin (Mr. Scratch); Julius Kovach (fiddler); Clifford Snyder (Justice Hathorne); Thomas Mayne/Norbert Winkler (clerk); Harold Hawn (Miser Stevens); James Foglesong (Walter Butler); Leonard Potter (Blackbeard Teach); Samuel Jones (King Philip); Richard Gilley (Simon Girty); Ward Woodbury, conductor; Leonard Treash, stage director; Charles Warner assistant stage director; Clarence J. Hall, stage designer; Gretchen Rhoads, costumes 19 May 1950, Memorial Chapel, College of Emporia, Emporia, KS; cast: Don Koets (Daniel Webster); Beverly Nelson (Mary Stone); Leon McKusick (Jabez Stone); John Forsberg (Mr. Scratch); Cecil Ullom (Justice Hathorne); John Dawson (clerk); James Naughton (Simon Girty); Harold Spear (King Philip); Myron Apel (Blackbeard Teach); George Munson (Walter Butler); John M. Lewis, conductor; Charlotte Forsberg, stage director; Marjorie Fisk and Mary K. Moore, piano 19–20 July 1950, Brigham Young University Opera Workshop, College Hall, Provo, UT; Harold Brereton (Daniel Webster); Maryann Murdock/Colleen Riggs (Mary Stone); Joe Hill/John M. Whitaker(Jabez Stone, King Philip); Rex Johnson (Mr. Scratch); John Beck Shank (fiddler); W. Chapman Wooten (Justice Hathorne); Lyneer Smith (Miser Stevens); Wallace Broberg (Walter Butler); Merlin Sorenson (Blackbeard Teach); Brandt Curtis (Simon Girty); Willard Rhodes, conductor 1–2 August 1950, Claremont Opera Workshop; Holmes Hall, Claremont, CA; cast: Richard Hale (Daniel Webster); Thelma Simpson (Mary Stone); Charles Ferguson (Jabez Stone); Smith Russell, Jr. (Mr. Scratch); Frank Marino (fiddler); Alfred Geer (Justice Hathorne); Harry Janzen (Miser Stevens); Murray Alexander (Walter Butler); Carl Baumann (Blackbeard Teach); Edgar von Lehn (King Philip); Harry Janzen (Simon Girty); John Barnett, conductor; Sergei Radamsky, director March 1951, Memorial Auditorium, Stanford University, Stanford, CA; Richard Hale (Daniel Webster); Yvonne Chauveau (Mary Stone); Carl Palangi (Jabez Stone); Lawrence Mason (Mr. Scratch); Don Russell (fiddler); Don Campbell (Justice Hathorne); Orva Hoskinson (Miser Stevens, clerk); Warner Imig (Walter Butler); Winther Andersen (Blackbeard Teach); William Winden (King Philip); Harold Schmidt (Simon Girty); Ray O’Brien (John Smeet); Joseph Turner (Thomas Dale); Michael Gregg (Thomas Morton); Sandor Salgo, conductor; David Hawes, stage director; Wendell Cole and Virginia Opsvig, stage designer March 1951, St. Olaf College, Northfield, MN

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[The Devil and Daniel Webster] 17 March 1951, Carleton Glee Club and Carleton Players, Skinner Memorial Chapel, Carleton College, Northfield, MN; cast: John Braham (Daniel Webster); Joyce Fullwood (Mary Stone); Jo Tapscott (Jabez Stone); James Sunderland (Mr. Scratch); James Huff (fiddler); William Kershaw (Justice Hathorne); Jack Naros (clerk); Ralph Stewart (Miser Stevens); Samuel Kinser (Walter Butler); Frank Evans (Blackbeard Teach); Richard Berryman (King Philip); Dexter Lufin (Simon Girty); Enid Woodward, conductor; Edwin Burr Pettet, stage director; Peter Vike, piano; Doris Charter, violin 11 May, 9 June 1951, University of Redlands, Redlands, CA; cast: Betty Cutting (Mary Stone); Lois Utterback; Dave Thorsen; Manuel Leonardo; Lyle Heck 1 November 1951, Williams College, Williamstown, MA 5–8 December 1951, Ithaca College, College Little Theater, Ithaca, NY 6 December 1951, Cornell University, Ithaca, NY; cast: John Carpenter (Daniel Webster); Patricia Ackerman/Joanne Manwiller (Mary Stone); William Coppola (Jabez Stone); Edward Doyle (Mr. Scratch); Bert DeRose (fiddler); Allan See (Justice Hathorne); David Dick (clerk); Eldon Francisco (old man); James Parker (Blackbeard Teach) Victor Grant (King Philip); William Nickerson (Simon Girty); Robert Moss (Walter Butler); Joseph Tague, conductor; Thomas Pulaski, assistant conductor; Charles H. Randall, stage director; George Hoerner, stage designer 29 January 1952, Milwaukee Chamber Opera, Milwaukee, WI; cast: Jack Strawbridge (Daniel Webster); Olga Chronis/Mary Pat Wilson (Mary Stone); Keith Cota/Edward Wise (Jabez Stone); Dan Soyka (Mr. Scratch); William Enright (fiddler); John T. Wolmut, conductor; Jerome Karidis, stage designer; Gabriel di Piazza and Margaret Seidl, piano; Raymond Brown, violin 23–26, 29–31 July, 1–2, 5–9 August 1952, Punch Opera, Metropolitan-Duane, New York, NY; cast: John Kling (Daniel Webster); Ruth Daigon (Mary Stone); Richard Roussin (Jabez Stone); John Miller (Mr. Scratch); John Ingram (fiddler, clerk); William Utley (old man, Justice Hathorne); Rex Wilder, conductor; Robert Boberg and Mervin Snyder, piano 13–14 May 1953, Fine Arts Auditorium, University of Georgia, Athens, GA; cast: Louis Griffith (Daniel Webster); Ethel Skelton (Mary Stone); Paul Kea (Jabez Stone); Dick Shrove (Mr. Scratch); W. C. Owen (fiddler, clerk); Toxey Hall (Justice Hathorne); Carlton English (Miser Stevens); Byron Warner, conductor; James W. Andrews and Hugh Hodgson, stage directors 18 July–1 September 1953, Old Sturbridge Festival, Old Sturbridge Village, MA; Clifford Harvuot (Daniel Webster); Adelaide Bishop (Mary Stone); Josh Wheeler (Jabez Stone); Luigi Vellucci (Mr. Scratch); Philip Bogucki/John Ferrante (fiddler); James Mattingly (Justice Hathorne); Philip Bogucki (clerk); George Vince/John Ferrante (Miser Stevens); Richard Rovinelli (Walter Butler); Benjamin Thomas (Blackbeard Teach); Richard Park (King Philip); John Ferrante (Simon Girty); Benjamin Thomas (narrator); Moshe Paranov, conductor; Elemér Nagy, stage director

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[The Devil and Daniel Webster] 13 May 1954, Memorial Chapel, College of Emporia, Emporia, KS; cast: Don Jones (Daniel Webster); Russelle Seeberger (Mary Stone); Don Worthington (Jabez Stone); Jack Mitchell (Mr. Scratch); Gerald Linder (fiddler); Dick Morrow (Justice Hathorne); Wayne Morgan (clerk); Bruce Brigdon (Walter Butler); Robert Ingold (Blackbeard Teach); Lem Harkey (King Philip); James McMillan (Simon Girty); John M. Lewis, conductor; Donald McCaffrey, stage director; Gerald Linder, stage designer; Hildred Schmidt and Janice Keraus, piano 24–28 August 1954, Community Players, Polka-Dot Playhouse, Sterling House, Stratford, CT; cast: Donald Bundock (Daniel Webster); Nancy Mellor (Mary Stone); Roy Smith (Jabez Stone); Earl Sauerwein (Mr. Scratch); M. A. Gregoire (fiddler); Bill Gaito (Justice Hathorne); George Hattersley (old man); Bea Doncourt (old woman); Bob Spellman (clerk); Jack Clark (Miser Stevens); Miller Wachs (Walter Butler); Charles Nichols (Blackbeard Teach); Karl Lepeska (King Philip); George Hattersley (Simon Girty); Donald Bundock; conductor; David Reed, stage director; Li Simpson, choreographer 1955, Hiram College, Hiram, OH May 1955, Pierson College, Yale University, New Haven, CT; Howard Boatwright, conductor 5–6 June 1955, BBC, London, England; Berthold Goldschmidt, conductor 1 September 1955, Oglebay Park, Wheeling, WV; Opera Workshop; Boris Goldovsky, conductor 1, 18 March 1957 or 1959 (?), Occidental College, Los Angeles, CA 7 or 9 September (?), 1957 or 1959 (?), Cincinnati Music Guild, Cincinnati, OH 12 January 1958, WQXR, radio premiere 15 February 1958, WNYC 19–20 April 1958, Brooklyn College, Brooklyn, NY 7–9 November 1958, Portland State College, Portland, OR; cast: Charles Gaupp (Daniel Webster); Ann Olsen (Mary Stone); Gregg Wally Foss (Jabez Stone); William Nickerson (Mr. Scratch); John Stehn, conductor; Kenneth Waters, stage director 28 February 1959, Paramus High School, Paramus, NJ 6–7 March 1959, Benjamin Franklin Junior High School, Ridgewood, NJ; cast: Valley Opera Company; Steven Manning (Daniel Webster); Helen Moore-Martin/Jeanne Privette (Mary Stone); John Shaw (Jabez Stone); Robert Eckert (Mr. Scratch); Robert Mellem (fiddler); Jeffrey Pearson (Justice Hathorne); William Kettering, conductor; Nelson Sykes, stage director; Carolyn Dooley, piano 5, 17, 26 April 1959, New York City Opera, New York City Center Theatre, New York, NY; cast: Walter Cassel (Daniel Webster); Adelaide Bishop (Mary Stone); Joshua Hecht (Jabez Stone); Norman Kelley (Mr. Scratch); Keith Kaldenberg (fiddler); Emile Renan (Justice Hathorne); Arthur Newman (clerk); Grant Williams (Miser Stevens, Simon Girty); Chester Ludgin (Walter Butler); George Del Monte (Blackbeard Teach); Arnold Voketaitis (King Philip); Jack DeLon, Howard Fried, Andrew Frierson, Paul Huddleston, John Macurdy, Dan Merriman, William Nahr, Harry Theard (jury); Max Goberman, conductor; John Houseman, stage director; Rouben Ter-Arutunian, stage designer; Lee Watson, lighting; Robert Joffrey,

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[The Devil and Daniel Webster] choreographer; alternate cast: Marguerite Willauer (Mary Stone on 17 and 26 April); John Macurdy (Jabez Stone on 26 April); additional cast: Dan Marek (old man on 17 April); Dorothy White (old woman on 17 April) 5–6, 8–9 June 1959, Boston Arts Festival, Boston Public Garden, Boston, MA; cast: Walter Cassel (Daniel Webster); Lee Venora (Mary Stone); Mark Elyn (Jabez Stone); John McCollum (Mr. Scratch); Samuel Kratchmalnick, conductor; Bill Butler, stage director 9–11 May 196?, Seattle Opera Association and Snohomish High School District no. 201, Performing Arts Center, Snohomish High School, Snohomish, WA; cast: Don Collins (Daniel Webster); Jennifer Chase (Mary Stone); John Waggoner (Jabez Stone); Jerry Landeen (Mr. Scratch); John Cedegreen (fiddler); William Blake (Justice Hathorne); Robert Fisher (old man); Irene Johnson (old woman); Don Fletcher (clerk); Richard Edmonds (Miser Stevens); Patrick Harrison (Walter Butler); Tom Chambers (Blackbeard Teach); William Eyler (Simon Girty); Clinton Vandall (King Philip); Chorus of Snohomish High School; Hans Wolf, conductor and producer; Phyllis Legters, stage director 1961, Oxford, England June 1961, Maryland Baptist College, Walkersville, MD 7–8 August 1962, New Hampshire Festival, Johnson Theatre, Durham, NH (also televised); New Hampshire Festival Orchestra and Chorus; Thomas Nee, conductor 10 (?) January 1963, Willamette University, Salem, OR 19 April 1963, Kansas City Opera Association, Kansas City, MO; Russell Patterson, conductor 16 January 1964, Colorado Springs, CO 13 February 1964, Glassboro State College, Glassboro, NJ 18 February 1964, Beaumont Civic Opera, Beaumont, TX 21–23 February 1964, Colorado Springs Opera Association, Colorado Springs Fine Arts Center, Colorado Springs, CO; cast: Ben Lyon (Daniel Webster); Lou Ellen Crawford (Mary Stone); Paul Ballantyne (Jabez Stone); Lloyd Owens (Mr. Scratch); Norman Chichester (fiddler); Peter Hutchison (Justice Hathorne); David Porter (Miser Stevens); Richard Armstrong (Blackbeard Teach); Elmer Brittain (Walter Butler); Ed Rodgers (King Philip); Bob Ramsay (Simon Girty); David Wagner (clerk); J. Julius Baird and Edalyn Burger, stage directors 25 February 1964, Drake University, Des Moines, IA 5 November 1964, West Virginia University, Morgantown, WV 1965–66 season, Lyric Opera, Kansas City, MO; cast: Brian Steele (Daniel Webster); Darren Keith Woods (Mr. Scratch); Cary Miller (Justice Hathorne); Russell Patterson, conductor; Nicholas Cavallaro, lighting; R. Keith Bramley, stage designer 27–28 August 1965, Festival of Opera, Laguna Beach, CA; cast: Harold Enns (Daniel Webster); John Arnold Ford (Jabez Stone); Margot Blum (Mary Stone); Ken Remo (Mr. Scratch); Eugene Ober, conductor; Howard Graham, stage director; Homer Greathouse, stage designer; Richard Rekow, choreographer 10 November 1965, William Jewell College, Liberty, MO

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[The Devil and Daniel Webster] 16 March 1966, Massapequa Opera Workshop, Massapequa, NY 5 June 1967, North Park College Theological Seminary, Chicago, IL 17 November 1967, Kansas State College, Ft. Hays, KS 22 November 1967, University of Denver, Denver, CO 2 February 1968, Audubon High School, Audubon, NJ 29 February 1968, Rittenhouse Opera Society, Philadelphia, PA 5 March 1968, New Richmond High School, New Richmond, OH 6 April 1968, University of Florida Opera Workshop, St. Augustine Amphitheatre, St. Augustine, FL; cast: Gerald Langford (Daniel Webster); Ingrid Hellwig (Mary Stone); Sid Heidt (Jabez Stone); Stan Harris (Mr. Scratch); Edwin Rose (fiddler); Mike Beistle (Justice Hathorne); Timothy Gifford (clerk); Maurice Geiger (Miser Stevens); Jamie Stone (Walter Butler); Arthur Heyman (Blackbeard Teach); Bryan Page (Simon Girty); Dan Jesse (King Philip); Edward Troupin, conductor; Gerald Michael Beistle, stage director; Evelyn Taylor, stage designer; Beth Lessard, choreographer 11 April 1968, University of Florida Opera Workshop, University Auditorium, University of Florida, Gainesville, FL; cast: Gerald Langford (Daniel Webster); Ingrid Hellwig (Mary Stone); Sid Heidt (Jabez Stone); Stan Harris (Mr. Scratch); Edwin Rose (fiddler); Mike Beistle (Justice Hathorne); Timothy Gifford (clerk); Maurice Geiger (Miser Stevens); Jamie Stone (Walter Butler); Arthur Heyman (Blackbeard Teach); Bryan Page (Simon Girty); Dan Jesse (King Philip); Edward Troupin, conductor; Gerald Michael Beistle, stage director; Evelyn Taylor, stage designer; Beth Lessard, choreographer 1 May 1968, Bloomsburg State College, Bloomsburg, PA 31 May 1968, Fresno Pacific College, Fresno, CA 8 July 1968, Oberlin College, Oberlin, OH 13–17 July 1968, Oberlin Gilbert and Sullivan Players, Falmouth, MA 8 May 1976, Riverside Opera Association, Riverside Municipal Auditorium, Riverside, CA; cast: Chris Webb (Daniel Webster); Joy Schuh (Mary Stone); Philip Bremenstuhl (Jabez Stone); Bruce Langford (Mr. Scratch); Richard Saylor, conductor; Sandy Stiglenski, stage designer; Douglas Merrill, producer 11 May 1991, Bronx Opera, Lehman College, New York, NY; cast: Eugene Green (Daniel Webster); Mary Phillips (Mary Stone); Stephane Smith (Jabez Stone); Adrian Michael (Mr. Scratch); Michael Spierman, conductor; Cynthia Edwards, stage director 18, 20, 22, 24 September 1995, Lyric Opera, Kansas City, MO; cast: Brian Steele (Daniel Webster); Joyce Guyer (Mary Stone); John Stephens (Jabez Stone); Darren Keith Woods (Mr. Scratch); Robert Gibby Grand (fiddler); Cary Miller (Justice Hathorne); Russell Patterson, conductor; R. Keith Brumley, stage designer; Dennis Landsman, choreographer; Nicholas Cavallaro, lighting 20, 22 March 1998, Opera Theatre of Northern Virginia, Thomas Jefferson Community Theater, Arlington, VA; cast: David Neal (Daniel Webster); Lara Colby (Mary Stone); David

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[The Devil and Daniel Webster] Brundage (Jabez Stone); Doug Bowles (Mr. Scratch); John Edward Niles, conductor; Jane Christenson, stage director; Steve Thorpe, stage designer 17–18, 20–21 December 2000, Teatro Massimo, Palermo, Italy; cast: Maurizio Lo Piccolo (Daniel Webster); Loredana Arcuri/Alaina Brown (Mary Stone); Ugo Guagliardo (Jabez Stone); Juan Gambina/Larry Stotsbery (Mr. Scratch); Justin Watson (fiddler, clerk); Giuseppe Covais (Miser Stevens); Vincenzo Cuccia/Cristofaro Fiorenza (Walter Butler); Valerio Romano (Blackbeard Teach); Rosolino Galioto (King Philip); Marco Palmeri (Simon Girty); Orchestra da camera “Kandinskij” di Palermo; Danilo Lombardini, conductor; Stefano Vizioli, stage director; Santi Centineo, set designer; Francesca Pipi, costume designer; Gloria Giordano, choreographer; Bruno Ciulli, lighting The Devil and Daniel Webster. Excerpts 16 November 1940, Town Hall, New York, NY; Richard Hale, bass (“I’ve Got a Ram, Goliath”); Felix Wolfes, piano 13 January 1941, South Huntington High School, Huntington Station, NY; Barnard College Glee Club and Columbia University Glee Club (“Nothing like a Wedding”; “We’ll Dance the Night Away, Boys”; “He’s Sold His Soul to the Devil”); Kenneth Dixon Reilly, baritone (“I’ve Got a Ram, Goliath”); James Giddings, conductor 31 January 1943, WQXR broadcast, New York, NY; Wilma Spence, soprano (Mary’s Prayer); Paul King, baritone (“I’ve Got a Ram, Goliath”) 16 February 1946, WNYC, New York, NY; James Pease, baritone (“I’ve Got a Ram, Goliath”) 10 March 1946, WOR Operatic Recital, New York, NY; Hugh Thompson, baritone (“I’ve Got a Ram, Goliath”) 18 August 1946, WNBC, New York, NY; Alfred Drake, baritone (“I’ve Got a Ram, Goliath”) September 1946, Yaddo Festival, Saratoga Springs, NY; Mordecai Bauman, baritone (“I’ve Got a Ram, Goliath”) 13 November 1946, Willard Clapp Hall, Cleveland Institute of Music, Cleveland, OH; Mordecai Bauman, baritone (“I’ve Got a Ram, Goliath”: Webster’s Song); Marianne Matousek Mastics, piano 15 February 1947, American–Soviet Music Society, Times Hall, New York, NY; Mordecai Bauman, baritone (“I’ve Got a Ram, Goliath”); Lucy Brown, piano 22 February 1948, WOR broadcast, New York, NY; Clifford Harvuot, baritone (“I’ve Got a Ram, Goliath”) 10 January 1950, American Composers Series, Royce Hall Auditorium, University of California, Los Angeles, CA; John Brueckner, baritone (“I’ve Got a Ram, Goliath”) 3 February 1951 (opening scene), Young People’s Concerts, Philharmonic-Symphony Society of New York, Carnegie Hall, New York, NY; New York Philharmonic Symphony Orchestra; Igor Buketoff, conductor

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[The Devil and Daniel Webster] 14 May 1952 (scene 3), General Studies Music Society, McMillin Academic Theatre, Columbia University, New York, NY; cast: Robert Dunlap (Daniel Webster); Charlotte Holloman (Mary Stone); Edmund Mellendick (Jabez Stone) 8 March 1953, Silvermine Guild of Artists, Gifford Auditorium, Norwalk, CT; cast: Robert Goss (Daniel Webster); Brenda Miller (Mary Stone); Edward Mellendick (Jabez Stone) 18 January 1954, Low Memorial Library, Columbia University, New York, NY; Helen Anderson, voice (Mary’s Prayer); Douglas Moore, piano 15 February 1959, Town Hall, New York, NY; Theresa Minnocci, soprano (Mary’s Prayer); Stanley Sonntag, piano 19 March 1964, University of South Florida Theater, Tampa, FL; Everett Anderson, bass (“I’ve Got a Ram, Goliath”); Helen Anderson, soprano (Mary’s Prayer); Jacques Abram, piano Dirge 4 March 1940, Trinity College Chapel, Hartford, CT; William Strickland, organ 9 October 1940, Cleveland Art Museum, Cleveland, OH; Arthur W. Quimby, organ 9 December 1940, Cleveland, OH: Arthur Quimby, organ 14 March 1941, Sage Chapel, Cornell University, Ithaca, NY; Richard T. Gore, organ 30 March 1941, Rutgers Presbyterian Church, New York, NY; Charles H. Doersam, organ 2 April 1941, St. Bartholomew’s Episcopal Church, New York, NY; David McK. Williams, organ 4 May 1941, Cornell Cub of Rochester and the Rochester Chapter of the American Guild of Organists, St. Paul’s Episcopal Church, Rochester, NY; Richard T. Gore, organ 10 June 1941, Calvary Methodist Church, Washington, DC; Lyman McCrary, organ 9 February 1948, School of Sacred Music, James Memorial Chapel, Union Theological Seminary, New York, NY; Robert W. Glover, organ 10 January 1950, American Composers Series, Royce Hall Auditorium, University of California, Los Angeles, Los Angeles, CA; Robert Tusler, organ 23 January 1950, University of California, Los Angeles, Los Angeles, CA; Robert Tusler, organ 5 February 1950, Department of Music, Memorial Chapel, College of Wooster, Wooster, OH; Norma Jean Rehm, organ August 1953, Columbia University, New York, NY; Marilyn Mason, organ Dirge (arranged for band) 13 June 1955, Yale University, New Haven, CT; Yale University Band; Keith Wilson, conductor Down East Suite 24 January 1945, Carnegie Hall, New York, NY; Henri Temianka, violin; Artur Balsam, piano

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5 May 1945, May Music Festival, School of Music, Music Hall, University of Wisconsin, Madison, WI; Lorna Kolisch, violin; Gunnar Johansen, piano 20 January 1946, National Association for American Composers and Conductors, Times Hall, New York, NY; Henri Temianka, violin; Arthur Hollander, piano 19 February 1946, WNYC broadcast, New York, NY; Henri Temianka, violin 25 August 1946, Festival of American Music, Ford Hour, broadcast from the Walt Disney Studios, Hollywood, CA; Alfred Drake, violin (1st movement only) 9 December 1946, Department of Music, Mabel Shaw Bridges Hall, Pomona College, Claremont, CA; Patricia Hammond, violin; Harley Reifsnyder, piano 14 February 1948, WNYC broadcast, New York, NY, Samuel Dushkin, violin 6 February [originally scheduled for 9 January] 1951, Institute of Contemporary American Music, Julius Hartt Musical Foundation, Julius Hartt School of Music Auditorium, Hartford, CT; Rubin Segal, violin; Irene Kahn, piano 24–27 April 1951, Cornish School at Tryout Theater, University of Washington, Seattle, WA; Kensley Rosen, violin; Lockrem Johnson, piano 28 February 1952, Music Teachers’ National Association, Dallas, TX; Henri Temianka, violin 8 March 1953, Silvermine Guild of Artists, Gifford Auditorium, Norwalk, CT; Roman Totenberg, violin; Abba Bogin, piano Winter 1953, Stockholm, Sweden; Leo Berlin, violin 4 March 1954, United States Information Service, Parnassos Hall, Athens, Greece 18 November 1954, University of Delaware, Newark, DE; Lorene Field, violin; Anthony Loudis, piano 15 October 1961, Los Angeles County Museum, Los Angeles, CA; Louis Kaufman, violin 1 May 1983 (first orchestral performance), Wadsworth Auditorium, Los Angeles, CA; Mischa Lefkowitz, violin; California Chamber Symphony; Henri Temianka, conductor 2 June 1983, Culver City Public Library, Culver City, CA; Mischa Lefkowitz, violin; Gloria Cheng, piano The Emperor’s New Clothes 19 February 1949, Young People’s Concert, Carnegie Hall, New York, NY; George Rasely (emperor); Leonard Stokes (prime minister); Earl Rogers, James Ballister (tailors); Madeline Lee (the child); Norman Rose (narrator); New York Philharmonic; Walter Hendl, conductor 23 February 1949, Carnegie Hall, New York, NY 1950, Dallas Symphony, Dallas, TX 12 May 1950, Steffi Nossen School, Bronxville High School, New York, NY; cast: Gladys Cerrina (emperor); Ronnie Dengel (jester); Mary Ellen Delson, Barbara Wolff (ministers of state); Susan Baldwin (the child); Mary Ikeda, piano 15 March 1952, Philadelphia Orchestra, Philadelphia, PA; Alexander Hilsberg, conductor 31 July 1954, ABC broadcast, New York, NY

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1960, Old Dominion College, Norfolk, VA 12 March 1960, Harry Hunt Junior High School, Portsmouth, VA; James Stamos (emperor); William Gatling, Arthur White (tailors); College of William and Mary Opera Workshop; Harold G. Hawn, director and narrator; Charles Vogan, producer Fantaisie Polonaise 24 May 1917, Woolsey Hall, Yale University, New Haven, CT; New Haven Symphony Orchestra; Douglas Moore, conductor Farm Journal 19 January 1948, Town Hall, New York, NY; Little Orchestra Society; Thomas Scherman, conductor 20 January 1948, Brooklyn Academy, Brooklyn, NY; Little Orchestra Society; Thomas Scherman, conductor 22 February 1948, WOR broadcast, New York, NY; Sylvan Levin, conductor 30 May 1948, West Garden Court, National Gallery of Art, Washington, DC; National Gallery Orchestra; Richard Bales, conductor 4 July 1948, WCBS broadcast, New York, NY; CBS Symphony Orchestra; Alfredo Antonini, conductor 18 November 1950, Department of Music, McMillin Academic Theatre, Columbia University, New York, NY; Columbia University Chamber Orchestra; Herbert Dittler, conductor 5 August 1951, School of Music, University of Wisconsin, Madison, WI; Summer Symphony Orchestra; Richard C. Church, conductor 13 December 1951, New York University School of Education, New York, NY; Paul Van Bodegraven, conductor 23, 27 January 1952, The Peristyle, Toledo Museum of Art, Toledo, OH; Toledo Orchestra; Wolfgang Stresemann, conductor 12 February 1952, Keith-Albee Theatre, Huntington, WV; Huntington Symphony Orchestra; Howard Shanet, conductor 3 May 1953, National Gallery of Art, Washington, DC; National Gallery of Art Orchestra; Richard Bales, conductor 18–30 July 1953, Old Sturbridge Festival, Old Sturbridge Village, MA; Moshe Paranov, conductor 25 July 1954, NBC broadcast 19 October 1954, The Forum, Pennsylvania State Education Building, Harrisburg, PA; Harrisburg Symphony Orchestra; Edwin McArthur, conductor 18 November 1954, University of Delaware, Newark, DE; Delaware Symphonette; J. Robert King, conductor February 1956, WNYC broadcasts, New York, NY

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24 May 1956, Hochschule für Musik, Berlin, Germany; Berlin Radio Symphony Orchestra; Moritz von Bomhard, conductor 2 November 1956, Jordan College of Music, War Memorial Auditorium, Butler University, Indianapolis, IN; University Little Symphony; Igor Buketoff, conductor 17 November 1957, College of Wooster, Wooster, OH; Alan C. Collins, conductor 24 November 1958, Chapin Hall, Williams College, Williamstown, MA; Berkshire Community Symphony Orchestra; Irwin Shainman, conductor 7 March 1962, telecast, New York, NY; Alfredo Antonini, conductor 30 January 1963, McKeesport, PA 23 February 1966, School of Fine Arts, Swarthout Recital Hall, University of Kansas, Lawrence, KS; Little Symphony; Thomas Gorton, conductor 10 November 1968, Little Theater, Grover M. Hermann Fine Arts Center, Marietta College, Marietta, OH; College-Civic Symphonette; Harold Mueller, conductor Five Shakespeare Songs. Selections 15 March 1941, Intercollegiate Music Guild of America Festival, New Jersey College for Women, New Brunswick, NJ; Philip Duey, conductor (“Sigh No More, Ladies”; O Mistress Mine”; “Come Away, Death”) Five Shakespeare Songs, see also “Blow Thou, O Winter Wind,” “Come Away, Death,” “O Mistress Mine,” and “Sigh No More, Ladies” Four Museum Pieces 26 March 1923, Church of the Holy Communion, New York, NY; Lynnwood Farnam, organ (“A Madonna of Botticini”) 15, 17 November 1923, Masonic Hall, Cleveland, OH; Cleveland Orchestra; Douglas Moore, conductor 24 March 1924, Unity Club, First Unitarian Church, Cleveland, OH; Douglas Moore, organ 8 December 1929, Madison Avenue Presbyterian Church, New York, NY; Mr. Parks, organ (“Before a Set of XVI Century Armor” and “A Madonna of Botticini”) 3 October 1937, First Presbyterian Church, Warren, PA; Marcus Naylor, organ (“A Madonna of Botticini”) Gallantry 19–22 March 1958, Columbia Theatre Associates, Brander Matthews Theater, Columbia University, New York, NY (four performances); cast: Cecilia Ward (announcer); David Atkinson (Dr. Gregg); Bonnie Murray (Lola); Joseph Sopher (Donald); Emerson Buckley, conductor; Don Jensen, stage designer; Day Tuttle, stage direction

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August 1958, Arundel Opera Theatre, Kennebunkport, ME (three performances) 7 August 1958, Cleveland Institute of Music Opera Workshop, Peninsula Opera Theatre, Cleveland, OH; cast: Rosalind Rees (Lola); William Smith (Dr. Gregg); Vytautas Matulionis (Donald); Alice Silverthorne (announcer); Paul Berl, piano and director 19, 21–22 November 1958, Department of Music and the Committee on Fine Arts Productions, Schoenberg Hall, University of California, Los Angeles, Los Angeles, CA; cast: UCLA Opera Workshop; Gloria Krieger (announcer); Lloyd Hanna/Lotfollah Mansouri (Dr. Gregg); Nancy Foster/Judith Reed (Lola); Alfred Jensen (Donald); Joan Nicholson/Patty Byrne (Billy Boy Girls); Jan Popper, conductor; Irving Beckman, musical director; Lotfollah Mansouri, stage director 1959, Houston, TX; Lynchburg, VA; Kearny, NE; San Antonio, TX; Springfield, OH; Interlochen, MI; London, England; Garden City, NY; Enid, OK; Downers Grove, IL; Cleveland, OH; Evanston, IL February 1959, University of Nebraska, Lincoln, NE 6 May 1959, Department of Music, Burke Hall Theater, Southwestern Louisiana Institute, Lafayette, LA; cast: Ramona Carmichael (announcer); Ronald Conrad (Dr. Gregg); Ann Love (Lola); Ronald Owens (Donald); Tracy Heard (orderly); Patricia Hurst, directorproducer; William Moreland, stage designer; Charles Reynolds and Geraldine Cormier, piano; Muriel Kinnaird, choreographer 15–16 May 1959, Opera Workshop, Education Hall, University of Portland, Portland, OR; Clayton Hare, conductor June 1959, San Diego, CA 1960, San Diego, CA; Sewickley, PA; Youngstown, OH; Salem, AR 29–30 January 1960, Community Players, Sterling House, Stratford, CT 15–16 February 1960, Arizona State University, Tempe, AZ 20 February 1960, Virginia Grass Roots Opera, Chatham, VA 29 February–1 March 1960, Beloit Memorial High School, Beloit, WI 11 March 1960, Rosary College, River Forest, IL 16, 18 March 1960, Fresno State College, Fresno, CA 18 March 1960, Virginia Grass Roots Opera, Lexington, VA 31 March–1 April 1960, Southwestern University, Georgetown, TX 20–23 April 1960, Royal Conservatory, Toronto, Canada 1961, Grand Forks, ND; West Chester, PA; Mansfield, PA; Marysville, TN; Norfolk, CT; Manhattan, KS 1961, TV Opera Repertory Group, East Jacksonville, FL 11 August 1961, Yale University Summer School of Music and Art, Stoeckel Hall, Norfolk, CT; Eva Szilard (announcer); Morris Gesell (Dr. Gregg); Neva Pilgrim (Lola); George Oran (Donald); Gustav Maier, director; Thomas DeGaetani, stage director 11 December 1961, Brigham Young University, Provo, UT (six additional performances in 1962) January 1962, Detroit Opera Theatre, Detroit, MI

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1962, Norfolk, VA; Tucson, AZ; Troy, OH; Jacksonville, FL; El Cerrito, CA; Ashland, OH; Warrensburg, NY; Hattiesburg, MS 19 July 1962, Ball State Teachers’ College, Muncie, IN; cast: Judy Kirchhoff (Lola); Don Wesner; David Davidson; Pat Sweany (announcer); John Campbell, conductor 30 August 1962, “Arias and Arabesques,” CBS telecast, New York, NY; cast: Martha Wright (announcer), Laurel Hurley (Lola), Charles Anthony (Donald), Ronald Holgate (Dr. Gregg); Alfredo Antonini, conductor 1963, San Diego, CA; Barbourville, KY; Terre Haute, IN; Urbana, IL; Roswell, NM; Baytown, TX; El Cajon, CA 17–19 May 1963, UCLA Opera Workshop, Schoenberg Auditorium, Los Angeles, CA 1964, Jacksonville, FL; Goshen, IN; Athens, OH; Denver, CO 7–8 February 1964, De Paul University, Chicago, IL 1965, Jacksonville, FL (Opera Repertory); Long Beach, CA (Associated Students); University of Washington, Seattle, WA; Hartford Theatre Association, Bel Air, MD; National Music Camp, Interlochen, MI; Musicians’ Club of Women, Chicago, IL; West Texas State University, Canyon, TX; State University of New York, Stony Brook, NY 1966, University of Cincinnati, Cincinnati, OH; United States Armed Forces; Hartford Theater Association, Hartford, CT; National Music Camp, Interlochen, MI; Weathervane Community Playhouse, Akron, OH; New Zealand Opera Company, Auckland, New Zealand; Stetson University, DeLand, FL; Monmouth Conservatory of Music, Red Bank, NJ; Northern Arizona University, Flagstaff, AZ 21 July 1966, Grant Park, Chicago, IL; Charlotte Gardner, Harvey Hicks, Wendy Sharp, Robert Bowker 1967, University of Minnesota, Duluth, MN; College of Idaho, Caldwell, ID; Winona State College, Winona, MN; Texas Wesleyan College, Ft. Worth, TX; Geneseo State University College, Geneseo, NY 13–15 July 1967, Opera Cabaret, Daytona Plaza Hotel, Daytona Beach, FL; cast: Betty Kruhm (announcer); Carol Courtman (Lola); Julian Patrick (Dr. Gregg); Enrico de Giuseppe (Donald) 1968, University of Arizona, Tucson, AZ; Destination Discovery, Tulsa, OK; Ohio State University, Columbus, OH; School of Fine Arts, Banff, Canada; University of Kentucky, Lexington, KY; Trinity Parish, Southport, CT 22–23 March 1968, Bradley University, Peoria, IL 4–6 April 1968, Little Theatre, Adelphi College, Garden City, NY; cast: Melanie Chartoff/ Patricia Lance (announcer); Faith Colings/Linda Buchan (Lola); Henry Lackowski (Dr. Gregg); Frank Careccia/Duane Hughes (Donald) 3 May 1968, Immaculate Heart College Opera Theater, Immaculate Heart College, Los Angeles, CA; Jama Laurent, Stella Herman, Rudolph Vejar, Dan Wolfe 20 August 1968, Hollywood Bowl, Los Angeles, CA; Mary Costa, soprano; Los Angeles Philharmonic, Andre Kostelanetz, conductor

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1969, London, England; Rapid Hill Chamber Music Society, Rapid City, SD; University of Tulsa, Tulsa, OK; De Paul University, Chicago, IL 1 March 1969, Converse College, Spartanburg, SC 2 March 1969, American Opera-Workshop, Studio in der Josefgasse, Vienna, Austria; cast: Walker Wyatt; William Bauer; Carol Pagelsen, producer; Barry R. Brisk, conductor 1 March 1972, Brooklyn College Opera Theater, Gershwin Theater, Brooklyn College, Brooklyn, NY 26 May 1974, UCLA Opera Workshop, Schoenberg Hall, University of California, Los Angeles, CA; Cameron MacDonald, producer; John Hall, director; Jan Popper, David Morton, pianos 7–8 December 1974, Laguna Beach Festival of Arts, California State University, Fullerton Opera Workshop, Forum Theatre, Laguna Beach, CA 10, 12 December 1974, California State University, Fullerton Opera Workshop, Troy High School, Fullerton, CA 16–17 January 1976, McCarter Theater, Princeton University, Princeton, NJ; Princeton Opera Association; Igor Chicagov, conductor 4 December 1977, Performing Arts Society, Hunter College Playhouse, New York, NY; cast: Beverly Myers, Lee Schwartz, David Vosburgh, Anita McDonald; Franco Gratale, director 4, 6, 8, 9, 11 August 1981, Glimmerglass Opera Theatre, Cooperstown, NY; cast: Marilyn Brustadt (announcer); Christine Flasch (Lola); Ralph Griffin (Dr. Gregg); Ronald Raines (Donald); Charles Schneider, conductor; Patrick Bakman, director; Timothy Averill, stage designer; Esther Elfenbein, costumes; Peter Dean Beck, lighting 29–30 January, 5–6 February 1988, American Chamber Opera Company, Marymount Theater, New York, NY; cast: Michael Kutner (Dr. Gregg); Cindy C. Oxberry; Susan May; Roger Keiper; Douglas Anderson, conductor; Roger Sullivan, stage director 14–19 (?) October 1990, Small Company in America, Sea Cliff, NY; cast: Penelope Grover (announcer); Eva Marie Ponce (Lola); Bob McGuire (Dr. Gregg); Anthony Grover, director 10 May 1991, New York Chamber Ensemble, New York, NY; cast: Julia Parks, Margaret Bishop, Richard Holmes, Scott Berry; Stephen Rogers Radcliffe, conductor 29 May 1993, New York Chamber Ensemble, Bryant Park, New York, NY; cast: Jeanne Ommerle, soprano; Richard Holmes; Julia Parks, narrator; Robert Osborne; Stephen Rogers Radcliffe, conductor 10 May 1997, Natchez Opera Festival, Natchez City Auditorium, Natchez, MS; cast: Peden; Toy; Kechulis; Binder; Blackburn; Oxenberry; S. White—J. R. Reeves 13 May 1997, Opera Kansas, Wichita River Festival, Wichita, KS; cast: Karla Hughes (Lola); Tracy Herron (Dr. Gregg); Chad Frisque (Donald); Rolaine Hetherington (announcer); Deborah Baster, director; Vernon Yenne, conductor 12, 14 February 1999, Marvin Center Theatre, George Washington University, Washington, DC; April Maddox (narrator); Chad Lazar (Dr. Gregg); Brandi D. Gestri (Lola); Adam Hall (Donald); Francis Conlon, pianist and music director; Muriel von Villas, stage director

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26–27 March 1999, Katherine Dunham Hall, Southern Illinois University at Edwardsville, IL; Lori McCann, director 11–12 November 2006, Lee University, Chattanooga, TN; Phillip Haynie (Dr. Gregg); Megan Brand (Lola); Luis Villanueva (Donald); Michael Shane Wittenburg, conductor; Brett Hyberger, stage director Gavotte in C  Minor 19 April 1922, Cleveland Museum of Art, Cleveland, OH; Douglas Moore, organ 22 August 1922, Southold Universalist Church, Southold, NY; Douglas Moore, organ “Ghosts” 14 December 1923, Cleveland Institute of Music, Ballroom, Hotel Statler, Cleveland, OH; Edna S. Bowerfind, voice; Leona Zottman Streich, piano Giants in the Earth 28–31 March, 3–7 April 1951, Columbia Theatre Associates, Columbia University Opera Workshop; Brander Matthews Hall, Columbia University, New York, NY (eleven performances); cast: Roy Johnson (Hans Olsa); Viviane Bauer (Sorrine); Samuel Bertsche (Syvert); James Cosenza (Henry); Helen Dautrich (Kjersti); Josh Wheeler (Per Hansa); Brenda Miller (Beret Hansa); Donald Stammer (Ole); Ellen Spencer (Anna); Edward Block (O’Hara); Roger Farrand (Sullivan); Frances Paige (Dagmar); Raymond Sharp (preacher); Willard Rhodes, conductor; Felix Brentano, stage director; Eldon Eider, stage designer 4, 6 April 1974 [revised version], Opera Company, Chester Fritz Auditorium, University of North Dakota, Grand Forks, ND; cast: Mark McLaurin (Hans Olsa); Margaret S. Gunderson (Sorrine); Curt Tofteland (Syvert); William Franke (Henry); Katherine L. Nelson Lee (Kjersti); Chester Ludgin (Per Hansa); Eileen Schauler (Beret Hansa); Miles Rucker (Ole); Merrilee Barnum (Anna); Scott Graham (O’Hara); Gregory M. Lee (Sullivan); Barbara Downs (Dagmar); Joel M. Hardyk (preacher); Philip Hisey, conductor; Ronald Engle, stage director; Ned Collins, stage designer; David Stocker, chorus master; Raymond Goulet, choreography Giants in the Earth. Excerpts 8 March 1953, Silvermine Guild of Artists, Gifford Auditorium, Norwalk, CT; Brenda Miller (Beret); Robert Goss (Per Hansa) 18 January 1954, Low Memorial Library, Columbia University, New York, NY; Helen Anderson, Everett Anderson, voices; Douglas Moore, piano (act 1, scene and duet) 13 February 1955, Festival, WNYC, New York, NY 17 March 1955, Cooper Union, New York, NY; Felix Brentano, conductor 27 March 1955, Cooper Union, New York, NY; Shirlee Emmons, Robert Goss; David Broekman, conductor

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6 December 1961, Orchestra of America, Carnegie Hall, New York, NY; Don Yule (Hans Olsa); Marlena Kleinman (Sorrine); Richard Korn, conductor 19 March 1964, University of South Florida Theater, Tampa, FL; Everett Anderson, bass (Home Founding Song and Finale duet); Helen Anderson, soprano (“The Quiet” and Finale duet); Jacques Abram, piano God Rest You Merry, Gentlemen (arranged by Moore) 19 December 1932, St. Paul’s Chapel, Columbia University, New York, NY; Viola Sponberg, Geraldine Gilmore, sopranos; Ruth Jenks, alto; George Boulet, tenor; Max Exner, baritone Greek Games 2 April 1927, Barnard College, New York, NY The Greenfield Christmas Tree 8 December 1962, Bushnell Memorial Auditorium, Hartford, CT (two performances); cast: Richard Christopher (choral leader); Vashek Pazdera (grandfather); Frank Kubik (Toby); Sandra Gallucci (Prudence); Ronald Kroll (Timothy); Jayne Surdyka (Susan); Arthur Tuthil (Samuel); Barbara Pearson (Anne); Margaret Schelin (Brita); John DeSousa (Reverend Flood); Donald Hoyt (donkey); Sally Frobisher (cow); George Ullring (goat); Sabina Krumpe (sheep); Hartford Symphony Orchestra; Fritz Mahler, conductor 1966, Seymour Senior High School, Seymour, CT 24 December 1972, Wilshire Presbyterian Church, Los Angeles, CA; Robert Tusler, conductor; Rayner Brown, organ The Headless Horseman 5–6 March 1937, Bronxville Schools Auditorium, Bronxville High School, New York, NY; cast: Elizabeth Pascale (Katrina); Thomas Ryan (Cornelius); Bernard Malek (Ichabod Crane); Frank Lier (Brom Bones); Bronxville High School Orchestra; Willard Rhodes, conductor; Mary Cole Hollingsworth, stage director 22 August 1937, WJZ broadcast, New York, NY; Muriel Wilson (Katrina); Earl Styles (Cornelius); Edward Wolter (Ichabod Crane); Fred Hufsmith (Brom Bones); Phil Spitalny, conductor 24 March 1938, Ninth Grade, Shady Hill School, Cambridge, MA; cast: Bettina Townsend (Katrina); Norman Jamieson (Cornelius); Maurice Osborne (Ichabod Crane); Richard Ragle (Brom Bones) 1–2 September 1938, Studio Players, Rollins Studio of Acting, John Drew Memorial Theatre, East Hampton, NY; cast: Janet Billet (Katrina); Ernest Kovacs (Cornelius); Henry Jesson (Ichabod Crane); Harold Peterson (Brom Bones); Nicholas Goldschmidt, conductor; Jane Smith, piano; Harold A. Van Kirk, stage designer; Ingeborg Torrup, choreographer

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22 May 1940, Division of Music, Stanford University, Stanford Players; Memorial Hall Auditorium, Stanford, CA; cast: Barbara Jean Caswell (Katrina); Emerson Hiler (Cornelius); Joel Carter (Ichabod Crane); Brad Young (Brom Bones); Nicholas Goldschmidt, conductor; F. Cowles Strickland, stage director; Waldemar Johansen and Frances Knight, stage designer; Margaret Jewell, choreographer; Helen Green, costumes 7 June 1940, Smith College Day School; cast: Norma Whitchurch (Katrina); Peter Gore (Cornelius); Marianne Rice (Ichabod Crane); Christopher Kotchnig (Brom Bones); Mrs. William Scatchard, conductor; Barbara T. Rockwell, piano; Margaret Sanders, stage designer and costumes 18–19 December 1940, Glee Clubs of Nightingale-Bamford School and the Collegiate School, New York, NY; cast: Cecily Elmes (Katrina); Theodore Stoessel (Cornelius); Roger Pickhardt (Ichabod Crane); Lawrence Clark (Brom Bones); Elsie K. Powell, conductor; Hazel McMahan, piano; Ingeborg Torrup, choreographer August 1943, National Music Camp, Interlochen, MI; Guy Fraser Harrison, conductor 17–18 November 1944, Saint Joseph College, West Hartford, CT; cast: Ann Tracy (Katrina); Carlos Alexander (Cornelius); Albenie Bouchard (Ichabod Crane); Cornell MacNeil (Brom Bones); Moshe Paranov, conductor; Elemér Nagy, stage and costume designer April 1947, St. Catherine School, Detroit, MI May 1947, Woodberry Forest School, Woodberry Forest, VA April 1951, Nightingale-Bamford School, New York, NY 18 May 1951, Margaret Hall School, Versailles, KY; cast: Patricia Ryan (Katrina); Dianne Stoddard (Cornelius); Barbara Jane Hale (Ichabod Crane); Barbara Nelson (Brom Bones); Fedor Kabalin, conductor; Elisabeth V. Freeland, stage director November–December 1951, Hartt School of Music tour 17 November 1951, New London Civic Orchestra, Buell Hall, Williams Memorial Institute, New London, CT; cast: Lena Sinaguia/Jacquelynne Moody (Katrina); Benjamin Thomas (Cornelius); Alexander Sicilia/John Philip Bogucki (Ichabod Crane); James Mattingly (Brom Bones); Opera Department of Hartt College of Music; Louis Pellettieri, conductor; Irene Kahn and Elizabeth Warner, piano; Elemér Nagy, stage director, scenery, and costumes 25 November 1951 (excerpts), Illinois Federation of Music Clubs, Cordon Fine Arts Building, Chicago, IL 13 July 1959, Opperman Music Hall, Florida State University, Tallahassee, FL; cast: Jane Adams (Katrina); Don Lewis (Cornelius); Charles Kirkland (Ichabod Crane); George Miller (Brom Bones); Summer Music Camp; Richard Collins, director 10–11 August 1962, Cornell University, Ithaca, NY 1962–63, Hartt School of Music tour 20, 28 May 1963, Hartt School of Music, Carnegie Hall, New York, NY; cast: Virginia Bromberg/Julianne Snelling (Katrina); Vashek Pazdera (Cornelius); John Walker (Ichabod Crane); Richard Christopher/Arthur Thompson (Brom Bones); Moshe Paranov, conductor; Irene Kahn, piano; Elemér Nagy, stage director, scenery, and costumes

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In Memoriam 13 October 1943 (reading), Boston, MA; Boston Symphony; Richard Burgin, conductor 15 November 1943 (reading), Philadelphia, PA; Philadelphia Orchestra; Saul Caston, conductor 27 April 1944, American Music Festival, Eastman Theatre, Eastman School of Music, Rochester, NY; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor 11–12 January 1945, Carnegie Hall, New York, NY; New York Philharmonic-Symphony; Artur Rodzinski, conductor 2 June 1945, WJZ broadcast, New York, NY; Nicolai Berezowsky, conductor 21 June 1947, Lewisohn Stadium, College of the City of New York, New York, NY; Philharmonic-Symphony Orchestra; Alexander Smallens, conductor 28 September 1947, La Guardia memorial broadcast (WNYC), Brooklyn Museum, Brooklyn, NY; Alexander Smallens, conductor 13 February 1955, Carnegie Hall, New York, NY; Symphony of the Air; Howard Hanson, conductor 4 December 1955, Auditorium, Memorial Hall, Stanford University, Stanford, CA; Stanford Symphony Orchestra; Sandor Salgo, conductor 11 November 1959, Carnegie Hall, New York, NY; Orchestra of America; Richard Korn, conductor A March for Tambourlaine 20 April 1927, Cleveland Museum of Art, Cleveland, OH; Arthur W. Quimby, organ Moby Dick 22 November 1929, Kilbourn Hall, Eastman School of Music, Rochester, NY; Rochester Philharmonic Orchestra; Howard Hanson, conductor Much Ado about Nothing 1927, American Laboratory Theatre, New York, NY; Martha Alter, harpsichord; Gerald McGarrahan, flute 25 April 1928, Department of Music, Institute of Arts and Sciences, McMillin Academic Theatre, Columbia University, New York, NY; Bernice Altstock, alto; John Alter, percussion; Gerald McGarrahan, flute (Overture and “Sigh No More, Ladies”) Museum Piece 31 March [1939?], McMillin Academic Theatre, Columbia University, New York, NY; David Barnett, piano 17 February 1946, Century Association, New York, NY; Bruce Simonds, piano

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10 January 1950, American Composers Series, Royce Hall Auditorium, University of California, Los Angeles, Los Angeles, CA; Esther Wolf, piano “Naomi: My Restaurant Queen” 1911, New Haven, CT; Ethel Green “Not This Alone” 22 February 1944, American Music Festival, WNYC broadcast, New York, NY; Nicholas Goldschmidt, baritone 2 January 1945, Town Hall, New York, NY; Ellen Repp, alto; Ernst Victor Wolff, piano “O Mistress Mine,” from Five Shakespeare Songs 25 April 1928, Department of Music, Institute of Arts and Sciences, McMillin Academic Theatre, Columbia University, New York, NY; Bernice Altstock, alto; John Alter, percussion; Gerald McGarrahan, flute 22 February 1944, American Music Festival, WNYC broadcast, New York, NY; Nicholas Goldschmidt, baritone 1 April 1944, Spartanburg Festival, Spartanburg, SC; Maria Maximovitch, soprano “Old Song” 12 February 1953, American Music Festival, WNYC broadcast, Carl Fischer Concert Hall, New York, NY; Helen Boatwright, soprano 21 February 1954, Carl Fischer Program in the WNYC American Music Festival, Carl Fischer Concert Hall, New York, NY; Eduardo Rael, baritone; Millard Altman, piano 29 April 1956, Century Association, New York, NY; Alice Howland, mezzo-soprano 19 March 1964, University of South Florida Theater, Tampa, FL; Everett Anderson, bass; Jacques Abram, piano Overture on an American Tune (Babbitt) 11 December 1932, Waldorf-Astoria Hotel, New York, NY; Manhattan Symphony Orchestra; Douglas Moore, conductor 4 May 1933, Eastman Theatre, Eastman School of Music, Rochester, NY; Rochester Philharmonic Orchestra; Howard Hanson, conductor 28 June 1933, Severance Hall, Cleveland, OH; Cleveland Orchestra; Douglas Moore, conductor 18 October 1933, American Museum of Natural History, New York, NY; New York Civic Orchestra, Chalmers Clifton, conductor 21 October 1933, Sculpture Court, Brooklyn Museum, Brooklyn, NY; New York Civic Orchestra; Chalmers Clifton, conductor

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December 1933, Hastings College, Hastings, NE; Hastings Symphony Orchestra; Frank Noyes, conductor 4 May 1935, Riverhead Woman’s Club, Riverhead High School Auditorium, Riverhead, NY; Columbia University Orchestra; Douglas Moore, conductor 9 November 1935, Department of Music, McMillin Academic Theatre, Columbia University, New York, NY; Columbia University Orchestra; Herbert Dittler, conductor 8 April 1938, WPA, Federal Music Theatre, New York, NY; New York Civic Orchestra; Edgar Schenkman, conductor 14 January 1940, Philadelphia, PA; Philadelphia W.P.A. Orchestra; Arthur Cohn, conductor March 1940, Foster Memorial, Pittsburgh, PA; Pittsburgh W.P.A. Symphony Orchestra; Frederick Dorian, conductor 14 September 1941, amphitheater of the gardens of Mme De Brissac, Sunny Hill Farm, Huntington, NY; Nassau-Suffolk W.P.A. Orchestra; Christos Vrionodes, conductor 18 October 1942, Carnegie Hall, New York, NY; New York City W.P.A. Symphony Orchestra; Fritz Mahler, conductor 22 February 1948, New York, NY; WOR Symphony; Sylvan Levin, conductor The Pageant of P. T. Barnum 28 March 1926, Masonic Hall, Cleveland, OH; Cleveland Orchestra; Nikolai Sokoloff, conductor 15–17 April 1926, Cleveland, OH; Cleveland Orchestra; Nikolai Sokoloff, conductor 1927, Cleveland Orchestra (on tour including Cincinnati, OH; Toronto, Canada; Youngstown, OH); Nikolai Sokoloff, conductor 13 January 1927, WTAM broadcast, Cleveland, OH; Cleveland Orchestra; Nikolai Sokoloff, conductor 18 January 1927, Carnegie Hall, New York, NY; Cleveland Orchestra; Nikolai Sokoloff, conductor 13 April 1927, Holyoke Music Club, Music Building, Mount Holyoke College, Mount Holyoke, MA; Mrs. B. A. Thayer, conductor 21 November 1927, Eastman School of Music, Kilbourn Hall, Rochester, NY; Rochester Philharmonic Orchestra; Howard Hanson, conductor 6 December 1929, Eastman Theater, Rochester, NY; Rochester Philharmonic Orchestra; Eugene Goosens, conductor [Between December 1929 and March 1930], Boston, MA; People’s Symphony; Guy Fraser Harrison, conductor 1930, NBC broadcast, New York, NY; National Broadcasting Orchestra; Walter Damrosch, conductor 23 March 1930, Mecca Concert Auditorium, New York, NY; also broadcast on WOR; Manhattan Symphony Orchestra; Douglas Moore, conductor 1 May 1930, American Composers’ Concerts, Kilbourn Hall, Eastman School of Music, Rochester, NY; Rochester Philharmonic; Howard Hanson, conductor

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9 July 1931, Hollywood Bowl, Los Angeles, CA; Hollywood Bowl Orchestra; Walter Damrosch, conductor Before 1932, San Francisco Orchestra; Nikolai Sokoloff, conductor 17 December 1932 (movements 1, 2, and 5 only), Carnegie Hall, New York, NY; Philharmonic-Symphony Society of New York; Ernest Schelling, conductor 10 August 1933, Music Hall, Weston, CT; New York Orchestra; Nikolai Sokoloff, conductor 16 November 1933, Harrisburg, PA; Harrisburg Symphony Orchestra; George King Raudenbush, conductor 1933–34, Hastings College, Hastings, NE; Hastings Symphony Orchestra; Frank Noyes, conductor 13 February 1934, Carnegie Hall, New York, NY; New York Orchestra; Nikolai Sokoloff, conductor 24 July 1934, Music Hall, Weston, CT; New York Orchestra; Nikolai Sokoloff, conductor 31 January 1935, Columbia University, New York, NY; Greenwich Sinfonietta 30 April 1935, Memorial Hall, Melrose, MA; Melrose Orchestral Association; George Brown, conductor June 1935, Boston Pops Orchestra; Arthur Fiedler, conductor [Between 1935 and 1939], Dallas, TX [Between 1935 and 1939], Chicago, IL; Jacques Gordon, conductor 26 June 1938, W.P.A Federal Music Theatre, New York, NY; Federal Symphony Orchestra; Rudolph Thomas, conductor 16 February 1939, Lincoln Auditorium, Syracuse, NY; Syracuse Symphony Orchestra; Andre Polah, conductor 6 August 1939, Stadium, New York, NY; New York Philharmonic; Carl Bamberger, conductor 28 November 1939, Philip Livingston Junior High School, Albany, NY; Albany Symphony Orchestra; Rudolph Thomas, conductor 18 January 1940, North Newark Artists’ Concerts, Elliott Street School Auditorium, Newark, NJ; New Jersey W.P.A. Symphony Orchestra; Fritz Mahler, conductor 25 February 1940, Indianapolis, IN; Indianapolis Symphony Orchestra; Fabien Sevitsky, conductor 18 November 1940, Woolsey Hall, New Haven, CT; New Haven Symphony Orchestra; Richard Frank Donovan, conductor 18 December 1940 (“Circus March” only), Constitution Hall, Washington, DC; National Symphony Orchestra; Hans Kindler, conductor 3 June 1941, All City High School Music Festival, Brooklyn Academy of Music, Brooklyn, NY; All City High School Orchestra; Harry Feldman, conductor 13 January 1942, WAAB broadcast, Boston, MA; New England Conservatory Orchestra; Quincy Porter, conductor 21 January 1942, Jordan Hall, New England Conservatory, Boston, MA; New England Conservatory Orchestra; Quincy Porter, conductor

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17 June 1942, Federal Works Agency, W.P.A., American Museum of Natural History, New York, NY; New York W.P.A. Orchestra; Emerson Buckley, conductor 4 October 1942, New York, NY; City Symphony; Emerson Buckley, conductor 22 July 1943, University of Toronto Arena, Toronto, Canada; Toronto Philharmonic Orchestra; Emerson Buckley, conductor 1946, Minneapolis Symphony; Emanuel Balaban, conductor 19–20 January 1948, Joslyn Memorial Auditorium, Omaha, NE; Omaha Symphony Orchestra; Richard E. Duncan, conductor 7 June 1948, Radio France, Paris, France; Orchestre National de France; Jean Giardino, conductor 6 March 1955, Carnegie Hall, New York, NY; Symphony of the Air; Dean Eckertsen, conductor 13 March 1955, New York, NY; Symphony of the Air; Dean Eckertsen, conductor 15 May 1960, National Gallery, Washington, DC; National Gallery Orchestra; Richard Bales, conductor 7 March 1963, Granada Theatre, Santa Barbara, CA; Santa Barbara Symphony Orchestra; Erno Daniel, conductor 3 December 1963, Ft. Lauderdale, FL; Ft. Lauderdale Symphony; Emerson Buckley, conductor 13 January 1964, Hollywood Central School, Hollywood, FL; Ft. Lauderdale Symphony Orchestra; Emerson Buckley, conductor 14, 16 January 1964, War Memorial Auditorium, Ft. Lauderdale, FL; Ft. Lauderdale Symphony Orchestra; Emerson Buckley, conductor 30 January 1964, Pompano Beach High School, Pompano Beach, FL; Ft. Lauderdale Symphony Orchestra; Emerson Buckley, conductor 18 March 1966, National Biennial Convention of the Music Educators National Conference, School of Fine Arts, University of Kansas, Lawrence, KS; University Symphony Orchestra; Robert Baustian, conductor 27 March 1966, University of Kansas, Lawrence, KS; University Symphony Orchestra; Robert Baustian, conductor 8 August 1980, Bethpage Community Park, Bethpage, NY; Long Island Philharmonic; Semyon Bychkov, conductor 9 August 1980, Cutchogue Village Green, Cutchogue, NY; Long Island Philharmonic; Semyon Bychkov, conductor 10 August 1980, Heckscher Park, Huntington, NY; Long Island Philharmonic; Semyon Bychkov, conductor The People’s Choice 17 June 1959, Central Park, New York, NY; Goldman Band; Richard Franko Goldman, conductor 5 March 1960, McMillin Theatre, Columbia University, New York, NY; Columbia University Concert Band; Elias Dann, conductor

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20 July 1960, Central Park, New York, NY; Goldman Band; Richard Franko Goldman, conductor 6 (?) April 1968, St. Augustine, FL; University of Florida Gator Band Perhaps to Dream 11 May 1938, Department of Music Education, New York University; Town Hall, New York, NY; Women’s Glee Club of the School of Education; Frank H. Luker, conductor 3 December 1938, Skinner Recital Hall, Vassar College, Poughkeepsie, NY; Vassar Glee Club; John Pierce, conductor 31 March 1939, Fourth Annual Three Choir Festival, Congregation Emanu-El, Temple Emanu-El, New York, NY; Emanu-El Choir; Douglas Moore, conductor 1 May 1939, John H. Hessel Memorial Hall, Lawrence Woodmere Academy, Woodmere, NY; Woodmere Chorale; Harold Greenblatt, conductor 16 December 1939, Columbia University Department of Music, Barnard Hall, Barnard College, New York, NY; Barnard Glee Club; James Giddings, conductor 2 May 1941, Carnegie Chamber Music Hall, New York, NY; University Women’s Chorus of New York; Luis Harold Sanford, piano; Morris Watkins, conductor 13 December 1941, Program of Contemporary American Choral Works, Department of Music, McMillin Academic Theater, Columbia University, New York, NY; Barnard College Glee Club; James Giddings, conductor 30 April 1943, Carnegie Chamber Music Hall, New York, NY; University Women’s Chorus of New York; Lowell P. Beveridge, conductor 21 November 1945, Music Department, Queens College, Flushing, NY; Queens College Choir; John Castellini, conductor 28 March 1947, Temple Emanu-el, New York, NY (also broadcast on WQXR); Chorus of the New Jersey College for Women; Duncan McKenzie, conductor 2 May 1947, Carnegie Chamber Music Hall, New York, NY; University Women’s Chorus of New York; Luis Harold Sanford, piano; Morris Watkins, conductor 18 November 1954, University of Delaware, Newark, DE; Women Singers; Bertram Gable, conductor Piano Works 25 February 1935, David Barnett, piano Power and the Land. Suite 1941, WNYC broadcast, New York, NY; Fritz Mahler, conductor 2 December 1941, The Forum, Harrisburg, PA; Harrisburg Symphony; George King Raudenbush, conductor 11 April 1945, New York, NY; NBC Symphony Orchestra; Milton Katims, conductor

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A Prayer for England 12 March 1941, Bronxville High School, New York, NY; Columbia University Glee Club; James Giddings, conductor 28 March 1941, Sixth Annual Three Choir Festival, Congregation Emanu-El, Temple EmanuEl, New York, NY; Columbia University Glee Club; James Giddings, conductor 13 December 1941, Program of Contemporary American Choral Works, Department of Music; McMillin Academic Theatre, Columbia University, New York, NY; Columbia University Glee Club; Milton Friedman, pianist; James Giddings, conductor Prayer for the United Nations 30 May 1943, Old Stone Church, Cleveland, OH; Margaret Martin, alto; Old Stone Church Octet; Russell V. Morgan, conductor 25 July 1943, Sigmund Stern Grove Music Festival Committee, San Francisco Recreation Commission, Sigmund Stern Recreation Grove, San Francisco, CA; Marsden Argall, baritone; San Francisco Municipal Chorus; San Francisco Symphony Orchestra; Nicholas Goldschmidt, conductor 10 August 1943, New Wartime Concerts, Department of Parks and the Associate Committee, League of Composers, Central Park, New York, NY; Carol Brice, alto; Teachers’ College Chorus of Columbia University; National Orchestral Association; Leon Barzin, conductor 12 April 1944, Department of Music, Carnegie Music Hall, Carnegie Institute of Technology, Pittsburgh, PA; Viola Spangler, alto; Student Chorus and Orchestra; Frederick Dorian, conductor 11–12 May 1945, Nineteenth Semi-Annual Concert and Art Exhibit, High School of Music and Art, New York, NY; Senior Choral Ensemble; Helen Clarke Moore, conductor 18 December 1945, Concert Hall, Juilliard School of Music, New York, NY; Bette Wermine, alto; Choral Society of the Institute of Musical Art and the Orchestra of the Juilliard Graduate School; Igor Buketoff, conductor 1 May 1946, Festival of American Music, Northwest Junior High School, Reading, PA; Julius Huehn, baritone; Reading Choral Society; Carroll W. Hartline, piano; Lawrence Perry, conductor 12 January 1947, Hunter College Playhouse, Brooklyn College, Brooklyn, NY; Brooklyn College Chorus; Clifford Kemp, conductor 30 January 1947, Town Hall Honors Day, Town Hall, New York, NY; Brooklyn College Chorus; Clifford Kemp, conductor 25 April 1953, Twenty-fourth Annual Festival of Music and Art, Fisk Memorial Chapel, Fisk University, Nashville, TN; Frances Haywood, alto; Fisk University Chorus; Douglas Moore, conductor 20 February 1955, Crescent Avenue Presbyterian Church, Plainfield, NJ; Chancel Choir 22 March 1958, Hempstead, NY; Hempstead Public Schools; Emerson Buckley, conductor

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11 February 1964, Ft. Lauderdale, FL; Rosemary Schoch, alto; Ft. Lauderdale Symphony Chorus; Ft. Lauderdale Symphony Orchestra; Emerson Buckley, conductor Puss in Boots 18 November 1950, Town Hall, New York, NY; David Williams (Puss); John Dunlap (John); Edmund Mellendick (Prince Snickersnee); Delloyd Tibbs (king); Frances Paige (princess); James Cosenza (town crier); Edward Block (narrator); New York Philharmonic; Igor Buketoff, conductor; with cartoon illustrations by Milton Caniff 26 April 1953, Pasadena Civic Music Association, Civic Auditorium, Pasadena, CA; Sally Hazzard (Puss); Carl Olsen (John); Jack King (Prince Snickersnee); Dean Tack (king); Helen Arons (princess); Robert Dowty (town crier); Richard Hale (narrator); Pasadena Civic Symphony; Musical Arts Theater, Pasadena Civic Chorus; Lauris Jones, conductor 3–4 August 1962, Kulas Hall, Cleveland Institute of Music, Cleveland, OH; Peggy Anne McMurray/Jeanne Rychak (Puss); Vytautas Matulionis (John); Michael Gordon (Prince Snickersnee); Illinois Wilson (king); Anne Shamonsey (princess); LeMarr Wilson (town crier); Linda Toth (narrator); Paul Berl, conductor; Maurice Nystrom, stage director Quentin Durward 13 June 1914, Yale Dramatic Association, Yale University, New Haven, CT Quintet for Clarinet and Strings 6 May 1947, Concert Hall, Juilliard School of Music, New York, NY; Harry Noble, clarinet; Juilliard String Quartet (Nathan Rubin, Irving Nussbaum, violins; Martin Fischer, viola; Margaret Beck, cello) 20 February 1948, National Association for American Composers and Conductors, Times Hall, New York, NY; David Oppenheim, clarinet; New Music Quartet (Broadus Erle, Sherman Goldscheid, violins; Beatrice Brown, viola; Claus Adam, cello) 7 December 1948, McMillin Theatre, Columbia University, New York, NY; David Weber, clarinet; Paganini Quartet 23 July 1950, “Music of Today,” Hollywood, CA 1951, Columbia University, New York, NY; David Weber, clarinet; New Music Quartet 6 February [originally scheduled for 9 January], 1951, Institute of Contemporary American Music, Julius Hartt Musical Foundation; Julius Hartt School of Music Auditorium, Hartford, CT; William Goldstein, clarinet; Bela Urban, Carmine DeLeo, violins; Raymond Montoni, viola; Seymour Benstock, cello 22 February 1951, League of Composers and Carl Fischer, Carl Fischer Concert Hall, New York; William Goldstein, clarinet; Bela Urban, Carmine DeLeo, violins; Raymond Montoni, viola; Seymour Benstock, cello

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26 January 1952, Contemporary Chamber Music Series, Institute of Arts and Sciences, McMillin Academic Theatre, Columbia University, New York, NY; David Weber, clarinet; New Music String Quartet (Broadus Erle, Matthew Raimondi, violins; Walter Trampler, viola; Claus Adam, cello) 1953, WNYC broadcast, Festival, New York, NY Summer 1953, WQXR, New York, NY 1954, WNYC Festival, New York, NY 26 May 1956, Cubberley Auditorium, Education Building, Stanford University, Stanford, CA; Dale Polissar, clarinet; Gloria Vial, Peter Werdern, violins; Elizabeth Van Vorst, viola; Harold Hill, cello 17 May 1962, McMillin Theatre, Columbia University, New York, NY; David Oppenheim, clarinet; Matthew Raimondi, violin; Walter Trampler, viola; David Soyer, cello 19 July 1962, Ball State Teachers College, Muncie, IN; Rolf Legbandt, clarinet; Francois d’Albert, Marian Cooley, violin; John Cooley, viola; Salvatore Silipigni, cello Quintet for Winds 27 December 1942, League of Composers; Museum of Modern Art, New York, NY; Mortimer Rapfogel, flute; Engelbert Brenner, oboe; Alex Williams, clarinet; Simon Kovar, bassoon; Richard C. Moore, horn; Douglas Moore, conductor 22 February 1944, American Music Festival; WNYC broadcast, New York, NY; Columbia University Woodwind Ensemble (Lawrence Taylor, flute; Hans Keiter, oboe; Byron Schneer, clarinet; Thomas Crowell, horn; George Zuckerman, bassoon) 17 May 1945, Grupo Musical Cubano-Americano, Musica Contemporanea Norteamericana y Cuana para Conjuntos Instrumentales de Viento, Lyceum y Lawn Tennis Club, Havana, Cuba; Members of the Orquesta de Camera de la Havana; José Ardévol, conductor 28 April 1949, Department of Applied Music; Recital Hall, Boston University College of Music, Boston, MA; Jean Berg, flute; Eugene Roitman, oboe; William Kahn, clarinet; Ellen Stormwind, horn; George Pahud, bassoon 31 January 1954, WPTZ broadcast, Philadelphia, PA; Philadelphia Woodwind Quintet 3 February 1954, Institute of Arts and Sciences, McMillin Theatre, Columbia University, New York, NY; Philadelphia Woodwind Quintet (William Kincaid, flute; John de Lancie, oboe; Anthony Gigliotti, clarinet; Sol Schoenbach, bassoon; Mason Jones, horn) 26 November 1954, Harvard University, Cambridge, MA; Boston Woodwind Ensemble 29 April 1956, Century Association, New York, NY; New Art Wind Quintet 20 March 1963, National Theatre, Seoul, South Korea; Korea Woodwind Quintet (Soon JaKoh, flute; Han Soung-Lee, oboe; Joon Ho-Lim, clarinet; Ju Wan-Bong, horn; Yong SuckYoon, bassoon) 27 March 1969, University of Oklahoma, Norman, OK

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The Road to Rome 31 January 1927 (week of ), The Playhouse (48th St.), New York, NY; trumpet calls and drum rhythms composed by Douglas Moore A Sad Song 25 November 1922, residence of Mrs. Randolph Guggenheimer, 923 Fifth Ave., NY; Louise Llewellyn-Iarecka, voice; Chamber Ensemble of New York (arranged by Moore for chamber ensemble) 6 November 1923, Chamber Music Society of Cleveland, Ballroom, Wade Park Manor, Cleveland, OH; Louise Llewellyn-Iarecka, soprano; Chamber Ensemble of New York Scherzo for Organ 7, 14, 21, 28 February 1926, Cleveland Museum of Art, Cleveland, OH; Arthur W. Quimby, organ 20 April 1927, Cleveland Museum of Art, Cleveland, OH; Arthur W. Quimby, organ “The Sea That Is My Song” 9 November 1942, Times Hall, New York; Maria Maximovitch, soprano; Gibner King, piano 23 January 1949, WNYC, New York, NY; Maria Maximovitch, soprano Selections 1950, Julius Hartt School of Music, Hartford, CT May 1957, Stanford University, Stanford, CA 9 August 1997, Moore Memorial Concert, Village Green, Cutchogue, NY; Old Bethpage Village Brass 5 November 1998, Friday Morning Music Club, Strathmore Hall Arts Center, Bethesda, MD 4 April 1999, Weill Recital Hall, Carnegie Hall, New York, NY; American Chamber Ensemble; Naomi Drucker, director 14 August 1999, 350th Anniversary Celebration of the Old House, Twentieth Annual Douglas Moore Concert, Village Green, Cutchogue, NY; Sound Symphony “Sigh No More, Ladies,” from Five Shakespeare Songs 28 April 1943, Town Hall, New York, NY; Donald Dame, tenor; Stuart Ross, piano 22 February 1944, American Music Festival, WNYC broadcast, New York, NY; Nicholas Goldschmidt, baritone 6 April 1947, Town Hall, New York, NY; Muriel Rahn, soprano; Melvin C. Owens, piano 18 January 1954, Low Memorial Library, Columbia University, New York, NY; Helen Anderson, voice; Douglas Moore, piano 19 March 1964, University of South Florida Theater, Tampa, FL

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Simon Legree 12 November 1937, Sprague Hall, Yale University, New Haven, CT; Princeton Glee Club; James A. Giddings, conductor 25 March 1938, Third Annual Three Choir Festival; Congregation Emanu-El, Temple EmanuEl, New York, NY; New York University Hall of Fame Chorus; Alfred Greenfield, conductor 23 April 1938, WABC broadcast, New York, NY; Princeton University Glee Club 19 November 1938, Grand Ballroom, Hotel Biltmore, New York, NY; Columbia University Glee Club; Willard Rhodes, conductor 10 December 1938, Town Hall, Hall of Fame, New York, NY; New York University Glee Club 4 March 1939, Barnard Hall, Barnard College, New York, NY; Princeton University Glee Club; Moritz von Bomhard, conductor; J. L. Ackard, piano 1940, Vassar College, Poughkeepsie, NY; Columbia University Glee Club; James Giddings, conductor 13 April 1940, McMillin Academic Theatre, Columbia University, New York, NY; Columbia University Glee Club; James Giddings, conductor; Milton Friedman, piano 15 March 1947, Smith College Club of New York and Princeton Club of New York, Times Hall, New York, NY; Princeton University Glee Club; J. Merrill Knapp, conductor 15 May 1947, Festival of Contemporary Music, McArthur Court, School of Music, University of Oregon, Eugene, OR; Eugene Gleemen; Donald W. Allton, piano; Theodore Kratt, conductor 7 November 1947, Sanders Theater, Princeton, NJ; Merrill Knapp, conductor 12 May 1949, Town Hall, New York, NY; Williams College Glee Club; Robert Barrow, conductor 22 April 1950, Franklin and Marshall Glee Club March 1951, Town Hall, New York, NY; Bowdoin Glee Club 20 April 1951, Town Hall, New York, NY; Williams Glee Club 1952 and 1953, Columbia Glee Club 30 November 1956, Town Hall, New York, NY; Brown University Glee Club 11 April 1959, Town Hall, New York, NY; Columbia University Glee Club; J. Bailey Harvey, conductor 6 November 1959, McMillin Theatre, Columbia University, New York, NY; Columbia University Glee Club Sonata for Violin and Piano in D Minor 10 January 1930, Barnard College, New York, NY; Herbert Dittler, violin; Douglas Moore, piano 14 January 1930, Sprague Memorial Hall, School of Music, Yale University, New Haven, CT; Hildegarde Donaldson, violin; Douglas Moore, piano 2 March 1930, League of Composers, Art Centre, New York, NY; Hildegarde Donaldson, violin; Douglas Moore, piano 24 April 1930, McMillin Academic Theatre, Columbia University, New York, NY; Herbert Dittler, violin; Douglas Moore, piano

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8 December 1930, MacDowell Club, New York, NY; Hildegarde Donaldson, violin 19 April 1934, Skinner Recital Hall, Vassar College, Poughkeepsie, NY; Quincy Porter, violin; Douglas Moore, piano 16 March 1936, New School for Social Research, New York, NY; Klaus Liepmann, violin; Charles Posnak, piano 12 November 1937, Boston Composers Forum, Lecture Hall, Boston Public Library, Boston, MA; Alessandro Niccoli, violin; Justin B. Sandridge, piano 13 April 1939, Skinner Recital Hall, Vassar College, Poughkeepsie, NY; Herbert Dittler, violin; John Crouch, piano 22 April 1941, Westminster Chapel, Westminster Choir College, Princeton, NJ; Jenö Antal, violin; Norman Voelker, piano 9 December 1942, Memorial Chapel, University of Redlands, Redlands, CA; Rowland Leach, violin; Paul Pisk, piano 15 May 1945, Cleveland Music School Settlement, Cleveland, OH; Jenö Antal, violin; Leon Machan, piano 6 June 1945, Theatre Intime, Princeton University, Princeton, NJ; Jenö Antal, violin; Grete Wohl, piano 19 May 1948, WNYC broadcast, New York, NY; Julius Schulman, violin; Mr. Robinson, piano 17 November 1950, Association musicale Franco-Américain, Salle Chopin Pleyel, Paris, France; Danielle Arthur, violin; Marcelle Chassinat, piano 20 June 1966, Bath Festival, American Museum in Britain, Claverton Manor, England; Francis Fortier, violin; Colin Tilney, piano 29 November 1966, Graduate Residents Council, Columbia University, New York, NY; Francis Fortier, violin; Diane Richardson, piano Songs 1913 or 1914, Yale University; Yale Quartet (Hay Langenheim, tenor; William W. Meyer, tenor; Dale M. Parker, bass; Russell E. Lomas, bass; Douglas Moore, piano); performed: “March Down the Field”; “Touchdown”; “Good-Night, Poor Harvard”; a “Pianologue” by Moore with other songs possibly by Moore: “Percy Pie,” “Four Ways to Play the Piano,” “Queen of the Movies,” and “Try This on Your Victrola” 18 January 1914, Moore home, 43 McDonough Street, Brooklyn, NY; Harriet Villette Brown, soprano (“To an April Lady,” “Gifts,” “The Song of the Canoe,” “A Song of April”); Emma Williams, alto (“The Rune,” “The Evening Wind”); Henryk Mikulski, violin; Douglas Moore, piano; Frederica Simmelkiaer, piano September 1946, Yaddo, Saratoga Springs, NY 28 January 1944; Maria Maximovitch, soprano 22 February 1944, WNYC broadcast, New York, NY; Nicholas Goldschmidt, baritone 11 July 1964, Cutchogue Presbyterian Church, Cutchogue, NY; James McGuyer, baritone

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String Quartet 16 November 1933, College Parlor, Barnard College, New York, NY; Arion String Quartet 20 January 1936, McMillin Theatre, Columbia University, New York, NY; Roth Quartet (Feri Roth, Jenö Antal, violins; Ferenc Molnar, viola; Janos Scholz, cello) 27 January 1936, Chamber Music Auditorium, Library of Congress, Washington, DC; Roth String Quartet (Feri Roth, Jenö Antal, violins; Ferenc Molnar, viola; Janos Scholz, cello) 1 February 1936, McMillin Academic Theatre, Columbia University, New York, NY; Roth Quartet (Feri Roth, Jenö Antal, violins; Ferenc Molnar, viola; Janos Scholz, cello) 1937, broadcast, New York, NY; Walden Quartet September 1937, Yaddo, Saratoga, NY; Walden Quartet 17 November 1937, Cleveland Art Museum, Cleveland, OH; Walden String Quartet (Homer Schmitt, Bernard Goodman, violins; Ben Selcer, viola; Robert Swenson, cello) 28 January 1938, Coolidge Foundation Concert, McMillin Academic Theatre, Columbia University, New York, NY; Gordon String Quartet (Jacques Gordon, David Sackson, violins; William Lincer, viola; Naoum Benditzky, cello) 5 December 1938, Bohemians, Harvard Club, New York, NY; Roth Quartet (Feri Roth, Jenö Antal, violins; Ferenc Molnar, viola; Janos Scholz, cello) 14 February 1939, Concert Hall, Juilliard School of Music, New York, NY; Sol Glassberg, William Ehrenkrantz, violins; Leonard Davis, viola; David Pratt, cello 19 May 1939, National Federation of Music Clubs, Twenty-first Biennial Convention and American Music Festival, American Composers Forum, Ballroom, Lord Baltimore Hotel, Baltimore, MD; Gordon String Quartet (Jacques Gordon, David Sackson, violins; William Lincer, viola; Naoum Benditzky, cello) 7 August 1939, Chautauqua Chamber Music Society, Norton Memorial Hall, Chautauqua, NY; Mischakoff String Quartet (Mischa Mischakoff, Reber Johnson, violins; Nathan Gordon, viola; Georges Miquelle, cello) 11 February 1940, W.P.A. Composers Forum-Laboratory, Lenox Gallery, New York Public Library, New York, NY; Forum String Quartet (Walter Eisenberg, Charlotte Rosen, violins; Drago Jovanovich, viola; Leo Rostel, cello) 7 May 1940, School of Music, Anderson Hall, University of Washington, Seattle, WA; Francis Armstrong, Marybeth Harris, violins; Daniel Backman, viola; George Kirchner, cello 21 July 1940, The Hall, Music Mountain, Falls Village, CT; Gordon String Quartet (Jacques Gordon, Samuel Weiss, violins; William Lincer, viola; Fritz Magg, cello) 27 December 1942, League of Composers; New York, NY 15 March 1943, Festival of American Chamber Music, Society for the Publication of American Music and the Juilliard School of Music, Museum of Modern Art, New York, NY; Shirley Mesmer, Kathleen Broer, violins; Mary Anne Caberg, viola; Marcia Barbour, cello 26 January 1944, Alianza Cultural Uruguay-Estados Unidos, Biblioteca Artigas-Washington, Salon de Actos, Montevideo, Uruguay; Francisco José Musetti, Carlos A. Häberli, violins; Luis Spinola, viola; Vicenta A. Navatta, cello

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8 February 1944, Brooklyn Chamber Music Society, Music Hall, Brooklyn Academy of Music, Brooklyn, NY; Carl H. Tollefson, Alfred Troemel, violins; Alfredo Baldassarri, viola; Willem Durieux, cello 21 February 1945, Society for the Publication of American Music, Times Hall, New York, NY; Gordon String Quartet (Jacques Gordon, Walter Hagen, violins; Kras Malno, viola; Gabor Rejto, cello) 1946–47, Allgemeine Musikgesellschaft, Munich, Germany 26 January 1947, New School for Social Research, New York, NY; New Music Quartet (Broadus Erle, Robert Dressler, violins; Harold Newton, viola; George Finkel, cello) 22 February 1949, Southwestern Chamber Music Society, Bohlmann Hall, Memphis, TN; Southwestern String Quartet (Noel Gilbert, Mary Jane Kirkendol, violins; Ruth Wood Tuthill, viola; Phyllis Thornburg, cello) 26 February 1948, Barnard College, New York, NY; Columbia Quartet 9 March 1949, Lecture Hall, Free Library of Philadelphia, Philadelphia, PA; Curtis String Quartet (Jascha Brodsky, Louis Berman, violins; Max Aronoff, viola; Orlando Cole, cello) 10 January 1950, American Composers Series, Royce Hall Auditorium, University of California, Los Angeles, CA; Dawn Adams, Eileen Schiff, violins; Leonard Golove, viola; Theodore Mann, cello 23 July 1950, Pageant Theatre, MacDowell Colony, Peterborough, NH; New Music String Quartet (Broadus Erle, Matthew Raimondi, violins; Walter Trampler, viola; Claus Adam, cello) 12 February 1958, WNYC broadcast, New York, NY; Queens College Faculty Quartet April and 23 May 1958, New York, NY; Queens College Faculty Quartet 20 February 1959, Casa Italiana, Columbia University, New York, NY; Kohon Quartet 29 March 1959, Carnegie Recital Hall, New York, NY; Kohon String Quartet (Harold Kohon, Raymond Kunicki, violins; Bernard Zaslav, viola; Richard Kay, cello) 17 May 1959, National Art Gallery, Washington, DC; Kohon String Quartet (Harold Kohon, Raymond Kunicki, violins; Bernard Zaslav, viola; Richard Kay, cello) Suite for Piano 17 November 1948, University of Minnesota; Andor Foldes, piano 13 February 1949, WNYC broadcast, New York, NY; Andor Foldes, piano 9 May 1949, Bern, Switzerland; Andor Foldes, piano 12 May 1949, American Academy, Rome, Italy; Andor Foldes, piano 23 January 1950, Carl Fischer Hall, New York, NY; Beveridge Webster, piano 6 February [originally scheduled for 9 January] 1951, Institute of Contemporary American Music, Julius Hartt Musical Foundation, Julius Hartt School of Music Auditorium, Hartford, CT; Maxim Schapiro, piano 16 December 1952, San Francisco Museum of Art, San Francisco, CA; Maxim Schapiro, piano 12 February 1953, American Music Festival, Town Hall, New York, NY (broadcast on WNYC); Maxim Schapiro, piano

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8 March 1953, Silvermine Guild of Artists, Gifford Auditorium, Norwalk, CT; Abba Bogin, piano 27 March 1954, Fylkingen Konserthuset, Lördagen, Sweden; Maxim Schapiro, piano 22 February 1955, WNYC American Music Festival, Carl Fischer Concert Hall, New York, NY; Maxim Schapiro, piano 28 September 1956, Porto Alegre, Brazil; Andor Foldes, piano 1961, tour; Ruth Slenczynska, piano 1962, tour; Ruth Slenczynska, piano 8 February 1965, Azad Bhavan, New Delhi, India; Ruth Slenczynska Symphony in A Major 5 May 1946, Concert Hall, Old Conservatory, Paris, France; Paris Broadcasting Orchestra; Robert Lawrence, conductor 16–17 January 1947, Philharmonic Auditorium, Los Angeles, CA; Los Angeles Philharmonic Orchestra; Alfred Wallenstein, conductor 18 January 1947 (3rd movement only), Philharmonic Auditorium, Los Angeles, CA; Los Angeles Philharmonic Orchestra; Alfred Wallenstein, conductor 10–11 February 1947, Moore Theatre, Seattle, WA; Seattle Symphony Orchestra; Carl Brecher, conductor 19–20 February 1947, Carnegie Hall, New York, NY; New York Philharmonic Symphony Society; Bruno Walter, conductor 17 May 1947, McMillin Academic Theatre, Columbia University, New York, NY; NBC Symphony Orchestra; Alfred Wallenstein, conductor 6 November 1947, Eastman Theatre, University of Rochester, Rochester, NY; Rochester Philharmonic Orchestra; Eric Leinsdorf, conductor 10 January 1948, Helsinki, Finland; Helsinki Philharmonic Orchestra; Antonia Brico, conductor 19, 20, 22 February 1948, Carnegie Hall, New York, NY; Philharmonic-Symphony Society of New York; Bruno Walter, conductor 22 August 1948, WOR broadcast, New York, NY; Emerson Buckley, conductor 5 December 1949, Phoenix, AZ; Phoenix Symphony Orchestra; Robert Lawrence, conductor 1950, Dallas, TX; Dallas Symphony 24 July 1950, Tanglewood, Berkshire, MA; Tanglewood Student Orchestra; Howard Shanet, conductor 1953, WNYC, WQXR broadcasts, New York, NY 30 March 1953, NBC broadcast, New York, NY 1954, WNYC broadcast and Festival, New York, NY 26 October 1954, Columbia Bicentennial Concert; Carnegie Hall, New York, NY; Philharmonic-Symphony Society of New York; Leopold Stokowski, conductor 5 November 1954, Centennial Concert, Woolsey Hall, Yale University, New Haven, CT; University Orchestra; Howard Boatwright, conductor

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18 November 1954, University of Delaware, Newark, DE; Delaware Symphonette; J. Robert King, conductor 18 February 1955, WNYC Festival, New York, NY 6 June 1955, Reykjavik, Iceland; Air Force Symphony Orchestra; George S. Howard, conductor 9 June 1955, Stavanger, Norway; Air Force Symphony Orchestra; George S. Howard, conductor 11 June 1955, Trondheim, Norway; Air Force Symphony Orchestra; George S. Howard, conductor 12 June 1955, Folketeatret, Oslo, Norway; Air Force Symphony Orchestra; George S. Howard, conductor 18 June 1955, Copenhagen, Denmark; Air Force Symphony Orchestra; George S. Howard, conductor 17 February 1956, Brussels Radio 19 January 1960, University of Denver Student Union, Denver, CO; Denver Symphony Orchestra; Saul Caston, conductor 9 February 1960, Denver, CO; Denver Symphony Orchestra; Saul Caston, conductor 20 May 1962, Long Beach State College, Long Beach, CA 5 April 1968, St. Augustine Amphitheatre, St. Augustine, FL; University of Florida Symphony Orchestra; Edward Troupin, conductor 7 April 1968, University Auditorium, University of Florida, Gainesville, FL; University of Florida Symphony Orchestra; Edward Troupin, conductor 10 April 1968, Gainesville, FL; University of Florida Symphony Orchestra; Edward Troupin, conductor 3 December 1968, Ft. Lauderdale, FL; Ft. Lauderdale Symphony; Emerson Buckley, conductor A Symphony of Autumn 2 April 1931, American Composers’ Concert, Kilbourn Hall, Eastman School of Music, Rochester, NY; Rochester Philharmonic Orchestra; Howard Hanson, conductor 24 February 1932, Severance Hall, Cleveland, OH; Cleveland Orchestra; Douglas Moore, conductor 20 March 1935 (Nocturne and Scherzo only), McMillin Academic Theatre, Columbia University, New York, NY; Brooklyn Symphony Orchestra; Chalmers Clifton, conductor 24 March 1935, Sculpture Court, Brooklyn Museum, Brooklyn, NY; Brooklyn Symphony Orchestra; Chalmers Clifton, conductor 24 January 1942, Carnegie Hall, New York, NY; National Orchestral Association, Washington, DC; Leon Barzin, conductor 14 February 1943 (Nocturne and Scherzo only), Sculpture Court, Brooklyn Museum, Brooklyn, NY; New York City W.P.A. Symphony Orchestra; Emerson Buckley, conductor 24 April 1946, International Music Festival, Prague, Czechoslovakia; Orchestre philharmonique de Strasbourg

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Then and Now 4 September 1909, Kimogenor Stock Company, Kimogenor Point Club, Cutchogue, NY; Douglas Moore (principal of Dana Hall); Eliot Drake Moore (Silas Mulvany); Marion Thayer (Mrs. Mulvany); Dorothy Moore (Lizzie Mulvany and Miss Crook); Beverly S. King (Honk Packard) Three Sonnets of John Donne 31 January 1943, WQXR broadcast, New York, NY; Maria Maximovitch, soprano 11 November 1943, Carnegie Chamber Music Hall, New York, NY; Janet Fairbank, soprano; Hellmut Baerwald, piano 26 August 1943, Department of Music, Ida Noyes Library, University of Chicago, Chicago, IL; Janet Fairbank, soprano; Cecil Smith, piano 19 February 1948, WNYC broadcast, New York, NY; Teresa Stich-Randall, soprano 9 April 1949, Italo-American Society, Rome, Italy; Magda László, soprano 15 February 1959, Town Hall, New York, NY; Theresa Minnocci, soprano 17 May 1962, McMillin Theatre, Columbia University, New York, NY; Eleanor Steber, soprano; Yehudi Wyner, piano Three Sonnets of John Donne. “Thou Hast Made Me” 20 February 1954, WNYC, New York, NY; Shirlee Emmons, soprano 15 February 1959, Town Hall, New York, NY; Theresa Minnocci, soprano; Stanley Sonntag, piano Tintypes. “Careful Etta” 24 February 1936, Auditorium, School of Commerce, College of the City of New York, NY Trio for Piano and Strings March 1954, private performance for Columbia University president Grayson Kirk; Abram Loft, violin; Howard Shanet, cello; Levine, piano 29 March 1954, Columbia University, New York, NY; Abram Loft, violin; Howard Shanet, cello; Alice Mitchell, piano 17 April 1955, Century Club, New York, NY; Lois Porter, violin; Aldo Parisot, cello; Bruce Simonds, piano 26 May 1956, Cubberley Auditorium, Education Building, Stanford University, Stanford, CA; Gloria Vial, violin; Harold Hill, viola; Janice Merwin, piano 21 January 1958, Composers Group of New York City, Carnegie Recital Hall, New York, NY; Nadia Koutzen, violin; George Koutzen, cello; Antonio Lora, piano 11 February 1958, WNYC broadcast, New York, NY; Nadia Koutzen, violin; George Koutzen, cello; Antonio Lora, piano

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17 May 1962, McMillin Theatre, Columbia University, New York, NY; Mathew Raimondi, violin; David Soyer, cello; Yehudi Wyner, piano February or March 1964, University of South Florida, Tampa, FL; Jacques Abram, piano; Edward Preodor, violin; Margery Enix, cello 11 October 1967, Augustana Gym-Auditorium, Augustana College, Sioux Falls, SD; Augustana Trio (Mary Helen Schmidt, piano; Tyrone Grieve, violin; Janet Rayburn, cello) Twelfth Night 16 October 1925, American Laboratory Theatre, 107 W. 58th St., New York, NY 25 April 1928, Department of Music, Institute of Arts and Sciences, McMillin Academic Theatre, Columbia University, New York, NY Under the Greenwood Tree 16 November 1944, Carnegie Chamber Music Hall, New York, NY; Janet Fairbank, soprano; Paul Meyer, piano 18 February 1945, League of Composers, New York, NY; Otto Luening 24–27 April 1951, Cornish School and Tryout Theater, University of Washington, Seattle, WA; Kensley Rosen, violin; Lockrem Johnson, piano 12 February 1953, WNYC Festival, New York, NY; Helen Boatwright, soprano 30 December 1954, Bermuda Musical and Dramatic Society, Trinity Hall, Bermuda; Helen Boatwright, soprano; Donald Currier, piano 6 February 1955, Newark Museum, Newark, NJ; Helen Boatwright, soprano; Melvin Strauss, piano 19 March 1964, University of South Florida Theater, Tampa, FL; Helen Anderson, soprano; Jacques Abram, piano Vayechulu 7 May 1948, Sixth Annual Service of Liturgical Music by Contemporary Composers, Park Avenue Synagogue, New York, NY; David Putterman, cantor; Park Avenue Synagogue Choir; Max Helfman, conductor 12 May 1949, Festival, Columbia University, New York, NY; David J. Putterman, cantor; Park Avenue Synagogue Choir; Max Helfman, conductor Village Music 5 December 1941, New York, NY; National Youth Administration Symphony Orchestra; Dean Dixon, conductor 29 October 1942, Kilbourn Hall, Eastman School of Music, Rochester, NY; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor

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24 November 1942, Student Union Building, University of New Mexico, Albuquerque, NM; University Symphony Orchestra; John Donald Robb, conductor 17 January 1943, Mabel Shaw Bridges Hall of Music, Pomona College, Claremont, CA; Pomona College Symphony Orchestra; Kenneth Fiske, conductor 12 February 1943, CBS broadcast, Eastman School of Music, Rochester, NY; Frederick Fennell, conductor 27 March 1943, McMillin Academic Theatre, Columbia University, New York, NY; Columbia University Orchestra; Herbert Dittler, conductor 17 April 1943, ballet program, Festival of American Music, Eastman Theatre, Eastman School of Music, Rochester, NY; Rochester Civic Orchestra; Howard Hanson, conductor; Thelma Biracree, choreographer 13 May 1943, National Gallery of Art, Washington, DC; National Gallery Sinfonietta; Richard Bales, conductor 23 January 1944, WQXR broadcast, New York, NY; Leon Barzin, conductor 15 March 1944, American Music Symposium, Eastman School of Music, Rochester, NY; Howard Hanson, conductor 8 August 1944, League of Composers, Central Park, New York, NY; Juilliard School of Music; Peter Wilhouski, conductor 24 September 1944, National Gallery of Art, Washington, DC; National Gallery Sinfonietta; Richard Bales, conductor 27 October 1944, National Orchestral Association rehearsal broadcast, New York, NY; National Orchestral Association; Leon Barzin, conductor 10 December 1944 (“Square Dance” only), New York, NY; National Orchestral Association; Leon Barzin, conductor 13 April 1945(movements 1–3 only), Aycock Auditorium, Greensboro, NC; Greensboro Orchestra; H. Hugh Altvater, conductor 26 April 1945, American Music Festival, Kilbourn Hall, Eastman School of Music, Rochester, NY; Eastman School Little Symphony Orchestra; Paul White, conductor 5 May 1945, NBC broadcast, Rochester, NY; Eastman School of Music Orchestra; Howard Hanson, conductor 5 May 1945, Juilliard School of Music, New York, NY; Richard Bales, conductor 1 June 1945, National Orchestral Association rehearsal broadcast, New York, NY; National Orchestral Association; Leon Barzin, conductor 28 December 1945, Rogers High School Auditorium, Newport, RI; Rhode Island Philharmonic Orchestra; Francis Madeira, conductor 10 March 1946, Mabel Shaw Bridges Hall of Music, Pomona College, Claremont, CA; Pomona College Symphony Orchestra; Kenneth Fiske, conductor 24 March 1946, National Gallery of Art, Washington, DC; National Gallery Sinfonietta; Richard Bales, conductor

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17 April 1946, Agassiz House, Radcliffe College, Cambridge, MA; Harvard Radcliffe Orchestra; Malcolm Holmes, conductor 9 May 1946, Harvard Night, Symphony Hall, Boston, MA; Boston Pops Orchestra; Malcolm Holmes, conductor 18 May 1946, NBC broadcast, Rochester, NY; Eastman School of Music Orchestra; Howard Hanson, conductor 6–7 November 1946, Fountain Street Baptist Church, Grand Rapids, MI; John M. Lewis, conductor 26 November 1946, University Auditorium, Kent State University, Kent, OH; University Orchestra; Kenneth Byler, conductor 3 January 1947, Rogers High School, Newport, RI; Rhode Island Philharmonic Orchestra; Francis Madeira, conductor 5 January 1947, Rhode Island School of Design, Providence, RI; Rhode Island Philharmonic Orchestra; Francis Madeira, conductor 6 January 1947, Junior High School, Woonsocket, RI; Rhode Island Philharmonic Orchestra; Francis Madeira, conductor 8 January 1947, Ward Senior High School, Westerly, RI; Rhode Island Philharmonic Orchestra; Francis Madeira, conductor 9 January 1947, East Senior High School, Pawtucket, RI; Rhode Island Philharmonic Orchestra; Francis Madeira, conductor 18 February 1947, Portland, OR; Portland Symphony 8 March 1947, Philips Memorial Auditorium, West Chester State Teachers College, West Chester, PA; West Chester State Teachers College Sinfonietta; Gerald Keenan, conductor 13 March 1947, Thekla Club, Skinner Recital Hall, Vassar College, Poughkeepsie, NY; Vassar Orchestra; George Henry, conductor 18 April 1947, Lecture Hall, National Gallery of Art, Washington, DC; National Gallery Orchestra; Richard Bales, conductor 6 May 1947, School of Music, University Auditorium, Kent State University; Kent, OH; University Orchestra; Kenneth Byler, conductor 3–9 January 1948, Rhode Island Philharmonic Orchestra (tour); Francis Madeira, conductor 24–25 April, 2 May 1948, Seoul, Korea; Korea Symphony Orchestra; Lim Won Sik, conductor 18 May 1948, National Gallery, Washington, DC; National Gallery Orchestra; Richard Bales, conductor 28 August 1949, Stockholm, Sweden; Joseph Frederick Wagner, conductor 8 January 1952, Sala del Conservatorio, Naples, Italy; Orchestra “Alessandro Scarlatti”; Dean Dixon, conductor 19 January 1952, Milan, Italy; Dean Dixon, conductor 23 January 1952, Nice, France; Dean Dixon, conductor 8 March 1952, Naples, Italy; Dean Dixon, conductor

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17 March 1953, Department of Commerce Auditorium, Washington, DC; United States Marine Band Symphony Orchestra; Albert Schoepper, conductor 2 August 1953, Padua Hills Bowl, Claremont, CA; Padua Hills Youth Symphony; John Feeney, conductor 14 January 1954, University of Arizona, Tucson, AZ; University Orchestra; Henry Johnson, conductor 25 April 1954, National Gallery, Washington, DC; National Gallery Orchestra; Richard Bales, conductor 16 March 1955, High School Auditorium, Midland, MI; Dow Symphony Orchestra; Wilford Crawford, conductor 13 November 1956, Holmberg Hall Auditorium, University of Oklahoma, Norman, OK; University of Oklahoma Symphony Orchestra; Robert Ross, conductor 24 April 1963, University of California, Santa Barbara, Santa Barbara, CA; University Symphony Orchestra; Erno Daniel, conductor January 1966, Columbia University Teacher’s College, New York, NY 18 November 1969, Philharmonic Hall, New York, NY; Little Orchestra Society; Thomas Scherman, conductor 12 August 2000, Twenty-first Anniversary Douglas Moore Memorial Concert, Village Green, Cutchogue, NY; Sound Symphony; Dorothy Savitch, conductor White Wings 9–12 February 1949, Hartt Opera Guild, Julius Hartt School of Music; Hartford, CT; cast: Samuel Bertsche (Ernest Inch); Margaret Burtaine/Shirlee Emmons (Mary Todd); Frederick Collins (Archie Inch); Spelios Constantine (Major Philip E. Inch); Louise Greenfield (Fanny Inch); Philip Treggor (Charlie Todd); Walter Born (Kit Canari); Jack Chazan (Herbert); Alexander Sicilia (Dr. Bowles); Benny Thomas (Dr. Derby); Kent McCray/Eleanor Boit (Joseph the horse); Kent McCray (city employee); Moshe Paranov, conductor; Louis Pellettieri, assistant conductor; Elemér Nagy, director; Irene Kahn, production manager and coach; Jean Bannihr, technical production 15 January 1950, Hartt School of Music, Carnegie Recital Hall; New York, NY; Moshe Paranov, conductor; Elemér Nagy, director White Wings. Excerpts 26–28 January 1938, Brander Matthews Theater, Columbia University, New York, NY; Columbia Opera Workshop; Willard Rhodes, conductor 15 January 1950, Julius Hartt Music Foundation, Carnegie Hall; New York, NY; cast: Frederick Collins (Archie Inch); Shirlee Emmons (Mary Todd); Herbert Holmgren (Herbert); Moshe Paranov, conductor; Elizabeth Warner, piano

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White Wings. Overture 23 October 1935, American Museum of Natural History, New York, NY; Brooklyn Symphony Orchestra; Franco Autori, conductor 24 October 1935, New York W.P.A., McMillin Theatre, Columbia University, New York, NY; Brooklyn Symphony Orchestra; Franco Autori, conductor 27 October 1935, New York W.P.A., Brooklyn Museum, Brooklyn, NY; Brooklyn Symphony Orchestra; Franco Autori, conductor 14 March 1936, Jordan Hall, Boston, MA; Fabien Sevitsky Ensembles, Young Musicians’ Orchestra; Fabien Sevitsky, conductor 9 April 1938 (also includes Melodrama and Procession), Skinner Recital Hall, Vassar College, Poughkeepsie, NY; Columbia University Orchestra; Paul Henry Lang, conductor The Wings of the Dove 12, 22 October, 1 November 1961, New York City Opera, New York, NY; cast: Dorothy Coulter (Milly); John Reardon (Miles); Regina Sarfaty (Kate), Martha Lipton (Aunt Maud); Norman Kelley (Lord Mark); Paul Ukena (Homer); Mary LeSawyer (Susan); Richard Fredricks (Steffens); Maurice Stern (lecturer); Frederic Milstein (Giuliano); Gerald Arpino and Paul Sutherland (Janus); Françoise Martinet (Goddess of Spring); Brunhilda Ruiz (Goddess of Winter); Julius Rudel, conductor; Donald Oenslager, stage designer; Christopher West, stage director; Patton Campbell, costumes; Robert Joffrey, choreographer; alternate cast: William Diard (Lord Mark on 1 November) 24 October, 8 November 1962, New York City Opera, New York, NY; cast: Beverly Sills (Milly); John Reardon (Miles); Regina Sarfaty (Kate), Jean Kraft (Aunt Maud); Norman Kelley (Lord Mark); Paul Ukena (Homer); Nancy Foster (Susan); Ron Bottcher (Steffens); Richard Krause (lecturer); David Smith (Giuliano); Arthur Graham (madrigalist); Jury Gotshalks (Janus); Irene Apinée (maiden); Emerson Buckley, conductor; Christopher West, stage director; Donald Oenslager, stage designer; Patton Campbell, costumes; Thomas Andrew, choreographer 4–5 August 1967, Music Hall Auditorium, University of Wisconsin; Madison, WI; cast: Klesie Kelly (Milly); John Lueck (Miles); Ruth Horrall (Kate); Jane Christenson (Aunt Maud); David Pfisterer (Lord Mark); Glen Klotz (Homer); Jana Lind (Susan); Daniel Steen (Steffens); John Gezinski (lecturer); Harry Gutknecht (Guiliano); Elizabeth Wilberscheid (minstrel); Sr. Mary Helene Juettner (Sister of Mercy); Dennis Marshall (Janus); Carol John (Spring); Karlos Moser, conductor; Kathryn Gibb, set designer 10 April 1970, College of St. Benedict Opera Workshop, Saint Joseph, MN Youth Gets a Break. Suite May 1941, WNYC broadcast, New York, NY; Robert Hufstader, conductor

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Beethoven, Piano Sonata op. 13, 1st movement; arranged for orchestra 27 May 1915, Woolsey Hall, Yale University, New Haven, CT; New Haven Symphony Orchestra; Douglas Moore, conductor NOTES: 1

In a letter dated 19 June 1928 and sent from Peterborough, New Hampshire, to his mother, Myra, Douglas Moore discusses his role in the book Songs My Mother Never Taught Me. He notes that John Jacob Niles included Moore’s song “Destroyer Life” in his recent publication Singing Soldiers (New York: Charles Scribner’s Sons, 1927) without realizing that it was written by Moore. In Singing Soldiers the song is titled “Destroyer Song” and gives only the music for the chorus. The letter then goes on to explain that Moore will be coauthoring with Niles another anthology of war songs in which he wants to include a total of seven of his own songs, among them “Martha” and “Jessie Wilhelmina.” Moore discloses that as coauthor he is to arrange all of the music and to receive half of the royalties. Neither “Martha” nor “Jessie Wilhelmina” appears in Songs My Mother Never Taught Me, nor is there any direct attribution to Moore for any of these songs in either book. It is likely that this is the only one of these songs actually composed entirely by Moore. This song should not be confused with the orchestral work Destroyer Song. See also the material under the heading War Songs on pp. 170ff. 2 The war songs listed here are found in pencil manuscripts at Columbia University. Five of them appear in The Songs My Mother Never Taught Me, but none of them are directly attributed to Moore. It is likely that the melodies and words were by various military men and that Moore provided the harmonizations.

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A. WRITINGS BY MOORE 1. Lyrics and Stories Brant, Henry. The Lonesome House. Script by Douglas Moore. Frank Maxwell, narrator; Fred Wilkins, Sam Baron, flutes; Lila Kalman, piano; unknown pianist and double bassists. [New York]: Children’s Record Guild, 1950. Children’s Record Guild CRG 5013. 1 disc (78 rpm record), 10 in. Brant, Henry. The Lonesome House. Same cast. [New York]: Young People’s Records, 1960. Young People’s Records 15016. 1 disc (33 1/3 rpm mono. record), 12 in.; side 1, band 3. The disc includes Rocket to the Moon, Billy Rings the Bell, and pieces by Borodin and Chabrier. Phillips, H. L. “Naomi (My Restaurant Queen).” Lyric by Douglas Moore. New Haven, CT: H. Campbell, 1927. 2. Books From Madrigal to Modern Music: A Guide to Musical Styles. New York: W. W. Norton, 1942. This music appreciation text grew out of Moore’s classes. It is “neither a history of music nor a comprehensive survey of the literature. It is an attempt to transport the reader into the spirit of each of several great periods—Renaissance, Baroque, Classic, Romantic, and Modern—so that he feels its quality, understands its enthusiasms, its technical resources and limitations, and its habits of thought and style. There is first a general introduction to each period in which these factors are considered and the principal composers are listed. Then from each period at least one example of every important type of composition is examined more closely” (9). A glossary, discography, and index are included.

*Guía de los estilos musicales. 1st ed. Translated by José María Martín Triana. Iniciación a la música 2. Madrid: Taurus, 1982. Reprinted 1988. This is a translation of Listening to Music (New York: W. W. Norton, 1932). The publication is a music appreciation textbook that covers essential topics such as rhythm, melody, harmony, tonality, polyphony, and various musical forms of the common practice period. The book assumes no prior musical training. Descriptions of music in the text require the reader to either be familiar with the work or to hear it in concert or on recordings. Moore writes in a clear and informative style for the layperson. While the book is not intended to provide original or new insights into the nature of music, it does give insight into Moore’s attitudes and aesthetic concerning basic compositional elements. The book is well indexed, and the appendix contains all of the musical examples as well as suggested readings and recordings to supplement the text.

A Guide to Musical Styles: From Madrigal to Modern Music. Revised ed. Norton Library N200. New York: W. W. Norton, 1962.

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Moore describes the purpose of this music appreciation textbook as “neither a history of music nor a comprehensive survey of the literature. It is an attempt to transport the reader into the spirit of each of several great periods—Renaissance, Baroque, Classic, Romantic, and Modern—so that he feels its quality, understands its enthusiasms, its technical resources and limitations, and its habits of thought and style. . . . There is first a general introduction to each period in which these factors are considered and the principal composers are listed. Then from each period at least one example of every important type of composition is examined more closely” (9). This revised edition makes minor changes to the last sections of the chapter on the modern period. An analysis of Bartok’s Music for Strings, Percussion, and Celesta is added to the section on chamber-orchestra music, and the section on American music is replaced with material on modern opera, which cites Berg’s Wozzeck as a representative example. The bibliography is updated and expanded slightly, and the discography is eliminated. A glossary and index are included.

Listening to Music. New York: W. W. Norton, 1932. This publication is a music appreciation textbook which covers essential topics such as rhythm, melody, harmony, tonality, polyphony, and various musical forms of the common practice period. The book assumes no prior musical training. Descriptions of music in the text require the reader to either be familiar with the work or to hear it in concert or on recordings. Moore writes in a clear and informative style for the layman. While the book is not intended to provide original or new insights into the nature of music, it does give insight into Moore’s attitudes and aesthetic concerning basic compositional elements. The book is well indexed, and the appendix contains all of the musical examples as well as suggested readings and recordings to supplement the text.

Listening to Music. Revised ed. New York: W. W. Norton, 1937. The revised edition follows the first edition very closely. The major change occurs in the appendix. The musical examples have been moved into the text from the appendix, and the appendix has been expanded to include exercises in addition to the suggested readings and recordings.

Listening to Music. Revised ed. Norton Library N130. New York: W. W. Norton, 1963. Reviewed in Music Journal 21 (November 1963): 64; Musical Leader 95 (August 1963): 23; Response 5, no. 2 (1963): 95.

Bernstein, Martin. An Introduction to Music. 2nd ed. Prentice-Hall Music Series, edited by Douglas Moore. New York: Prentice-Hall, 1951. Haydon, Glen. Introduction to Musicology: A Survey of the Fields, Systematic & Historical, of Musical Knowledge & Research. Prentice-Hall Music Series, edited by Douglas Moore. New York: Prentice-Hall, 1941. Jeppesen, Knud. Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century. Translated, with an introduction, by Glen Haydon. Prentice-Hall Music Series, edited by Douglas Moore. Englewood Cliffs, NJ: Prentice-Hall, 1939. The original Danish edition was published by Wilhelm Hansen (Copenhagen, 1931); the German translation, by Breitkopf & Härtel (Leipzig, 1935).

Lang, Paul Henry, and Douglas Moore, guest eds. “Annual Music Issue.” Saturday Review of Literature 28, no. 3 (20 January 1945). Moore served as guest editor for this issue, which includes the articles “Background Music for ‘Mein Kampf ’ ” by Paul Henry Lang, “Needed—A Managerial Revolution” by Alfred Frankenstein, “Modern Music in Limbo” by Erich Leinsdorf, and “What’s New in Music” by Elliott Carter.

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Lang, Paul Henry, and Douglas Moore, guest eds. “Annual Music Issue.” Saturday Review of Literature 29, no. 4 (26 January 1946). Moore serves once again as a guest editor of the special music issue of the Saturday Review.

Mitchell, William J. Elementary Harmony. Prentice-Hall Music Series, edited by Douglas Moore. New York: Prentice-Hall, 1939. A standard harmony textbook covering topics from the overtone series to elementary modulation.

Sachs, Curt. Our Musical Heritage: A Short History of Music. Prentice-Hall Music Series, edited by Douglas Moore. New York: Prentice-Hall, 1948. Stringham, Edwin J. Listening to Music Creatively. Prentice-Hall Music Series, edited by Douglas Moore. New York: Prentice-Hall, 1946. Swan, Alfred J. The Music Director’s Guide to Musical Literature ( for Voices and Instruments). Prentice-Hall Music Series, edited by Douglas Moore. New York: Prentice-Hall, 1941. 3. Articles “The 1951 Pulitzer Prize Work.” Pan Pipes 44, no. 2 (January 1952): 12. This announcement of the 1951 award of the Pulitzer Prize for Giants in the Earth is accompanied by a photograph from the Columbia University performance and a reproduction of the title page of the manuscript.

“Address by Douglas Moore, President of the Institute.” In Proceedings of the American Academy of Arts and Letters and the National Institute of Arts and Letters, 5–7. 2nd series Publication no. 3. New York: American Academy of Arts and Letters, 1953. In this speech of 25 May 1952, Moore upholds the value of artistic tradition while recognizing the necessity of new artistic movements. The Institute and the Academy are by their nature conservative, being composed of artists of recognized reputation. In the selection of new members it is important to avoid personal biases and to be tolerant of new artistic ideas. The organizations also have a duty to uphold the freedom of artistic expression, free from political censorship both in the United States and throughout the world.

“Advice to Bachelors: Hints to Hungry Hunters after Hymeneal Happiness.” Vanity Fair, September 1923, 29. The tongue-in-cheek article is written in the form of five short dialogues. The responses to the men’s proposals of marriage are followed by brief scenes from their lives five years later in their marriages. It facetiously concludes with the happy couple being the one that subscribed to Vanity Fair for five years.

“American Composers.” Yale Review 31, no. 2 (December 1941): 391. Moore reviews the first edition of Aaron Copland’s Our New Music and touches on his own views about the American composer of the middle of the century. Copland believes that the American audience’s reverence for nineteenth-century romanticism is the nemesis of the modern American composer, and Moore quotes a statement by Roger Sessions summarizing the ideals of younger composers. Moore agrees with this forward-looking aesthetic but counters: “What modern music needs in order to be more widely accepted is some of the sensuous beauty and warmth which was lost in Romantic music after the decline set in.” Moore admires Copland’s objective assessment of American music as being in its adolescence, but he also finds a greater maturity in the very fact that a book such as Copland’s could be written at this time.

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“American Composers’ Music.” Music Journal 5, no. 6 (November–December 1947): 9, 50–51. Moore makes a case for the increased performance of music written by American composers. He identifies several obstacles in the path of these composers. Primary among these is the unfamiliarity of the music and the reluctance of performers and managers to program the works of American composers. Composers produce works that are supported and nurtured by the culture in which they live. If composers are not recognized as an asset to the culture, they will not be able to create works that speak to that culture. The only way this can be achieved is through performance of their works.

“American Music.” Saturday Review of Literature 6, no. 26 (18 January 1930): 650–51. In this critical book review of Paul Rosenfeld’s An Hour with American Music, Moore praises the author’s command of language in the service of music criticism and his promotion of American music. Nonetheless, he criticizes the narrow scope of the book, the result of the author’s dislike and avoidance of attending concerts. Rosenfeld excludes many mainstream composers active in the United States in the 1920s and instead devotes his book to the works of young composers, whose works are not played in the concert halls and cannot be heard by the readers of the book because they are not programmed.

“Among the New Books: The Native Strain.” Yale Review 16, no. 4 (July 1927): 800–802. This is a review of Henry O. Osgood’s So This Is Jazz (Little, Brown). Moore recommends this book for the layperson and musician as both entertaining and informative. Despite jazz’s contribution to American music, Moore finds it limited in expression compared to concert music. Also, it is unlikely to “displace the traditional art of Bach and Beethoven or even that of Loeffler, Carpenter, and Mason.”

“At the Opera.” Modern Music 19, no. 1 (November–December 1941): 50–53. The New Opera Company was founded to promote opera in the United States. The company featured American singers, conductors, and orchestra and presented works in English translation. Staging and acting were calculated to appeal to American audiences, and the production was performed in a small, intimate theater with moderate ticket prices. Moore reviewed three operas presented by the company: Verdi’s Macbeth, Tchaikovsky’s Pique dame, and Offenbach’s La vie parisienne. In creating an opera that appeals to American audiences, the effort was only partly effective. The acting and the translations were stilted, and two of the productions were imported from Glyndebourne. It is hoped that future seasons will include some American operas in American productions.

“Bach Capably Documented.” Saturday Review of Literature 29, no. 4 (26 January 1946): 26. Moore is enthusiastic in this book review of The Bach Reader. The publication of source documents related to Bach’s life and music offers new insight. Rather than just dry musicological texts, the documents and illustrations are of interest to scholars and the serious musician.

“Bartók at Columbia University.” Long Player 2, no. 10 (October 1953): 16–17. Moore recounts how Bartók came to be engaged as a researcher in Yugoslavian music at Columbia University after emigrating to the United States during World War II. The Alice M. Ditson Fund at Columbia was established for “the aid and encouragement of American musicians.” The fund’s board was initially uncertain of the appropriateness of appointing Bartók to this position. Nonetheless, the Milman Parry collection of Yugoslav folk music was brought from Harvard to Columbia, where Bartók worked on it for two years beginning in March 1941. A third year of research was paid by Bartók’s friends through a fund-raising effort led by Victor Babin. Bartók completed the manuscript of his study, entitled “Serbo-Croatian Folk Songs,” in the spring of 1943, but it was not published until 1951. The article is accompanied by a full-page photograph of Bartók at the Columbia Botanical Gardens in 1943.

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“Beethoven.” Yale Review 19, no. 2 (December 1929): 400–404. Moore reviews three books on Beethoven: Beethoven’s Sketches, by Paul Mies; Beethoven the Creator, by Romain Rolland; and Beethoven, the Man Who Freed Music, by Robert Haven Schauffler. Mies’s book is the most valuable, with solid scholarship that adds to our understanding of Beethoven’s creativity, while Rolland’s book offers nothing new “of essential interest to the music.” The appendix in Rolland’s book has a couple of interesting discussions of the cause of Beethoven’s deafness and of the journal of Therese von Brunsvik, who may have been Beethoven’s “immortal beloved.” Schauffler’s book recounts many of the biographical points in Thayer, and the author proposes a “source-theme” used by Beethoven throughout most of his works. However interesting it may be as a theory, Moore finds it unconvincing.

“The Case for Atonality.” New York Herald Tribune, 21 January 1940, sec. 9, p. 13, cols. 1–3. Moore gives high praise to Ernst Krenek’s book Music Here and Now. Moore discusses some of his own opinions regarding twelve-tone music but credits Krenek with having written a well-thought-out book. “Atonality is a little like the Roosevelt administration. The believers are pontifical, the non-believers almost apoplectic.” Moore believes that “a system of musical axioms can never be established in theory until it has been demonstrated in practice.” This is what Moore believes is the weakness of Krenek’s arguments: that they have to have more time to be proven. Nonetheless, he recommends the book because it is so thought-provoking.

“The Cause of Native Music: An Editorial.” Saturday Review of Literature 30, no. 4 (25 January 1947): 24. Moore makes a plea for more support for performances of American music. He sees little possibility for government financial support of music. Although music is big business in the United States, only music that will sell a lot of concert tickets or recordings is performed regularly, and this music is the familiar and popular, rarely new American works. American works are relegated to the latest hours of radio broadcast. Opera companies have not changed their repertoire in several generations. Symphony orchestras are dominated by foreign conductors with a prejudice against, or no knowledge of, American music. A survey of major concert halls in New York in 1946 showed that less than 7 percent of all concerts contained an American work. In conclusion, he says: “But as in the case of literature and the fine arts we shall have to emancipate ourselves from the idea of national inferiority if we are to become a musical nation. What the native musician asks is not prejudice in his favor, only an even break despite the fact that he happens to be an American.”

“Columbia University Festivals.” Music Journal 4, no. 5 (September–October 1946): 25, 58. Moore started an annual music festival of American music concerts at Columbia University backed by the Ditson Fund in 1945. The concerts were centered around the piece which had won the Pulitzer Prize for that year. The NBC Orchestra plays one concert on the radio under the direction of a guest conductor noted for championing American music. In addition to the concerts, there is also a performance of an original opera commissioned by the Ditson Fund as part of the festival. The concerts are by invitation only, and the halls, which seat twelve hundred and three hundred, are always filled to capacity.

“The Composers Luncheon: Opera and Symphony Orchestras.” Newsletter of the American Symphony Orchestra League 13, no. 5–6 (July–September 1962): 12–13. In this address to the American Symphony Orchestra League, Moore speaks “about opera in the United States and what the symphony orchestra can do to help the situation.” He would like to see communities in the United States establish opera companies run in conjunction with their local orchestras, as is frequently the case in Europe. This could be a reality when the public discovers that opera “can be a really moving experience” and develops the support required. A portrait of Moore appears.

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“Folk Song from Many Lands.” Saturday Review of Literature 26, no. 5 (30 January 1943): 31. Moore gives a rave review to A Treasury of the World’s Finest Folk Song, by Leonhard Deutsch. Deutsch’s anthology is composed of folk songs selected on their merits as fine music. Moore finds every aspect of the book excellent.

“The General Music Course for College Students.” In Yearbook of the Music Educators National Conference, 124–29. Twenty-ninth year, 1936. Chicago: Music Educators National Conference, 1936. Moore describes a general music course for college students that teaches them the “apperception” rather than the “appreciation” of music. He explains that students in these courses fall into one of three categories: those who have been exposed to “good music” and have learned to listen to music through this exposure, those who have studied instruments and singing, and those whose background is limited to what they have heard through radio and other passive means. In this course students of all backgrounds, but particularly of the last two groups, are taught techniques of listening that will serve them throughout their lives and give them the ability to approach and understand all types of musical compositions.

“Greeting by Douglas Moore, President of the Academy.” In Proceedings of the American Academy of Arts and Letters and the National Institute of Arts and Letters, 9–11. 2nd series, no. 11. Publication no. 197. New York: American Academy of Arts and Letters, 1961. The article is a transcription of Moore’s opening remarks to the 25 May 1960 annual meeting of the Academy and the Institute, where he reads the citations for the newly elected honorary members.

“Greeting by Douglas Moore, President of the Academy.” In Proceedings: The American Academy of Arts and Letters and the National Institute of Arts and Letters, 97–99. 2nd series, no. 12. Publication no. 204. New York: American Academy of Arts and Letters, 1962. Moore reads a telegram from President Kennedy and the citations for the newly elected honorary members at the annual meeting on 24 May 1961.

“The Gregarious Art.” Saturday Review of Literature 28, no. 3 (20 January 1945): 22. Music is in greater demand that ever before, but it is now being made to serve purposes far from what was intended. On the radio, broadcasts of serious music are determined by the needs of advertisers, where the programming of concert music is relegated to fewer and fewer hours and restricted to only well-known and familiar works; anything by American composers is ignored. Popular composers regularly arrange melodies of the classics for jazz ensembles, and music educators simplify and popularize great works in music appreciation classes. The new field of music therapy applies music scientifically for the rehabilitation of those returning from the war. Moore thinks that music is enjoyed the most as a solitary activity, away from the kinds of exploitation society places upon it.

“Homage to Bela Bartok.” Modern Music 23, no. 1 (Winter 1946): 13–14. In an encomium to Bartók, Moore includes him with Stravinsky and Schoenberg as one of the three great immigrant composers of the 1930s, even though Bartók’s music was less well-known and he was much less able to cope with life in a new country. “Bartok’s contribution to the musical language of the twentieth century, while no less revolutionary than that of Stravinsky and Schönberg, has proceeded perhaps less from a conscious repudiation of post-romantic thought than from a directive within his own musical personality which had as its source the composer’s love and understanding of the folk music of his native Hungary” (14).

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“How Wings of the Dove Became an Opera.” International Musician 60, no. 5 (November 1961): 35, 40–41. Moore tells how James’s novel was adapted into an opera libretto—a difficult process. The story was first reduced to only those elements that could be understood when staged. In this opera, two scenes were added that were not in the book in order to accelerate the plot and to explain events that had to be omitted. Visual cues and symbols were used to help the audience understand ideas and psychological states that are portrayed in the novel but that could not be conveyed through stage action or dialogue. The article is essential to understanding the process Moore employed in writing the opera. A portrait of Moore and drawings illustrating the action of the opera are included.

“The Importance of Music in Wartime.” Saturday Review of Literature 26, no. 5 (30 January 1943): 12. Since World War I, music in America has become much more important to the society at large. This is due in large part to the widespread availability of music through radio broadcasting and recordings. Music is both an art and a business. As a business, it is subject to exploitation by those who want to profit. The majority of the public wait for the opinions of “experts” who inform them as to who the great musicians are. Music critics and managers tend to promote the view that European artists and composers are more talented than American musicians. Consequently, there are no American conductors leading any of top orchestras or opera companies in America. “When more Americans become capable of forming independent judgments and develop a mind of their own about the value of performances, compositions, or books about music, we shall have better music and shall enjoy it a lot more, because it will be more truly our own.”

“Imported Virtuosi for America’s Music?” American Scholar 5, no. 3 (Summer 1936): 270–79. In this essay, Moore argues for more opportunities for American conductors at the helms of major orchestras. While he recognizes Toscanini’s expert musicianship, he believes that Toscanini commands too large a salary, which adds to the financial strain that the New York Philharmonic has to bear. Also, Toscanini plays no part in the development of musical taste or the musical life of New York, preferring to return to Europe as soon as his engagement is over. Moore believes that American conductors should be encouraged and developed to become musical leaders in the same way that Stokowski, who started with the Cincinnati Symphony and later moved to Philadelphia, and Koussevitzky, who was intimately involved with all artistic aspects of the Boston Symphony, were. This will lead to the strengthening of American orchestras, provide employment for greater numbers of musicians, develop the musical taste and knowledge of the public, and provide more opportunities for the playing of works by American composers.

“Induction of Newly Elected Members of the Academy.” In Proceedings of the American Academy of Arts and Letters and the National Institute of Arts and Letters, 220–21. 2nd series. Publication no. 212. New York: American Academy of Arts and Letters, 1963. Moore announces the election to the Academy of the painter Edwin Dickinson and the philosopher William Ernest Hocking.

“The Inhospitable Theatre.” Theatre Arts Monthly 12, no. 8 (August 1928): 559–65. Moore discusses the obstacles the composer of music for the theater faces when composing for modern plays. The convention of a musical prologue and entr’acte has virtually disappeared from most productions. This is partly due to the great expense of hiring union musicians, and at this time, the use of

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recorded music is still rare. Further, music is considered by the directors and producers to be a quite minor rather than an integral part of the production, although historically, great composers have written incidental music. Moore describes some of his experiences in writing music for the plays The Road to Rome and Twelfth Night. The difficulties in these plays included significant limitations on the instrumental forces employed and the degree of originality allowed the composer. Moore believes that “the drama will always need music . . . for . . . sensing and projecting a dramatic idea. For this the theatre must have the services of skillful and imaginative composers, and must encourage them with a hospitality and an understanding foreign to its tradition.”

“A Letter from Douglas Moore.” Young Keyboard Jr. (School Edition) 13, no. 8 (May 1961): 3, 7. Moore talks about the cotillions of his youth and the dances he learned. He composed some of these dance forms as part of his Cotillion Suite.

“Letter of Recommendation to Elliott Carter, 1 February 1943.” In Elliott Carter: A Centennial Portrait in Letters and Documents, edited by Felix Meyer and Anne C. Shreffler, 52. A Publication of the Paul Sacher Foundation. Woodbridge, Suffolk: Boydell Press, 2008. In this letter, a transcript of which is reproduced here in its entirety, Moore attests to Carter’s unusual teaching ability, saying that Carter can “interpret the ordinary material in the most unconventional and resourceful manner,” is fluent in French, and possesses other qualities that make him an outstanding choice for an academic position.

“Louis Gruenberg, 1884–1964.” In Proceedings of the American Academy of Arts and Letters and the National Institute of Arts and Letters, 484–86. 2nd series. Publication no. 15. New York: American Academy of Arts and Letters, 1965. In this eulogy for Gruenberg, Moore notes that his works were unjustly neglected for decades. Gruenberg wished his works to be performed because they were good pieces of music, not revived simply in order to honor a man at the end of his life.

“The Men behind the Podium.” Saturday Review of Literature 26, no. 5 (30 January 1943): 29. Moore is impressed with David Ewen’s The Book of Modern Composers. The most valuable and interesting part of the book is the section accompanying each biography where the composers themselves discuss music. Moore quotes from many of these sections. However, he is critical of the small number of American composers included in the book and uses recent concert statistics to prove that a number of American composers (not included in the book) received more performances than did their European counterparts who were included. A portrait of Ewen accompanies the article.

“Mr. Taubman Looks at the Score.” Saturday Review of Literature 27, no. 4 (22 January 1944): 34. Moore reviews Taubman’s book Music on My Beat, which is “a fairly complete picture of music in the United States” in the mid-1940s. In an easy writing style, Taubman surveys the musical scene from “music to composer to performer to manager to patron to critic to audience.” In so doing, he raises many issues about the state of music in America.

“Music and Civilization.” New York Herald Tribune, 11 February 1940, sec. 9, p. 16, cols. 1–3. The article is a review of Rollo H. Myers’s Music in the Modern World (Longmans, Green). Moore believes that Myers’s book has little to contribute but instead “goes sedately along the familiar paths repeating for the most part things which have been more effectively said by others.” The author seems not to have had much enthusiasm for the topic.

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“Music and Museums.” Fine Arts Review 1, no. 2 (April 1922): 8–9, 18. Following World War I, an infusion of foreign-trained musicians into the United States stimulated the cultural sensitivities of American communities. Many cultural institutions were initiated, but musical performances remained dominated by the works of foreign composers. Moore believes that “when we have truly musical communities in America, we shall have great composers.” However, this will not happen until the public is interested in works of art instead of “sensationalism and prettiness in its music.” The purpose of the musical department of the Cleveland Museum of Art was “to present great music before its large public, and to encourage, untrammeled by any need of commercial or popular capitulations, those elements in the community which seem to be moving in the hoped for direction.” Programs such as these will help create an environment where American composers can attain the stature of the European masters of the past.

“Music and the Movies.” Harper’s Magazine, July 1935, 181–88. Moore discusses the importance of music in films and the tremendous opportunity for American composers in this genre, which is largely ignored by Hollywood film producers. The article gives a brief history of music that accompanies films, from the silent era through early “talkies” to the films of the mid1930s. He laments the fact that no major composers in the United States have been employed to write music for movies and that most of the original music for films is written by studio “hacks.” He praises the ingenuity of the Disney studio and notes that some of the best music accompanies cartoons. He believes that music accompanying films declined in quality following the advent of sound. The biggest contribution music has to make is to provide the right atmosphere or mood for the movie. He urges film producers to make use of the talent that is available to add high-quality original music to their films.

“Music in Cleveland.” Art and Archaeology 16, nos. 4–5 (October–November 1923): 180–85. Cleveland began to build its musical institutions, including the Cleveland Orchestra and the Cleveland Institute of Music, in the 1910s. The Cleveland Museum of Art also presents concerts. These organizations have instituted programs of high quality through innovative programming and unique ideas in order to bring music to all of the citizens of Cleveland, such as pops concerts during the regular season, children’s concerts, and concerts of well-known works with a “mystery” masterpiece inserted into the program. The Cleveland Music School Settlement was also established to provide musical instruction for children otherwise unable to afford it. Moore advocates a sense of musical community that is created by people actively involved in music making, not just as an audience.

“Music Supplement.” Saturday Review of Literature 26, no. 5 (30 January 1943): 12–30. Moore served as guest editor for this special music section of the Saturday Review.

“Musical Essays.” New York Evening Post Literary Review 4, no. 34 (19 April 1924): 689. A review of Paul Rosenfeld’s Musical Chronicle (Harcourt, Brace, 1924) examines music of the 1920s with insight. He respects the great masters of the past and evaluates Prokofiev, Les Six, Stravinsky, and Cyril Scott with “enthusiasm” and objectivity.

“Music’s Place in the Art Museum.” Museum Work 7, no. 6 (March–April 1925): [162]–72. Moore addresses the reasons music should be performed in museums and the types of music that should be presented. Just as the museum preserves great art of the past, the great music of the past should be presented as an enhancement to the artistic experience. The museum should see its mission as the preservation and presentation of the highest artistic ideals, to act as an antidote to current, popular art forms and entertainment in both the visual arts and music. Unlike the visual arts, the greatest music

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of the past is accessible to every museum—that is, a Beethoven string quartet can be played in any museum, not just in the museum that happens to own the original work. The museum can offer music outside of the standard nineteenth-century repertoire, played by competent musicians, including early music and modern works that are rarely heard in concert halls. Chamber music, choral music, organ music, piano music, and art songs are especially appropriate in the museum setting. In this way the museum fulfills an educational role.

“Opera and Symphony Orchestras.” Showcase 42, no. 1 (1962): 7. This brief article was derived from a speech to the American Symphony Orchestra League convention on 22 June. Moore believes that the reasons professional opera companies have not developed in the United States are the language barrier, the inadequacy of translations, the performance of operas in large auditoriums (which reduces the dramatic effect), and inadequate stage design. He advocates the collaboration of opera workshops and symphony orchestras in order to produce more operas. He also believes that the production of operas by American composers would appeal more to U.S. audiences. The result would be a fuller musical life in America. The article is accompanied by a portrait of the author.

“Opera as Theatre: American Composers Have Learned Public Demands a Good Libretto.” New York Times, 12 April 1959, sec. 2, p. 9, cols. 3–4. American opera composers are now using contemporary plays and literature as the basis for their librettos, with increasing success. Broadway, film, and television producers have also discovered this rich source of material for their works. It is difficult for the opera composer to compete with producers of the more popular genres for the rights to contemporary literature, since the financial return on an opera is so much less. Moore hopes that a broader audience for opera will be developed by efforts such as the Ford Foundation’s touring grant to the New York City Opera and by the use of more contemporary staging techniques, borrowed from Broadway directors.

“Opera by American Composers of Today.” Pan Pipes 59, no. 2 (January 1967): 12–14. Moore believes that the American opera composer has now come into his own. He writes a capsule history of the rise of American opera beginning with Porgy and Bess and continuing through the early works of Menotti. The Ford Foundation grant awarded to the New York City Opera under Julius Rudel to produce an entire season of operas commissioned from American composers in 1958 was a pivotal event in the acceptance of American operas. The article goes on to name important American composers of opera and their works from the last twenty years. Moore’s own works are mentioned only in an editor’s footnote. There are photographs of Moore, a scene from Carry Nation, and a facsimile of a page of manuscript from that opera.

“Opera in English.” Review of Recorded Music 14, no. 4 (April 1953): 4–5. Moore outlines the usual arguments for not translating operas into English, such as the distortion of the meaning of the libretto so that the words will fit the melodic line. Nonetheless, he goes on to make a case for translating operas for American audiences and for producing operas originally written in English. “The prejudice against opera as popular entertainment will quickly disappear when it is discovered that it is not primar[i]ly a foreign monstrosity to be listened to in a boiled shirt but is actually the most popular as well as the most moving form of theatrical entertainment that has ever been devised.”

“Opera Productions at Columbia University.” Opera News, 16 April 1945, 12–13. Moore explains the ideals behind the Columbia Opera Workshop. All the productions are mounted in a small hall (seating three hundred) and are sung in English. The stage director, Milton Smith, works with the singers in the same way he would with actors. Otto Luening brings experience as an opera

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conductor from work he did at the American Opera Company of Rochester. The repertoire consists of lesser-known works of the past and newly commissioned operas by American composers. The singers are young professionals in New York and students from the opera workshop established by Herbert Graf and continued by Willard Rhodes. Moore concludes that “opera at Columbia is small scale, experimental, and not a bit grand but it is opera, it is American, and it is exciting because its concern is with the future.”

“Oratorio, Cantata, and Mass: Abridged from ‘Listening to Music.’ ” In The Music Lover’s Handbook, edited by Elie Siegmeister, 132–34. Victory ed. New York: William Morrow, 1943. These three choral genres are defined and explained with representative examples. The explanations are direct and easy for the layperson to understand.

“Our Lyric Theatre.” Modern Music 18, no. 1 (November–December 1940): 3–7. Moore notes that opera is the one artistic medium in the United States that is totally and consistently treated as a museum. That is, virtually no contemporary works are produced. This is in contrast to theater, the visual arts, and even symphonic and chamber music. He asks, “Must we therefore give up the hope ever of achieving an American opera repertory and abandon the idea of the lyric stage as something obsolete and unrelated to modern civilization?” Some look to movies as a medium for the incorporation of contemporary music, and there have been some excellent film scores. However, it is unlikely that Hollywood will ever develop this potential beyond mass entertainment. Three operas produced on Broadway are discussed (Porgy and Bess, Four Saints in Three Acts, and The Cradle Will Rock), but it is noted that none of the composers followed up these works with another successful opera. Moore concludes that colleges and conservatories are the most likely environment to encourage the performance and development of American opera.

“Our Music as Performed.” New York Herald Tribune, 24 April 1938, sec. 9, p. 20, cols. 2–3. Moore takes the opportunity that this review of Claire Reis’s Composers in America (Macmillan) affords him to be an advocate once again for the American composer. The book covers about two hundred composers and lists their compositions, performances, and publications. Moore notes with interest that the lists show considerable activity in the realms of school, radio, and film music as well as works for the concert hall.

[Photograph.] Music Journal 5, no. 2 (March–April 1947): 25. A full-page autographed photograph portrait of Moore.

The Piano from Mozart to Bartók: Played by Beveridge Webster. Perspective Records; PR-2. Front and back covers for the LP recording. New York: Perspective Records, 1953. This recording, issued to celebrate the centennial of the Steinway company in 1953, was recorded in Steinway Concert Hall in New York. Moore’s notes for the recording begin with an explanation of the differences between the mechanics of the harpsichord and clavichord and those of the piano. He proceeds to give a history of the development of the design of the piano to the modern day and concludes with a brief history of the treatment of the piano by composers throughout history. There are notes on each of the pieces on the recording, which includes works by Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Chopin, Liszt, Brahms, Debussy, and Bartók.

“Program Making for the American Scene.” Music Publishers Journal 2, no. 2 (March–April 1944): 15, 30–31. Moore finds that most song recital programs are composed of the literature of the European masters. When a group of American songs appears, “the choice usually falls upon the stale, the trite, and the

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saccharine.” Publishers and performers are urged to use the same criteria for selecting the American songs in their recitals as for the other songs. American songs need not be of lesser quality. To write a good song, it is important to choose good poetry for the text. Nor should American songs be relegated to filling the role of virtuosic display pieces with little overall musical value.

Renoir, Jean. “The Starting Point.” Translated by D. S. Moore. Life and Letters Today 23, no. 28 (December 1939): 353–63. An autobiographical article by the film director Jean Renoir, translated by Moore.

“Something about Librettos.” Opera News, 30 September 1961, 8–13. Moore outlines some of the considerations a composer must make in selecting a libretto that makes sense to a mid-twentieth-century American audience and then recounts how he chose the librettos for his major operas, White Wings, The Devil and Daniel Webster, Giants in the Earth, The Ballad of Baby Doe, Gallantry, and The Wings of the Dove. For each of these operas he discusses how different types of texts (a play, a short story, novels, and historical fact) were adapted for musical treatment. This is demonstrated most directly by comparing excerpts from Henry James’s novel with the corresponding text in the libretto from The Wings of the Dove.

“Strictly Personal: Concerning Program Notes.” Saturday Review of Literature 29, no. 4 (26 January 1946): 18–19. Moore writes a humorous article about the purpose of program notes. Program notes in the theater do not attempt to educate the audience in the way that concert notes do. Moore gives two fictitious examples of notes, one historical and the other analytical, both of which leave the reader either bored or confused. He next parodies the type of program note given in children’s concerts, where musical sounds are given programs totally unrelated to the intent of the composer or the true nature of the music. He follows this with ridiculous contemporary programs for three classic works: Sibelius’s Symphony no. 2, Debussy’s Prelude to the Afternoon of a Faun, and Tchaikovsky’s Symphony no. 6.

“Strictly Personal: Duet on a Bus.” Saturday Review of Literature 28, no. 3 (20 January 1945): 15–16. Moore records a conversation overheard on a bus in New York of a young Frenchman being shown around the city by a middle-aged lady. The conversation is about opera in the United States and the attitudes of the audiences. The Frenchman has many questions about why opera is not presented in English even when many of the singers are themselves Americans. He wants to know why recent émigré composers such as Milhaud and Hindemith do not have operas produced in the United States. Why is it that no American operas are presented, and why are there no provincial opera companies? Above all, he is startled to discover that Americans do not consider opera entertainment, but rather a cultural and educational experience.

“A Study in Logic.” Saturday Review of Literature 30, no. 4 (25 January 1947): 31–32. Moore’s review of Alfredo Salazar’s book Music in Our Time begins with a perceptive analysis of contemporary audiences’ general dislike and distrust of music from the first half of the century. He gives Salazar credit for writing a book that describes the different trends of modern music well, with analyses of several important works. He concludes that “there is nothing else available in English so complete or as enlightening.”

“The Symphonic Poem and the Symphonic Suite: Adapted from ‘Listening to Music.’ ” In The Music Lover’s Handbook, edited by Elie Siegmeister, 127–31. Victory ed. New York: William Morrow, 1943.

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In explaining the transition from the absolute music of the classical symphony to the music of the nineteenth century, this chapter focuses on the program music of Berlioz, Liszt, and Richard Strauss, with mentions of a few works of Tchaikovsky, Debussy, Ravel, Honegger, and several American composers. The symphonic suite consists of excerpts from a ballet or of incidental music, or a set of programmatic movements. Debussy’s La mer, Iberia, and Nocturnes are cited as examples of this genre.

“The Symphony: Abridged from Two Chapters in ‘Listening to Music.’ ” In The Music Lover’s Handbook, edited by Elie Siegmeister, 115–24. Victory ed. New York: William Morrow, 1943. This excerpt from Moore’s music appreciation text Listening to Music compares eighteenth- and nineteenth-century symphonies. The size of the orchestra and the shorter length of the classical symphonies of Haydn and Mozart are contrasted with the more emotional and expansive symphonies of Beethoven and the romantic symphonists. The contributions of Beethoven form the central core of this chapter, followed by much briefer treatments of Schubert, Schumann, Mendelssohn, Brahms, Franck, and Tchaikovsky.

“Symphony: Abridged from Two Chapters in Listening to Music.” In The New Music Lover’s Handbook, edited by Elie Siegmeister, 91–97. Irvington-on-Hudson, NY: Harvey House, 1973. This article is intended for the educated amateur. Moore writes in a style that is easy to understand but never condescending. The article covers the makeup of the classical orchestra of Haydn and describes the form of a classical symphony. The core of the article is Beethoven’s contribution to the symphony. Other nineteenth-century composers—Schubert, Schumann, Mendelssohn, Brahms, and Tchaikovsky— are mentioned. Moore sees Haydn, Mozart, Beethoven, and Brahms as the composers who contributed the most to the symphony as a genre. In contrast to the book from which this text was drawn, musical excerpts to which Moore refers are printed in the text.

“This New Music.” In Hazel Gertrude Kinscella, Music on the Air, 235. New York: Viking Press, 1934. This is a two-paragraph statement about what young composers have to learn from the past and from the great masters of the early twentieth century. Moore advises composers not to reject the most radical modern trends in composition and to draw equally from modern and past compositional techniques. He believes that the United States will be at the center of future musical developments and that a great composer will emerge from America.

“Three Composers.” Yale Review 27, no. 4 (June 1938): 830–34. Moore reviews three biographies: The Life of Richard Wagner, vol. 2, 1848–1860, by Ernest Newman; Orpheus in Paris, by S. Kracauer; and Jean Sibelius, by Karl Ekman. Newman’s biography of Wagner receives the longest and most complimentary comments. Despite Moore’s criticism of Newman as a critic of contemporary music, he considers the book a “judicial, scholarly treatment of the material now available about Wagner’s life” and compares it to Thayer’s biography of Beethoven. The book on Offenbach is more a cultural history of Paris of the time than a true biography of the composer. The biography of Sibelius, drawn from interviews with the composer, lacks objectivity, painting only the most complimentary picture of the composer and his music.

“Tournemire, Composer, Improviser: Tribute from an American Pupil.” Diapason 31, no. 4 (1 March 1940): 10. The article begins with a story of the sixteen-year-old Tournemire’s first encounter with the improvisatory organ playing of Franck at Sainte Clotilde, where he would also become organist. In a pilgrimage to Sainte Clotilde, Moore had a similar experience with the playing of Tournemire and thus became

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his pupil for a short time in 1920. Moore describes Tournemire’s playing as having been “of great technical dexterity, yet untheatrical, solidly built, but conceived and executed as an article of faith.” Moore does not consider Tournemire a great organ teacher; he was more interested in composition, even though his works were seldom performed. When Tournemire received an inheritance, Moore’s lessons with him were cut short so that he could devote his time to composition. A portrait of Moore accompanies the article.

“Tribute to Gerald McGarrahan.” New York Times, 30 August 1936, sec. 9, p. 5, col. 6. This is a letter to the editor expressing appreciation for the work of McGarrahan, conductor of the Greenwich Sinfonietta, who died on 22 August 1936. The Sinfonietta was one of the original orchestras established to give work to unemployed musicians. In addition, the conductor programmed many interesting works, including a concert series of historical and educational interest in conjunction with Columbia University.

“True Tale of West: Story of Baby Doe Tabor Turned into an Opera.” New York Times, 1 July 1956, sec. 2, p. 9, cols. 3–8. Moore discusses how historical fact can be changed into a dramatic operatic libretto. He wrote a synopsis of the Tabor story and noted two scenes where the opera strays from the facts: the retention of Tabor’s first wife, Augusta, in the drama after their divorce; and the introduction of the political rally scene with William Jennings Bryan to explain the financial ruin of Tabor. Basically, the story ends with the death of Tabor, but the opera has to convey the devotion of Baby Doe until her death, which is done through her final aria and some imaginative staging. The article is accompanied by photographs and illustrations from the production.

“Two Opinions under Postage: Early Reading Rehearsals.” New York Times, 14 January 1945, sec. 2, p. 5, col. 5. In a letter to the music editor of the Times, Moore responds to an article by Edward Downes concerning orchestra reading rehearsals by Artur Rodzinski and the New York Philharmonic. Moore writes to give credit to earlier rehearsals of the same kind by Sokoloff and the Cleveland Orchestra of his Pageant of P. T. Barnum in 1925 and also by Leon Barzin and the National Orchestral Association in the 1940s.

“A University Symphony Orchestra.” Institute Magazine 1, no. 3 (1928): 13, 28. Moore makes a case for having a student orchestra in a university. He argues that amateur music making in the university provides listeners more opportunities to hear symphonic literature, because tickets to professional orchestras in New York are often expensive and the concerts are sold out. Also, the university orchestra does not need to repeat the standard repertoire as professional orchestras do, and the musicians’ love of playing makes for an “exciting artistic experience.” The university orchestra is not intended to train professional musicians, but to offer an enriching cultural experience to the student through active music making in addition to studying music from books and lectures. Moore believes that the quality of university orchestras will eventually rise to the same levels as those that have developed for university choruses.

“Words and Music by Irving Berlin.” Glamour, November 1962, 143, 179–80, 182–83, 186– 87, 223. Moore first gives an account of the most popular songs of Berlin decade by decade up through the 1960s. He then goes further to discuss what musical elements make Berlin’s songs so distinctively American. These include the use of ragtime rhythms, American speech rhythms, and simple scale and chord patterns. He also talks about the steps Berlin takes in writing his songs.

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“Young Composers after the War.” Modern Music 21, no. 1 (November–December 1943): 23–26. Moore notes that during World War II many promising young composers are serving in the military, interrupting their musical studies and careers. He believes that this interruption and isolation from music will make it impossible for them to resume their careers following the war and urges the support and continued education of these composers after the war as a national effort.

“The Younger Generation and Music.” Yale Daily News, 1953, sec. 75, pp. 110–11, 189, 191. Moore sees a bright future for music in the postwar period, because it is now possible to receive a good musical education in the United States. Before this time, musicians routinely sought their training in Europe. However, musical culture in the United States is not yet developed enough for musicians to be able to make a living from their art. This requires developing higher musical standards among the general public. This will only happen if there is better funding, which has not come from business, private patrons, or the radio, so far. Moore believes that government support for the arts at the municipal level, such as occurred in New York with the establishment of the New York City Center and in Louisville with its orchestral commissioning series, stands the best chance for success. It will be the postwar generation that will provide the leadership needed.

B. WRITINGS ABOUT MOORE 1. Books Blooding, Randie Lee. “Douglas Moore’s The Ballad of Baby Doe: An Investigation of Its Historical Accuracy and the Feasibility of a Historical Production in the Tabor Opera House.” D.M.A. diss., Ohio State University, 1979. The story of The Ballad of Baby Doe was examined against the historical record with the object of performing the work at the Tabor Opera House in Leadville, Colorado, the setting of the opening scene of the opera. Knowledge of the historical context of Colorado in the late nineteenth century and the politics of silver in the United States at that time is essential to a full understanding of the opera. Even minor characters in the opera, such as Horace’s friends and business associates, were based on real people. The heart of the dissertation is a scene-by-scene comparison of the opera against historical fact. Each of the main characters (Horace, Baby Doe, and Augusta) was researched using primary source documents so that singers would be able to portray them as realistically as possible. The Tabor Opera House was also examined to determine what alterations and accommodations would be required to stage a performance of the opera in 1981, the opera house’s centennial.

Cavendish, Thomas Hamilton. “Folk Music in Selected Twentieth Century American Operas.” Ph.D. diss., Florida State University, 1966. This study sets out to identify American folk music elements in operas dating from 1937 to 1961 by looking for actual folk songs used in the operas or by finding stylistic similarities to folk music. Of the fifteen operas selected for the study, three are by Moore: The Ballad of Baby Doe, The Devil and Daniel Webster, and The Headless Horseman. The librettos of the latter two are by Stephen Vincent Benét and are based on folk legends. The Ballad of Baby Doe is the only opera examined here that is based on real historical characters. “Clementine” is the only direct quote of a folk song by Moore; it appears in an altered meter for only a few measures in the opening scene of The Ballad of Baby Doe. The author identifies various compositional characteristics of American folk music related to melody, rhythm, form, and harmony. Using these stylistic characteristics, each of the operas is analyzed in detail: The Ballad of Baby

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Doe, 91–98; The Devil and Daniel Webster, 109–16; and The Headless Horseman, 126–32. A synopsis of each opera is included.

Gahimer, Lora. “Attitudes on Contemporary American Composition as Exemplified by Copland, Hanson, Harris, and Moore.” Master’s thesis, Eastman School of Music of the University of Rochester, 1947. Each of the composers responded to two sets of questions exploring “the development of an American school of composition, [the] present musical culture, and the general purpose and character of music itself.” The four composers were chosen because they come from different geographic parts of the United States and represent different life experiences and different environmental backgrounds. These range from urban New York to the Far West and from conservative New England to a blend of East Coast and West Coast traditions. Moore spoke and wrote frequently on this topic and thus is one of several good sources for views on the concept of “American” music.

Hardee, Lewis J., Jr. “The Musical Theatre of Douglas Moore.” Master’s thesis, University of North Carolina at Chapel Hill, 1970. This biography of Moore is based on interviews with the composer, his family, former students, colleagues, librettists, and singers. The thesis examines the seven major operas in detail (The Ballad of Baby Doe, Carry Nation, The Devil and Daniel Webster, Gallantry, Giants in the Earth, White Wings, and The Wings of the Dove), including the relationship of the music to the librettos, Moore’s compositional methods, and an analysis of the operas. The analysis examines the use of musical quotation and the imitation of vernacular American musical styles. The thesis concludes with a list of works, discography, and bibliography.

Hoffmann, Kari Ragan. “The Ballad of Baby Doe: Historical Accuracy and Gender Ideology in the Characterization of Augusta and Baby Doe.” D.M.A. diss., University of Washington, 2005. In this gender analysis of the opera, the author shows how the libretto and music emphasize traditional stereotypes of women’s roles. Both Augusta and Baby Doe were women of strong character and determination in real life, but the story of the opera depicts them as opposites: Augusta as the hard, shrewish, demanding wife who drives her husband to divorce her, and Baby Doe as the beautiful, loving, and supportive lover and wife who still remains true to her husband years after his death. The music emphasizes these differences by assigning August to a mezzo-soprano role and giving her angular melodic lines, while Baby Doe’s music, for coloratura soprano, is melismatic, with diatonic melodies and a signature theme that is a waltz. The author concludes that “viewed from the perspective of gender study, the portrayal[s] of Augusta and Baby Doe betray a pernicious and persistent gender ideology. . . . While Douglas Moore and John Latouche followed the historical plot of the lives of the Tabor’s [sic], they wrote an opera that perpetuated sociological injustices in regard to misogynist attitudes” (80).

Kanzeg, David, ed. Doenotes. Vol. 1–. Cleveland: David Kanzeg, 2004–. This almost annual newsletter is sent to the DoeHEADS, diehard fans of The Ballad of Baby Doe. It includes news of immediate past performances and announcements of upcoming performances of the opera, new features to be found on the babydoe.org Web site, and virtually any other news related to the opera. Back issues are available at: http://babydoe.org/doenotes.htm.

Reagan, Donald Joseph. “Douglas Moore and His Orchestral Works.” Ph.D. diss., Catholic University, 1972. Nine of Moore’s orchestral works are analyzed and examined in detail, including The Pageant of P. T. Barnum, Moby Dick, A Symphony of Autumn, Overture on an American Tune, Village Music, In Me-

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moriam, Symphony in A Major, Farm Journal, and Cotillion Suite. The writer examined programs, newspaper reviews, and correspondence concerning each of the works. Interviews with colleagues and family members add background material for the musical analyses. The analyses examine thematic content as it relates to the accompanying harmony and also consider form, melody, harmony, tonality, texture, meter, tempo, rhythm, and orchestration. The study begins with a biography of Moore and concludes with a chapter about the various influences on his music and career.

Smith, Duane A., and John Moriarty. The Ballad of Baby Doe: “I Shall Walk Beside My Love.” Boulder: University of Colorado Press, 2002. This book covers all aspects of the opera, especially as they relate to the productions at Central City. The author recounts the history and politics of how the opera came to be written for the Central City Opera, including the selection of the subject, composer, and lyricist. There is a separate chapter about the historical figures of Horace, Augusta, and Elizabeth “Baby Doe” Tabor. Chapter 3 details the plot and character development of the opera and is written by John Moriarty, who conducted three seasons of the opera at Central City. There is a comparison of the points in the opera where the plot diverges from the actual historical facts of the Tabors’ lives. A series of plates show twenty-four different scenes from productions given in Central City. Numerous interviews with singers give their insights into the various roles they sang. The book concludes with a list of all of the performers in all of the Central City productions and an index.

Weitzel, Harold. “A Melodic Analysis of Selected Vocal Solos in the Operas of Douglas Moore.” Ph.D. diss., New York University, 1971. The author proposes three hypotheses concerning the melodic content of Moore’s operas: (1) the form and length of phrases are determined by the text, (2) the text and music are closely related, as is shown by the correlation of syllabic accents with musical accents, and (3) the limited range and conjunct nature of the melodies make them easy to sing. Moore’s serious operas, excluding the children’s operas and consisting of White Wings, The Devil and Daniel Webster, Giants in the Earth, The Ballad of Baby Doe, Gallantry, The Wings of the Dove, and Carry Nation, were selected for study. Forty-eight samples of arias were chosen from the operas for analysis. Numerous aspects of the melodies were examined, including meter, rhythm, monosyllabic as opposed to melismatic setting, the use of syncopation, phrase length, range, intervals, the relationship of musical accent to the natural accent of the words, the climax of the phrase, form, and the use of anacruses at the beginnings of phrases. The large amount of data compiled in the study shows that Moore consistently composes with the text as the primary basis for the music, setting the words monosyllabically and using naturally occurring accents. The study opens with a biography of the composer.

2. Articles a. General Articles “100th Birthday of Douglas Moore.” Peconic Bay Shopper, 3 August 1993. A biography of Moore and a listing of major awards is followed by the announcement of activities planned for the hundredth-birthday celebration on the Cutchogue Village Green. A portrait and a photograph of Moore in his Willys are included in the article.

“2 Get Arts Awards: Hartford Fund Honors Conrad Aiken and Douglas Moore.” New York Times, 10 December 1960, p. 21, col. 2. Moore receives a Huntington Hartford Foundation award. It consists of $1,000 and a six-month residency for him and his wife at the Foundation’s estate in Pacific Palisades, California, where he can work without interference.

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“3 Members Added by Arts Academy.” New York Times, 5 December 1959, p. 8, col. 4. Moore is elected president of the American Academy of Arts and Letters for 1960.

“5,000 Petition FCC to End Radio Dispute: ASCAP Contract with Broadcasters Terminates Tonight.” Washington Post, 31 December 1940, p. 22, col. 3. Music educators and leaders ask the FCC to intervene between the National Association of Broadcasters and ASCAP, of which Moore is a representative, to avoid the radio boycott of music by ASCAP members. Moore writes to the FCC, asking it to take “such action as is necessary to end the existing stalemate with a view to returning to the air waves the vast store of contemporary music which has been boycotted by the major networks.”

“7 Composers to ‘Brighten’ School Routine.” Washington Post, 10 November 1946, sec. 3, p. 5, col. 7. Moore is one of the composers commissioned by the Juilliard Music Foundation to write a piece for the concert hall or for teaching purposes.

“Academy of Arts Adds 6 to Roster: Miss Buck, Leonard Bacon, Carl Milles, Douglas Moore, F. L. Wright, Mann Chosen.” New York Times, 1 December 1951, p. 11, cols. 4–7. New members of the Academy of Arts and Letters were announced on 30 November. Brief biographies of each follow.

“Academy of Arts Elects Dr. Moore.” Chicago Daily Tribune, 6 December 1959, sec. 1, p. 44, col. 6. The American Academy of Arts and Letters elects Moore president for 1960.

“Activities of Musicians: ‘Four Saints in Three Acts’ to Come to New York after Hartford; Other Items.” New York Times, 28 January 1934, sec. 9, p. 6, cols. 4–6. The concerts of the Columbia University Glee Clubs and Orchestra for the season are announced. Moore is the conductor of the orchestra.

“Activities of Musicians Here and Afield: Lewisohn Stadium Concerts Assured; American Vis[i]tors to Russia; Other Items.” New York Times, 17 April 1932, sec. 8, p. 7, cols. 3–6. Moore serves on a committee sponsoring travel for American musicians that will go to Russia at the end of May “to make American music better known in Russia and to acquaint the group with the musical conditions in the Soviet Union.”

Adams, Val. “News of Television: ‘Devils.’ ” New York Times, 23 August 1959, sec. 2, p. 11, cols. 4–5. The article comments on the legal problems with The Devil and Daniel Webster for musical adaptation of the opera for television by CBS. John Houseman secured the opera and libretto rights, but Benét’s estate claimed the sole rights to the piece. NBC planned a dramatic version, which was produced when CBS and Houseman dropped the legal proceedings.

“Additional Reports in Political Survey Made.” Barnard Bulletin, 25 October 1932, p. 3, col. 2. In a survey of the Barnard College faculty, Moore is quoted as being in favor of Roosevelt in the 1932 election. He sees commerce as the key to prosperity in the country, and he feels that the Republican Party did not deliver on its promise in 1928 for continued prosperity.

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Affelder, Paul. “America’s Music Makers: The Artists Who Create the Nation’s Best Serious Music: Douglas Moore.” National Observer, 8 July 1963, p. 18, cols. 3–4. The article includes Moore in an enumeration of the top eight American composers. It briefly lists his major works and talks about him as a musical nationalist. A photograph of Moore accompanies the article.

“An Aid to Appreciation.” Saturday Review of Literature 8, no. 40 (23 April 1932): 690. The reviewer of Moore’s book Listening to Music praises his novel approach to music appreciation. The book does not emphasize aesthetics and music history at the expense of the rudiments of music. In fact, Moore begins with these fundamental concepts and weaves them together with music history so that the reader understands even the most complex musical concepts. He uses well-known melodies and songs to take the reader from what he knows to recognized works of Western art music.

Aldrich, Richard. “The Art of Musical Appreciation.” New York Times, 3 April 1932, sec. 4 (Book Reviews), p. 5, cols. 2–4; p. 16, cols. 2–3. In this review of Moore’s book Listening to Music, the author discusses the qualities of different tones and keys and questions the ability of music to express specific emotions. He cites an experiment at Columbia University where a class of students was played a musical composition with which they were unfamiliar. They were then asked to identify characteristics that the music expressed. There was little agreement. Moore’s book helps to explain music through its elements and without recourse to this kind of emotional identification. Also, Moore maintains that the student must be familiar with the music from live and recorded performances.

Alexander, Edward. “Béla Bartók: A Memoir.” Hungarian Quarterly 44, no. 170 (Summer 2003): 86–91. The author recalls when he was a student in a class on twentieth-century music in 1941 taught by Moore. On one of the class days Moore invited Bartók to speak about his music. The talk lasted two hours and concluded with a performance of the Allegro barbaro played by Bartók.

“Alice M. Ditson Fund Awards Presented to Four Orchestras and Composers for 1962–63 Season.” Newsletter of the American Symphony Orchestra League 13, no. 5–6 (July–September 1962): 13. Moore presents the Ditson Award. Two photographs show him with the recipients.

“All Should Be Singers, Book Fair Is Informed: Professor Moore Sees Colleges Improving Their Courses.” New York Herald Tribune, 7 November 1936, p. 11, col. 6. As part of a panel called “Words and Music” at the New York Times National Book Fair on 6 November, Moore encourages college students to be active participants in music, since that is the best way to learn about it. Teaching the student how to listen to music is a means for instilling a lifelong involvement in the art.

“Alumnae Revisit College Haunts: Prof. Moore Speaks at Assembly on New Music Department.” Barnard Bulletin, 14 February 1930, p. 1, col. 2. On Alumnae Day, 12 February, Moore gave a talk about developments in the music department at Barnard College. Course credit is now offered for music lessons, and women are allowed to play in the university orchestra.

“American Academy Names 2 Members and Picks Officers.” New York Times, 3 December 1960, p. 25, col. 2. Moore is reelected president of the American Academy of Arts and Letters.

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“Americans Open Eastman Festival: Student Orchestra and Chorus Present Native Works in Annual Rochester Event; ‘Celtic Legend’ Is Heard; Carpenter’s Suite from ‘Birthday of the Infanta’ Wins Warm Applause of Audience.” New York Times, 3 May 1933, p. 15, col. 1. Moore is listed as one of the visitors at the third annual festival of American music at the Eastman School.

Anderson, David. “6,313 at Columbia Receive Degrees: Rusk and Zafrulla Khan Are among 11 Honored at Rites.” New York Times, 5 June 1963, p. 27, col. 1. Moore receives an honorary degree from Columbia University.

———. “Yale Graduates 2,029, Honors 11: Sun Beams on University’s 254th Commencement and Traditional Ceremony.” New York Times, 14 June 1955, p. 27, cols. 1–2. Moore receives an honorary doctorate from his alma mater. His Dirge was played by the band as a prelude to the distribution of the honorary degrees.

Anderson, James. Dictionary of Opera. Revised Nick Kimberley, 43, 96, 147, 377. 3rd ed. London: Bloomsbury, 1998. The book contains brief entries for The Ballad of Baby Doe, Carry Nation, The Devil and Daniel Webster, and Douglas Moore.

———. Dictionary of Opera and Operetta, 43, 96, 147, 377. 2nd ed. London: Bloomsbury, 1995. Brief entries for The Ballad of Baby Doe, Carry Nation, and The Devil and Daniel Webster as well as a brief biography of Moore appear here.

———. The Harper Dictionary of Opera & Operetta, 44, 151–52, 391. 1st U.S. ed. New York: HarperCollins, 1990. First published as Bloomsbury Dictionary of Opera and Operetta (London: Bloomsbury, 1989). Contains brief plot summaries and facts about The Ballad of Baby Doe, The Devil and Daniel Webster, and Douglas Moore.

Anderson, W. R. “Review of Prayer for the United Nations.” Musical Times 84, no. 1206 (August 1943): 240–41. This reviewer of the score, published by H. W. Gray, hears the composition as “something bold and strong, in the native American grain, which always has ample feeling for emotion, and often avoids that forcible-feeble rut into which so much would-be emphatic British music falls.”

“Announce Promotion of Next Year Faculty.” Barnard Bulletin, 20 April 1928, p. 2, col. 4. The column announces the promotion of Moore to the position of Joline Professor of Music at Barnard College. The Joline endowment provides an endowed chair, a music scholarship, and funds for musical instruments given to the college. Moore will teach courses in music history and appreciation and develop student musical activities.

“Anti-Semitic Letters Are Traced by Art Institute Here to Member: Scurrilous Propaganda Is Laid by a Handwriting Expert to Well-Known Sculptor, Who Faces Expulsion.” New York Times, 7 May 1947, p. 29, cols. 6–7, and p. 34. Moore announces publicly the intended expulsion of the sculptor William Hunt Diederich from the National Institute of Arts and Letters on the grounds that he distributed anti-Semitic writings and at-

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tributed the origin of the documents to Institute members. This was done without the knowledge of the Institute’s council. Because this action was unprecedented, the Institute’s by-laws were amended to make such behavior grounds for expulsion.

Armes, Mary Beth. “Handel and Three Prima Donnas: Reciprocal Influences, a Lecture Recital Together with Two Recitals of Selected Works of W. A. Mozart, F. Schubert, H. Wolf, R. Strauss, G. Fauré, C. Debussy, D. Moore, and Others, and Opera Roles by Pleyel and Rossini.” D.M.A. diss., North Texas State University, 1974. “Arts Institute Hits Methods of House Inquiry: Two-Thirds of Members Say It Sets Up a Censorship, Ask Congress for Change.” New York Herald Tribune, 14 February 1948, p. 13, col. 1. The article reports on the same story as in the Times. See “Institute Splits on Thomas Attack.”

“Arts Institute Names Members.” Washington Post, 4 January 1948, sec. 5, p. 6, col. 6. As president of the National Institute of Arts and Letters, Moore names new members to the organization.

“Arts-Letters Institute Acts to Oust Sculptor as Anti-Semite: Propaganda Sent by Mail, Says Charge; William H. Diederich Used Society’s Name, President Reports.” New York WorldTelegram, 7 May 1947, p. 3, col. 1. As president of the National Institute of Arts and Letters, Moore issues a statement to the press concerning the expulsion of William Diederich from the Institute.

“ASCAP Move Draws Fire: Broadcasters Accuse Society of Using Music Educators as Screen.” Los Angeles Times, 17 December 1940, sec. 1, p. 22, col. 1. Moore is one of ten music educators who wrote to the FCC requesting the agency to intercede in the dispute between ASCAP and radio broadcasters over proposed ASCAP royalty increases. Moore writes that unless the ban on ASCAP compositions is resolved, the lack of ASCAP music on the air “will result in an incalculable blow to the musical development of the nation.”

“ASCAP Picks Directors: Ned Washington Replaces Late Gene Buck on Board.” New York Times, 27 March 1957, p. 28, col. 5. Moore is elected to replace A. Walter Kramer in the standard writer group on the ASCAP board of directors.

ASCAP Symphonic Catalog, 323. 3rd ed. New York: R. R. Bowker, 1977. The catalog lists twenty orchestral works by Moore. The listing notes instrumentation, timing, and publisher.

“ASCAP Truce Urged by 5000: Educators and Music Leaders Ask Federal Action in Radio War.” Los Angeles Times, 31 December 1940, sec. 1, p. 2, col. 5. In submitting five thousand petitions to the FCC to end the radio broadcasters’ boycott of ASCAP compositions, Moore asked the commission to take “such action as is necessary to end the existing stalemate with view to returning to the airwaves the vast store of contemporary music which has been boycotted by the major networks.” ASCAP continued to make its music available royalty-free to noncommercial entities.

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Asiado, Ted. “Douglas Moore Opera Carry Nation: Plot Synopsis and Character Description of English Historical Drama.” November 2008. http://opera.suite101.com/article.cfm/ douglas_moore_opera_carry_nation. Accessed 8 June 2009. This brief article provides the background for the opera followed by a list of the main characters and a plot summary.

“Assembly Promises Asthetic [sic] Pleasure.” Barnard Bulletin, 18 October 1929, p. 2, col. 4. Moore will lead the Barnard College assembly on 22 October in communal singing.

Aufdemberge, Leon Maurice. “An Analysis of the Dramatic Construction of American Operas on American Themes, 1896–1958.” Ph.D. diss., Northwestern University, 1965. The author examines sixteen operas, one of which is The Ballad of Baby Doe. Each opera is analyzed with respect to its place in American culture. There is a lengthy plot synopsis with commentary on the music, including musical examples from Moore’s opera on pp. 238–51. This is a dramatically successful opera because of the strong musical characterizations of the three protagonists, the setting of American English in idiomatic rhythmic patterns, and a highly effective final scene.

“Authors Honored by National Institute.” New York Times, 18 January 1950, p. 23, cols. 2–3. Moore is reelected president of the National Institute of Arts and Letters at its annual meeting on 17 January.

“Authors’ Programs for Book Fair Set: Many Noted Writers Are on the List of Series that Will Open on Nov. 5; ‘Books and Myself ’ Topic; Stark Young, Lin Yutang and Others on the First Program Sponsored by The Times.” New York Times, 25 October 1936, sec. 2, p. 1, col. 6. Moore is listed as one of the speakers for the “Music and Words” program at the New York Times National Book Fair on 6 November.

B., E. S. “Armchair Gossip.” Music Supervisors’ Journal 18, no. 5 (May 1932): 70. The article contains a paragraph reviewing Listening to Music. The reviewer considers the book to be “both pleasant and profitable . . . for both musicians and music lovers without reservation.”

“Bach Program Is Presented at Recital: Concert Renovated by Orchestra and Choir Is Well Received; Dittler Plays Solo before Large Audience.” Columbia Daily Spectator, 5 November 1931, p. 1, col. 3. The article reviews the Columbia Orchestra concert with Moore conducting in an all-Bach concert on 4 November.

Bagar, Robert. “Douglas Moore: ‘In Memoriam.’ ” In Robert Bagar and Louis Biancolli, The Concert Companion: A Comprehensive Guide to Symphonic Music, introduction by Deems Taylor, 453–54. New York: Wittlesey House; McGraw-Hill, 1947. This short essay was the program note for In Memoriam from the program for the New York Philharmonic performances of 11–12 January 1945. It begins with a quote by David Ewen about Moore’s compositional style. It then describes the form of the work, provides brief biographical information about Moore, and concludes with the quote by Moore expressing his musical ideals as an American composer from the 17 May 1931 New York Herald Tribune.

Bagnoli, Giorgio. The La Scala Encyclopedia of the Opera. Translated by Graham Fawcett, 38, 260. New York: Simon & Schuster, 1993. There is a short synopsis of The Ballad of Baby Doe and a brief biography of Moore.

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Baker’s Biographical Dictionary of Musicians, 756. 4th ed. New York: G. Schirmer, 1940. Basic biographical information is given with a list of Moore’s major works.

Baker’s Biographical Dictionary of Musicians, 756, 1269. 4th ed., revised and enlarged. New York: G. Schirmer, 1949. The book includes Nicolas Slonimsky, “Supplement 1949 to Baker’s Biographical Dictionary of Musicians,” 1224–98. Basic biographical information is given with a list of major works. The supplement updates the list of works through 1948.

Baker’s Biographical Dictionary of Musicians. Completely revised by Nicolas Slonimsky, 1110. 5th ed. New York: G. Schirmer, 1958. The article includes a selective list of works and bibliography of writings.

Baker’s Biographical Dictionary of Musicians. Edited by Nicolas Slonimsky, 92. 1965 supplement. New York: G. Schirmer, 1965. The supplement updates the entry in the 5th ed. of 1958. Moore’s citation notes his retirement from Columbia University and adds The Wings of the Dove to the list of works.

Baker’s Biographical Dictionary of Musicians. Completely revised by Nicolas Slonimsky, 1110, supp. 166. 5th ed. with 1971 supplement. New York and London: G. Schirmer, 1971. The text is identical to the 1958 publication. Moore’s death is cited, and two works are added to the list of compositions in the supplementary section.

Baker’s Biographical Dictionary of Musicians. Completely revised by Nicolas Slonimsky, 1181–82. 6th ed. New York: Schirmer Books; London: Collier Macmillan, 1978. This is slightly expanded from the previous edition. It includes a selective list of works and a bibliography of writings.

Baker’s Biographical Dictionary of Musicians. Edited by Nicolas Slonimsky, 1577–78. 7th ed. New York: Schirmer Books; London: Collier Macmillan, 1984. This is a brief biography that includes a selective list of works.

Baker’s Biographical Dictionary of Musicians. Revised by Nicolas Slonimsky, 1245. 8th ed. New York: Schirmer Books, 1992. This is a brief biography that includes selective lists of works and writings and a bibliography.

Baker’s Student Encyclopedia of Music. Compiled by Laura Kuhn, 2:1156–57. 3 vols. New York: Schirmer Books, 1999. This biography covers Moore’s musical education and mentions his operas and major orchestral works.

“The Ballad of Baby Doe.” http://en.wikipedia.org/wiki/The_Ballad_of_Baby_Doe. Accessed 21 December 2008. The article gives a brief history of the opera, notes the best- known arias, and provides a complete synopsis and a discography.

Bamberger, David. “Baby Doe: A Tale of Two Operas.” 1998. http://www.babydoe.org/pdfs/ twooperas.pdf. Accessed 22 August 2009. The author, the general director of the Cleveland Opera, sees The Ballad of Baby Doe as two operas: the factually accurate historical account of the Tabors, and an opera about the “meaning and nature of love

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and life.” He goes on to describe how the meaning of love can be brought out in different characters and scenes in the opera. This is critical in the last scene, where “the challenge is portraying an image of eternal love, of an eternity where, as Baby Doe says in her last words, ‘both are ever young.’ ”

*Bandel, Betty. “Theatre Play One of Finest: Tucson Group Produces Saroyan Drama in Best Form.” Arizona Daily Star, 20 March 1942. The author of this review of William Saroyan’s play The Time of Your Life says that the “greatest acting treat of the evening was provided by Douglas Moore, . . . who is wintering here and who made his Tucson debut as Joe, philosopher and barfly. Prof. Moore, . . . proved himself a first rate, imaginative actor, dominating the stage whenever his part called for such treatment, and making Joe lovable, kindly, intriguing.”

“Barnard Adds Department: Music Section Created under $110,000 Joline Bequest.” New York Times, 18 April 1928, p. 14, col. 3. This is an announcement of the establishment of a music department at Barnard College with Moore as head.

“Barnard Approves Communal Songs: ‘Sing for the Fun of It’ Keynote of Informal Assembly.” Barnard Bulletin, 25 October 1929, p. 1, col. 1. Moore leads three hundred Barnard College students in well-known songs with great success.

“Barnard Glee Club Accompanies Columbia in Joint Presentation of Spring Concert.” Barnard Bulletin, 18 May 1928, p. 1, cols. 2–3. Moore conducts the Columbia University Orchestra in a Scarlatti suite, Franck’s Variations symphonique, and Mendelssohn’s Symphony no. 4.

“Barnard Prepares for Greek Games: 400 Freshmen and Sophomores to Participate in Annual Festival on Saturday; Helios Is God of Pageant; Program of Athletics, Music, Poetry and Dancing Will Culminate in a Chariot Race.” New York Times, 6 April 1930, sec. 2, p. 3, cols. 1–2. The music for the pageant is written by two Barnard freshman students with help on the orchestration by Moore.

“Barnard Students Show Better Musical Taste than Columbia in Experiments at Assembly.” Barnard Bulletin, 4 May 1928, p. 1, cols. 2–3. At the assembly on 1 May, Moore repeats an experiment to measure musical taste by playing different versions of musical themes to the students, who indicate which theme they like the best. In a similar experiment the previous year, Barnard students, who have a better musical education, exhibited superior musical taste compared to their Columbia University counterparts.

“Barnard to Give Play: Faculty Production Friday and Saturday to Aid College Fund.” New York Times, 7 February 1937, sec. 2, p. 6, col. 7. A “Faculty Follies” will be presented by Barnard College as the culminating event of Alumnae Day at Brinkerhoff Theatre on 12 and 13 February, with Moore as one of the cast of thirty-five.

Barnett, Hinda. “Anatomy of Music.” Literary Supplement of the Barnard Bulletin, 18 March 1932, p. 2, col. 1. The article reviews Listening to Music and concludes that Moore succeeds where many other writers have failed by writing a book of value to both the musician and the knowledgeable layperson. The book

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helps the reader to understand the elements of music so that the listener can approach modern works and the standard repertoire. The chapter on design in music is particularly useful for study and enjoyment. The reviewer recommends the book highly.

Bartók, Béla. “233: To Douglas Moore, New York.” In Béla Bartók, Letters, collected, selected, edited, and annotated by János Demény, 300–301. Preface by Sir Michael Tippett. Translated into English by Péter Balabán and István Farkas. Translation revised by Elisabeth West and Colin Mason. New York: St. Martin’s Press, 1971. Columbia University acquired the Parry Collection of ethnomusicological recordings from Yugoslavia. Moore arranged for Bartók, newly arrived from Hungary, to receive a $3,000 stipend from the Ditson fund, which had to be renewed every six months, to work on the collection. In this letter of 18 April 1941, Bartók describes to Moore the nature and significance of the recordings in the collection and the amount of time that would be required to transcribe the most important materials in the collection. Also published: London: Faber & Faber, 1971.

———. “296: An Douglas Moore, New York.” In Béla Bartók Briefe, gesammelt, ausgewählt, erläutert und herausgegeben von János Demény, 2:168–70. German translation by Klára L. Brüll, Henning Pätzke, Mirza von Schüching, Erzsébet Székács, and Heribert Thierry. 2 vols. Budapest: Corvina, 1973. This is a German translation of the letter of 18 April 1941. See the English edition for annotation.

———. “À Douglas Moore, New York.” In Bartók: sa vie et son œuvre, edited by Bence Szabolcsi, 281–82. Budapest: Corvina, 1956. This is a French translation of the letter of 18 April 1941. See the English edition for annotation.

———. “À Douglas Moore, New York.” In Bartók: sa vie et son oeuvre, edited by Bence Szabolcsi, 263–64. 2nd ed. Budapest: Corvina; Paris: Boosey and Hawkes, 1968. This is a French translation of the letter of 18 April 1941. See the English edition for annotation.

———. “An Douglas Moore, New York.” In Béla Bartók: Weg und Werk, Schriften und Briefe, edited by Bence Szabolcsi, 297–98. Bonn: Boosey & Hawkes; Budapest: Corvina, 1957. This is a German translation of the letter of 18 April 1941. See the English edition for annotation.

———. “An Douglas Moore, New York.” In Béla Bartók: Weg und Werk, Schriften und Briefe, edited by Bence Szabolcsi, 292–93. Kassel: Bärenreiter; Munich: Deutscher Taschenbuch Verlag, 1972. This is a German translation of the letter of 18 April 1941. See the English edition for annotation. Reprinted from Budapest: Corvina, 1957.

———. Levelei. Edited by János Demény, 648, 656, 666, 668, 680, 688, 691. Budapest: Zenemukiadó, 1976. Seven letters to Moore appear here translated into Hungarian: 2 May 1940, 18 November 1940, 18 April 1941, 11 May 1941, 27 October 1941, 5 August 1942, and 5 March 1943.

———. Levelei: (az utolsó két év gyüjtése). Edited by János Demény, 150, 157–58, 167, 172, 175–76. Budapest: Mévelt Nép Könyvkiadó, 1951. Six letters to Moore appear here translated into Hungarian: 2 May 1940, 18 April 1941, 11 May 1941, 27 October 1941, 5 August 1942, and 5 March 1943.

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Basso, Alberto, ed. Dizionario enciclopedico universale della musica e dei musicisti: Le biografie, 5:181. 8 vols. and supplement. Turin: Unione Tipografico Editrice Torinese, 1988. Includes a list of works and writings and a short bibliography.

Beckett, Henry. “Columbia Honors Music Chairman.” New York Post, 18 May 1962, p. 74, cols. 1–2. The article reports on the concert honoring Moore before his retirement from Columbia.

Beeson, Jack. “Da Ponte, MacDowell, Moore, and Lang.” Columbia Magazine (Summer 2000): 26–35. A longtime associate of Moore writes a short biography of the composer in which he touches on standard facts and little-known aspects of Moore’s life. He believes that Moore’s choices of opera librettos make references to Moore’s private life, particularly to his wife’s long-term illnesses. He notes Moore’s personal characteristics of being both charming and tough by recounting his handling of the establishment of the Ditson Fund at Columbia and by declining to accept Rockefeller’s offer to move the Columbia Music Department to Lincoln Center. Also published in Living Legacies: Great Moments and Leading Figures in the History of Columbia University, Summer 2000, http://ccnmtl.columbia.edu/cu/ alumni/Magazine/Summer2000/Beeson.html; and in How Operas Are Created by Composers and Librettists: The Life of Jack Beeson, American Opera Composer, 146–56 (Lewiston, NY: Edwin Mellen Press, 2008).

———. “In Memoriam: Douglas Moore (1893–1969): An Appreciation, Written in a Country Churchyard.” Perspectives of New Music 8, no. 1 (Fall–Winter 1969): 158–60. An encomium to Moore that recounts a number of facts about his family background, early life, and career.

———. “Moore, Douglas Stuart.” In The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, 12:548. 20 vols. London: Macmillan; Washington, D.C.: Grove’s Dictionaries of Music, 1980. This biography of Moore covers his studies in New York and Paris and at Yale. This was followed by service in the Navy in World War I, after which he built a career in music, first at the Cleveland Museum of Art and finally as a professor at Columbia University, where he transformed the music department. He was a skilled administrator and led several societies to further the cause of American composers. His most well-known works, The Ballad of Baby Doe and The Devil and Daniel Webster, have entered the operatic repertoire.

Beeson, Jack, and H. Wiley Hitchcock. “Moore, Douglas S(tuart).” In The New Grove Dictionary of American Music, edited by H. Wiley Hitchcock and Stanley Sadie, 3:266–67. 4 vols. London: Macmillan; New York: Grove’s Dictionaries of Music, 1986. This is one of the longest published essays on Moore’s life and works. It discusses his early musical training, successful teaching career, and numerous honorary positions and awards. There is also discussion of his musical style and major works, focusing on the operas. A comprehensive list of works and a bibliography conclude the article.

Bell, Archie. “Shepherd Has ‘Fling’ at Concert: Sokoloff Sits in Loge and Applauds while Assistant Assumes Baton and Proves Self Thorough Musician.” Cleveland News, January 1923, p. 10, col. 1.

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The article reviews the 31 December concert by the Cleveland Orchestra, in which Moore played Handel’s Largo on the organ. The performance was so well received that the audience demanded it be repeated.

Benét, Stephen Vincent. “Daniel Webster and One.” New York Times, 14 May 1939, sec. 11, p. 1, cols. 6–7. The librettist describes his conception of the character Daniel Webster. He tried to capture the legendary Webster rather than create an absolutely historically accurate depiction. He also discusses the type of drama he and Moore tried to write: it isn’t “a dress-shirt opera and we don’t mean it to be. Throughout, in both verse and music, we have tried to stick to the rhythms and the salty character of American speech. The people are New England people—the devil is an American devil, and admits it. We have tried to keep away from the pretentious, the over-operatic and the aria delivered straight in the audience’s teeth.”

———. “Words and Music.” Saturday Review of Literature 20, no. 4 (20 May 1939): 10. The librettist of The Devil and Daniel Webster discusses the process of adapting his short story into an opera libretto. A woman’s role needed to be created, so references to Jabez Stone’s children were eliminated and the story begins with the wedding of Jabez and Mary, which also provides an opportunity for a chorus. The other major alteration was the addition of Daniel Webster’s speech to the jury. In the short story Benét deliberately avoids writing the actual speech, but a stage adaptation requires lines for the actor if there is to be a trial scene. Benét and Moore wanted to incorporate idiomatic speech into the opera and to avoid any pretentiousness through over-dramatization of simple lines. To do so, they decided to experiment with a combination of sung and spoken passages. The most striking aspect of this is in Webster’s speech, which is spoken over music.

Bernheimer, Martin. “S.F. Spring Opera Debut: Drab Fare and Public Protest.” Los Angeles Times, 26 May 1966, sec. 4, p. 16, cols. 1–3. Protesters at the San Francisco Opera complain that only conservative modern works are selected for production, such as The Turn of the Screw and Carry Nation, which one protest sign called Contrary Nation.

Bethea, Sara Kathryn. “Opera for Children: An Analysis of Selected Works.” Ph.D. diss., University of Kansas, 1971. The author identifies the purposes of the dissertation as “(1) to provide a survey of opera activity for children in the United States, including major opera education programs, and (2) to provide a descriptive musical and dramatic analysis of a number of significant operas for children. These will be analyzed in terms of orchestration, treatment of aria, vocal ensembles, and chorus, harmonic complexity, vocal requirements, type of story, length, complexity of character, and difficulties of production” (v). The Emperor’s New Clothes is one of the operas examined (chapter 8, 205–20).

Beveridge, Lowell P. “Reviewer Commends Concert of Orchestra at M’Millin.” Columbia Daily Spectator, 20 March 1931, p. 1, cols. 3–4. Moore receives a rave review as the conductor of the Columbia University Orchestra on 19 March in a concert consisting of Brahms’s Symphony no. 3, Saint-Saëns’s Violin Concerto no. 3, and Wagner’s Overture to Die Meistersinger.

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“Beverly Sills to Appear in Filmed Opera.” Los Angeles Times, 8 August 1970, sec. 2, p. 9, col. 1. The film rights for The Ballad of Baby Doe have been acquired by Eric Winter of Winter-Atlas Productions and Oceana Films. The work, starring Beverly Sills, will be filmed on location in Leadville, Central City, Denver, and Washington, D.C., with a budget between $4 million and $5 million.

Biancolli, Louis. “Columbia Sponsors a Dust Bowl Opera.” New York World Telegram, 6 May 1943, sec. 2, p. 15, cols. 1–2. Moore acted the part of a minister in Ernst Bacon’s Tree on the Plains : “Douglas Moore . . . stepped out of academic character for a blustering bit of comedy as the Reverend.”

———. “ ‘Giants in the Earth’ Ranks as Revolt-by-Conservatism.” New York World-Telegram, 23 May 1951, p. 34, cols. 2–3. The writer notes that the work is being considered for a Pulitzer Prize and that recent critics of the award have noted that the prize goes to conservative works. He does not believe that such a criticism is valid.

Bingham, Seth. “Bingham Criticizes Orchestra Concert: Says Program Showed Interest and Variety; Enthusiasm on Campus Augmented.” Columbia Daily Spectator, 12 May 1930, p. 1, col. 4, and p. 4. In this positive review of a concert by three Columbia University musical groups, the performance of Moore conducting the orchestra in the finale of act 1 from Parsifal is described.

Bisbee, Dana. “Social Scene: Faithful Doeheads Sing the Praises of ‘Ballad.’ ” Boston Herald, 18 January 1998, sec. A, p. 76, cols. 1–5. There is a group of about fifteen people, dubbed DoeHEADS (compare to Deadheads), who faithfully attend every performance of The Ballad of Baby Doe whenever it is performed. This week they appeared for the Boston Lyric Opera’s performance. The members of this group know the opera and all of the facts connected with it so well that one of their number, Derek Mills, even gave the pre-performance lecture. A photograph of Elisabeth Comeaux (Baby Doe) and Josepha Gayer (Augusta) accompanies the article.

Bloom, Julius, ed. The Year in American Music, 1946–1947, 42–45, 155–56, 159–64. New York: Allen, Towne & Heath, 1947. Significant events in American music are recounted in chronological order. The following entries have information concerning Moore. For 5 October: Four musicians from the Soviet Union who were touring in the United States were ordered by the State Department to register as foreign agents. Moore, along with Koussevitzky, Howard Hanson, and Copland, wrote a letter to the attorney general, the secretary of state, and the president protesting this action. The entire letter is reprinted here. For 16 January: The American premiere of the Symphony in A Major with the Los Angeles Philharmonic. For 25 January: Moore’s article “The Cause of Native Music,” published in the Saturday Review of Literature, is reprinted here in its entirety. Olin Downes’s response to it in the New York Times on 2 February is also examined, along with comments from other readers of the Times.

Bordman, Gerald. The Oxford Companion to American Theatre, 198. New York: Oxford University Press, 1984. The book contains a short synopsis of The Devil and Daniel Webster.

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Bordman, Gerald, and Thomas S. Hischak. The Oxford Companion to American Theatre, 177. 3rd ed. New York: Oxford University Press, 2004. The previous entry is repeated in this edition.

“Book Notes.” New York Times, 17 May 1932, p. 19, col. 8. The paragraph notes the publication of Moore’s music appreciation book, Listening to Music, based on his class lectures at Columbia.

“The Bookshelf of a Workingman: Songs My Mother Never Taught Me.” Weekly People, 14 December 1929, p. 4, cols. 5–6. The review of this collection comments on the ribald nature of the songs and gives examples of some of the texts.

Britten, Benjamin. “321: To Douglas Moore.” In Letters from a Life: The Selected Letters and Diaries of Benjamin Britten, 1913–1976, edited by Donald Mitchell, 2:946–48. 2 vols. Berkeley: University of California Press, 1991. This letter by Britten, dated 24 June 1941, from Escondido, California, is written to Moore as director of the Ditson Fund. Moore was prepared to write a recommendation for Britten to be the head of the music department of the University of New Mexico. Britten politely declines in favor of being a freelance composer, because he did not want to be burdened with administrative responsibilities which would prevent his composing full-time. He also thanks Moore for all the help he gave in producing the premiere of Paul Bunyan at Columbia University, which Britten is revising thoroughly.

Broder, Nathan. “Moore, Douglas Stuart, *10. Aug. 1893 in Cutchogue (New York).” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, edited by Friedrich Blume and translated by Ellen Hickmann, vol. 9, cols. 544–46. 17 vols. Kassel and New York: Bärenreiter, 1961. Citation updated in 1979 by Otto Luening in vol. 16 (cols. 1287–88). A short biography and comment on his musical style with a complete list of works and short bibliography.

Brown, Ray C. “Critic Regrets Rampant Hunger for Personalities: Douglas Moore Discusses the Odd Orchestral Situation in This Country Precipitated by Retirement of Arturo Toscanini at New York.” Washington Post, 14 June 1936, sec. 7, p. 3, cols. 1–2. Brown provides generous quotations from the article in the American Scholar, “Imported Virtuosi for America’s Music,” by Moore. He completely agrees with Moore’s thesis and urges his readers to take more interest in the music played at concerts than in celebrity performers. He argues that listeners should be more curious about new compositions and older compositions that are rarely played rather than content to hear a limited standard repertoire.

Brown, Ray C. B. “ ‘More Abundant Life’ Held Need of Music: Stagnancy in ‘Our Lyric Theater [sic]’ Cited by Writer; Stifling of Curiosity Called One Reason for Contemporary Inertia.” Washington Post, 8 December 1940, sec. 6, p. 6, cols. 1–2. The author quotes extensively from Moore’s article “Our Lyric Theatre,” which appeared in Modern Music. Moore points out that American opera companies primarily produce the same repertoire over and over again, in contrast to American theater, which emphasizes the works of living playwrights. Brown comments further by saying that the situation is true not only of American opera, but of all of American musical life.

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Brozen, Michael. “Douglas Moore: The Good Life.” Musical America 83, no. 8 (August 1963): 26. In this interview with Moore at his ancestral home in July just before his seventieth birthday, he talks about his plans for future work. At the time he was revising Giants in the Earth for republication, because it was poorly received by the critics and the public after only one performance, despite its having won a Pulitzer Prize. Moore feels that audiences need to give opera more of a chance and a hearing. He blames the libretto as a frequent cause for the failure of an opera and is apprehensive about finding a suitable libretto for the University of Kansas 1966 centennial, for which he has received an opera commission. Now that he is retired at seventy, he is eager to devote himself full-time to composing.

Burton, Anthony. “Moore, Douglas S(tuart).” In The Oxford Companion to Music, edited by Alison Latham, 795. New York: Oxford University Press, 2002. The entry is a brief biography with an entry for The Ballad of Baby Doe (89).

Butterworth, Neil. Dictionary of American Classical Composers, 313–14. 2nd ed. New York; London: Routledge, 2005. Following a brief biography, the article discusses Moore’s works, with emphasis on the operas.

———. A Dictionary of American Composers, 327–29. Garland Reference Library of the Humanities, 296. New York: Garland, 1984. This article discusses the music of Moore and emphasizes his contribution to American opera. Major works for orchestra, chorus, and chamber music are treated briefly.

Buzin, Walter E. “Review of Listening to Music, Rev. Ed., by Douglas Moore.” Response: in Worship, Music, the Arts 5, no. 2 (1963): 95. The reviewer briefly cites Moore’s achievements in music. He notes that the book was first published in the 1930s and is still used as a popular text for music appreciation courses.

“Campus and Conservatory: Moore, Hanson Announce Retirements.” Music Magazine 164, no. 6 (July 1962): 62. Moore’s retirement on 30 June from Columbia University is announced. However, he continues to be active as a composer—he is working on his seventh opera, Carry Nation—and as president of the American Academy of Arts and Letters. He is also quoted on his views about current trends in music.

“ ‘Carry’ His Seventh Opera: Moore’s Works Acclaimed.” Wichita Sunday Eagle and the Wichita Beacon, 20 February 1966, sec. B, p. 1, cols. 4–6. The article introduces readers to Moore’s many accomplishments in the field of opera, especially The Ballad of Baby Doe. There is also mention of his instrumental works and a photograph of him with the score of Carry Nation.

Cassidy, Claudia. “Public Given Fine Crop of Music Books.” Chicago Daily Tribune, 6 December 1942, sec. 4, p. 11, col. 2. Moore’s From Madrigal to Modern Music is cited as one of the best technical books recently published on music in a list compiled by Scott Goldthwaite.

Chapman, John. “Last Work by Latouche: ‘Ballad of Baby Doe,’ a History, May Be Librettist’s Monument.” New York News, 19 August 1956, sec. 2, p. 3, col. 1. The article reports the death of John Latouche and recounts the plot of the opera and its historical basis.

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———. “Mining Opera by Latouche Is His Monument.” Chicago Daily Tribune, 19 August 1956, sec. 7 (NW), p. 10, col. 4. The author notes the untimely death of John Latouche shortly after he finished making changes to The Ballad of Baby Doe. The producer Michael Myerberg feels that the work is a suitable monument to Latouche and plans to schedule a performance of the opera on Broadway as soon as a theater can be found. The remainder of the article is a synopsis of the plot.

Chase, Gilbert. “In the American Folk Vein.” In America’s Music: From the Pilgrims to the Present, 640–42. New York: McGraw-Hill, 1955. This section is primarily about The Devil and Daniel Webster and includes a synopsis of the plot. The opera’s style is compared to opéra comique because of the alternation of sung and spoken dialogue. It also makes use of melodrama, spoken text accompanied by orchestra. Its effectiveness has earned it a number of performances. Moore’s other operas, The Headless Horseman, White Wings, and Giants in the Earth, are also mentioned.

———. “In the American Vein.” In America’s Music: From the Pilgrims to the Present, 645–46. Revised 2nd ed. New York: McGraw-Hill, 1966. Moore and George Gershwin broke with operatic tradition by choosing American themes for their operas. The Devil and Daniel Webster was Moore’s first significant attempt in this direction using an opéra comique technique of spoken dialogue interspersed with set numbers. His later works follow the lyric opera model while maintaining the American subject matter and American-sounding music, especially in The Ballad of Baby Doe.

“Choruses and Courses.” New York Times, 20 September 1936, sec. 9, p. 7, cols. 5–6. Moore is listed as one of the speakers in the Richard Wagner Society’s summer series of lecture-recitals.

“Civic Art Centre Planned by Mayor: Committee of 118 Named in What Is Held Initial Step in His Program; Group to ‘Stimulate’ Idea; La Guardia Is Against Artists on Relief Rolls; Favors ‘Formal’ Work for Them.” New York Times, 7 January 1935, p. 1, col. 4; p. 2, col. 3. Moore is listed as one of the 118 members of the Municipal Art Committee named by the mayor of New York to establish a municipal art center and conservatory.

Cohn, Arthur. “Douglas Moore (1893–1969).” In Recorded Classical Music: A Critical Guide to Compositions and Performances, 1220–22. New York: Schirmer Books; London: Collier Macmillan, 1981. Recordings of Moore’s compositions are selected and described briefly, including Farm Journal; In Memoriam; The Pageant of P. T. Barnum; Symphony in A major; Cotillion Suite; the Quintet for Clarinet and Strings; “Come Away, Death”; “Death, Be Not Proud”; and The Devil and Daniel Webster.

———. The Literature of Chamber Music, 3:1916–17. 4 vols. Chapel Hill, NC: Hinshaw Music, 1997. Five of Moore’s chamber works are described: the Down East Suite, the Piano Trio, the String Quartet, the Clarinet Quintet, and the Wind Quintet.

“College Opens Formally at Assembly: Dean Welcomes Entire Student Body.” Barnard Bulletin, 5 October 1928, p. 1, col. 4, and p. 3. Dean Gildersleeve welcomes Moore as one of the new professors at Barnard College. Moore announces the formation of a Chamber of Music Society for those wishing to play instrumental music.

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“College Orchestra Heard: Columbia Students and Faculty Group Has Mrs. MacLeish as Soloist.” New York Times, 12 December 1930, p. 38, col. 1. The article reports on the concert of the Columbia University Orchestra conducted by Moore on 11 December. The concert included works by Beethoven, Schubert, and Liszt. Ada MacLeish sang arias from Le nozze di Figaro and Carmen.

“Columbia Opens Its New Library: Buchan Outlines Role for Colleges: Ceremony Held in 1,000-Seat Reading Room of Structure Donated by Harkness; Briton Praises Fostering of Modesty in Politics and Learning.” New York Times, 1 December 1934, p. 15, cols. 3–4. The Columbia University Orchestra conducted by Moore plays at the opening of Columbia’s new library.

“Columbia Orchestra Gives Final Concert: Barnard and Columbia Glee Clubs Assist in Program.” Barnard Bulletin, 14 May 1929, p. 1, col. 4. Moore conducts two pieces by the Columbia Orchestra: the Overture to Mozart’s Marriage of Figaro and the Air from Gluck’s Orfeo.

“Columbia Orchestra Gives Fine Concert: Barnard Students for First Time Are Members of University Ensemble Group.” Barnard Bulletin, 16 December 1930, p. 1, col. 2, and p. 2. The article reviews the orchestra concert conducted by Moore that included Schubert’s Symphony no. 7, Liszt’s Orpheus, Beethoven’s Overture to Egmont, and arias from Mozart’s The Marriage of Figaro and Bizet’s Carmen. The concert started out somewhat sluggishly but improved once the orchestra warmed up.

“Columbia Reports Faculty Changes: Dr. Butler Announces 67 New Appointments and Promotions on Teaching Staff; All Are Effective July 1; Dr. Alfred Owre of University of Minnesota Becomes Dean of Dental School.” New York Times, 28 April 1927, p. 14, cols. 7–8. Moore is promoted to assistant professor of music.

“Columbia to Mark Library’s Opening: John Buchan, English Author to Speak at Formal Exercises Friday Afternoon.” New York Times, 25 November 1934, sec. 2, p. 3, col. 4. The Columbia University Orchestra conducted by Moore will play a musical program for the opening of the new Columbia University library.

“Columbia’s Contemporary Music Festival Will Be Given on Disks Instead of ‘Live.’ ” New York Times, 5 February 1951, p. 18, col. 5. Instead of sponsoring concerts, the Contemporary Music Festival at Columbia University will issue one thousand recordings comprising works selected from the six previous festivals. National distribution will follow through a recording company to be created. It is felt that the money for the festival, contributed by the Alice M. Ditson Fund, would be more effective in the dissemination of new works through the medium of recordings.

“Competition Banned From G.G. Entrance: Committees Plan Processional to Replace Complex Stories.” Barnard Bulletin, 17 December 1929, p. 1, col. 3. Moore will compose the dance music for the Barnard Greek Games this year instead of the music being composed by students. This will allow more time for the dancers to learn the pieces.

“Composer Douglas Moore Got Start as Undergraduate at Yale: Has Received Wide Recognition for Operatic Works.” New Haven Register, 12 November 1961, p. 24, cols. 1–6.

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Moore visits Yale as an Arts and Letters Fellow of Timothy Dwight College, where he spends a week engaged with students and faculty. The article gives a good biographical account from his time at Yale through his appointment at Columbia. He talks about being a conservative composer, his lack of feeling for jazz, and his compositions, ranging from The Pageant of P. T. Barnum to his later works.

“Composer Joins Board of American Academy.” New York Times, 12 December 1952, p. 31, col. 7. Moore is elected to the board of directors of the American Academy of Arts and Letters. A portrait accompanies the article.

“Composer Sees an Oasis in Our ‘Cultural Desert.’ ” Wichita Eagle, 23 April 1966, sec. B, p. 1, cols. 3–5. At a lunch at Wichita State University, Moore talked informally to musicians, composers, and educators about music and opera. He does not see the Midwest as a cultural desert at all. Opera will succeed in the United States when there are more resident opera companies. There is a photograph of Moore with a Wichita State University professor, the singer John Reardon, and the conductor Robert Baustian.

“Composer Urges Opera in English: Moore Bids Orchestras Lift Medium’s Image in U.S.” New York Times, 23 June 1962, p. 14, cols. 5–8. Moore advocates productions of opera in the United States in English and more emphasis on acting and drama in an address before the American Symphony Orchestra League on 22 June in Chicago. He argues that America will never be a musical nation until it has a native opera, and that opera needs to grow in every city in the same way that symphony orchestras have done. He urges the conductors to collaborate with local college and university opera workshops to present American operas as part of their concert season.

“Composer Will Head U.S. Arts Academy.” Los Angeles Times, 6 December 1959, p. 18, cols. 4–5. Moore is elected president of the American Academy of Arts and Letters for 1960.

“Composers Theatre Proposed by League: Movement Would Follow the Musical Trend of Stage.” New York Times, 5 January 1941, p. 44, col. 2. Moore proposes a “Composers Theatre” at a meeting of the National Committee of the League of Composers at their first national convention on 4 January. Musicians are encouraged to submit outlines of stage works, the best of which will receive commissions for composition and production. The productions will take place at colleges, conservatories, and small theaters. It is hoped that this program will lead to productions by professional opera companies and that other commissioning and producing agencies would join in the effort. An executive board composed of Elliott Carter, Henry Cowell, Darius Milhaud, and Walter Piston was elected to oversee the program.

“The Composers Unite: Protective Society Formed to Improve Status of Music Creators.” New York Times, 4 June 1933, sec. 9, p. 5, cols. 3–4. Moore is one of the composers who signed this manifesto for American composers to be accorded more respect by musicians and by American society as a whole. The article outlines the position of the signers and lists the goals of the Composers Protective Society.

“Composers vs. the Assembly Line.” Newsweek, 27 January 1947, 86. The article summarizes the points Moore made as the author of the guest editorial in the 25 January 1947 issue of the Saturday Review of Literature. At a 26 December 1946 meeting of the Composers-Authors

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Guild, President Truman said that the advancement of American music was a patriotic duty that could happen only if there were opportunities to hear it. Moore agrees but does not know if much will result from the president’s statement because of the overriding interests of American business. Concerts and record production are dependent upon sales, and American music does not sell in a large enough quantity. American works are relegated to late-evening radio. Orchestras are mainly conducted by foreign musicians, and opera and symphony orchestra repertoires still rely on the traditional and familiar.

“Concert April 16 for Armed Forces: Midshipmen’s Choir, Schola Cantorum to Appear Here in Benefit for Master Records.” New York Times, 2 March 1945, p. 23, col. 8. A reception at the residence of the Marquis Pateras Pescara is to be held on 5 March to plan a benefit concert on 16 April performed by the Choir of the Midshipmen’s School, the Schola Cantorum of Columbia University, and members of the New York Philharmonic. The concert will benefit Armed Forces Master Records, which sends recordings of symphonic music to military bases. Moore is one of the guests invited to the reception.

“Concert at Columbia Tonight.” New York Times, 8 May 1930, p. 25, col. 2. Moore will conduct the Columbia Symphony Orchestra on 8 May in music from Parsifal.

“Concert by Columbia’s Orchestra.” New York Times, 1 December 1926, p. 24, col. 3. The article records the 30 November performance of the Columbia University Orchestra conducted by Moore.

“Conrad Richter Wins Pulitzer Prize for His Novel, ‘The Town.’ ” Chicago Daily Tribune, 8 May 1951, sec. 1, p. 8, col. 2. Moore is named the winner of the Pulitzer Prize for music with the opera Giants in the Earth.

“Constance Jennings Names Attendants: Marriage to Albert H. Ely Jr. at Cold Spring Harbor Next Saturday.” New York Times, 21 September 1927, p. 32, col. 6. Moore is one of the ushers at this wedding on Long Island.

“Contemporary American Composers: 77 Composers of Special Significance to Directors and Teachers of School Instrumental Music.” Instrumentalist 12, no. 11 (August 1958): 37–38. The article contains a one-paragraph biography.

“Contemporary U.S. Composer: Moore Says, ‘If Opera Is to Be Popular, then It Must Be in Our Own Language.’ ” Palo Alto Times, 23 May 1957, p. 13, cols. 1–3. Moore’s comments concerning opera are summarized in this article. Opera should be presented in the language of the audience. He criticizes the Metropolitan Opera for not presenting American works or works in English. He notes that Purcell’s operas were not part of the musical mainstream in England during his time either. He talks about the kinds of singers needed for opera, and how it could be popular in our time.

“Copland and Bloch Win Music Honors: Critics [sic] Circle Names Works by Them as Best Played Here for First Time.” New York Times, 6 June 1947, p. 26, cols. 2–4. Moore’s Symphony in A Major was awarded an honorable mention in the orchestral category of works premiered in the 1946–47 season by the New York Music Critics’ Circle. The circle also named Moore’s String Quartet no. 1 as one of the works deserving a place in the chamber music repertoire.

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Copland, Aaron. “America’s Young Men of Promise.” Modern Music 3, no. 3 (March–April 1926): 14, 18. Copland selects seventeen young American composers whose work he believes shows evidence of their becoming significant composers. He knows only Moore’s orchestral works, Museum Pieces and The Pageant of P. T. Barnum, from reports of others who say they “contain pages of rare humor.”

———. “Our Younger Generation: Ten Years Later.” Modern Music 13, no. 4 (May–June 1936): 3–4, 6. In an earlier article, Copland selected seventeen young composers of promise. After ten years he revisits the topic and assesses their careers. He places Moore in the category of those composers “who have continued to compose along the same lines in a steady, unwavering fashion” (4). Copland notes that Moore has a predilection for American subject matter, but his pieces are too infrequently played for anyone to know much about them.

“Credit to Be Given Practical Work in Music.” Barnard Bulletin, 11 October 1929, p. 1, cols. 2–3. Moore announces that academic credit will be given for participation in the Barnard College Glee Club and other College musical organizations. He also urges students to take a second course in the history or study of music.

Cross, Milton. “The Ballad of Baby Doe by Douglas Moore.” In Milton Cross and Karl Kohrs, More Stories of the Great Operas, 38–50. Garden City, NY: Doubleday, 1971. The article lists all of the characters of the opera with their vocal ranges and provides an extensive synopsis of the opera.

———. “The Ballad of Baby Doe.” In Milton Cross and Karl Kohrs, The New Milton Cross’ More Stories of the Great Operas, 59–70. Revised and expanded ed. Garden City, NY: Doubleday, 1980. Reprinted from the 1971 edition cited above.

“Current Music News.” Chicago Tribune, 3 July 1938, sec. 7, p. 3, col. 2. The publication of Moore’s String Quartet by the Society for the Publication of American Music is announced.

“The Current Week.” New York Times, 6 February 1927, sec. 2, p. 9, cols. 5–8. The calendar listing announces Moore’s lecture, “Musical Story,” at the Metropolitan Museum of Art on 12 February.

“Cutchogue Turns Out to Honor Its Opera Composer.” New York Herald Tribune, 13 July 1964, p. 14, col. 4. Moore discussed opera, played some of his works, and was honored with a reception on the town green on 11 July.

Daniel, Beverly. “Reasons People Like Opera Given by Composer in Lecture at WWSC.” Bellingham Herald, 9 April 1965, p. 2, cols. 3–5. The article reports on Moore’s lecture at Western Washington State College on “America and Opera.” He gave five reasons why people like opera and then expounded on those reasons.

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“Dates and Places.” Opera News, 20 October 1962, 7. The article announces Moore’s retirement from Columbia University in June 1962.

Davis, Peter. “Listening to Music by Douglas Moore.” Music Journal 21, no. 8 (November 1963): 64. A review of the 1963 paperback edition published by W. W. Norton describes the main features of the book and recommends it to the novice musical amateur and experienced listener alike. The book is a clear course in music appreciation with few aesthetic biases. Because the book was first published in 1932, it could have benefited from updating so that the listener would not have to approach newer works by Schoenberg, Stravinsky, and Bartók from a perspective totally different from that used for older works.

Davis, Peter G. “A Composers Label that Survived: Composers Recordings.” New York Times, 25 February 1979, sec. 2, p. 21, cols. 1–3, and p. 28. The article gives an account of the history of Composers Recordings, Inc. (CRI), a recording label Moore helped to found with Otto Luening and Oliver Daniel in 1954 with money from an earlier recording venture with the American Recording Society and seed money from the American Composers Alliance.

“Deaths: Moore.” New York Times, 2 December 1933, p. 13, cols. 6–8. This is a short obituary for Moore’s mother, Myra Moore, who died in Santa Barbara on 1 December.

“Deaths.” Los Angeles Times, 2 December 1933, p. 12, col. 5. This is a short obituary for Moore’s mother, Myra Moore, who died in Santa Barbara on December 1.

“Deaths.” Los Angeles Times, 3 December 1933, sec. 1, p. 24, col. 3. This is a short obituary for Moore’s mother, Myra Moore, who died in Santa Barbara on December 1.

“Deaths: Moore, Douglas S.” New York Times, 27 July 1969, sec. 1, p. 65, col. 5. This is a standard obituary naming survivors. The funeral is to be held at the Cutchogue Presbyterian Church on 28 July, with interment at the Cutchogue Cemetery and contributions to be made to the Nature Conservancy, North Fork Committee.

De Chaine, Faber B. “Courageous Moments: A Rare Tradition.” Chapter 7 of “Colorado Mountain Theatre: A History of Theatrical Festivals at Central City, Colorado from 1932– 1960,” 288–305. Ph.D. diss., University of Minnesota, 1963. This chapter from a dissertation on the history of the festivals at the Central City Opera deals with two works premiered at the opera house, of which The Ballad of Baby Doe was the first. The author begins with a history of the Tabor family and compares this to the historical accuracy of the Moore opera by giving a synopsis of the plot. Archival documents from the Opera Association are used to recount the history of the commissioning and premiere of the opera, including the canceling of the contract with Moore and Paul Green and Moore’s brilliant move to secure funding from the Koussevitzky Foundation, which saved the project. The chapter concludes with a discussion of the critical reception of the opera in Central City and New York, with numerous quotes from reviews.

Deaver, Robert. “Ballad of Baby Doe.” In Opera Plots Made Easy: What’s Really Going On at the Opera!, 7. New York: Deaver, 1984. The entry is a three-paragraph synopsis of the plot of the opera.

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———. “Ballad of Baby Doe.” In Opera Plots Made Easy: Pocket Dictionary of Opera Plots, 7. Revised ed. New York: Deaver, 1991. A three-paragraph synopsis of the plot of the opera that does not differ from the one in the first edition.

Deimler, Kathryn George. “Quartal Harmony: An Analysis of Twelve Piano Compositions by Twentieth Century Composers.” Ph.D. diss., New York University, 1981. The study selects and analyzes twelve piano pieces that are composed completely of quartal harmonies. The analysis of Moore’s Prelude (1957) is found on 200–205, and the work is reproduced entirely on 206–7. The Prelude is a simple work of two-voice counterpoint, with a single melodic line in each hand. The melodies are composed almost entirely of perfect fourths, and the overriding tonality is F. The analysis centers on harmony but also comments on rhythm, tempo, and dynamics.

“Denatured Tap Day Comes to Old Yale: Inside Fenced Inclosure [sic] Historic Ceremony Is Carried Out while Few Look On; Old Oak Put in Crepe; Senior Societies Pick Most of Their New Members from Men Nominated by Their Classmates.” New York Times, 15 May 1914, p. 15, col. 3. Moore is tapped for membership in Yale’s senior society, Wolf ’s Head.

Dennis, Charles M. Review of From Madrigal to Modern Music. Music Educators’ Journal 28, no. 6 (May–June 1942): 40. The purpose of this book is to prepare listeners with little technical knowledge of music to be able to understand music of different time periods and styles. The reviewer points out that there is little discussion of music before 1600, but considerable emphasis on modern works and modern American works in particular. Overall, the focus is on music that the listener is likely to encounter in the concert hall and on recordings.

“Departmental Survey Yields Further Facts: History, Italian, Math, and Music Departments Are Reviewed.” Barnard Bulletin, 13 December 1929, p. 3, cols. 1–2. Moore cites several improvements in the music program, including offering academic credit for participation in choral and instrumental ensembles for the first time, initiating community singing, and introducing graduate courses in the physics of sound and in aesthetics. Moore also encourages the use of the music library, which has a phonograph available for use.

Dickinson, G. S. “Epochs of Music.” Saturday Review 25, no. 15 (11 April 1942): 30. The distinguished reviewer of From Madrigal to Modern Music says that the book is “a textbook of marked distinction” and “a stimulating, genial companion and guide” for the musical amateur. Moore has assembled for the reader “a planned array of essentials such as he could never find and arrange for himself ” in a clear, accurate, but nontechnical writing style. The only suggestions for improvement are to define the terms “classic” and “romantic” more fully and to correct the unintended implication that there is a separation between musical form and content.

Dickinson, Peter. “Douglas S. Moore.” In The Viking Opera Guide, edited by Amanda Holden with Nicholas Kenyon and Stephen Walsh, 683. 1st ed. London; New York: Viking, 1993. The book includes a list of operas.

“Dinner at Plaza Arranged in Aid of Arts Retreat: MacDowell Colony to Gain Funds from Nov. 16 Event.” New York Times, 6 November 1966, sec. 1, p. 92, col. 4. Moore is a member of the committee for a dinner to benefit the MacDowell Colony.

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“Distinction under Fire.” Time, 14 May 1951, 51. The article lists the Pulitzer Prize winners for 1951, including Moore for Giants in the Earth.

“Douglas Moore.” http://en.wikipedia.org/wiki/Douglas_Moore. Accessed 9 December 2008. This typical encyclopedia article contains a brief biography of the composer. The section on his music notes the strong influences of his teacher Vincent d’Indy, American folk music, and, at times, jazz and blues. His music is sometimes compared to that of Virgil Thomson and Aaron Copland. There is also a selected list of works and links to related Web sites.

“Douglas Moore.” January 2009. http://www.usopera.com/composers/moore.html. Accessed 8 June 2009. This Web page gives a very brief description of Moore as a composer, a list of his operas, a brief current bibliography of his musical scores, and a discography.

“Douglas Moore, a Clevelander?” Opera Cleveland 16, no. 3 (Spring 1992): iv. The article establishes the connection between Moore and Cleveland through his position as curator of musical arts with the Cleveland Museum of Art from 1921 to 1925. However, he is best-known as the composer of The Ballad of Baby Doe.

“Douglas Moore, Composer, Dead: Wrote ‘Ballad of Baby Doe’: At Columbia 36 Years.” New York Times, 28 July 1969, p. 31, cols. 3–4, 8. This is an extensive obituary.

“Douglas Moore Elected Arts Academy Director.” New York Herald Tribune, 12 December 1952, p. 9, col. 2. The article announces the election of Moore as director of the American Academy of Arts and Letters. A photograph of Moore accompanies the article.

“Douglas Moore Gets Award.” New York Times, 20 May 1960, p. 27, col. 5. Moore is awarded the Henry Hadley Medal by the National Association for American Composers and Conductors for the composition of The Ballad of Baby Doe and for his influence as a teacher.

“Douglas Moore Honored: His Quartet Will Be Published by American Music Society.” New York Times, 18 June 1938, p. 18, col. 1. The article announces the publication of the String Quartet (1933) by the Society for the Publication of American Music.

“Douglas Moore Reception.” ASCAP News (June 1962): p. 1 of insert. In the Symphony & Concert Activities insert of the newsletter, the article describes a reception for Moore in honor of his retirement from Columbia. There is a photograph of Moore with Deems Taylor and Morton Gould.

“Douglas Moore Wins American Academy Honor.” Musical America 73, no. 1 (1 January 1953): 22. This is an announcement of Moore’s election as president of the American Academy of Arts and Letters.

“Douglas Moore Wins Pulitzer Prize.” Musical America 71, no. 9 (July 1951): 23. The article is an announcement of the awarding of the Pulitzer Prize to Moore for Giants in the Earth.

“Douglas S. Moore: Folk-Bard in Tails.” Columbia Alumni News 42, no. 3 (February 1951): 18. In anticipation of the premiere of Giants in the Earth by the Columbia Opera Workshop, the article describes Moore’s early life and the influences that led him to write operas and other music on American

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themes. There is an account of his two meetings with Vachel Lindsay, which were pivotal in his incorporation of American material into his compositions. Moore’s acquaintance with Daniel Gregory Mason (also a student of Vincent d’Indy) is responsible for his becoming a professor at Columbia. A portrait of Moore accompanies the article.

Downes, Olin. “Cultural Exchange: Clarification of Foreign Registration Law Necessary for Visiting Artists.” New York Times, 20 October 1946, sec. 2, p. 7, cols. 1–2. The article comments on the U.S. Department of Justice’s insistence that two Ukrainian singers on tour register as foreign agents. The letter of 12 October to the Attorney General protesting this action, written by Koussevitzky, Copland, Howard Hanson, and Moore is printed in its entirety. Downes condemns the action and predicts it will have a stultifying effect on cultural relations between the two countries.

———. “Ernst Bacon Work Is Presented Here: Chamber Opera, ‘A Tree on the Plains,’ Seen in Hall at Columbia University; Paul Horgan librettist; Two Acts Divided under Four Titles; A Small Orchestra Furnishes the Score.” New York Times, 6 May 1943, p. 24, col. 1. The review of this student opera production praises the performance of Moore in a comic role. “It is the testimony to the inherent sincerity and the strength of the folk-elements of the music that it got as far as it did, in view of the amateur performance in which the best acting was undoubtedly that of Mr. Douglas Moore, composer and executive head of the Columbia Department of Music, who got a well-deserved hand in the minor part of the jocund, ‘amen’-ing parson.”

———. “Our Composers: Question of Whether They Are Played Evokes Response from Readers.” New York Times, 23 February 1947, sec. 2, p. 9, col. 1. Three letters from readers commenting on Downes’s article in the Times of 2 February are quoted. One writer challenges Downes’s statistics and believes that conductors who are naturalized citizens are not “steeped in the American musical tradition.” Frank Patterson offers statistics from the Musical Courier of 1 December 1946 showing that the vast majority of pieces programmed by orchestras over the past seven years were composed by foreign-born composers. Nonetheless, Downes defends his position against these criticisms.

———. “They Are Played: Contention Is Americans Are Not Neglected.” New York Times, 2 February 1947, sec. 2, p. 9, col. 1. Downes responds to Moore’s article in the 25 January issue of The Saturday Review, “The Cause of Native Music: An Editorial.” Extensive portions of the article are quoted that claim that American composers’ music is neglected by orchestra conductors and radio broadcasters. Downes disputes this claim, primarily by citing statistics of performances given by major American orchestras in the 1945–46 season. The major orchestras are conducted by foreign-born but naturalized citizens: Koussevitzky in Boston, Rodzinski in New York, Ormandy in Philadelphia, Defauw in Chicago, Golschmann in St. Louis, and Monteux in San Francisco. All of these conductors programmed American works. He concludes: “We think it is a good time for all American composers to do what a majority of them are doing, namely, cease high-pressure methods of salesmanship and self-commiseration, utilize manifold opportunities and try to say it with music.”

“Dramatic Tension Evident in Opera, Says Moore.”Hartford Times, 7 February 1951, p. 39, cols. 1–3. Moore is interviewed about writing opera, and he states that he is looking for a new libretto now that he is finished with Giants in the Earth. He is presently considering a work based on the life of Joseph Smith. He believes that government support of the arts is necessary and is supportive of the idea of a united music council in Hartford to support and guide the Connecticut Opera Association.

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Driscoll, F. Paul. “Opera Watch.” Opera News, February 2001, 8. The Museum of Television and Radio in New York found a segment from “American Musical Theatre,” a CBS program from 1962, in which Beverly Sills sings arias from The Ballad of Baby Doe and The Wings of the Dove and Moore is interviewed.

Drummond, Andrew H. American Opera Librettos, 188–90, 208, 221–22, 257–59. Metuchen, NJ: Scarecrow Press, 1973. The book contains plot synopses of The Ballad of Baby Doe, Carry Nation, The Devil and Daniel Webster, and The Wings of the Dove.

Duncan, Barbara. “The Pageant of P. T. Barnum.” Rochester Philharmonic Orchestra Program Notes (6 December 1929). Program notes for the 6 December concert briefly explain the program of each of the five movements.

Earhart, Will. Review of Listening to Music. Music Supervisors’ Journal 19, no. 2 (November 1932): 50. The reviewer considers the book to be a comprehensive treatment of musical procedures, written in an intellectually clear yet conversational style. He much prefers Moore’s approach to the all-too-frequent programmatic writing of other authors. He comments on each chapter of the book, and, although the work is intended for those without a music background, he recommends it highly for musicians as well.

Eaton, Quaintance. “Douglas Stuart Moore: The Ballad of Baby Doe.” In Opera: A Pictorial Guide, 166–69. New York: Abaris Books, 1980. There is brief information about Moore listing the major operas he wrote and a synopsis of The Ballad of Baby Doe.

———. Opera Production: A Handbook, 27–28, 73, 176–77, 186–87. Minneapolis: University of Minnesota Press, 1961. This book gives information on 260 operas that is helpful for planning a production, including historical information, number and types of scenes, a cast list, orchestration, publication information, and list of performances. It includes entries for The Ballad of Baby Doe, The Devil and Daniel Webster, Gallantry, and Giants in the Earth.

———. Opera Production II: A Handbook. 57–58, 239–40, 241–42. Minneapolis: University of Minnesota Press, 1974. This book expands the coverage of the earlier edition and gives information on an additional 350 operas that is helpful for planning a production, including historical information, number and types of scenes, a cast list, orchestration, publication information, and list of performances. It includes entries for Carry Nation, White Wings, and The Wings of the Dove.

Edmunds, John, and Gordon Boelzner. “Douglas Moore.” In Some Twentieth Century American Composers: A Selective Bibliography, 2:37–38, plate VIII. New York: New York Public Library, 1960. The book contains a bibliography of writings by and about Moore.

Edwards, Arthur C., and W. Thomas Marrocco. “Chapter 15. Nationalistic Composers II: Douglas Moore (1893–).” In Music in the United States, 100–101. The Brown Music Horizon Series. Dubuque, IA: Wm. C. Brown, 1968.

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Moore’s music is described and placed within the context of American musical history. The author notes the freshness with which Moore imbues traditional musical means.

Emel, Kathlynn J. “Douglas Moore’s The Ballad of Baby Doe.” Master’s thesis, Central Washington University, 1981. The thesis provides no new information about the opera and is based entirely on secondary sources. There is a brief biography of Douglas Moore and a listing of his major works. The historical background of the opera and a synopsis of the plot are presented in chapter 3. The characteristics of Moore’s musical style are outlined in very general terms, with sections on meter, rhythm, harmony, and melody. The observations are rather simplistic, and there are some factual errors. The author refers to the “Americanism” of the music and feels that it is a work of value for both the listener and the performer.

Ericson, Raymond. “On the Move to Detroit: Confusion.” New York Times, 12 August 1973, sec. 2, p. 27, cols. 2–3. In a previous article, the author received notification from the cellist Douglas Moore of a new commemorative stamp honoring Charles Ives. Ericson incorrectly identified the writer as the composer and corrects the mistake here.

Erskine, John. “For Listening Readers.” New York Herald Tribune, 5 April 1942, sec. 9, p. 20, cols. 4–5. The reviewer of From Madrigal to Modern Music finds the book of great value, especially for its emphasis on listening to the music on recordings discussed in the book. This was a new approach for music appreciation texts at that time. However, he disagrees with Moore’s historical approach to music appreciation. For example, he does not think that it is necessary to know about Renaissance music or art before it is possible to appreciate music of the baroque.

Ewen, David. “Douglas Moore, 1893–.” In Composers of Today: A Comprehensive Biographical and Critical Guide to Modern Composers of All Nations, 176–77. New York: H. W. Wilson, 1934. This biography of Moore details his early life and career before any of the operas. The Pageant of P. T. Barnum is the only work discussed in the article, which includes a less-than-complimentary quote from a review by Lawrence Gilman. There are a list of principal works, a two-item bibliography, and a portrait.

———, comp. and ed. “Douglas Moore 1893–.” In American Composers Today: A Biographical and Critical Guide, 173–74. New York: H. W. Wilson, 1949. This selection is a general biography with portrait, selective list of works, and bibliography.

———. “Douglas Moore, 1893–.” In The Complete Book of 20th Century Music, 263–65. New York: Prentice-Hall, 1952. Following a short biography, The Pageant of P. T. Barnum, the Quartet for Strings (1933), The Devil and Daniel Webster, and the Symphony in A Major are described.

———. “Douglas Moore, 1893–.” In The Home Book of 20th Century Music, 263–65. London: Arco, 1956. The author begins with an overview of Moore’s compositional style and follows it with a brief biography. The entry contains program notes for The Pageant of P. T. Barnum, the String Quartet (1933), The Devil and Daniel Webster, and the Symphony in A Major. The last of these quotes Moore’s program notes for the piece in its entirety.

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———. “Douglas Moore, 1893–.” In The Complete Book of 20th Century Music, 263–65, 489. New and revised ed. Englewood Cliffs, NJ: Prentice-Hall, 1959. This edition contains exactly the same material as the first edition except for the addition of a description of The Ballad of Baby Doe in the supplementary section.

———. “Douglas Moore, 1893–.” In The World of Twentieth-Century Music, 524–30. Englewood Cliffs, NJ: Prentice Hall, 1968. This book is an updated edition of The Complete Book of 20th Century Music. The author supplies a brief biography of Moore followed by descriptions of The Pageant of P. T. Barnum, the String Quartet, The Devil and Daniel Webster, the Symphony in A Major, The Ballad of Baby Doe, and The Wings of the Dove.

———, comp. and ed. “Douglas Moore, 1893–1969.” In Composers since 1900: A Biographical and Critical Guide, 380–84. New York: H. W. Wilson, 1969. This is one of the most complete biographies of Moore and includes a list of works and short bibliography.

———. “Douglas Moore, 1893–1969.” In The World of Twentieth-Century Music, revised by Stephen J. Pettitt, 524–30. 2nd ed. London: Robert Hale, 1991. The entry is identical to that in the first edition.

———. Encyclopedia of Concert Music, 153, 286. New York: Hill & Wang, 1959. The book contains a brief biography and an entry for Farm Journal.

———. Encyclopedia of the Opera, 113–14, 328–29, 546. New York: A. A. Wyn, 1955. The book contains a short biography of Moore and short descriptions of The Devil and Daniel Webster and White Wings.

———. “Moore, Douglas Stuart.” In American Composers: A Biographical Dictionary, 464–67. New York: G. P. Putnam’s Sons, 1982. The most complete published biography of Moore includes a selective list of works and a bibliography. Major works are discussed, with quotes from contemporary reviews and information about premieres and other performances. There is also a quotation by Moore that encapsulates his aesthetic.

———. The New Encyclopedia of the Opera, 51–53, 123–24, 179, 264, 457, 748. New York: Hill & Wang, 1971. The book contains a brief biography and entries for The Devil and Daniel Webster, Giants in the Earth, The Wings of the Dove, and Carry Nation. There is an extensive entry for The Ballad of Baby Doe, including a synopsis of each scene of the opera.

———, ed. The Year in American Music, 131–32, 227, 265–66. 1948 ed. New York: Allen, Towne & Heath, 1948. This yearbook of musical events in the United States from 1 June 1947 through 31 May 1948 records the awarding of an honorary degree to Moore by the University of Rochester, the premieres of Farm Journal and Vayechulu, the publication of Symphony in A Major, and the New York Music Critics’ Circle award for the same symphony.

“Examining Petitions Received in Radio Music Dispute.” New York Times, 23 December 1940, p. 22, cols. 2–4. NBC stopped using ASCAP publications in all of its broadcasts. Moore requested the FCC to intervene in the dispute so that ASCAP music could be reinstated. A photograph of Moore, Irving Berlin, Howard Hanson, and Gene Buck, president of ASCAP, standing with the petitions, accompanies the article.

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“The Expert Listener: His Development Is Aim of New Educational Trend, Says Moore.” New York Times, 18 December 1932, sec. 10, p. 9, col. 5. Moore explains the elements of his course in music appreciation at Barnard College, where he is an associate professor. The advent of radio, which brings music to a much larger audience than ever before, has occasioned a new demand for obtaining a basic understanding of music; this demand has been further stimulated by the current economic depression, which causes people to seek uplifting spiritual experiences and to escape daily troubles, and by the need for culture. Moore’s course starts with the basics of rhythm, melody, and harmony and then moves to more complex musical elements, such as structure. Moore guides his students’ listening through questions about different musical elements. His course leaves out descriptions of feelings, emotions, and aesthetics, because these should be left to the individual listener. Recent psychological studies show that no two listeners assign the same emotional description to a piece of music.

“Faculty Activities.” Juilliard Review 6, no. 1 (Winter 1958–59): 16. A photograph by Maria Metzger shows Moore meeting with a group of prominent American composers at the Juilliard School, including Roger Sessions. Aaron Copland, Elliott Carter, Wallingford Riegger, William Schuman, and Walter Piston.

“Faculty of Barnard Entertains Students: Farce Called ‘Faculty Follies’ Is Presented in Aid of Fiftieth Anniversary Fund.” New York Times, 14 February 1937, sec. 2, p. 3, col. 7. The article describes the “Faculty Follies” held at Barnard College on 13 February. Moore acted in the first episode, “Lecture and Recital: The Polyphonic Poetry Society of New York,” which “consisted of readings of bilingual poems, a poem with double subject matter, a song with two melodies and a Swiss echo song.”

“Farm Journal.” http://en.wikipedia.org/wiki/Farm_Journal. Accessed 21 December 2008. This brief paragraph explains the relation between this suite and the film score from which it was drawn. It also mentions the commission of the work and its musical style.

Fath, Rolf. Reclams Lexikon der Opernwelt: in sechs Bänden, 1:195, 4:365. 6 vols. Stuttgart: Philipp Reclam, 1998. This work includes a brief biography of Moore and a short entry on The Ballad of Baby Doe.

Fessenden School Centennial Book Committee. “ ‘Hail to Thee, Fessenden.’ ” In Along Right Lines from the Beginning: The Fessenden School, West Newton, Massachusetts: An Illustrated History of the First Hundred Years, 1903–2003, 186–87, 189. West Newton, MA: Fessenden School, 2004. A column is devoted to Moore because he was the composer of the school song. The text outlines his major accomplishments as a composer, and there are four illustrations: a portrait of Moore around 1906, facsimiles of the printed song (“Hail to Thee, Fessenden!”) and the manuscript lyrics written by his mother, and a facsimile of a letter from Moore to Frederick Fessenden, dated 1908, that was sent with the newly composed song. In the letter, Moore explains that this is his second composition. There is also information about the Fessenden Saturday night entertainments, including a reminiscence by Louise Fessenden Weeden in which she recounts Moore playing the piano and imitating opera singers while dressed in one of her mother’s old dresses.

Findlay, Francis. “Review of Village Music.” Music Educators’ Journal 29, no. 5 (April 1943): 32. This is a brief one-paragraph description and review of the published score of Village Music, which assesses the work as “playable, effective music of indigenous flavor.” It is suitable for high school and college orchestras.

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Fisher, Marjory M. “Composer Anticipates New American Opera Form: Douglas Moore Tells of American Lyric Theater [sic] Project in New York.” San Francisco News, 31 July 1939, p. 15, cols. 1–2. In an interview with Moore he advocates more operas in English, which is what the American Lyric Theatre hopes to achieve through the combination of excellent music, excellent drama, and excellent acting.

“Founding Members: National Citizens for Humphrey.” New York Times, 12 May 1968, sec. 4, p. 6, cols. 7–8. Moore is listed in this political advertisement endorsing Hubert Humphrey for president.

“Four New Members Elected to American Academy.” New York Times, 17 December 1954, p. 28, cols. 3–5. Moore was reelected secretary of the American Academy of Arts and Letters.

“Fourteenth in Our Series of American Composers: We Salute: Douglas Moore.” Music Clubs Magazine 39, no. 2 (November 1959): 7. In this biographical sketch, each of Moore’s major operas is mentioned, as is his association with the poets Archibald MacLeish, Vachel Lindsay, and Stephen Vincent Benét. The article ends with a list of recordings of his works.

Fox, Charles Warren. “Symphony in A Major.” Rochester Philharmonic Program Notes (6 November 1947): 20–21. A brief account of Moore’s professional accomplishments is followed by a quotation from his citation for an honorary degree given by the University of Rochester in 1947. The various premieres of the symphony are mentioned, and there is a quote from Moore about the work. There are also excerpts from a review by Olin Downes and from an interview of Moore by Lawrence Gilman.

Frankenstein, Alfred. “Wartime Music: Shostakovitch [sic] v. Moore.” San Francisco Chronicle, 20 July 1942, p. 8, cols. 3–5. The author notes that The Devil and Daniel Webster, a patriotic work that could help the war effort, was produced under difficult financial conditions and with no governmental support, while Shostakovich’s Symphony no. 7 received enormous publicity and broadcast time. It points out the lack of support for American composers’ work.

“Frau Eva Bruhn Describes Song Recital at Deutscher Kreis Schubert Centenary: Prof. Moore Gives Address of Life and Works of Schubert.” Barnard Bulletin, 23 November 1928, p. 1, cols. 3–4, and p. 4. The German Department at Barnard College presented the singer Eva Bruhn in a recital of Schubert songs on the one hundredth anniversary of his death. The recital was introduced by a short lecture by Moore.

“Free to the Public.” New York Times, 28 November 1926, sec. 8, p. 9, col. 3. A performance by the Columbia University Orchestra conducted by Moore on 30 November is announced.

“Free to the Public.” New York Times, 8 December 1929, sec. 10, p. 12, col. 4. On 10 December Moore conducts the Columbia University Orchestra in a Haydn symphony and a Beethoven piano concerto with Bruce Simonds.

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Freed, Isadore, ed. “Douglas Stuart Moore.” In Contemporary Piano Music by Distinguished Composers, 30–32. Bryn Mawr, PA: Theodore Presser, 1959. This book is a catalog of the pieces in the Contemporary Piano Music by Distinguished Composers series published by Presser and is used to advertise the series. There is a brief biography of Moore prefaced by a three-measure incipit of his Prelude for Piano.

Freeman, John W. “Douglas Moore, 1893–1969: The Ballad of Baby Doe.” In John W. Freeman, The Metropolitan Opera Stories of the Great Operas, 250–54. New York: The Metropolitan Opera Guild and W. W. Norton, 1984. The entry contains a short biography and opera plot summary.

Freundlich, Irwin. “Notes on Some Teaching Pieces by Columbia Composers.” Piano Quarterly Newsletter, no. 9 (Fall 1954): 1–2, 11–13, 16. The cover of this issue is a photograph of Moore. The article contains three paragraphs describing how three pieces by Moore can be used in teaching: Suite for Piano, Museum Piece, and the piano pieces from the Masters of Our Day Series. The opening bars of the last two pieces are given on p. 16.

Friedberg, Ruth C. “Douglas Moore (1893–1969), Stephen Vincent Benét (1898–1943), Theodore Roethke (1908–1963).” In American Art Song and American Poetry, vol. 1, America Comes of Age, 92–99. Metuchen, NJ; London: Scarecrow Press, 1981. This book discusses the relationship between American composers and poets. The section on Moore contains a brief biography of the composer, recounts how he was influenced by various American poets, and focuses on two songs, their texts, and the poets of the texts: “Adam Was My Grandfather” (text by Stephen Vincent Benét) and “Old Song” (text by Theodore Roethke).

———. “Moore, Douglas.” In American National Biography, edited by John A. Garraty and Mark C. Carnes, 15:745–46. 24 vols. New York: Oxford University Press, 1999. This biography emphasizes major events in Moore’s life: his studies at Yale and in Paris, associations with important poets (MacLeish, Lindsay, Benét), appointment to a professorship at Columbia University, election to the National Institute of Arts and Letters, and other awards. He is considered an “Americanist” because of the choice of subject matter for his operas and instrumental music and because of his musical language, which is evocative of American folk tunes. A selective bibliography completes the article. Also published in American National Bibliography Online, http://www.anb.org/ articles/home.html.

Fuld, James J. “The Ballad of Baby Doe.” In The Book of World-Famous Libretti: The Musical Theater from 1598 to Today, 16–17. Revised ed. New York: Pendragon Press, 1994. A facsimile of the title page of the libretto from the 1958 production by the New York City Opera appears on p. 16. The following page describes this libretto and asserts that it is the first published libretto for the opera. Although there is a copyright notice for 1956 and 1957, the Copyright Office has no records for the libretto before 1958.

Fuller, Donald. “Program Notes.” Chautauquan Daily, 1 August 1947, p. 8, col. 2. The article contains the program notes for The Devil and Daniel Webster.

Fulton, William. “Reds Get Cash in Fund Set Up by Guggenheim: Party Followers Given Scholar Awards.” Chicago Daily Tribune, 20 October 1951, sec. 1, p. 4, cols. 1–3. Congressman Edward Cox of Georgia asserts that “Guggenheim money was used to spread radicalism thruout [sic] the country to an extent not excelled by any other foundation.” Moore is listed as one of the recipients with a “Red record” to receive a Guggenheim Fellowship.

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G. “New Operetta by Moore for High School Pupils.” Musical America 58, no. 3 (10 February 1938): 235. This article describes the operetta The Headless Horseman and announces its publication by E. C. Schirmer. The work has “some pretty madrigals that are to be sung unaccompanied, as well as some boisterous part-songs for boys’ voices.”

Gammond, Peter. “Douglas Moore.” In The Illustrated Encyclopedia of Recorded Opera, 126– 27. New York: Harmony Books, 1979. A brief biography of Moore is followed by entries for The Devil and Daniel Webster, The Ballad of Baby Doe, and Carry Nation. The entries for the operas include the name of the librettist, date and place of the premiere, label name and number of the current recording with a list of the principal singers, notes about the opera, and synopses of Daniel Webster and Carry Nation. There is a color illustration of the election scene from Baby Doe and color reproductions of the covers of the three recordings.

Gerbrandt, Carl. “Douglas Moore: The Greenfield Christmas Tree.” In Sacred Music Drama: The Producer’s Guide, 176–77. Princeton, NJ: Prestige, 1993. The entry in this production guide gives basic information about the piece including the characteristics of the music, a list of the roles, the performing forces required, and a synopsis.

———. “Douglas Moore: The Greenfield Christmas Tree.” In Sacred Music Drama: The Producer’s Guide, 229–31. 2nd ed. Bloomington, IN: AuthorHouse, 2006. The entry is identical to that in the first edition.

“General Assembly Poorly Attended.” Barnard Bulletin, 7 March 1930, p. 4, col. 1. Moore leads a Barnard College assembly in community singing with new song books. Unfortunately, the words of the songs are intended for a younger group, although the music is enjoyable.

“Gets Columbia Post: Columbia Music Head; Douglas Moore Succeeds Daniel Gregory Mason.” New York Sun, 25 April 1940, p. 6, col. 4. The article announces Moore’s appointment and is accompanied by a portrait.

Gilday, Edward F. “ ‘Up Early,’ from the Farm Journal: A Musical Story of a Farm in Ohio.” Young Keyboard Jr. (School Edition) 13, no. 4 (November 1960): 3. The article describes the first movement of Farm Journal, a piece Moore wrote for a documentary film, Power and the Land, about American farm life. Moore traveled to a small farm in Ohio and lived briefly with a family there to capture the essence of rural life. A photograph from the Woodsfield, Ohio, farm accompanies the article.

Gilder, Eric. The Dictionary of Composers and Their Music: A Listener’s Companion, 243. New, revised ed. New York: Holt, Rinehart & Winston, 1986. The entry is a chronological listing of Moore’s major works.

Gilder, Eric, and June G. Port. The Dictionary of Composers and Their Music: Every Listener’s Companion, part 1, 145. New York: Ballantine Books, 1978. The entry is a chronological list of Moore’s most important works.

Gilman, Lawrence. “A New American Symphony.” New York Herald Tribune, 17 May 1931, sec. 8, p. 6, cols. 1–2.

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In this long article about A Symphony of Autumn, Gilman prints a lengthy letter from Moore which he solicited about the symphony. Moore comments on the differences between European and American composers of the early 1930s, who display different qualities in their music. Americans tend toward more romantic and sentimental expression, in contrast to the current neoclassical European tendencies. The article concludes with an analysis of A Symphony of Autumn.

Gilman, Lawrence, and Douglas Moore. “Daniel Webster Set to Music.” New York Herald Tribune, 9 April 1939, sec. 6, p. 6, cols. 1–4. The article is a long description by Moore of how The Devil and Daniel Webster was created. After the short story was adapted for the stage and made into a libretto, Moore realized that the text could not be treated as a standard operatic libretto. He discusses his decisions about setting the text and why he chose to leave some sections without music and scored some of the others with background music. The article concludes with a lengthy synopsis of the opera. This is an important statement by Moore concerning his compositional methods and the opera.

Glanville-Hicks, Peggy. “Moore, Douglas Stuart.” In Grove’s Dictionary of Music and Musicians, edited by Eric Blom, 5:864–65. 5th ed. 10 vols. London: Macmillan; New York: St. Martins Press, 1954. A standard biography with a selected list of works recounts Moore’s education, significant positions, awards, and books authored. His musical style is described as having “a certain American folk sound to it, as though the composer had absorbed, digested and forgotten the whole rich American folk music heritage; or as though it had become a spring deep underground.”

“Glee Concert of Yale Men Delightful: Stirring College Songs Are Splendidly Presented While Quartet and Instrumental Numbers Show Talent and Careful Training.” Buffalo Evening News, 31 December 1914, p. 11, col. 4. As a member of the Yale Glee Club, “D. S. Moore, pianist, also proved a delighting [sic] surprise and played several of his compositions with fine effect and artistic skill.”

Gleeson, Harold, and Warren Becker. “Outline IX: Douglas (Stuart) Moore (1893–1969).” In 20th-Century American Composers, 129–37. Revised 2nd ed. Music Literature Outlines 4. Bloomington, IN: Frangipani Press, 1980. This outline contains four sections: a chronology of Moore’s life, a list of compositions classified by performing medium, a summary of his music’s stylistic characteristics, and an extensive bibliography.

“Going Out Guide: Evolution.” New York Times, 21 April 1976, p. 20, cols. 2–3. The column announces an exhibit of manuscripts of operas at the Grolier Club, including the manuscript of The Ballad of Baby Doe and the original 1935 obituary of Baby Doe Tabor from the New York Times.

Goldberg, Albert. “Douglas Moore and Operas by Accident.” Los Angeles Times, 19 May 1963, sec. Calendar, p. 2, cols. 1–4. In an extended interview, Moore talks about how he stumbled upon the librettos for four of his operas. He is currently looking for a suitable subject for a commission from the University of Kansas. He discusses the elements that are necessary for a successful opera libretto and comments on how he composes an opera, including the inclusion of arias and choruses. Finally, he believes that more American operas will be composed when there is audience demand for it.

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Goldman, R. H. M. “Reviewer Praises Columbia Orchestra Stressing Remarkable Improvement.” Columbia Daily Spectator, 20 March 1929, p. 1, cols. 3–4. The article is a generally positive review of Moore’s direction of the Columbia University Orchestra. The concert included works of Brahms, Beethoven, Sibelius, and Grainger.

Goss, Madeleine. “Douglas Moore.” In Modern Music-Makers: Contemporary American Composers, 152–65. New York: E. P. Dutton, 1952. This biographical article covers Moore’s life through 1950 and is especially strong in recounting his early years before studying at Yale. There is slight mention of his style of composition and a little discussion of his musical works. It concludes with a chronology and list of works.

“Gotham Gleanings.” New York Tribune, 13 September 1920, p. 8, col. 5. This is an announcement of the wedding of Douglas Moore and Emily Bailey on 16 September.

Goulding, Phil G. “The Ballad of Baby Doe, 1956, by Douglas Moore (1893–1969).” In Ticket to the Opera: Discovering and Exploring 100 Famous Works, History, Lore, and Singers, with Recommended Recordings, 578–80. 1st ed. New York: Fawcett Columbine, 1996. The entry is a short description of the opera.

“[Great Teacher Award].” Musical Courier 161, no. 3 (no. 3376) (February 1960): 53. The article is an announcement of the Great Teacher Award given by the Society of Older Graduates of Columbia University to Douglas Moore on 13 January.

Greene, David Mason. Greene’s Biographical Encyclopedia of Composers, 1089–90. Garden City, NY: Doubleday, 1985. The entry is a biography that recounts Moore’s studies at Yale and in Paris, his work in Cleveland, and his appointment to the Columbia faculty. Prominence is given to his composition of opera.

Griffel, Margaret Ross. “Opera at Columbia: A Shining Legacy.” Current Musicology 79–80 (2005): 95–133. Moore’s role in the Columbia Opera Workshop, as chair of the music department, as a supporter of opera, and as one of the composers whose operas were premiered by the workshop is mentioned in the section “Moore, Luening, Cowell, and Beeson” (97–98). The article also lists all of the operas that received financial support from the Alice M. Ditson Fund at Columbia. The list includes Moore’s Giants in the Earth and Gallantry, which were both premiered there. The article also contains a substantive bibliography.

———. Operas in English: A Dictionary, 41–42, 96–97, 152, 186, 230–31, 238, 265, 653, 653, 714. Westport, CT: Greenwood Press, 1999. Entries for each of Moore’s operas include information on the date and place of the premiere, a list of the major roles, a plot synopsis, and very select bibliographies of the works.

Grosbayne, Benjamin. “Rise of American Composers: Toscanini and Kleiber Studying Native Scores; Bloch Leads All the Rest; Varying Policies Contrasted.” New York Times, 13 July 1930, sec. 8, p. 5, cols. 1–3. The article lists all of the works by American composers that were played by major symphony orchestras during the last season. Moore is represented by The Pageant of P. T. Barnum, played by the Rochester Philharmonic and Cleveland Orchestras, and Moby Dick, performed by the Rochester Philharmonic.

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Groth, Howard. “Significant Trends in Selected American Operas: 1900–1954.” D.F.A. diss., Chicago Musical College, 1955. The author proposes “to indicate by a detailed examination of certain selected American operas the dominant trends, . . . and in so doing to present a comprehensive historical survey of the entire field of American opera” (7). Chapter 6, on American folk operas, contains two sections on Douglas Moore: one on The Devil and Daniel Webster (143–47) and one on Giants in the Earth (159–62). Using plot synopses interspersed with musical examples, the author illustrates the major points of the operas.

“A Group of Recent Books: Songs My Mother Never Taught Me.” Los Angeles Times, 29 December 1929, sec. 3, p. 15, col. 3. The short book review comments mainly on the song “Mad’moiselle from Armentières,” one of the selections from this anthology to which Moore was a contributor.

“Group Unperturbed by Mumford Action.” New York Times, 8 February 1948, p. 9, col. 2. Douglas Moore responds on behalf of the National Institute of Arts and Letters concerning the resignation of Lewis Mumford in protest against the awarding of its gold medal in recognition of the achievement of Charles Beard. Mumford was not present for the discussion concerning candidates for the medal. The Institute has no procedures for handling resignations, and this was the first in its fiftyyear history. Moore commented, “Our answer to Mr. Mumford’s resignation is simply to pay our tribute to Dr. Beard.”

Grutzner, Charles. “Richter Is Pulitzer Novelist: No Prize Given for Drama.” New York Times, 8 May 1951, p. 1, cols. 2–3, and p. 29. The Pulitzer Prize for music was awarded to Moore for Giants in the Earth (p. 29, col. 2).

———. “Winners of the 1951 Pulitzer Prizes and Citations in Journalism, Letters and Music.” New York Times, 8 May 1951, p. 28, col. 2. The article announces the award of the Pulitzer Prize in music for 1951 to Moore, lists his major compositions, and cites other musical activities. A portrait accompanies the article.

“Guggenheim Fund Aids 40 in 10th Year: American Writers, Artists and Research Workers Receive Fellowships: 577 Helped in Decade: Conrad Aiken, Angna Enters, W. G. Still, Peggy Bacon and F. F. Fishman Win Grants.” New York Times, 2 April 1934, p. 4, cols. 4–5. Moore has received a Guggenheim Fellowship.

H., A. “New Music: Organ Music: The H. W. Gray Co. (Novello).” Musical Times and Singing-Class Circular 83, no. 1189 (March 1942): 80. One paragraph of this review of the Contemporary Organ Series is devoted to Moore’s Dirge for organ. The piece, dedicated to Horatio Parker, is a passacaglia that is “an inspired and scholarly piece of writing,” but also “free from academic dullness.”

“Half Notes.” Los Angeles Times, 16 January 1949, sec. 4, p. 6, col. 3. Moore is a member of the Chopin Centennial National Committee.

Halliwell, Michael. Opera and the Novel: The Case of Henry James. Edited by Walter Bernhart. Word and Music Studies 6. Amsterdam and New York: Rodopi, 2005. Part one of this book examines the relationship of words and music in general and various aspects and issues around the adaptation of a novel to the operatic stage. The second part systematically analyzes six

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operas based on novels by Henry James, of which The Wings of the Dove by Moore makes up chapter 6 (161–219). Once the background and structure of the novel are examined, the author turns to how the libretto was adapted into an opera and the resulting structural changes. Each scene is then discussed in detail, with an emphasis on the literary aspects of the drama but with some discussion of the music, although no musical notation is included in the book. The appendix includes synopses of the novel or opera from three different sources (445–50).

Hamilton, David, ed. The Metropolitan Opera Encyclopedia: A Comprehensive Guide to the World of Opera, 30, 105, 234. New York: Simon & Schuster and the Metropolitan Opera Guild, 1987. Short factual entries on The Ballad of Baby Doe, The Devil and Daniel Webster, and Douglas Moore.

Hapka, Christopher. “US Opera.” 1996–. http://usopera.com/. Accessed 22 August 2009. The Web site includes a page for Moore listing all of his operas, together with a discography and bibliography. As of this writing, there are also detailed Web pages for The Ballad of Baby Doe, Gallantry, and The Greenfield Christmas Tree.

Hardee, Lewis J., Jr. “The Perils of Baby Doe.” Columbia Library Columns 23, no. 1 (November 1973): 2–11. This is a history of the composition of The Ballad of Baby Doe. After Moore heard of the death of Baby Doe Tabor, he began to consider it as the source of an opera libretto. He first tried working with Pierson Underwood but found the results lacking in drama. Much later, in the 1950s, he worked on it again with Paul Green, who had written a movie script based on the life of the Tabors’ daughter, but the composer and writer could not agree on the form the work was to take. Moore finally approached John Latouche, who accepted the project, but whose working habits were quite different from Moore’s. The article shows that Moore wrote the words to three of the most well-known arias in the opera. In addition, it discusses the various legal problems that threatened to derail the composition of the work. Photographs of a scene from the opera and of the composer and librettist are included along with facsimiles of manuscripts of the piece.

———. “The Published Songs and Arias of Douglas Moore: An Introduction to the Songs of the Late American Composer, Along with a Descriptive Catalog of Twenty-Two Published Solo Vocal Works.” NATS Bulletin 29, no. 4 (May–June 1973): 28–31; 43. This significant article on the songs of Moore is divided into two sections dealing with student works through 1919 and the mature songs. There is important information about the early songs, written primarily when Moore was a student, and there is a facsimile of his first composition from 1907. Each of the published mature songs is discussed in detail, including the vocal range, level of difficulty, and bibliographical and discographical information.

Harrison, Jay S. “Tomorrow, City Opera Will Open Its Second All-American Season [title on p. 1]; Opening Week of the City Opera Features Two Scores by Moore [title on p. 6].” New York Herald Tribune, 29 March 1959, sec. 4, p. 1, cols. 2–4, and p. 6. The New York City Opera, with a grant from the Ford Foundation, has produced a spring season of American operas. Douglas Moore is represented in the season with The Ballad of Baby Doe and The Devil and Daniel Webster. The author interviews Moore, who recounts the genesis of The Devil and Daniel Webster. The composer also says that he likes setting American English to music “because the very sound of it gives you rhythmic ideas.” A portrait of Moore accompanies the article.

“Hartford Prizes to Moore, Aiken.” New York Herald Tribune, 10 December 1960, p. 9, col. 8. Moore is awarded the Huntington Hartford Award on 9 December.

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Harvard Concise Dictionary of Music. Compiled by Don Michael Randel, 35, 136, 318. Cambridge, MA: The Belknap Press of Harvard University Press, 1978. The book contains a short biography and entries for The Ballad of Baby Doe and The Devil and Daniel Webster.

The Harvard Concise Dictionary of Music and Musicians. Edited by Don Michael Randel, 48, 185, 431. Cambridge, MA: The Belknap Press of Harvard University Press, 1999. The book contains a short biography and entries for The Ballad of Baby Doe and The Devil and Daniel Webster.

“Harvey Allen a Speaker at Book Fair Tonight.” New York Times, 6 November 1936, p. 27, col. 7. Moore is listed as one of the speakers for the “Music and Words” program at the New York Times National Book Fair on 6 November.

Hatch, Christopher. “The Ballad of Baby Doe.” In International Dictionary of Opera, edited by C. Steven Larue, 1:78–79. 2 vols. Detroit: St. James Press, 1993. After a brief plot summary, the article discusses the characters and music of the opera. The characters Horace, Baby Doe, and Augusta provide the classic love triangle portrayed in the music. The placement of the major arias serves to heighten the drama, and Moore uses popular music styles from the late nineteenth century to set the scenes. The author summarizes the opera as “a singers’ opera that has memorable melodies, elements of spectacle, points of national and historical interest, including musical Americana, and time-honored characters and plot.”

———. “Moore, Douglas Stuart.” In International Dictionary of Opera, edited by C. Steven Larue, 2:897–99. 2 vols. Detroit: St. James Press, 1993. The article contains a brief biography, list of operas, and bibliography. In writing about the operas, the author comments on characters, plots, and musical style. Most of the operas are based on American themes derived from history or literature. Moore’s musical style follows traditional, especially nineteenth-century, operatic conventions: mad scenes, letter arias, ensembles, and so on. He was not part of musical “modernism” in any way except perhaps as a reaction against modern trends. The music contains diatonic melodies frequently inspired by American popular and folk music.

Haverlin, Carl. “Wallingford Riegger: A Tribute.” Juilliard Review 8, no. 2 (Spring 1961): 27. Moore was one of the contributors to this article written in memory of Riegger following his death on 2 April.

Hawn, Harold Gage. “A Survey of 141 Chamber Operas and Related Works by American Composers from 1947 through 1956.” D.M.A. diss., Indiana University, 1966. In this large survey of a decade of American chamber operas, The Emperor’s New Clothes and Giants in the Earth are outlined on pp. 1598–1633. The study is in the form of an opera production guide. Entries for each opera include a biography of the composer, information about the libretto and premiere, listings of the characters, a description of the sets, a plot synopsis, an extensive description of the musical characteristics, critical reviews, and photographs from productions of the operas.

Hentsch, Cheryl. “Wrote ‘Carry Nation’: Composer Desires ‘Fun’ Theatre.” Daily Kansan, 1 March 1966, p. 7, cols. 1–5. This interview with Moore tells about his views on opera and specifically how he came to write Carry Nation. He talks about his experience working with the students in the cast. There is also information about his operatic career in general. There is a photograph of Moore.

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Hill, Brad. American Popular Music: Classical, 15, 88, 159. New York: Facts on File, 2006. This dictionary of popular classical music contains entries for The Ballad of Baby Doe, Giants in the Earth, and Moore himself. The biographical entry is quite brief but mentions the most important operas and tells of his positions at the Cleveland Museum of Art and Columbia University.

Hinson, Maurice. Guide to the Pianist’s Repertoire, 546. 3rd ed. Bloomington: Indiana University Press, 2000. The book lists three piano works by Moore: Suite for Piano, Museum Piece, and three pieces from the Masters of Our Day Series.

“Honorary Degree Citations.” Yale Alumni Magazine 18, no. 10 (July 1955): 7. The text for Moore’s honorary degree and a photograph showing him with the other degree recipients are printed here.

“How Music for All Aids Daily Living: Education Week Will Reveal Extent to Which Project Contributed to City: Five Days of Exercises; Mayor and Large Group Sponsor Demonstrations of Variety and Scope of Activities; Typical School Houses in Neglected Areas.” New York Times, 14 March 1937, sec. 2, p. 6, cols. 2–4. As part of Music Education Week in New York, Moore speaks as part of the forum entitled “The Value of Integration in Music Education.”

Howard, John Tasker. “Although Douglas Moore(1893–). . . .” In Our American Music: A Comprehensive History from 1620 to the Present, 439–42. 4th ed. New York: Thomas Y. Crowell, 1965. This brief overview of Moore’s life and works focuses on the two operas, The Ballad of Baby Doe and The Devil and Daniel Webster.

———. “The Devil and Daniel Webster.” In John Tasker Howard, The World’s Great Operas, 83. New York: Random House, 1948. This one-paragraph synopsis includes a list of the characters and information about the premiere.

———. “Douglas Moore.” In Our American Music: Three Hundred Years of It, 526–28. New York: Thomas Y. Crowell, 1931. After a brief biography, Moore’s works are presented chronologically. Most of the works discussed are instrumental pieces, since the book was published before his operatic pieces were written.

———. “Douglas Moore.” In Our American Music: Three Hundred Years of It, 526–28. Revised ed. New York: Thomas Y. Crowell, 1939. After a brief biography, Moore’s works are presented chronologically. Most of the works discussed are instrumental pieces except for The Devil and Daniel Webster and The Headless Horseman, since the book was published before his other operatic pieces were written.

———. “Douglas Moore (1893–).” In Our American Music: Three Hundred Years of It, 470– 73. 3rd ed., revised and reset. New York: Crowell, 1946. After a brief biography, Moore’s works are presented chronologically. Most of the works discussed are instrumental pieces except for The Devil and Daniel Webster and The Headless Horseman, because the book was published before his other operatic pieces were written.

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———. The World’s Great Operas, 83, 448–52. Newly enlarged ed. New York: Modern Library, 1959. The book contains plot synopses of The Devil and Daniel Webster and The Ballad of Baby Doe.

Howard, John Tasker, and George Kent Bellows. “Douglas Moore.” In A Short History of Music in America, 290–92. New York: Thomas Y. Crowell, 1957. Moore is categorized as an American nationalist composer who first rose to prominence in the 1930s. His works are categorized primarily into programmatic instrumental works, chamber pieces, and operas, of which The Devil and Daniel Webster receives the longest treatment.

Howard, John Tasker, and Arthur Mendel. “Douglas Moore.” In Our Contemporary Composers: American Music in the Twentieth Century, 85–90. New York: Thomas Y. Crowell, 1941. The article discusses Moore’s instrumental works and operas up to The Devil and Daniel Webster. Moore is described as a musical conservative, and the article begins with a long quotation by Moore from an article by Lawrence Gilmore in the New York Herald Tribune of 17 May 1931, in which Moore clearly states his “artistic credo.” This article contains some of the most complete descriptions of the early orchestral works, including Four Museum Pieces, The Pageant of P. T. Barnum, Moby Dick, A Symphony of Autumn, and Overture on an American Tune. The early operas are mentioned (White Wings and The Headless Horseman), but a more thorough discussion is reserved for The Devil and Daniel Webster. This opera was a success, but it is felt by some that the music was too subordinate to the text.

Hughes, Allen. “Music Notes: The Visual Delights of Mozart’s Manuscripts: Bartok Slept Here.” New York Times, 20 June 1976, sec. 2, p. 27, col. 6. Moore is honored with the placement of a bronze plaque in the Columbia University Library as part of the American Music Council’s Bicentennial Parade of American Music, commemorating two hundred individuals who made significant contributions to American music.

Hume, Paul. “An Annual Accounting: Book ‘Tots Up’ for Music.” Washington Post, 7 December 1941, sec. 6, p. 3, cols. 1–3. In his review of The Year in American Music (1946–1947), edited by Julius Bloom, Hume mentions Moore’s article “The Cause of Native Music,” which he says is “almost sufficient justification for the whole book.”

———. “Books Can Aid Your Summer Listening.” Washington Post, 9 June 1963, sec. G, p. 7, cols. 1–5. Hume recommends Moore’s Listening to Music, published in 1932, as “still valid and valuable.”

———. “Moore’s ‘Ode to Baby Doe.’ ” Washington Post, 25 April 1976, sec. G, p. 5, cols. 1–6. The article talks about The Ballad of Baby Doe as the ultimate, quintessential American opera—a saga based around the 1890s political topic of bimetallism. The author focuses on the political parts of the opera: the appearance of Chester Arthur at the Tabors’ wedding in Washington and the political rally of William Jennings Bryan and his “Cross of Gold” speech. The recent television broadcast of the opera in celebration of the U.S. bicentennial is the pretext for the article. The music of the opera is also responsible for its claim as the great American opera, as the author explains: “It is very easy to argue that no American opera, neither ‘Porgy and Bess’ nor Samuel Barber’s ‘Vanessa,’ surpasses ‘The Ballad of Baby Doe’ in either lyrical outpourings, which are the moments most people wait for in their favorite operas, or in its completely honest Americana.” The article includes an 1855 newspaper ad for the Willard Hotel in Washington, D.C., which figures prominently in the opera, as an illustration.

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“ ‘I Know Now I Did Her Justice,’ Moore Reveals after Visiting Carry Nation’s Home, Friends.” Barber County Index, 17 March 1966, p. [1], col. 1–3, and p. [4]. The article chronicles the three-hour visit of Douglas and Emily Moore to Medicine Lodge, where Carry Nation lived. There they visited the Carry Nation museum and talked to a number of people who knew her. Moore also played the reed organ in her home.

“In Memoriam (Moore).” http://en.wikipedia.org/wiki/In_memoriam_(Moore). Accessed 21 December 2008. This one-paragraph article gives the date and reason Moore wrote the work and information about the premiere performance.

Inge, Dorothy. “Grand March, and Polka.” Young Keyboard Jr. (School Edition) 13, no. 8 (May 1961): 4. The first two movements of Moore’s Cotillion Suite are described.

“Institute May Oust Sculptor: Charges Diederich Mailed Anti-Semitic Papers.” New York Sun, 7 May 1947, p. 32, col. 1. As president, Moore issues a statement that Diederich may be expelled from the National Institute of Arts and Letters for sending anti-Semitic papers under the Institute’s name.

Institute of American Music of the University of Rochester. American Composers’ Concerts and Festivals of American Music, 1925–1971: Cumulative Repertoire, 30. Rochester, NY: [The Institute], 1972. Nine pieces by Moore are listed with the corresponding dates of the seasons in which they were performed.

“Institute of Arts and Letters Moves to Expel Noted Member.” New York PM, 7 May 1947, p. 9, cols. 1–3. As president, Moore issued a statement that Diederich may be expelled from the National Institute of Arts and Letters for sending anti-Semitic papers under the Institute’s name.

“Institute Splits on Thomas Attack: Majority of Arts and Letters Group Says Committee Endangers Freedom.” New York Times, 14 February 1948, p. 18, col. 1. In a letter mailed on 12 February to the Speaker of the House of Representatives, a majority of the membership of the National Institute of Arts and Letters denounced the methods of the House Committee on Un-American Activities. Moore, president of the Institute, released the letter. A minority of forty-two members mailed their letter on 14 February stating that the issue was not relevant to the purpose of the Institute.

“Interesting Personalities Figure in Saroyan’s Drama.” Arizona Daily Star, 15 March 1942, sec. Music, p. 2, cols. 1–5. A short biographical sketch is given for each member of the cast in the Tucson Little Theatre’s production of William Saroyan’s The Time of Your Life. Moore played Joe, the lead character. A picture of Moore in a scene from the play accompanies the article.

“Introducing Some of Our Convention Speakers: Douglas Stuart Moore.” Music Clubs Magazine 32, no. 4 (March 1953): 42. This article announces that Moore will speak to the National Federation of Music Clubs on 10 April and lists some of his major accomplishments.

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Jackson, Joseph Henry. “Among the New Books: From Madrigal to Modern Music.” San Francisco Chronicle, 26 April 1942, sec. This World, p. 16, cols. 4–5. The book review states that “the whole book is written briefly and with relative simplicity (in any case, it contains a dictionary of musical terms) and is certainly one of the most effective volume of its kind in circulation.”

Jackson, Sarah. “Moore Concert Honors Its Founder.” Suffolk Times, 18 August 1994, p. 35. Howard Hovey, the founder of the Douglas Moore Memorial Concerts, held annually on the Cutchogue Village Green, and a student of Moore, is given a proclamation by the town of Southold for contributions to the community at the 1994 concert.

Jernick, Ruth. “Centennial Fete for Douglas Moore: Gala to Honor Cutchogue’s Only Pulitzer Winner.” Suffolk Times, 15 April 1993, pp. 16–17. The article gives a brief biographical sketch of Moore, which is in preparation for the one-hundredthanniversary celebration of his birth in Cutchogue. Some of the activities of the celebration are noted, and the members of the Douglas Moore Memorial Concert Committee are named. A photograph of Moore from the 1940s accompanies the article.

———. “The Lighter Side of a Famous Son.” Suffolk Times, 22 July 1993, pp. 16–17, 40. Several stories of Moore’s private life are told by his daughter, Mary Kelleher. His Willys convertible was purchased by Jim Grathwohl, who still owns the car. Moore liked to create parlor games, three of which are recounted here: the Insult Game, Russian Spy, and Receptions. He also hosted elaborate parties for friends in which his house would be transformed into a ship or a doctor’s waiting room, for example. A stage was built in the living room where theatrical productions were given by family and friends, who built the sets and acted in them. He also wrote light songs in addition to his more serious music. Photographs of Moore’s Willys and of Moore seated at the piano with the librettist, conductor, and choreographer from the premiere of The Ballad of Baby Doe are included.

Johnson, Charles A. “Two Special Operas.” Chapter 5 in Opera in the Rockies: The History of the Central City Opera House Association, 1932–1992, 47–53. Denver: Central City Opera House Association, 1992. The chapter gives a detailed history of the commissioning and writing of The Ballad of Baby Doe and especially the role of the Central City Opera Board president, Frank Ricketson. It was his idea to commission a new opera for the opera house based on a Colorado theme, and the Tabor family was a prime candidate. The narrative tells about the selection of Moore and librettist Paul Green, and the subsequent legal wrangling between them and Caroline Bancroft, who claimed copyright over the Tabor story. Because of the disagreements, the opera was almost abandoned, but John Latouche was contracted to work as a librettist with Moore. The opera was financed as a commission for the bicentennial of Columbia University with funds from the Koussevitzky Foundation. Performances were staged first at Central City and then with the New York City Opera. There Beverly Sills was chosen to sing the role of Baby Doe, which helped to advance her career.

Johnson, H. Earle. “Ballad of Baby Doe, The; Devil and Daniel Webster, The; Moore.” In The Encyclopedia of Opera, edited by Leslie Orrey, 30, 100, 241. New York: Charles Scribner’s Sons, 1976. These citations are a short biography of Moore and brief factual information about the two operas.

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———. “Moore, Douglas (1893–).” In Operas on American Subjects, 76–77. New York: Coleman-Ross, 1964. The book lists operas whose plots feature American subject matter. Each listing provides factual information about the opera, although the citations are not consistent in their completeness. The librettist, the date of the premiere, and a brief statement as to the American nature of the work are included in virtually every listing. The citation for Moore lists The Ballad of Baby Doe, The Devil and Daniel Webster, Giants in the Earth, The Headless Horseman, White Wings, and The Wings of the Dove.

“Joint Concert Given by Barnard, Columbia: Glee Clubs Combine with Columbia University Orchestra in Concert at McMillin.” Barnard Bulletin, 12 May 1931, p. 1, col. 4, and p. 2.

Moore conducted the orchestra in Mozart’s Symphony in E  Major, the Nocturne from Mendelssohn’s A Midsummer Night’s Dream, and Weber’s Invitation to the Dance arranged by Berlioz.

Jones, George Thaddeus. “Douglas Moore: Farm Journal, Suite for Chamber Orchestra.” Notes 8, no. 3 (June 1951): 573. The article is a review of the 1950 Carl Fischer publication of scores and parts.

“Jose Ferrer Acquires Play, ‘Night Song.’ ” Chicago Daily Tribune, 6 June 1943, sec. 4, p. 4, col. 4. The actor has acquired the film rights to Howard D. Richardson’s play Night Song, which is based on the ballad of Barbara Allen. Moore is named as composer of the music, with sets by Robert Edmund Jones and choreography by Eugene Loring; it will costar Ute Hagen.

K., I. “Personality of the Week.” Bergen [New Jersey] Evening Record, 19 April 1959, sec. Weekend Magazine. The article is a feature on Moore highlighting the recent productions of The Ballad of Baby Doe and The Devil and Daniel Webster. A photograph accompanies the article.

Kanzeg, David. “The Ballad of Baby Doe and the American Spirit.” January 2003. http://www .babydoe.org/spirit.htm. Accessed 22 August 2009. This is an extended essay covering various aesthetic and philosophical aspects of Moore’s opera, especially as it relates to American ideals. Critics and audiences seem to have a love-hate relationship with the opera, because there are a number of factors to overcome in any production. It is a long opera, with a large cast, and is written in a style that many consider dated or sentimental. It straddles the line between musical and opera. It benefits from a more intimate setting than is found in large opera houses, as was discovered when the 1957 television version from the Omnibus series was replayed in 2002. The small video screen had the effect of enhancing the emotional intensity of the work. Because of the opera’s uniquely American themes, it has rarely been produced outside of the United States. The author believes that the opera addresses aspects of “tolerance, love, faithfulness, reverence, forgiveness, [and] immortality” that define the American character of the past and that he fears we may be losing.

———.“The DoeHEADS.” http://www.babydoe.org. Accessed 16 August 2009. This Internet site is devoted to all topics related to the opera and the Tabors. It is named after the informal group of people who travel to as many performances of The Ballad of Baby Doe as they can. It contains a compendium of factual information ranging from well-researched essays to trivia. There are biographies of the historical characters of the opera, information concerning Moore including sound files of him singing one of his songs, a page on Latouche, listings of performances, the synopsis of the opera, information on musicians who have performed the opera, articles on the opera, speeches and inter-

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views, links to Web sites related to the opera, a discography, and bibliography. There is no other source that has as wide a variety and a greater depth of information about this opera.

———. “Ever Young: Douglas Moore and the Persistence of Legend.” http://www.babydoe .org/articles.htm. Accessed 16 August 2009. This speech was given at the Free Library of Cutchogue, New York, on 14 August 1993 in honor of the centennial of Moore’s birth. It starts with a chronology of events in the lives of Moore, the Tabors, and the author. He shows how these events weave an epic tapestry connecting Americans to their history and how Moore, through the medium of opera, immortalized their story.

———. “A Silver Lining and Its Cloud: Opera Baby Doe Mines Old Scandal.” Washington Post, 12 January 1997. http://www.babydoe.org/pdfs/silverlining.pdf. Accessed 22 August 2009. This is an extensive feature article written in advance of the opening performance of The Ballad of Baby Doe by the Washington Opera on 16 January. The author describes the origin of the opera in the lives of the actual historical characters brought to life on the stage by Moore and Latouche in 1956. The historical background of the opera is recounted, including the biographies of the main characters and the role that monetary policy played in the rise and crash of silver prices, which is at the heart of the story. The connection to Washington, D.C., and the Tabors’ lavish wedding at the Willard Hotel during the short time Horace Tabor was a senator are described in detail. The opera tells the story of an American legend.

Kaufmann, Helen L. Stories of 100 Operas, 30–32, 79–80. New York: Grosset & Dunlap, 1960. These brief opera synopses for The Ballad of Baby Doe and The Devil and Daniel Webster begin with a complete listing of the characters in the operas.

Kellow, Brian. “On the Beat: Frances Bible.” Opera News, August 1999, 8. Frances Bible gives an interview in which she talks about the role of Augusta Tabor and her auditions for the New York City and Metropolitan Operas. For the role of Augusta, Bible remembers that Moore “wanted the mezzo sound—with the high notes left in. I loved Emerson Buckley’s conducting on the recording. In Augusta’s final aria, he got going so fast I could hardly get the words out, but that’s what makes it exciting.”

Kennedy, Michael. The Concise Oxford Dictionary of Music. Based on the original publication by Percy Scholes, 428. 3rd ed. London and New York: Oxford University Press, 1980. ———. The Concise Oxford Dictionary of Music, 196, 483, 489. 4th ed. Oxford and New York: Oxford University Press, 1996. Includes a brief biography of Moore and short citations for The Devil and Daniel Webster and Moby Dick.

———. The Oxford Dictionary of Music, 197, 471, 477. Oxford and New York: Oxford University Press, 1985. The book includes a brief biography of Moore and short citations for The Devil and Daniel Webster and Moby Dick.

———. The Oxford Dictionary of Music, 235, 583, 589–90. 2nd ed. Oxford; New York: Oxford University Press, 1994. Includes a brief biography of Moore and short citations for The Devil and Daniel Webster and Moby Dick.

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Kennedy, Michael, and Joyce Bourne Kennedy. The Concise Oxford Dictionary of Music, 202, 499, 504. 5th ed. Oxford: Oxford University Press, 2007. The book contains a brief biographical article on Moore with a selected list of works and entries for The Devil and Daniel Webster and Moby Dick.

Keys, Ivor. “All That’s Past . . . Under the Greenwood Tree (Shakespeare) and Old Song (Theodore Roethke). . . .” Music & Letters 32, no. 2 (April 1951): 187. A one-sentence review of these two songs published by Carl Fischer concludes, “Douglas Moore’s songs look simple enough but are full of distinguished ideas within a diatonic scheme.”

Kinross, Lord. “The Edinburgh of the West.” Punch, 22 August 1956, 215–17. As part of his travels in America, Lord Kinross visited Denver and Central City, where he recounts the opening of The Ballad of Baby Doe. His article is not so much a review as a commentary on the social differences between the opening of an opera in Europe and in the “Wild” West.

———. “A European in America.” Geographical Magazine 30, no. 8 (December 1957): 353–64. The author has traveled through the United States and contrasts it with Europe. He begins in New York, where he finds many links with European traditions, but as he goes farther west, he finds a totally different country with its own traditions. The final page of the article is devoted to the “Wild West,” and specifically to Denver and Central City, Colorado. He discusses the silver rush of the 1890s and the opera house in Central City. The Ballad of Baby Doe was produced the previous year for the twenty-fifth anniversary of the opera house, and the synopsis of the opera is given as an example of a Western story melded with operatic traditions. There are photographs of Denver of the 1880s and portraits of Horace, Augusta, and Baby Doe Tabor.

Kinscella, Hazel Gertrude. “Moore, Douglas Stuart.” In Music on the Air, 362–65. New York: Viking Press, 1934. In this biographical sketch of the composer, his music is described as having “a delightful sense of humor and whimsy, vivacity, great lyric beauty, a fine gift for colorful orchestration, and an ability to write truly individual modern music without artificial dissonances.” After the basic facts of his life are chronicled, each of his major pieces through the early 1930s is described in detail, including Comedy Overture on an American Tune, Four Museum Pieces, The Pageant of P. T. Barnum, and A Symphony of Autumn. This is one of the few articles to discuss Moore’s instrumental music, since most articles, written later, focus on the operas.

Kirk, Elise K. “The Devil and Daniel Webster and The Medium; and, The Early Stagings of American Staples.” In American Opera, 245–46, 277–83. Music in American Life. Urbana: University of Illinois Press, 2001. These two sections explore Moore’s two most enduring operas, The Devil and Daniel Webster and The Ballad of Baby Doe. Webster belongs to the genre of the short one-act opera, yet it is unique in that it combines elements of melodrama, musical, and opera. Baby Doe, on the other hand, is a full-fledged opera, which—despite Moore’s use of American-sounding dance tunes, music for a political rally, and a frontier barroom piano—contains soaring arias reminiscent of Puccini. The opera has been a popular part of the American opera repertoire ever since its premiere in 1956.

Kirkwood, Edith Brown. “Society and Entertainments: Yale Concert Brings Out New Comedy Star.” Chicago Daily Tribune, 23 December 1914, p. 11, cols. 4–5.

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In an appearance of the Yale Glee, Banjo, and Mandolin Club at Orchestra Hall in Chicago, Moore made a big hit as a musical comedian. Moore accompanied the group, played one of his own compositions, and recited a Browning poem, then followed up with his musical comedy routine.

Klass, Rosanne, David Kanzeg, and Robert Stern. “Letters: The Great American Opera.” Opera News, 22 March 1997, 4. These three letters comment on David McKee’s article “You’ve Come a Long Way, Baby Doe” (Opera News, 11 January 1997, 26–27, 43, 51) by adding information and making corrections.

Kobart, Ruth. “The Ballad of Baby Doe: A Manifestation of Opera in Post–World War II America.” Master’s thesis, Hunter College, City University of New York, 1966. The author posits that American operas written between 1945 and 1965, although composed in different styles, are theatrically similar in that they tend to portray three-dimensional characters in a realistic setting. The Ballad of Baby Doe is a representative example of these operas. The purpose of the thesis is to examine “how Moore’s musico-dramatic craftsmanship brings dramatic verity to his score, and to his characterization of Augusta Tabor in particular” (ii). The first chapter is a brief history of American opera in the postwar period. This is followed by background material on the composer, the librettist, and the history of the opera itself. The last two chapters are an analysis of how the music and text convey a sense of “dramatic verity,” with a special emphasis on the role of Augusta, one the author sang many times on the stage.

Kuhn, Laura. Baker’s Dictionary of Opera, 536, 969, 975, 980, 1046. New York: Schirmer Books, 2000. The entries include a brief biography of Moore with a complete listing of all of his operas and very brief synopses of The Ballad of Baby Doe, Carry Nation, The Devil and Daniel Webster, and The Wings of the Dove.

Kyle, Margaret Kelly. “AmerAllegro.” Pan Pipes 46, no. 2 (January 1954): 53. The column records the premiere of “Polka” from the Cotillion Suite, performances of The Devil and Daniel Webster and Farm Journal, the publication of The Emperor’s New Clothes, the recording of the Quintet for Clarinet and Strings, and the composition of the Piano Trio.

———. “AmerAllegro: Premieres, Recent Performances, New Releases; Douglas Moore.” Pan Pipes 43, no. 2 (December 1950): 126. The article is a listing of Moore’s works performed and published in the past year.

———. “AmerAllegro: Premieres, Recent Performances, New Releases; Douglas Moore.” Pan Pipes 44, no. 2 (January 1952): 39. The article is a listing of Moore’s works performed and published in 1951and an announcement of the awarding of the Pulitzer Prize.

———. “AmerAllegro: The 1954 Year; Premieres, Performances, Publications, Recordings, News; Douglas Moore.” Pan Pipes 47, no. 2 (January 1955): 58. The article lists a performance of the Symphony in A Major for the Columbia Bicentennial Concert and the publication of The Emperor’s New Clothes.

———. “AmerAllegro: The 1956 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 49, no. 2 (January 1957): 60. The article lists the premiere of The Ballad of Baby Doe, the publication of The Emperor’s New Clothes, the recording of Farm Journal, and the granting of Moore’s honorary degree from Yale University.

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———. “AmerAllegro: The 1957 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 50, no. 2 (January 1958): 64. The article cites the performance of The Ballad of Baby Doe at Stanford University, the publication of six songs from The Ballad of Baby Doe, the recording of Cotillion Suite, the composition of Gallantry, and Moore’s appointment to the ASCAP board of directors.

———. “AmerAllegro: The 1958 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 51, no. 2 (January 1959): 76. The article lists the premiere of Gallantry at Columbia University, the New York premiere of The Ballad of Baby Doe by the New York City Opera, and other performances of the two operas. Publications include Gallantry, The Ballad of Baby Doe, and the Two Pieces for Piano (“Prelude” and “Dance for a Holiday”). The Devil and Daniel Webster was recorded on Westminster in March.

———. “AmerAllegro: The 1959 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 52, no. 2 (January 1960): 62. The article lists the premiere of The People’s Choice by the Goldman Band; performances of The Ballad of Baby Doe, The Devil and Daniel Webster, and Gallantry; the publication of The Ballad of Baby Doe, Cotillion Suite, and The People’s Choice; and recordings of The Ballad of Baby Doe on MGM, In Memoriam on CRI, and The Pageant of P. T. Barnum on Mercury.

———. “AmerAllegro: The 1961 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 54, no. 2 (January 1962): 63–64. The article lists the premiere of The Wings of the Dove by the New York City Opera, performances of The Ballad of Baby Doe, and Moore’s receipt of the Huntington Hartford Award in Music for 1961.

———. “AmerAllegro: The 1962 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 55, no. 2 (January 1963): 62. The article cites the premiere of The Greenfield Christmas Tree; performances of The Ballad of Baby Doe, The Wings of the Dove, Gallantry, and The Devil and Daniel Webster; publication of the vocal score of The Wings of the Dove and “Come Away, Death”; and Moore’s appointment as emeritus professor in July.

———. “The Composer: AmerAllegro; The 1963 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 56, no. 2 (January 1964): 72. The article lists performances of The Ballad of Baby Doe, The Devil and Daniel Webster, The Headless Horseman, and Gallantry; the publication of the vocal scores of The Wings of the Dove and The Greenfield Christmas Tree, the Piano Trio, and “Dear Dark Head”; and the award of an honorary doctorate to Moore by Columbia University.

———. “The Composer: AmerAllegro; The 1965 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 58, no. 2 (January 1966): 77. The article records the premiere of Carry Nation; performances of The Ballad of Baby Doe and Gallantry; and the reissue of The Devil and Daniel Webster on Desto.

———. “The Composer: AmerAllegro; The 1966 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 59, no. 2 (January 1967): 88. The article records the premiere of Carry Nation and Moore’s appointment as composer-in-residence at the University of Kansas.

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———. “The Composer: AmerAllegro; The 1967 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 60, no. 2 (January 1968): 85. The article lists performances of The Wings of the Dove and The Ballad of Baby Doe, and the presentation to Moore of the Medal of Honor for Music by the National Arts Club in New York.

———. “The Composer: AmerAllegro; The 1968 Year; Premieres, Performances, Publications, Recordings, News.” Pan Pipes 61, no. 2 (January 1969): 68–69. The article cites performances of Carry Nation, The Ballad of Baby Doe, The Devil and Daniel Webster, and the Symphony in A Major. The vocal score and the recording of Carry Nation also appeared.

“L.I. Friends and Neighbors Will Honor Douglas Moore.” New York Times, 5 July 1964, sec. 1, p. 29, cols. 5–6. The article is an announcement of a program and concert honoring Douglas Moore by the organization “The Friends and Neighbors of Douglas Moore” on 11 July, including an exhibit of his manuscripts at the Cutchogue Public Library. He will give a talk entitled “Making an Opera” at the Presbyterian Church, and some of his songs will be performed by James McGuyer.

“Lady Snow Follows Moore as A-L Fellow.” Town Crier (Timothy Dwight College) 20, no. 5 (21 November 1961): 1, 4. The article recounts the visit by Moore to Timothy Dwight College as a Timothy Dwight Fellow of Arts and Letters, where he talked about his days at Yale as a student and about his more recent career as an opera composer.

Lane, James W. “For the Music Lover.” New York Sun, 8 April 1932, p. 32, cols. 2–3. Moore’s book Listening to Music “is practical, sane, neat and modest.” The book approaches music of all time periods and styles and encourages the reader to listen to it with understanding.

Lang, Paul Henry. “Current Chronicle: United States; New York.” Musical Quarterly 48, no. 1 (January 1962): 99–104. After an exposition detailing the state of American opera in the 1960s and acknowledging its debt to earlier models in Italian opera and the works of Wagner, the author discusses The Wings of the Dove and Robert Ward’s opera The Crucible. The libretto for The Wings of the Dove was adeptly converted from Henry James’s novel to an opera by Ethan Ayer and avoids the overly melodramatic tone of the original. This opera is the pinnacle of Moore’s career. The composer expertly sets the text to melody and matches the emotion of the music to the pace of the drama. The only weak moment is a “masque” in the middle of the work that should be shortened. The singers are the focal point of the opera, with the orchestra playing a subsidiary role.

Larson, Orville K. “The Ballad of Baby Doe, 1956.” In Scene Design in the American Theatre from 1915 to 1960: A Chronicle of the Activities of the New Stagecraft Designers and Their Followers with an Appraisal of the State of the Art and the European Influences Previous to Their Appearance, 267. Fayetteville: University of Arkansas Press, 1989. This is a sketch for one of the stage designs by Donald Oenslager used in the opera and is reprinted from The Theatre of Donald Oenslager.

Latouche, John. “About the Ballad of Baby Doe.” Theatre Arts 40, no. 7 (July 1956): 80–83. The librettist of The Ballad of Baby Doe tells the story of Horace and Baby Doe Tabor from the historical research he did. He was at first reluctant to accept the project of writing a libretto on an American

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subject, because theater managers generally felt that Americana was not well received by most audiences. He notes that this attitude toward the history of one’s own country is unique to America and is not found in any European nations. He also describes a number of coincidences as to how the opera came to be written, which included the stage designer Donald Oenslager’s involvement with the restoration of the Central City Opera House, the choice of Douglas Moore as composer, and Moore’s previous familiarity with the Tabor story, which left Latouche free to work on another libretto project. He also discusses the challenges of writing a libretto which requires economy of dialogue to allow the music to project emotions and characters. The article is accompanied by photographs of the stage sets, composer, librettist, and principal performers.

Lazarus, John. “Douglas Moore.” In The Opera Handbook, 209–10. G. K. Hall Performing Arts Handbooks. Boston: G. K. Hall, 1987. The book contains a short biography and short opera synopsis of The Ballad of Baby Doe. First published: Harlow, England: Longman Group, 1987.

“Lecture Series for Barnard Alumnae.” New York Times, 20 November 1932, sec. 1, p. 6, col. 3. Moore is announced as one of the speakers in this lecture series.

“Lectures at Metropolitan.” New York Times, 23 September 1928, sec. 9, p. 11, cols. 7–8. The article announces the public lectures for the season to be given at the Metropolitan Museum of Art. Moore will lecture on music at 10:15 on Saturdays.

L[ederman, Blanche]. “Music: ‘Simon Legree’ for Chorus, Piano Works and Songs in New Lists.” Musical America 58, no. 13 (August 1938): 24. The article is a review of two new publications for chorus, Simon Legree and Perhaps to Dream. In the former work “the picturesquely suggestive text finds apt expression in Mr. Moore’s rollicking music, with its sharp dramatic accentuation and insistent rhythm.” The other choral work is described as “a charming setting . . . the three parts being skilfully interwoven and well equalized.” A portrait of Moore accompanies the article.

———. “New Music Issues: Songs from Moore Opera Are Now Made Available.” Musical America 62, no. 3 (10 February 1942): 235. The announcement of the publication by Boosey, Hawkes, Belwin of “I’ve Got a Ram, Goliath” and “Now May There Be a Blessing” from The Devil and Daniel Webster describes the first song as having the “requisite forthrightness and expansiveness of vocal line to express the swagger of the words, while the recurring touches of syncopation lend the necessary bit of characteristic American color” and the second as having “a quite distinctive character in its uncommon purity of line and reticent tenderness of appeal.”

———. “Publications of Music Press and a Douglas Moore Novelty.” Musical America 62, no. 9 (May 1942): 38. The review comments on Village Music: “This suite consists throughout of vital and healthy music characteristic of the wholesome spirit of American life at its best; the rollicking pieces that open and close it finding an effective contrast in the moods of the ‘Procession’ and the Nocturne.”

———. “Simon Legree: A Vivid Figure in Douglas Moore’s Chorus.” Musical America 58, no. 13 (August 1938): 24. This is a review of Simon Legree, for four-part men’s chorus, and of Perhaps to Dream, both published by Carl Fischer.

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Leonard, William Torbert. “The Devil and Daniel Webster: A play by Stephen Vincent Benet and Douglas Moore (1939).” In Theatre: Stage to Screen to Television, 1:439–42. 2 vols. Metuchen, NJ: Scarecrow Press, 1981. This book documents various adaptations of theatrical works as produced on the stage, in motion pictures, and on television. Douglas Moore’s opera The Devil and Daniel Webster is one of the works based on Stephen Vincent Benét’s short story. The article is divided into three parts: synopsis, comment and criticism, and stage. The last category lists the stage crew, the cast of the premiere, and the New York City Opera productions.

Levy, Felice, comp. Obituaries on File, 1:416. 2 vols. New York: Facts on File, 1979. This is the same obituary as the one printed in Facts on File of December 1969.

Liebscher, Julia. “Douglas Stuart Moore: The Ballad of Baby Doe: Opera in Two Acts.” In Pipers Enzyklopädie des Musiktheaters: Oper, Operette, Musical, Ballett, edited by Carl Dahlhaus and the Forschungsinstitut für Musiktheater der Universität Bayreuth under the direction of Sieghart Döhring, 4:259–60. 7 vols. Munich: Piper, 1991. This encyclopedia entry follows a standard format, with sections devoted to the naming the librettist, giving the place and date of important premieres, listing theatrical characters with their vocal ranges, and giving orchestral instrumentation, performance length, the genesis of the work, a plot synopsis, commentary on the work, the work’s influence, and a short bibliography. It is a complete and informed article from a European perspective. Moore’s best-known opera is representative of his style, which combines the American folk elements of western songs, nineteenth-century waltzes, and dance tunes with arias written in the style of nineteenth-century opera.

“List of White House Guests for Concert by Casals.” New York Times, 14 November 1961, p. 33, cols. 4–7. Moore is listed as a guest at the White House concert given by Pablo Casals on 13 November.

“ ‘Little Theatres’ Take Up Problems: Royalty Burden and Lack of Drama Libraries in Small Places Discussed Here: Amateurs’ Aim Described: It Is to Broaden Scope of the American Stage, Official of National Conference Says.” New York Times, 30 December 1933, p. 9, col. 5. Moore and his wife were invited guests at the dinner held at the National Theatre Conference in New York.

Livingstone, William. “The Opera File: Opera and the Bicentennial.” Stereo Review 37, no. 1 (July 1976): 50. Livingstone notes that there will be nearly one hundred opera premieres in the United States in 1976, many of them bicentennial celebrations. The Ballad of Baby Doe is cited as one of the most successful American operas. The reissue of the opera on Deutsche Grammophon is noted, as is the television and radio simulcast on the Live from Lincoln Center series. The television broadcast was an especially effective way to present opera to a large audience.

Luening, Otto. “American Composers, XX: Douglas Moore.” Modern Music 20, no. 4 (May– June 1943): 248–53. In this overview of Moore’s musical works and style, the author finds “a unifying factor, and that is his melodic drive.” Influences on his music include the theater and literary works, especially those of Vachel Lindsay, Archibald MacLeish, and Stephen Vincent Benét. Seventeen of Moore’s works are discussed, and the article concludes with a list of works.

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———. “Columbia University: 1943 to the Present.” Chapter 21 in The Odyssey of an American Composer: The Autobiography of Otto Luening, 441–81. New York: Charles Scribner’s Sons, 1980. This chapter from Luening’s autobiography tells in detail how Moore encouraged him to accept a position as a music professor at Barnard College and as director of the Columbia Opera Workshop. Moore soon appointed him to the board of the Alice M. Ditson Fund, which was used to commission American composers to write operas for the workshop. Luening recounts Moore’s expert leadership as an academic administrator and his great personal charm as a friend. The chapter recalls much of the early history of the administration of the Ditson Fund and the Columbia Opera Workshop and Moore’s role in those efforts, including the premieres of Gian Carlo Menotti’s The Medium and Virgil Thomson’s The Mother of Us All.

———. “Moore, Douglas.” In Dictionary of Contemporary Music, edited by John Vinton, 495– 96. 1st ed. New York: E. P. Dutton, 1974. The book contains a concise and clear summation of Moore’s musical style, which emphasizes melody, a generally consonant harmonic language, and rhythmic influences from late nineteenth- and early twentiethcentury American popular music. The article includes a list of works and writings and a bibliography.

——— “Moore, Douglas Stuart.” Translated by Ellen Hickmann. In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, edited by Friedrich Blume, vol. 16, cols. 1287–88. 17 vols. Kassel and New York: Bärenreiter, 1979. This short entry updates the earlier article by Nathan Broder in vol. 9.

Lynch, Richard Chigley. “Ballad of Baby Doe.” In Musicals!: A Directory of Musical Properties Available for Production, 10. Chicago: American Library Association, 1984. The entry provides production information for directors and producers.

M., W. J. “Campus Critic Reviews Orchestra Recital Praises Progress of Group Shown in Concert.” Columbia Daily Spectator, 12 December 1929, p. 1, cols. 3–4. This is a generally favorable review of a concert by the Columbia University Orchestra conducted by Moore and featuring works by Haydn, Beethoven, and Weber on 10 December 1929.

“MacDonald [sic] Colony.” Washington Post, 8 August 1937, sec. 6, p. 9, col. 3. The article announces that Moore is in residence at the MacDowell Colony.

“MacDowell Colony to Be Opened to Summer Visitors on June 26: Widow of Composer Will Give Tea for Residents Near Place at Peterborough; Thornton Wilder to Read from Works of Edwin Arlington Robinson and Elinor Wylie.” New York Times, 13 June 1937, sec. 9, cols. 6–7, p. 4. As one of the residents of the MacDowell Colony, Moore will serve as a guide for the open house to be held there later in the month.

Machlis, Joseph. “Douglas Moore.” Chapter 4 in American Composers of Our Time, 42–53. New York: Thomas Y. Crowell, 1963. This is one of the more complete biographies of Moore and includes a number of anecdotes concerning his early life and career. The author considers him to be “one of our leading nationalist composers.” Moore did not decide on a composing career until rather late in his college studies and wished he had had more rigorous musical training earlier in his life. The major influences on his music were his teach-

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ers, Horatio Parker, Nadia Boulanger, and Ernest Bloch, and the poets Stephen Vincent Benét, Vachel Lindsay, and Archibald MacLeish. His music is “tuneful and unpretentious,” with melodic lines patterned after American speech. His two most representative works are The Ballad of Baby Doe and The Devil and Daniel Webster. Reprinted: Westport, CT: Greenwood Press, 1990.

———. “Douglas Moore.” In Introduction to Contemporary Music, 407–9. 2nd ed. New York: W. W. Norton, 1979. This short entry describes Moore’s compositional style and discusses The Devil and Daniel Webster and The Ballad of Baby Doe. The text is considerably shorter than the chapter in the first edition.

———. “Douglas Moore (1893–).” In The Enjoyment of Music: An Introduction to Perceptive Listening, 580–82. New York: W. W. Norton, 1955. The role of nationalism in Moore’s music is explained, and his compositions are described as works where “romanticism and folkishness are charmingly combined.” Although Moore studied with Vincent d’Indy, Nadia Boulanger, and Ernest Bloch, he strives to express the American character in his music by setting poems by American writers and composing symphonic poems based on American novels. An analysis of the Symphony in A Major concludes the section.

———. “Douglas Moore (1893–).” In Introduction to Contemporary Music, 465–70. New York: W. W. Norton, 1961. This section on Moore is divided into three parts: his life, his music, and The Ballad of Baby Doe. After the short biography, the discussion of his music contains quotations by Moore about romanticism, Americans’ predilection for tuneful music, and his interest in writing operas. The concluding section is a lengthy description of Baby Doe.

Madison, W[illiam] V. “Lettera da Ronkonkoma.” Opera News, February 2002, 100. This humorous column makes fun of current operatic practices of modern productions of classic operas. The author created a fictitious opera producer, Horst Gabarit, who has staged The Ballad of Baby Doe in Renaissance Italy, with a man cast as Baby Doe to emphasize the homosexual subtext of the libretto, which was translated into Italian for this production staged in a strip mall. The article goes on to tell about Gabarit’s opera company and his plans to commission operas in Italian based on television situation-comedy characters and plots.

“Many Local Programs.” New York Times, 1 May 1927, sec. 8, p. 7, cols. 3–4. The article announces the 3 May performance of the Columbia University Orchestra conducted by Moore.

“Mark van Doren Resigns: Quits Arts and Letters Academy to Take Up Work Abroad.” New York Times, 27 June 1953, p. 13, col. 7. Moore is to replace Van Doren as Secretary of the American Academy of Arts and Letters provided he is confirmed through election.

Marsh, Robert. “Critic At-Large: American Opera.” Chicago Sun-Times, 5 July 1962, sec. 2, p. 27, col. 1. The author interviews Moore about his ideas on writing opera and quotes him liberally throughout the article. Moore believes that opera must be good theater first. Broadway musicals are the opposite of opera in that the big dramatic moment in a musical occurs without music. Opera has traditions that are difficult for Americans to accept, because the affectations of grand opera are easy to ridicule. Gilbert and Sullivan operettas are such satires. Moore would like to write a comedy next.

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Martin, George. “The Devil and Daniel Webster; The Ballad of Baby Doe.” In The Opera Companion to Twentieth Century Opera, 375–86. New York: Dodd, Mead, 1979. The article consists of synopses of the plots of The Devil and Daniel Webster and The Ballad of Baby Doe. The book was also published as The Companion to Twentieth-Century Opera.

———. The Opera Companion: A Guide for the Casual Operagoer, 660. New York: Dodd, Mead, 1961. A one-paragraph synopsis of The Ballad of Baby Doe is included.

———. Twentieth Century Opera: A Guide, 368–79. New York: Limelight Editions, 1999. The book includes synopses of The Ballad of Baby Doe and The Devil and Daniel Webster. It is an updated edition of The Companion to Twentieth-Century Opera.

Martin, Nicholas Ivor. The Da Capo Opera Manual, 47–49, 101–2, 142, 662. New York: Da Capo Press, 1997. The book lists information necessary for the production of operas, including the number of sets, number of acts, length, major arias, scenes, and all roles with their vocal ranges. It also provides a plot synopsis. There are entries for The Ballad of Baby Doe, Carry Nation, The Devil and Daniel Webster, and The Wings of the Dove.

Martin, William R., and Julius Drossin. “Douglas Moore (1893–1969).” In Music of the Twentieth Century, 314–21. Englewood Cliffs, NJ: Prentice-Hall, 1980. The section on Moore is part of a chapter on American opera. There is a brief discussion of his musical works and his strong predilection for “Americanisms” following the biographical information. Most of the section is devoted to The Ballad of Baby Doe, including four musical examples and an illustration from the New York City Opera production.

Mason, Daniel Gregory. “The Younger Men. [Section] II.” Chapter 24 in Music in My Time: And Other Reminiscences, 387–91. New York: Macmillan, 1938. In this passage from Mason’s autobiography he quotes from several letters he received from Moore, who wrote to him from Europe. These letters from the 1920s give fascinating insights into Moore’s attitudes toward French music of that time and show the development of his own aesthetic. He finds studies with Boulanger stultifying and finds no sympathy for the works of Fauré or Ravel. Even at this early stage he recognizes that he cannot write in the “modern” idiom of Stravinsky, although he recognizes its importance.

Mason, Daniel Gregory, and Douglas Moore. “Recent Developments in Music at Columbia and Barnard.” Bulletin of the Association of American Colleges 17, no. 3 (November 1931): 355–58. Half of this article is devoted to a description of the various performing ensembles (orchestra, band, glee clubs, and church choir) at the two colleges. There is no concert series, since New York offers sufficient concertgoing activities. There is a good library for the study of music. The undergraduate curriculum offers courses in music appreciation and theory. Students are first instructed in the elements of music and then shown how this relates to the history of music. Emphasis is placed on being able to perform music even in courses in history and theory. The authors think that graduate degree programs leading to a M.A. or Ph.D. would have merit, but that degrees such as the B.Mus. and D.M.A. would have little meaning, as there is no standard by which such degrees could be granted.

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“Masters of Our Day.” New York Times, 29 September 1935, sec. 10, p. 8, col. 2. The article announces Masters of Our Day, a series of piano pieces for young pianists published by Carl Fischer, which includes a composition by Moore.

McCarty, Clifford. Film Composers in America: A Filmography, 1911–1970, 213. 2nd ed. New York: Oxford University Press, 2000. The book lists Moore’s three film scores, Power and the Land, Youth Gets a Break, and Bip Goes to Town.

McKee, David. “The Great American Opera?” San Francisco Opera Magazine 78, no. 3 (2000– 2001): 10–18. This is one of the most comprehensive articles on The Ballad of Baby Doe. The author discusses the opera’s history, the historical background of the characters, and, most important, the musical aspects of the work that make it so effective. He talks about the elements that make it the quintessential American opera: the use of music that sounds like nineteenth-century marches, dances, and songs but is in fact originally composed music. He discusses the performance history of the premiere, the New York City Opera premiere with Beverly Sills, and the first recording session. There is discussion of the musical aspects of the opera, including the use of meters associated with the major characters and the use of the Tristan chord in Baby Doe’s final aria. The article contains several illustrations, including an early portrait of Baby Doe, portraits of Horace and Augusta, a photograph of Beverly Sills as Baby Doe, a scene from the opera, a picture of the Tabor Opera House, and a picture of Baby Doe late in life on the streets of Denver.

———. “You’ve Come a Long Way, Baby Doe.” Opera News, 11 January 1997, 26–27, 43, 51. The article recounts the forty-year history of performances of The Ballad of Baby Doe and lists the performances given in 1996 and early 1997. The main and most significant part of the article is a musical analysis of the drama, characters, and principal arias of the opera, including excerpts from the score.

McKinley, Ann. “A New Concept in the Teaching of Opera.” College Music Symposium 27, no. 1 (Spring 1977): 82–89. The author describes a course she developed at North Central College in 1976 where students studied the literary sources of operas and how they were transformed into an opera—a new artistic genre. This was accomplished by reading the book or novel upon which the opera was based, followed by a reading of the libretto, and then by listening to the entire opera and singing some of the arias. The course presented three French operas and three American operas, one of which was The Ballad of Baby Doe. In contrast to the other works, Moore’s opera is based not on a literary model, but on historical events. For this opera the students read three pamphlets about Baby Doe and Horace Tabor by Caroline Bancroft.

M[erlin], M[ilton]. “American Faust Set to Music.” Los Angeles Times, 11 June 1939, sec. 3, p. 7, col. 4. The reviewer recommends Stephen Vincent Benét’s short story and its musical adaptation: “Here is Faust with a happy ending and as American as all get out. The libretto is as effective as the story, which means that it is something to cheer about.”

Mills, Derek M. “An American Epic: Ever Young.” Washington Opera no. 73 (1996–97): 28–32. The article gives the history of the Tabors from Horace’s beginnings as a stonecutter in Vermont, through his marriages, to the death of Baby Doe. The author ties the historical facts to scenes in the

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opera, noting which are facts and which are legends. The story is the quintessential tale of the West—a story of a rise to fame and fortune, followed by a decline into poverty and eventually death. Nonetheless, the opera ends with an aria about the redemptive power of love. The article is accompanied by a painting of Baby Doe as a young woman and numerous photographs, including portraits of Augusta, Horace, and Baby Doe Tabor; Baby Doe’s daughter meeting Theodore Roosevelt; the Tabors’ mansion in Denver; and Baby Doe near the end of her life, standing in the door of her Leadville shack.

Mills, James. “Prints Donated by 2 Colo. Artists to Benefit Summer Music Events.” Denver Post, 26 June 1981, sec. C, p. 25, cols. 2–5. The Central City Opera House Association commissioned a print by Nancy Flanders Lockspeiser entitled “Mountains of Ore” for the twenty-fifth anniversary of the premiere of The Ballad of Baby Doe. The sale of the limited-edition prints will go to support the association. The first print was given to Helen Hayes. A picture of the print accompanies the article.

Mininberg, Ian. “Douglas Moore.” Young Keyboard Jr. (School Edition) 13, no. 2 (November 1960): 2. This is a brief article for young musicians to introduce them to the composer. Moore’s early life is discussed, as is his predilection for American topics for his pieces, such as The Devil and Daniel Webster. There is a photograph of Moore’s study at Cutchogue.

“Miss Emily Bailey to Be Married Sept. 16.” Harrisburg Patriot, 1 September 1920, p. 6, col. 5. The article is a wedding announcement.

“Miss Emily Bailey to Wed Stuart Moore.” Harrisburg Patriot, 15 September 1920, p. 11, cols. 6–8. The article is a wedding announcement.

Molyneux, Jaelyn. “6 Questions: DoeHEAD David Kanzeg.” Calgary Herald, 25 January 2008, sec. Swerve, p. 8. http://www.babydoe.org/pdfs/6questions.pdf. Accessed 17 August 2009. The author interviews David Kanzeg, the founder of the DoeHEADS, a group dedicated to traveling to every performance of The Ballad of Baby Doe. He talks about the purpose and origins of the group’s name and the reasons for his dedication to the opera.

“Moore, Composer, to Quit Columbia: Music Teacher There for 36 Years About to Retire.” New York Times, 6 May 1962, sec. 1, p. 134, cols. 3–4. The announcement of Moore’s retirement includes mention of his many accomplishments as a composer, conductor, and professor. A portrait accompanies the article.

“Moore, Douglas (Stuart).” In Current Biography: Who’s News and Why, edited by Anna Rothe and Constance Ellis, 449–51. 8th annual cumulation. New York: H. W. Wilson, 1947. The article is a reprint with slight revision of the entry published in the November 1947 issue.

“Moore, Douglas (Stuart).” Current Biography 8, no. 10 (November 1947): 34–36. This is one of the more substantial biographies of Moore. It recounts his early childhood and student years and outlines his family heritage. Following a chronicle of his academic achievements, his musical positions are listed through 1947. A brief discussion of his works and musical style covers mainly his orchestral and chamber music. He has written two books and received numerous awards. His amateur acting career is also mentioned.

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“Moore, Douglas (Stuart).” In Current Biography: Who’s News and Why, 1947, edited by Anne Rothe, 449–51. 8th annual cumulation. New York: H. W. Wilson, 1948. The extensive biographical summary recounts Moore’s early life, education, and military service before focusing on his later musical career at Columbia University. The article goes on to list and discuss many of his compositions, activities, and awards up to 1947. A photograph and brief bibliography are included.

“Moore, Douglas Stuart.” In The National Cyclopaedia of American Biography: Being the History of the United States as Illustrated in the Lives of the Founders, Builders and Defenders of the Republic, and of the Men and Women Who Are Doing the Work and Molding the Thought of the Present Time, vol. J (1960–63), 406–7. New York: James T. White, 1964. A brief biography is followed by a recounting of his compositions, many times including information about the premieres. Organizational affiliations and awards, hobbies, and family information conclude the article. A portrait accompanies the article.

Moore, Frank Ledlie. Crowell’s Handbook of World Opera, 16, 261. New York: Thomas Y. Crowell, 1961. There is a synopsis, a list of the roles for The Ballad of Baby Doe, and a list of all of the operas by Moore in this handbook.

“Moore Named Head of Columbia Music: Composer, Barnard Associate, Gets Full Professorship; Succeeds Daniel Mason.” New York Times, 25 April 1940, p. 26, col. 4. The article is an announcement of faculty promotions, retirements, and reappointments at Columbia University that features Douglas Moore’s promotion to a full professorship and head of the department. Mason continues at Columbia as the MacDowell Professor of Music. A portrait of Moore heads the article.

“Moore Residence in $185,000 Deal: Handsome Home in McDonough Street Exchanged for Two Big Apartments; May Become Clubhouse; Many Transactions in Eastern Parkway Section Started, Broker Says, by Subway Plans.” Brooklyn Daily Eagle, 18 January 1914, p. 16, cols. 1–4. The article is an announcement of a real estate deal to sell and exchange the Stuart Hull Moore house, in which Douglas Moore grew up, on 43 McDonough Street for two apartments on the corner of Sumner Avenue and Van Buren Street, both in Brooklyn. Photographs of both buildings are shown in the article.

“Moore Will Speak at Music Forum.” Columbia Daily Spectator, 28 November 1962, p. 1, col. 2. The article announces Moore’s lecture, “How American Is Opera?,” at Barnard College in November 1962.

Morehead, Philip D., and Anne MacNeil. The New American Dictionary of Music, 30, 72, 120, 352. New York: Dutton, 1991. The book contains a short biography and entries for The Ballad of Baby Doe, Carry Nation, and The Devil and Daniel Webster.

Morgan, Ray. “Carry Nation Opera Echoes Overtones of a Tragic Life.” Kansas City Star, 24 April 1966, sec. D, p. 1, cols. 1–8, and p. 2. Moore is quoted as saying that he looked for a historical figure for the University of Kansas centennial commission and considered both Coronado and John Brown. Carry Nation was suggested by music

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department chair, Thomas Gorton. In an extensive interview with Moore he discusses Carry’s story— family, personality, and background. The article includes a synopsis of the plot into which excerpts from the libretto are interpolated. The author quotes extensively from William Frank Zornow’s book Kansas: A History of the Jayhawk State to amplify on Carry’s biography. Also, there are lengthy quotes from Ruth Stout, who was allied with Carry. Additional information includes quotes from Carry’s newspaper, The Smashers Mail, of 18 May 1901, and from Andrew Sinclair’s book Prohibition: The Era of Excess. There are many illustrations of the sets from the opera.

Moskowitz, Roy M. Z. “Critic Praises Orchestra Concert: Finds Musicians Greatly Improved.” Columbia Spectator, 7 March 1927, p. 1, cols. 2–3. The review of the Columbia University Orchestra concert on 4 March 1927 found that “Mr. Moore’s conducting was of a nature that brought forth all the freshness and vivacity of the score [Bach’s Suite in B Minor for Flute and Strings], while still maintain[in]g a strict regard for tempo.”

“Mrs. Stuart H. Moore Dies in California: Ex-Editor of The Ladies World and Widow of New York Publisher.” New York Times, 2 December 1933, p. 13, col. 5. The article reports the death of Moore’s mother in Pasadena on 1 December.

Murphree, Alex. “Central City Choices Arousing Comment.” Denver Post, 15 December 1953, p. 29, cols. 2–5. The author reports that Paul Green and Moore have been chosen to write an opera on the life of Horace Tabor for the 1955 Central City season. He is unimpressed with Green as a librettist, an opinion he bases on the writer’s translation of Carmen last year. He thinks that Moore is a strange choice because he is not known for writing opera. Murphree suggests instead two Colorado writers, Thomas Hornsby Ferril for the libretto and Cecil Effinger as the composer.

Murphy, Mary Ellen. “Douglas Moore.” [Young] Keyboard Jr. (School Edition) 19, no. 5 (February 1961): 6, 8. The article tells how Moore met three important poets, Archibald MacLeish, Stephen Vincent Benét, and Vachel Lindsay, and the ways in which they influenced his music. A photograph of Moore and his composing studio at Cutchogue are included.

“Museum to Resume Free Art Lectures: Talks at the Metropolitan Open to the Public Saturdays and Sundays Beginning Oct. 28.” New York Times, 30 September 1928, sec. 2, p. 4, col. 5. Moore will lecture on music at 10:15 every Saturday from 3 November to 27 April at the Metropolitan Museum of Art.

“Music Center Dedicated, Composer Praises City.” Hartford Courant, 6 December 1963, p. 31, cols. 4–5. The article reports on the dedication of the Alfred C. Fuller Music Center at the University of Hartford. Moore gave the dedicatory speech. A photograph of Moore, Moshe Paranov, and Marian Anderson accompanies the article.

“Music Critics Cite Piston and Moore.” New York Times, 21 January 1959, p. 25, cols. 2–3. Moore wins the 1958 New York Music Critics’ Circle award for the best opera, on the third ballot. There is a photograph of Moore included.

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“Music Critics Reveal Awards.” Los Angeles Times, 23 January 1959, p. 23, cols. 6–8. Moore receives the 1958 New York Music Critics’ Circle Award for The Ballad of Baby Doe as the best opera of the year.

“Music Events.” Los Angeles Times, 1 January 1961, sec. Calendar, p. 21, cols. 1–2. Moore and Conrad Aiken are given the Huntington Hartford Foundation Awards in composition and literature. The award consists of $1,000 and a six-month residency at the foundation in Pacific Palisades.

“Music Head at Columbia to Compose Fete Tribute.” New York Times, 15 December 1953, p. 53, col. 2. Moore is commissioned by the Serge Koussevitzky Music Foundation of the Library of Congress to write an orchestral work to celebrate the bicentennial of Columbia University.

“Music Note.” Chicago Daily Tribune, 21 May 1960, sec. 1, p. 19, col. 1. Moore receives an award from the National Association for Composers and Conductors for “distinguished service to American music.”

“Music Notes.” New York Times, 18 March 1931, p. 33, col. 1. The article announces the 19 March concert of the Columbia University Orchestra, conducted by Moore, with Herbert Dittler as violin soloist.

“Music Notes.” New York Times, 27 November 1931, p. 30, col. 5. The article announces the 11 December concert of the Columbia University Orchestra, with Moore conducting. The orchestra will perform John Powell’s Natchez on the Hill, with the composer at the piano.

“Music Notes.” New York Times, 3 November 1933, p. 23, col. 4. Moore conducts the Columbia University Orchestra in works by Bach, Beethoven, Mozart, and Handel on 4 November.

“Music Notes.” New York Times, 1 February 1934, p. 14, col. 1. The notice includes an announcement of Moore’s lecture “Trends in Music” that evening.

“Music Notes.” New York Times, 2 December 1936, p. 33, col. 6. Moore is part of a group of composers who will address a seminar of piano teachers on 3 December in Steinway Hall.

“Music Notes.” New York Times, 1 April 1937, p. 18, col. 4. Moore is scheduled to speak about the purpose of the MacDowell Colony at a tea hosted by Mrs. Benjamin Prince.

“Music Notes.” New York Times, 11 May 1937, p. 30, col. 1. A benefit concert for the MacDowell Colony will be held the evening of 11 May at Moore’s home. The program includes Poulenc’s Concerto for Two Pianos.

“Music on the Campus.” Barnard Bulletin, 11 March 1930, p. 2, col. 5. Moore conducts the Columbia University Orchestra in a concert of Bach’s Double Concerto, Beethoven’s Symphony no. 4, Ravel’s Mother Goose Suite, and the Overture to Wagner’s The Flying Dutchman. The reviewer complains about too many long slow movements, especially in the Bach and Beethoven, but praises the soloists, who played with “zest and delicacy,” and the interpretation of the Wagner.

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“Music Room in Stuart Hull Moore Home.” Brooklyn Daily Eagle, 19 January 1914, sec. Picture and Sermon, p. 8, cols. 5–7. This is a captioned photograph of the Moore family home in Brooklyn at 43 McDonough Street. The music room was added for $10,000, and Mrs. Moore hosted well-known singers at private concerts.

“Musical Experiment Conducted at Assembly: Tests Attempt to Determine Musical Taste.” Barnard Bulletin, 6 May 1927, p. 1, cols. 3–4, and p. 3. Moore conducts an experiment in musical taste at a Barnard College assembly by arranging musical themes of recognized masterpieces in three different ways: a boring version, a version with distorted rhythms and incorrect harmonies, and a sentimental version. The original theme and the arranged versions are then played, and the students indicate which version they like the best. This is correlated with the students’ level of musical education. At Columbia University the students clearly showed a preference for the sentimental version.

“Musical Notes of the Week.” Washington Post, 26 June 1938, sec. 6, p. 4, cols. 7–8. The article announces the publication of the String Quartet by the Society for the Publication of American Music.

“N.Y. Critics Laud ‘Baby Doe’ as Best Opera Produced in ’58.” Denver Post, 25 January 1959, sec. 1, p. 1, cols. 4–6. The article announces that the Music Critics’ Circle of New York gives its award for the best opera of 1958 to The Ballad of Baby Doe.

“Names.” Music Journal 37, no. 1 (January 1979): 32. As part of the United States bicentennial celebration, two Landmark of American Music plaques were installed and dedicated at Columbia University for Lorenzo da Ponte and Moore.

“New ASCAP Plan Studied: Proposal to License Advertisers Using Radio Considered.” Los Angeles Times, 6 January 1941, sec. 1, p. 2, col. 3. Moore’s letter to the FCC requesting the agency to intercede in the dispute between ASCAP and the NAB over ASCAP royalty increases is quoted. The NAB refused to pay the increased fees, stopped playing ASCAP compositions, and set up its own licensing agency, BMI.

“New Head of Institute of Arts and Letters.” New York Times, 14 January 1946, p. 17, col. 5. The article announces that Moore was named president of the National Institute of Arts and Letters. A portrait accompanies the article.

“New Publications in Review: Scores.” Musical Courier 142, no. 8 (1 December 1950): 42. This one-paragraph review of the Carl Fischer publication of Farm Journal considers the work to be “highly melodic, simple, frequently humorous and always spirited.” It is recommended for both small and large orchestras and is suitable for amateur groups also.

“New Publications in Review: Vocal Solo.” Musical Courier 142, no. 7 (1 November 1950): 28. The songs “Under the Greenwood Tree” and “Old Song,” with texts by Shakespeare and Theodore Roethke, respectively, are simple but effective.

“The Newly Appointed President of National Institute of Arts and Letters.” Musician 51, no. 12 (February 1946): 29–30.

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The article is an announcement of Moore’s election as president of the Institute, accompanied by a standard biography.

“Newspapers Seen as Literary Focus: Farrar, at Book Fair, Finds Them ‘Common Denominator of Writing Backgrounds’; Music Topics Suggested; John Erskine Lists Subjects in Search of an Author; Crowds View Exhibits.” New York Times, 7 November 1936, p. 5, cols. 1–2. Moore speaks at the program entitled “Words and Music” held as part of the New York Times National Book Fair. In his talk, he encourages American audiences to listen to more music of the present and says that “the best thing musically that could happen to this country is to have more understanding and more demanding audiences.”

Nichols, Dorothy. “Douglas Moore at Stanford: ‘Baby Doe’ Composer Describes Difficulties of Creating Opera.” Palo Alto Times, 23 May 1957, p. 13, cols. 6–8. Moore lectures at Stanford about the challenges in writing opera. The words will not all be heard, so the composer must make the work “as visual as possible.” The old form of recitative-and-aria is out of fashion. The modern opera composer must use “strong feeling.” The article discusses Moore’s choice of the Baby Doe story and gives a short synopsis.

Nissim, Rudolf. “Homage to Douglas Moore.” ASCAP Today 3, no. 2 (October 1969): 19. This article is an extended obituary of Moore, who was a past member of the ASCAP board of directors. Aside from the usual biographical data, the article quotes from Paul Henry Lang’s review of The Wings of the Dove, which comments on Moore’s straightforward musical language and sureness of musical craft.

Norman, Gertrude, and Miriam Lubell Shrifte, eds. Letters of Composers: An Anthology, 318–19, 365–66. Universal Library 107. New York: Grosset & Dunlap, 1946. The anthology contains five letters to or from Moore. The first letter is from Horatio Parker (1 July 1917) just before Moore is to leave for musical study in Paris. A letter to a student, Rose Resnick (4 February 1941), discusses the issue of humor in music. A letter to Carl E. Lindstrom (17 January 1942), a critic from Hartford, Connecticut, comments on Lindstrom’s article responding to Moore’s lecture in which he talks about the use of American subject matter by composers. There are two letters from Randall Thompson (22 April 1936 and 22 July 1940). The first concerns the unjust and illogical criticisms of music critics, and the other discusses Thompson’s experiences at the opening of the Berkshire Music School that year.

Norton, Richard C. “The Devil and Daniel Webster.” In A Chronology of American Musical Theater, 2:800, 3:82. 3 vols. Oxford and New York: Oxford University Press, 2002. The chronology contains two entries for The Devil and Daniel Webster : one for the premiere on 18 May 1939 at the Martin Beck Theatre and one for the April 1959 revival by the New York City Opera. Each entry lists the entire cast, directors, and producers, and gives the dates and places where the work was performed.

Novakova, Isabel. “Prague Has Colorful Musical Fare: The Month in the Czechoslovakian Capital Takes on Remarkably International Aspect: . . . The Newly Appointed President of the National Institute of Arts and Letters.” Musician 51 (February 1946): 29–30. Moore’s election to the presidency of the National Institute of Arts and Letters prompts this news item, which provides a short biography and list of his accomplishments.

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Oenslager, Donald M. “The Ballad of Baby Doe.” In The Theatre of Donald Oenslager, 128–29. Middletown, CT: Wesleyan University Press, 1978. Theses pages reproduce drawings of two set designs from the opera: the Clarendon Hotel and the “Vote for W. J. Bryan” backdrop.

“Old Family, New Talent.” Life, 15 February 1954, 125. Moore is given as an example of six of the best professors at Columbia University. A photograph of Moore composing music while seated at the piano accompanies the article.

“On the Air Today.” Washington Post, 22 August 1937, sec. 6, p. 9, col. 8. WMAL will broadcast a performance of The Headless Horseman at 7:00.

“On the Campus.” Barnard Bulletin, 7 November 1930, p. 2, col. 5. Moore initiates a series of phonograph concerts on Monday nights in the music department where Barnard College students can come to hear recorded performances of pieces to be performed live locally and to listen to student requests.

“Opera and Concert Asides.” New York Times, 1 February 1942, sec. 9, p. 7, col. 6. Moore will be working on a musical setting of Archibald MacLeish’s Fall of the City in New Mexico. The work will be either an opera or an oratorio and will be produced next fall by a New York organization.

“Opera Club Charter Approved by Council.” Barnard Bulletin, 17 January 1930, p. 3, col. 2. An opera club has been formed at Barnard College with Moore as the advisor. The club will attend concerts, sponsor local recitals, and acquire recordings of operas for the members to use.

“Orchestra Gives Opening Program.” Barnard Bulletin, 13 December 1929, p. 3, col. 2. Under Moore’s direction the Columbia University Orchestra performed a program of a Haydn symphony, a Beethoven piano concerto, and Weber’s Overture to Der Freischütz. The players’ lack of confidence led to “an impoverished tone and the slight lack of balance, the woodwinds often sticking out like a sore thumb.” However, the playing improved in the Beethoven concerto, with fine playing from Bruce Simonds.

“Orchestra Plays at Assembly: Mr. Moore Leads Columbia Musicians.” Barnard Bulletin, 16 December 1927, p. 1, col. 4. The Columbia University Orchestra under Moore’s direction played a concert on 13 December consisting of a Scarlatti suite and Beethoven’s Symphony no. 8. Moore provided comments to explain the pieces on the program, which was capably performed by the orchestra.

“Orchestra to Give Symphony Concert Tomorrow Evening: Prof. Douglas Moore Will Conduct Entire Program in McMillin Theatre; Simonds Is Scheduled to Render Piano Solo; Noted Musician Will Play a Beethoven Concerto, Accompanied by Full Orchestra.” Columbia Daily Spectator, 9 December 1929, p. 1, col. 6. The article announces the concert of the Columbia University Orchestra. Moore conducted the orchestra beginning in 1926, and the writer concludes: “Under [Moore’s] guidance the group of student musicians has grown in membership and the technique of the players so improved as to merit the commendation of Chalmers Clifton, conductor of the American Orchestral Society, who stated that the Columbia University Orchestra was one of the finest of its kind in the East.”

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“Orchestra to Plan Season’s Concerts: New Program Will Be Arranged at Reorganization Meeting Tonight.” Columbia Daily Spectator, 3 October 1928, p. 1, col. 2. The article announces the schedule of auditions for the orchestra under Moore’s direction. There will be three concerts given during the year. There is also the possibility of college credit for participation in the orchestra combined with music lessons. A scholarship is being offered for a bassoonist.

“Orchestra to Play at Assembly on Tuesday.” Barnard Bulletin, 9 December 1927, p. 5, col. 3. The Columbia University Orchestra under Moore’s direction will perform a work by Scarlatti and three pieces for flute, harp, and strings by Daniel Gregory Mason on 10 December.

“Organ Music.” Chicago Daily Tribune, 2 March 1941, sec. 6, p. 3, col. 3. Dirge has been published by H. W. Gray.

Osborne, Charles. The Dictionary of the Opera. New York: Simon & Schuster, 1983. 28, 95, 214. The book contains short entries for The Ballad of Baby Doe, The Devil and Daniel Webster, and Moore.

———. “Douglas S. Moore: The Ballad of Baby Doe.” In The Opera Lover’s Companion, 248–50. New Haven, CT: Yale University Press, 2004. A brief introduction to the synopsis gives background information on Moore, and the concluding paragraph describes the style of the music.

P., H. M. “Review of Listening to Music, Rev. Ed.” Musical Leader 95, no. 8 (August 1963): 23. This one-paragraph book review claims that “Moore makes clear a subject that is usually left to hazy guessing in fantastic forms. The presentation is so clear as to reach the absolute beginner in Music Appreciation.”

Pahlen, Kurt. “Douglas Moore, 1893–1969.” In Pahlen Opern Lexikon, 436–37. 2nd revised ed. Munich: Wilhelm Heyne, 1995. The entry begins with a paragraph outlining Moore’s significance to American opera and lists the titles of his major theater pieces. There follow brief synopses of The Devil and Daniel Webster and The Ballad of Baby Doe.

Pakenham, Compton. “Newly Recorded Music: Other Notes Here, Afield.” New York Times, 26 November 1933, sec. 9, p. 7, cols. 3–4. Moore organized a chamber music series sponsored by the Columbia Institute of Arts and Sciences beginning on 9 December. “The series plans to survey historically, both as to musical literature and instruments, the development of chamber music from the fifteenth to the twentieth century.”

Paller, Rebecca. “Whatever Happened to Baby Doe?” Opera News, October 1998, 40. The reissue of the Deutsche Grammophon recording on compact disc was delayed for two years because the legal papers concerning one-time payment of the performers could not be found. The entire recording was done in one take, and the musicians were paid only a flat fee for the recording session.

Parmenter, Ross. “Music World: Moore’s Seventh.” New York Times, 18 November 1962, sec. 2, p. 9, cols. 4–5. The University of Kansas has commissioned Moore to write an opera on a Kansas theme for its centenary. Moore is looking for a suitable libretto and is considering a work based on antebellum Kansas, when the state had two capitals. He will work on the opera following the fall semester at Columbia

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under the sponsorship of the Huntington Hartford Foundation and also the next year, again following teaching commitments, supported by the Rockefeller Foundation.

———. “Musician Prefers ‘Boos’ to Apathy: Douglas Moore, Composer, Urges Honest Audiences at Arizona Party.” New York Times, 13 June 1959, p. 13, col. 6. Moore addresses the convention of the American Symphony Orchestra League. He advocates a more honest and partisan reaction on the part of audiences to musical works and performances. Audiences at a concert should express their pleasure or displeasure in the same way that they do in a baseball stadium. This way composers would know what audiences actually think. Comments from the audience discussion provide differing viewpoints but center on raising the musical literacy of audiences so that they will be able to discriminate between good and bad works.

———. “The World of Music: Story of ‘Baby Doe’ Tabor, Wife of Silver Miner, to Be Made into Colorado Opera.” New York Times, 20 December 1953, sec. 2, p. 9, cols. 4–6. In March 1935 Moore read of the death of Baby Doe Tabor and thought it would be a good subject for an opera. The first attempt at a libretto was unsuccessful. Twenty years later the Central City Opera Association wanted to commission an original opera to commemorate the centennial of the discovery of gold in Colorado and coincidentally chose the story of the Tabors. Moore was approached for the project by the stage designer Donald Oenslager.

Parton, Margaret. “Sherwood Sees Threat to Intellectual Liberty.” New York Herald Tribune, 27 May 1954, p. 19, cols. 7–8. As secretary of the American Academy of Arts and Letters, Moore inducted four new members into the Academy. He is pictured in one of the photographs.

“Party Will Honor Moores and Watts.” Los Angeles Times, 14 April 1963, sec. E, p. 8, col. 5. The article announces that the writer Leighton Rollins will host a party to honor Moore and Donald Watt, founder of the Experiment in International Living.

Paul, Gloria. “Women in the News: High Tea with the Allens.” Tampa Tribune, 23 February 1964, sec. D, p. 1, cols. 1–8. Moore and his wife are invited to a tea at the home of President Allen of the University of South Florida while Moore is composer-in-residence. There are four photographs picturing the Moores and the Allens.

“People in the Arts.” Arts Magazine 36, no. 4 (January 1962): 10. Moore’s reelection as president of the American Academy of Arts and Letters is announced.

“Personalities: Douglas Moore Birthday in 1968.” Music Clubs Magazine 47, no. 5 (June 1968): 7. An announcement of Moore’s seventy-fifth birthday cites his operas for children, several orchestral works, and the Clarinet Quintet.

“Philharmonic Called Doomed with the Opera: Moore, of Barnard, Finds 2 ‘Symbols of the Past’ Economically Impossible, Refers to Drive for Funds, Denies Broadcasts Train Hearers, Assails Critics.” New York Herald Tribune, 2 February 1934, p. 12, cols. 7–8. Moore makes some provocative statements concerning the relationship of major cultural institutions to modern music in a lecture to the Institute of Arts and Sciences of Columbia University on 1 February. He criticizes the large sums of money needed to fund these institutions to perform only the music of the past and sees chamber music and small-scale opera as the solution. He concludes: “Our difficulties

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will disappear over night if a great creative artist appears to fuse the new elements into a music of universal significance.”

Phillips, Burrill. “Douglas Moore: Suite for Piano.” Notes 8, no. 4 (September 1951): 749–50. The article is a review of this 1951 Carl Fischer publication, of which it says, “The cheerfulness and neatness of Moore’s music for other media are noticeable here and just as effective as elsewhere.”

Ping-Robbins, Nancy R. The Piano Trio in the Twentieth Century: A Partially Annotated Bibliography with Introduction and Appended Lists of Commissioned Works and Performing Trios, 91. Raleigh, NC: Regan Press, 1984. The single entry under Douglas Moore describes his String Trio of 1953.

“Piston and Moore Get Music Critics’ Award.” New York Herald Tribune, 21 January 1959, sec. 1, p. 15, cols. 6–7. The Music Critics’ Circle of New York gives its annual award for the most outstanding opera to The Ballad of Baby Doe, winning against such works as Robert Kurka’s The Good Soldier Schweik, Benjamin Britten’s The Turn of the Screw, and Samuel Barber’s Vanessa.

“Plan Evening of Music: Douglas S. Moores and Chalmers Cliftons to Be Hosts Tuesday.” New York Times, 9 May 1937, sec. 6, p. 3, col. 8. An evening of poetry and music will be presented at the Moore home for the benefit of the MacDowell Colony on 11 May. Archibald MacLeish will read some of his poems, and Mrs. MacLeish will sing songs, accompanied by Celius Dougherty.

“Plans for Next Season.” New York Times, 9 May 1937, sec. 11, p. 6, col. 4. Moore will give a lecture on Tristan und Isolde for the Richard Wagner Society on 17 January.

“Poet Is Elected President of the American Academy.” New York Times, 16 December 1953, p. 46, col. 4. Moore is elected secretary of the American Academy of Arts and Letters.

Pool, Ethel. “Paris as Clevelanders Are Seeing It in Early Winter: Douglas Moore at Work on Counterpoint and Composition: A Word about Some Art Exhibits.” Country Club News (1926): 17, 26. This is an extensive interview with Moore while he is studying with Boulanger. He has set aside work on a musical, probably Oh, Oh, Tennessee, and is working on The Ballad of William Sycamore. He talks about his incidental music for Twelfth Night, currently being produced by the American Laboratory Theater in New York.

Posell, Elsa Z. “Douglas Moore.” In American Composers, 137–41. Boston: Houghton Mifflin, 1963. This book, written for upper grade school through high school students, contains biographies of twenty-nine composers. The essay tells of Moore’s early life, studies, and career as a composer and enumerates his most important works, especially the operas.

Preston, Stuart. “Douglas Moore Will Be 70 Today: Composer of Operas Finds Hope for American Works.” New York Times, 10 August 1963, p. 9, cols. 5–6. Moore is interviewed on his seventieth birthday. He is currently revising Giants in the Earth and beginning work on Carry Nation. He does not believe that American composers need to restrict themselves

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solely to American subjects and thinks that the prospects of American opera are improving. However, some of the remaining problems are “that opera audiences are only interested in 25 standard works and it is terribly hard to establish a new opera,” and that “too much attention is paid to the star system.” The large expense of opera is also a frequent stumbling block. The most difficult thing for the opera composer is to find a suitable libretto: “The number of subjects suitable for opera is small . . . . An ideal plot demands rich emotional content and psychological tension between the characters. Everyday subjects rarely do because everyday situations sound grotesque when they are put into song.” A portrait of Moore accompanies the article.

“Previously Unpublished Composers’ Letters as Written to Claire R. Reis.” Musical America 83, no. 1 (January 1963): 16. A letter from Tucson by Moore dated 7 March 1942 responds to Clair Reis’s invitation to write an anniversary piece for the League of Composers. Moore was living in Arizona during the war, where he acted for the first time since college in the Composers’ Theater.

“Produce Gershwin Opus: Philharmonic Novelty Explained by Taylor; Two Young Opera Troupes Return.” New York Times, 9 December 1928, sec. 10, p. 10, cols. 5–6. A brief paragraph announces the performance of Seth Bingham’s Pioneer America by the Columbia University Orchestra, conducted by Moore, on December 13.

“Prof. Moore Set to Retire This Spring: Pulitzer Prize Winner Taught since 1926.” Columbia Daily Spectator, 2 May 1962, p. 1, cols. 1–2. The article announces of Moore’s retirement and is accompanied by a portrait.

“Professor Moore Describes Expansion of Interest in Music at Barnard to Alumnae: Finds Disadvantage in College Training Because of Dilution of Effort; Cites Department Aims; Mentions Increase in Enrollment from 30 to 100 in Survey of Music Course.” Barnard Bulletin, 28 April 1933, p. 1, cols. 4–5, and p. 4. In a lecture given on 24 April to Barnard College alumnae, Moore presents his philosophy of music education. He believes that “the best way to acquire background in music is unconsciously . . . the sort of background you inherit from music interest in the home and frequent attendance at concerts and the study of an instrument.” In college courses the student is given “a knowledge of the interplay of musical elements together with enough history of music as is necessary.” He then explains how the performing groups and music courses have expanded at Barnard.

“Professor Moore Plans New Opera.” Columbia Daily Spectator, 16 November 1962, p. 3, cols. 3–5. The recently retired Moore will begin work on his seventh opera using the remaining half of a 1960 Huntington Hartford Foundation grant. A portrait of Moore accompanies the article.

“Program of the Book Fair.” New York Times, 1 November 1936, sec. 2, p. 8, cols. 4–5. Moore is listed as one of the speakers for the “Music and Words” program at the New York Times National Book Fair on 6 November.

“Programs for the Week: Revival of ‘Sonnambula’; Season’s First ‘Goetterdaemmerung’; Recitalists.” New York Times, 13 March 1932, sec. 8, p. 9, cols. 1–3. The concert of the Columbia University Orchestra with Moore conducting on 17 March is announced, with Alexander Harsanyi as the violin soloist.

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“Programs of the Current Week: The WPA Federal Project Sponsors an American Festival at the Theatre of Music; Operas, Ensembles and Recitalists.” New York Times, 2 May 1937, sec. 11, p. 6, cols. 1–5. At Town Hall in New York Moore and Carl Carmer present a discussion, “The Problem of Encouraging Creative Art in America,” for the Music Round Table on 7 May.

“Programs of the Week: Joint Concert by Levitzki, Seidel, Chenkin; Damrosch Lecture; Recitalists.” New York Times, 4 November 1934, sec. 9, p. 7, cols. 1–4. A concert by the Columbia University Orchestra, conducted by Moore, is announced for 10 November.

“Programs of the Week: Season’s Second ‘Parsifal’; Philharmonic in Last Tour; Ensembles and Recitalists.” New York Times, 5 March 1933, sec. 9, p. 6, cols. 1–5. On 9 March Moore conducts the Columbia University Orchestra in works by Gluck, Daniel Gregory Mason, and Brahms.

“Programs of the Week: Special All-Wagner Program by Toscanini; Ensembles and Recitalists.” New York Times, 30 October 1932, sec. 9, p. 7, cols. 1–3. Moore conducts the Columbia University Orchestra in a concert on 3 November celebrating the bicentennial of the birth of Joseph Haydn.

“Programs of the Week’s Recitals: Pizzetti Opera Novelty, Two Orchestras and Belgian Band; Flonzaleys’ Farewell and Clemens Krauss’s Debut.” New York Times, 17 March 1929, sec. 10, p. 10, cols. 1–5. In a free concert by the Columbia University Orchestra on 19 March, Moore will conduct works by Brahms, Beethoven, Sibelius, and Grainger.

*“Pulitzer Prize Is Awarded to Douglas Moore.” Reserve Weekly, 29 April 1925. The article announces that Moore was awarded a $1,500 Pulitzer Prize travel award for the composition Four Museum Pieces. He plans to leave for Paris in July.

“Pulitzer Prizes Awarded to Two Young Composers.” Musical America 42, no. 2 (2 May 1925): 1–2. The announcement of the Pulitzers notes that two prizes were given in music this year owing to the merit of the works submitted, though none had been given last year. Leopold Mannes and Moore were the two recipients, Moore for Four Museum Pieces.

“The Pulitzer Winners Attending Dinner.” New York Times, 11 May 1966, p. 33, cols. 3–5. Moore is listed among the Pulitzer Prize winners attending this year’s dinner.

Q. “ ‘Listening to Music’ and Other Books: Douglas Moore’s ‘Listening to Music’ Is Useful Book.” Musical America 52, no. 13 (August 1932): 27. Moore’s first book is reviewed positively. “Its chief value lies not only in its interesting, lucid and intelligent exposition of the various elements which make up ‘the language of music,’ but in the emphasis which is so rightly placed, as conveyed by his concluding words: ‘. . . let us again assert that it is from musical experience that knowledge of music is gained. Books about music are interesting only if the music they explain has made them so.’ ”

“Quintet for Clarinet and Strings (Moore).” http://en.wikipedia.org/wiki/ Quintet_for_clarinet_and_strings_(Moore). Accessed 21 December 2008.

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This is a short program note–like article that includes comments on each of the four movements, when it was composed, and its musical structure.

“Radio Programs Scheduled for Broadcast.” New York Times, 16 February 1936, sec. 9, p. 14, cols. 1–8. Moore appears with Mrs. August Belmont as a speaker on the WEAF program “Rollins College Magazine of the Air” on 16 February.

“Ranch Food to Be Provided Widow.” Los Angeles Times, 4 August 1915, sec. 2, p. 10, col. 3. Stuart Hull Moore’s will directed that Myra Moore “be supplied during her lifetime with cream, milk, poultry, vegetables and eggs from the Moore farm, and that the supplies shall be delivered free.” He died on 18 April 1915 in Pasadena. One-third of his estate will be distributed to his widow and the remainder to his children.

Ratner, Carl Joseph. “Chicago Opera Theater: Standard Bearer for American Opera, 1976– 2001,” 1:243–50. 2 vols. D.M.A. diss., Northwestern University, 2005. The dissertation is a history of the Chicago Opera Theater, written by its artistic director. The opera company first came to the attention of the Chicago public with its performance of Virgil Thomson’s The Mother of Us All. This led to the production of other operas by American composers and lesserknown operas not performed by the larger Lyric Opera of Chicago. By 1993 the Chicago Opera Theater was in financial difficulty, and the next year it merged with Chamber Opera Chicago. After the merger, the revitalized opera company staged two operas never before performed in Chicago, one of them The Ballad of Baby Doe. This part of the company’s history is discussed in chapter 17. The production was not a financial success, but it received positive reviews and allowed the company to continue to receive support from sponsors.

“Reception Is Given for Mrs. MacDowell: Composer’s Widow Honored in Celebration of the Colony’s 25th Anniversary.” New York Times, 5 December 1932, p. 2, col. 2. Moore and his wife attended this celebration on 4 December.

Reese, Gustav. “Moore, Douglas Stuart.” In Grove’s Dictionary of Music and Musicians, edited by H. C. Colles, supplementary vol., 444–45. New York: Macmillan, 1940. The article is a short biography including a list of works and writings.

———. “Moore, Douglas Stuart.” In Grove’s Dictionary of Music and Musicians, edited by H. C. Colles, supplementary vol., 444–45. New York: Macmillan, 1944. This article is the same as the one that appears in the 1940 edition.

“Reviewer Praises Final Concert of Orchestra; Finds Organization Has Improved Greatly.” Columbia Spectator, 14 May 1928, p. 1, cols. 2–3. Moore conducts the Columbia University Orchestra, and the reviewer comments: “To Dr. Moore ought certainly be given a vote of thanks. He had made a group of untrained players into a very presentable orchestra. This last concert plainly showed the results of his work; and the results were admirable. It is to be hoped that he will continue as a leading spirit and director of the orchestra, for if he does all things indicate an even better orchestra next year.”

Rhodes, Willard. “A Columbia Composer Follows the American Way in Music: Douglas Moore’s Music.” Columbia University Quarterly 32 (October 1940): 223–26.

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This is one of the most complete articles on the life and work of Moore up to 1940. It chronicles his early musical experiences and studies and examines his work as a music professor. A considerable portion of the article is devoted to the influence of literature and poets on his music. There is much more commentary on his instrumental works than is usually found.

*———. “The Headless Horseman: An Experiment in American School Music.” Villager (February 1937): 26, 62. The Bronxville Schools have a tradition of presenting Gilbert and Sullivan operettas, but it is useful to expand the high school students’ knowledge of other kinds of music and to choose works that are more suitable to younger voices. Moore and Benét were approached with the challenge of writing a work for young students in order to give them the opportunity to work on a piece by an American composer who was not strictly a writer of popular music.

Rich, Alan. “Busily Inactive.” New York Times, 1 July 1962, sec. 2, p. 7, cols. 6–7. In this interview upon his retirement from Columbia University, Moore discusses his love for teaching, the condition of contemporary music, and opera in the United States. Even though Moore is now retired from Columbia, he will continue to teach the department’s introductory music appreciation course, which he feels is vital for educating the general public and creating a musically knowledgeable audience. He has no desire to criticize serial music, even though he writes in a diatonic style and believes that music will return to greater lyricism in the future. He also believes that opera is gaining in acceptance in the United States but still struggles against the “social encumbrances that make opera production here slightly ridiculous at times.” It is also frequently pitted against musical theater.

Richter, Alexander. “Cotillion Suite.” [Young] Keyboard Jr. (School Edition) 19, no. 5 (February 1961): 7–8. The article describes and briefly analyzes Moore’s Cotillion Suite.

“Richter, Marguerite Higgins among Pulitzer Winners.” Washington Post, 8 May 1951, p. 13, cols. 3–4. Moore is announced as the winner of the Pulitzer Prize in Music for the opera Giants in the Earth.

Rogers, Bernard. “Cleveland’s Museum Develops Appreciation of Music: Institution Accomplishes Important Work in Musical Field; Lectures by Thomas Whitney Surette Well Attended; Douglas S. Moore Directs Weekly Classes for Children.” Musical America 36, no. 1 (29 April 1922): 5. The article outlines the music program being held at the Cleveland Art Museum, which began in 1917. Moore became assistant music curator in 1922 and was in charge of the children’s program. He is quoted at length concerning the various aspects of the program, including weekly classes for children in music divided by age: up to nine, and nine to sixteen. There are also recitals for children and adults and weekly recitals on the new organ, which can be heard in all of the galleries.

———. “Douglas Moore: In Memoriam.” Notes 3, no. 4 (September 1946): 381. This is a review of the study score published by Elkan-Vogel in 1946. Rogers says that the music contains real feeling for the young men killed in war. Moore retains his own individual voice, although the “influences of [his] former master, Bloch, assert themselves in the controlled voice-design, the sonorous complex, the meticulous markings.”

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“Role of Musicians in Defense Is Described by Douglas Moore: Columbia Professor Says Composers and Artists as Group Help with Patriotic Songs, and as Individuals through Duties as Citizens.” New York Herald Tribune, 24 October 1940, p. 16, cols. 4–5. Moore’s remarks at the Forum on Current Problems on 23 October at Columbia University are quoted here at length. He addresses what musicians are doing to aid in the war effort, which he feels they can do best as individual citizens rather than as members of committees or professional organizations. Composers could write patriotic songs, as they did in the last war. America is also acting as a haven for musicians displaced by the war in Europe, which is resulting in the cultural enrichment of the nation. There is a portrait of Moore speaking and photographs of other famous people who spoke at the forum.

Rosenthal, Harold, and John Warrack. Concise Oxford Dictionary of Opera, 101, 268. London and New York: Oxford University Press, 1964. The book contains short entries for The Devil and Daniel Webster and Moore.

———. The Concise Oxford Dictionary of Opera, 131, 334. 2nd ed. Oxford: Oxford University Press, 1979. The book contains short entries for The Devil and Daniel Webster and Moore. The book was reprinted with corrections in 1986.

Rudel, Julius. “Douglas Moore.” Opera News, 11 October 1969, 21. In this page-long obituary of Moore, the author says: “In the recognition of Moore, it is not his music that stands in the way but the attitude of America. Always the biggest, the richest, the first, our country seems forever on a quest for the best, the greatest, the strongest, the loudest. I feel sometimes that the standards of the sports arena have taken over our cultural life as well. Superlatives, in politics and in art, have become a national disease. In their tiresome search for the spectacular, the never seen or heard before, Americans ignore the many wonderful things, like Moore’s works that are there simply to be enjoyed. The sound of many good contemporary pieces is lost in the wail of regrets that there are no ‘great’ ones. “Douglas Moore will live to the extent that he is given a chance to be heard and accepted on his own terms.”

“A Run of Half Notes.” Los Angeles Times, 30 May 1948, sec. 3, p. 6, cols. 4–5. Moore receives one of eight awards given by the National Association for American Composers and Conductors for “outstanding achievement and furtherance of the cause of American music” because of his conducting of the American Music Festival at Columbia University.

“S.P.A.M. Will Publish Composition by Moore: Society for Publication of American Music to Issue Quartet for Strings in the Fall.” Musical America 58, no. 12 (July 1938): 28. The article announces the publication of the String Quartet and mentions Moore’s other significant works. It notes that material was taken from his sketches for the pantomime Jesse James, which was never completed or produced by the American Laboratory Theatre.

S[abin], R[obert]. “Contemporary Works for Orchestra Issued.” Musical America 71, no. 5 (1 April 1951): 28. The article announces the publication by Carl Fischer of Farm Journal.

Saffle, Michael, Nathan Broder, and Otto Luening. “Moore, Douglas (Stuart).” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Personenteil, edited by Ludwig Finscher, vol. 12, cols. 433–34. 2nd new ed. 17 vols. and index. Kassel and New York: Bärenreiter; Stuttgart: Metzler, 2004.

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The article comprises a brief biography, comments on his musical style, and selective bibliographies of his works, his writings, and literature about him.

Sandved, Kjell B., and Sverre Hagerup, eds. The World of Music: An Illustrated Encyclopedia, 3:886–88. 1st American ed. 4 vols. New York: Abradale Press, 1963. This is a short biographical article covering Moore’s career from Yale University through the early 1950s and is accompanied by a portrait.

Scarborough, Dorothy. “Rollicking Soldier Songs.” Saturday Review of Literature 6, no. 24 (4 January 1930): 616. The review of Songs My Mother Never Taught Me quotes the lyrics of a number of the songs from World War I collected by John Jacob Niles and arranged by Moore. Some of the songs are variants of wellknown songs such as “Frankie and Johnny,” and others are original tunes depicting life in the army. A few African American songs are all-too-poignant reminders of the racism of the time.

Schaefer, Theodore. “Douglas Moore: 1. Under the Greenwood Tree; 2. Old Song.” Notes 8, no. 2 (1951 March): 405. This is a descriptive review of the Carl Fischer publication of these two songs.

Scherman, Thomas. “Douglas Moore: The Optimistic Conservative.” Music Journal 27, no. 8 (October 1969): 24–25. In this memorial article, Thomas Scherman, director of the Little Orchestra Society, writes of his studies and friendship with Moore. Moore is a conservative, not reactionary, composer. The conservative composer is aware and adept in modern musical techniques, but only uses them in the context of traditional musical language. A conservative composer can be an innovator, as Brahms or Rachmaninoff were. Moore’s music is often accused of stereotypical use of “Americanisms,” but these works also contain a genuine and “very personal melodic drive” and an “intoxicating exuberance.” In opera, Moore believed that the music to a good libretto virtually writes itself if the composer is mindful of the “lyric urge” and does not write just background music.

“Schubert Centenary to Be Celebrated: Deutscher Kreis Plans Recital.” Barnard Bulletin, 13 November 1928, p. 1, col. 1. Moore will introduce the singer Eva Bruhn at a recital to be given on 19 November sponsored by the German department at Barnard College.

Schwarm, Betsy. “The Ballad of Baby Doe.” In Central City Opera: Looking Back over Sixty Years, 1932–1992, 14–19. Central City, CO: Central City Opera House Association, 1992. This section of the book commemorating the sixtieth anniversary of the founding of the Central City Opera Association starts with the history of the Tabor family. It is followed by the history of the genesis of the opera with Moore and John Latouche, including the premiere. The New York Times review of the premiere by Howard Taubman, “Opera: Rooted in West” (9 July 1956), is reprinted here. The book contains thirteen illustrations, including two in color, of scenes from different productions at Central City.

*Sears, Robert Russell. “Ft. Lauderdale Symphony Leader Gets Top American Music Honor.” Fort Lauderdale News, 12 February 1964, sec. D, p. 8. Emerson Buckley receives the Alice M. Ditson award from Columbia University. A photograph shows Moore giving him the award.

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Sessions, Roger. “Roger Sessions to Douglas Moore.” In The Correspondence of Roger Sessions, edited by Andrea Olmstead, 234–35. Boston: Northeastern University Press, 1992. In this letter of 13 December 1934 from New York, Sessions responds to Moore’s request to help a young music student, a former student of Boulanger, to further his studies in music. Sessions does not recommend study in Germany owing to the political conditions there but feels that working with Hindemith, if he is still in Germany, would be good. Studying with Piston at Harvard is recommended with the reservation that the curriculum leading to a B.A. degree is not conducive for studying to become a “serious composer.” He wants to meet the student and Moore.

Sherburne, Ruth. “Music: Columbia University Orchestra.” Barnard Bulletin, 24 March 1931, p. 2, col. 5. Moore conducts the orchestra in Brahms’s Symphony no. 3, Saint-Saëns’s Violin Concerto, and the Overture to Wagner’s Die Meistersinger. The reviewer criticizes Moore’s choices of tempos in the Brahms, but the performance of the Saint-Saëns was “sparkling throughout.”

Siegmeister, Hannah. “Other Americans: Douglas Moore.” In The New Music Lover’s Handbook, edited by Elie Siegmeister, 569. Irvington-on-Hudson, NY: Harvey House, 1973. This one-paragraph description of the music of Moore summarizes his work by saying, “Moore developed his American style from a traditional, tonal background and used it skillfully to compose operas, always on American themes, which were his significant contribution to our music.”

Simmons, James C. “Tabor Opera House Recalls Heyday of Silver and Baby Doe.” American West 35, no. 2 (April 1988): 54–58. The article tells the history of the Tabor Opera House in Leadville, Colorado, primarily through an interview with its owner and restorer, Evelyn Furman. There are anecdotes about some of the famous performers at the Opera House, such as actress Gladys Robeson and Oscar Wilde. Mrs. Furman persuaded her mother to purchase the Opera House in 1955 to save it from destruction and has worked to restore it over the ensuing thirty-five years. There is also a story about Moore and John Latouche visiting the Opera House before writing The Ballad of Baby Doe. The article contains photographs of the interior and exterior of the Opera House, Horace and Baby Doe at the height of their wealth, Baby Doe in front of the Matchless Mine in 1933, and the actor Otis Skinner as Hamlet, a role he played at the Tabor Opera House.

———. “Tabor Opera House Recalls Heyday of Silver and Baby Doe.” Music Clubs Magazine 68, no. 3 (Spring 1989): 10–13, 26. Essentially, the article is a reprint from the American West article of the previous year. This article contains slightly different photographs consisting of the exterior of the Opera House, Tabor’s box, Baby Doe’s wedding gown, Baby Doe in front of the Matchless Mine in 1933, and portraits of Horace and Baby Doe.

Simon, Henry W., ed. “The Ballad of Baby Doe.” In The Victor Book of the Opera: The Historical Background and Act-by-Act Summaries of 120 Operatic Masterworks—and Complete Listings of the Best Available Recordings, an Outline History of Opera, and Over 400 Illustrations of the Great Composers, the Great Singers and the Great Scenes of Grand Opera in All Its Historic Splendor, 54–57. 13th ed. New York: Simon & Schuster, 1968. A list of the principal characters and a short history of the opera precedes an extensive synopsis of the opera.

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“Simonds Performs at Music Concert: Noted Pianist Renders Solo at First Formal Recital of Columbia Orchestra; Prof. Moore Conducts: Entire Program at McMillin Theatre under Leadership of Music Department Head.” Columbia Daily Spectator, 11 December 1929, p. 1, col. 3. The article is a positive review of a concert by the Columbia University Orchestra on 10 December, conducted by Moore and featuring works by Haydn, Beethoven, and Weber.

“Six Noted Composers Will Lecture at UCLA.” Los Angeles Times, 13 November 1949, sec. 4, p. 5, cols. 7–8. Moore is scheduled to present a public lecture and conduct two student composition seminars during one week in January 1950.

Slonimsky, Nicolas. Baker’s Biographical Dictionary of Twentieth-Century Classical Musicians. Edited by Laura Kuhn and Dennis McIntire, 935. New York: Schirmer; London: Prentice Hall International, 1997. This brief biography recounts Moore’s many awards and accomplishments and includes an extensive list of works.

———. “Seventh Program: . . . Douglas Moore: Farm Journal.” Little Orchestra Society Program Notes 1947–1948 (1948): p. 46. In these program notes for the premiere of Farm Journal on 19 January, a quote from Moore describes the four movements of this suite taken from the earlier film score Power and the Land. Each movement sonically depicts an aspect of life in a farming community in Ohio.

Smith, Ephraim K. “The Making of Power and the Land (1939–1940): Douglas Stuart Moore, 1893–1969.” In Power for the Parkinsons: “The Film and the Family that Helped Electrify the American Farm.” 2005. http://www.powerforparkinsons.com/douglasmoore1.html. Accessed 21 August 2009. This extensive essay provides a detailed biography of Moore through about 1940, when he was contracted to compose the music for the documentary Power and the Land by the director Joris Ivens and the producer Pare Lorentz for the Rural Electrification Administration. The film shows how the Parkinson family farm would benefit by receiving electricity. Moore’s music, scored by Henry Brant, fits perfectly with these scenes of rural life and work. Moore also wrote the music for two shorter films created from outtakes of Power and the Land, entitled Bip Goes to Town and Worst of Farm Disasters. The latter film was newly discovered by the author and has never been listed among Moore’s works. The Web site also includes video excerpts from Power and the Land.

Smith, Lorraine. “Music: Columbia Orchestra.” Barnard Bulletin, 18 December 1931, p. 2, cols. 4–5. The 7 December concert of the orchestra was conducted by Moore and included a Scarlatti suite, Schubert’s Symphony no. 5, and John Powell’s Rhapsodie Nègre and Natchez on the Hill. The reviewer praises the orchestra for improving so dramatically in only three years.

“Songs My Mother Never Taught Me.” New York Herald Tribune, 12 January 1930, sec. 12, p. 10, col. 4. The reviewer of this book discovers that “this collection of soldier-boy songs preserves a lot of stuff scarcely worth preserving, although one must admit that those who sang the ribald numbers in camp and at the front will recall many an exciting and many an amusing moment as they turn the pages.”

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Spanaugle, Harlie. “Columbia University, the Columbia Opera Workshop and the Efflorescence of American Opera in the 1940s and 1950s.” US Operaweb (Autumn 2002). http://www .operaweb.com/2002/september/columbia.htm. Accessed 17 August 2009. The article is a comprehensive history of the Columbia University Workshop. Moore was responsible for the initial idea of the workshop after he became chair of the music department in 1940. He was able to secure funding for producing operas when he was placed in charge of the administration of the Alice M. Ditson Fund. He appointed members to the Ditson Fund board sympathetic to his views and established a policy of commissioning and producing an opera by an American composer each year. He also hired Otto Luening as music director and worked with Milton Smith, director of Columbia Theater Associates, to use the newly constructed Brander Matthews Hall for opera productions. The appendices list the operas commissioned from 1941 to 1958. A portrait of Moore accompanies the article.

Speedie, Penelope Ann. “American Operas on American Themes by American Composers: A Survey of Characteristics and Influences.” 2 vols. D.M.A. diss., Ohio State University, 1991. The dissertation studies the “growth and the trends of American opera, and of the leading proponents of the various elements and styles which have contributed to its growth and development.” (1:2). Chapter 8 in volume 2 examines works, including the operas of Moore, in which folk material plays a prominent role (2:590–615). The author comments on all seven of Moore’s major operas (The Devil and Daniel Webster, The Headless Horseman, White Wings, Giants in the Earth, The Ballad of Baby Doe, Gallantry, Carry Nation, and The Wings of the Dove). A synopsis of each opera is followed by an evaluation of the libretto and commentary on musical aspects of the score such as the use of folk songs, harmony, melodic devices, motives, and so on.

“Stage, Science, Writing Share in Cash Awards: New Guggenheim List Is Issued.” Chicago Tribune, 2 April 1934, p. 16, cols. 1–3. Moore is listed as one of two composers to receive a Guggenheim Fellowship.

Stevens, Austin. “Mumford Quits Institute of Arts over Award to ‘Isolationist’ Beard.” New York Times, 7 February 1948, p. 1, cols. 6–7; p. 13, cols. 5–6. In a letter to Moore dated 5 February, Lewis Mumford resigns from the National Institute in protest over the awarding of the gold medal to Charles Beard. Mumford objected to Beard’s insertion of isolationist views into his books on United States history. Moore was unavailable for comment.

Steyskal, Irene. “29,000 Women Will Canvass for War Fund.” Chicago Daily Tribune, 15 October 1944, sec. 7, p. 2, col. 3. Moore will be awarded the David Bispham Award by the American Opera Society in Chicago at the Woman’s Athletic Club on 31 October for writing The Devil and Daniel Webster. The opera will be presented at the meeting in a concert version by James Bradley Griffin, accompanied by Joseph Anderson.

Stiller, Andrew. “Ballad of Baby Doe, The.” In The New Grove Dictionary of Opera, edited by Stanley Sadie, 1:288–89. 4 vols. London: Macmillan Press; New York: Grove’s Dictionaries of Music, 1992. The article provides a detailed synopsis of the opera and some historical information about its composition and revision. The most effective music in the opera is a “mixture of romance and frontier rowdiness . . . allowing both for Broadway-like production numbers (the opening scene, Bryan’s speech) and for set-piece songs in the early Tin Pan Alley style of the composer’s youth (Baby Doe’s ‘Willow Song’ and ‘Letter Aria’).”

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———. “Ballad of Baby Doe, The.” In The New Grove Book of Opera, edited by Stanley Sadie, 55–56. London: Macmillan, 1996. This article, based on the article in The New Grove Dictionary of Opera, goes beyond a simple plot synopsis to discuss elements of the music and the development of the characters. Parallels are drawn to operas by Wagner, Sullivan, and Verdi, although it is clear that Moore’s subject matter and musical idiom draw firmly from American sources. The article on Moore starts with a brief biographical chronology and list of operas. The remainder of the essay covers Moore’s use of American subject matter, use of standard operatic conventions, and conservative musical style.

———. “Ballad of Baby Doe, The.” In The Grove Book of Operas, edited by Stanley Sadie, revised by Laura Macy, 56–57. 2nd ed. New York: Oxford University Press, 2006. The article is identical to the one published in the first edition.

———. “Devil and Daniel Webster, The.” In The New Grove Dictionary of Opera, edited by Stanley Sadie, 1:1144-45. 4 vols. London: Macmillan; New York: Grove’s Dictionaries of Music, 1992. Although Moore and Stephen Vincent Benét considered The Devil and Daniel Webster to be a folk opera, Stiller believes that it is a musical of an unusual sort. After the plot synopsis, the article turns to musical matters. The author sees Ruddigore as the model for this work, with influences from L’histoire du soldat, which also has a devilish fiddler. Similarities with The Rake’s Progress are also noted.

———. “Moore, Douglas S(tuart).” In The New Grove Dictionary of Opera, edited by Stanley Sadie, 3:460–61. 4 vols. London: Macmillan; New York: Grove’s Dictionaries of Music, 1992. The biographical portion of this article is identical to that in The New Grove Dictionary, but the remainder of the article provides much more detail about the theatrical and operatic works. The author mentions Moore’s early dramatic attempts, such as Quentin Durward and Oh, Oh, Tennessee. These early works are closer to the genre of musicals or operetta than to opera. Even the text of the third number in The Headless Horseman is nearly identical to the openings of Ruddigore and Iolanthe. True opera appeared late in Moore’s career with Giants in the Earth and his most successful work, The Ballad of Baby Doe. His style is noted for the use of nineteenth-century Americanisms, which are highly effective when used to evoke that period, but the remainder of his music is more reminiscent of D’Indy or Puccini. The article concludes with a list of Moore’s operas and a bibliography.

“Stuart H. Moore Left $933,437.” New York Times, 9 May 1916, p. 18, col. 2. The brief article reports the amounts of the Moore estate and the inheritance taxes after his death in 1915. Douglas Moore is listed as one of the heirs, along with his brothers, Arthur and Eliot, and his sister, Dorothy Miller.

Summers, W. Franklin. Operas in One Act: A Production Guide. Lanham, MD: Scarecrow Press, 1997. The book provides information necessary for staging the operas. Moore’s work is represented by entries under The Devil and Daniel Webster and Gallantry. The listings include all of the roles with their tessitura, the instrumentation of the orchestra, a synopsis of the plot, notes on the stage production, and instructions on how to obtain the music.

Suzanne Venino Editorial Services. “The Ballad of Baby Doe.” In Theatre of Dreams: The Glorious Central City Opera, Celebrating 75 Years, produced by Dianne Howie, 114–18. Denver, CO: Central City Opera House Association, 2007.

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The Ballad of Baby Doe was the first opera commissioned by the Central City Opera. This section from the history of the opera house recounts how the commission came to be and the masterful public relations efforts of the opera’s board president, Frank Ricketson. In addition to this short history, there are seven captioned photographs of scenes from Central City productions of the opera and portraits of singers, conductors, Moore, John Latouche, and Ricketson. The final page includes a profile of Frank Ricketson.

“Symphony No. 2 (Moore).” http://en.wikipedia.org/wiki/Symphony_No._2_(Moore). Accessed 21 December 2008. The article provides basic information about the symphony, including date of composition, dedication, and the premiere performance. Comments on each movement follow in the form of program notes.

Tajiri, Larry. “The Spectator: Second Death Strikes ‘Ballad of Baby Doe.’ ” Denver Post, 8 March 1957, p. 31, cols. 1–2. Producer Michael Myerberg was planning a Broadway production of The Ballad of Baby Doe and asked John Latouche to revise and simplify the libretto. However, Latouche died suddenly of a heart attack shortly after the premiere and was unable to complete the revision. The script eventually was changed, and Myerberg planned a production with Martha Lipton (Augusta), Virginia Copeland (Baby Doe), and William Johnson (Horace), which was presented in abridged form on the ABC television series Omnibus in February. Then Johnson also died of a heart attack on 6 March, ending the chances for a Broadway production.

“Talent Came to Dinner.” Tampa Tribune, 7 March 1964, sec. A, p. 10, cols. 6–8. This is a captioned photograph of the president of the University of South Florida with Archibald MacLeish and Moore.

Taubman, Howard. “Small Purse, Big Job: Thorne Music Fund Assists Composers Who Are Past Easy Scholarship Years.” New York Times, 11 December 1967, p. 68, cols. 2–3. Moore is on the advisory board for the Thorne Fund. The fund, established by Francis Thorne, provides stipends to American composers, allowing them to devote themselves full-time to composition.

Tawa, Nicholas E. “The Conservatorial Symphony: Moore.” In The Great American Symphony: Music, the Depression, and War, 150–58. Bloomington: Indiana University Press, 2009. The author first examines Moore’s life, career, and his musical style, but the point of the chapter lies in the discussion of the Symphony in A Major. He dismisses the earlier Symphony of Autumn, composed in 1930, as a work that “wavers between conventional romanticism and impressionism,” whereas the later symphony was written in 1946, when Moore was more sure of his style. It was Moore’s last orchestral work. The character of each movement is described, and a few reviews of the work are quoted. The author finds in Moore’s music an idealized, optimistic American sound, “alternately brilliant and romantically tender.”

Temple, Judy Nolte. “Baby Doe as Singing Gold Digger.” In Baby Doe Tabor: The Madwoman in the Cabin, 60–64. Norman: University of Oklahoma Press, 2007. The author revises the myths propagated about Baby Doe Tabor through painstaking research in primary sources such as Baby Doe’s own diaries, correspondence, and other papers that were finally opened to researchers many years after her death. The research provides a story vastly different from the “legendary histories” authored by writers such as Carolyn Bancroft, which were the ones available to Moore and Latouche. This section of the book discusses how the opera and its productions in Central

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City and New York aided in the propagation of the legend of Baby Doe and the Tabors as one of the best-known sources of the story.

“Thirty Students Join Glee Club This Year: Music Department Announces Schedule of Engagements for Coming Season.” Barnard Bulletin, 13 October 1931, p. 1, col. 5, and p. 4. The Columbia University Orchestra, under Moore’s direction, was invited by the National Recreation Association to play over the Columbia Broadcasting Network. The president of the association stated that the orchestra was one of the two best student orchestras in the country.

Thompson, Randall. College Music: An Investigation for the Association of American Colleges. New York: Macmillan, 1935. This study was sponsored by the Carnegie Corporation. Thompson was the project director and author of the report. A sponsoring committee chaired by Ernest H. Wilkins, president of Oberlin College, supervised the project. An executive committee, chaired by Douglas Moore and drawn from the sponsoring committee, worked closely with Thompson in preparing the report. The study examines the place of music in the liberal arts college as represented in thirty institutions during 1932–33.

Thomson, Virgil. “ ‘Modern Music’: A Quarterly.” New York Herald Tribune, 24 November 1940, sec. 6, p. 6, cols. 1–2. The author reviews the current issue of Modern Music, which includes Moore’s article “Our Lyric Theatre” in the November–December 1940 issue.

———. “To Douglas Moore.” In Selected Letters of Virgil Thomson, edited by Tim Page and Vanessa Weeks Page, 154. New York: Summit Books, 1988. In this letter, dated 29 November 1940, Thomson recommends Avery Claflin’s The Scarlet Letter, Henry Brant’s Miss O’Brady, and Paul Bowles’s Denmark Vesey as some of the best American operas that have not been performed. He especially recommends The Scarlet Letter for production.

“To Admit Women Players: Columbia University Orchestra Will Expand Membership.” New York Times, 5 October 1930, p. 29, col. 2. Under Moore’s leadership, the Columbia University Orchestra extends its membership to include women. A donation of musical instruments to Columbia was made by the American Orchestral Society when it ceased operation. This, together with scholarships including free tuition and the use of instruments owned by the university, helped to make the inclusion of women possible.

“To Receive Gold Medal of Arts, Letters Institute.” New York Times, 4 February 1948, p. 25, col. 7. As president of the National Institute of Arts and Letters, Moore announces that its gold medal for distinguished achievement will be presented to Charles A. Beard in May.

“A Tribute to Douglas Stuart Moore.” Music Clubs Magazine 49, no. 2 (Winter 1969–70): 28. This is an extended obituary of Moore citing his four most significant operas and his many positions of honor and awards.

“Two Colleges Give Plays: Yale Acts ‘Our Boys’ at Waldorf; Williams ‘Green Stockings’ at Plaza.” New York Times, 3 January 1917, p. 22, cols. 2–3. As a member of the Yale University Dramatic Association, Moore was in the cast of Tom Robertson’s Ours, presented at the Waldorf-Astoria Ballroom on 2 January.

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“Two Columbia Teachers Honored.” New York Times, 14 January 1960, p. 18, cols. 5–6. Moore is presented with one of the Great Teachers Awards of the Older Graduates Society of Columbia University. The society’s members have all been alumni for thirty or more years. A portrait accompanies the article.

“Two Newspapers Win Service Prizes Annual Pulitzer Awards Listed.” Los Angeles Times, 8 May 1951, p. 17, cols. 4–6. Moore receives the Pulitzer Prize for music for Giants in the Earth.

“Two Pianos His Subject: Douglas Moore, Curator of Music Talks at Museum.” Cleveland Plain Dealer, 17 November 1922, p. 10, col. 3. The article announces Moore’s lecture at the Cleveland Museum and is accompanied by a portrait of him.

Tyranny, Blue Gene, Erik Ericksson, and John Palmer. “Douglas S. Moore.” In All Music Guide to Classical Music: The Definitive Guide to Classical Music, edited by Chris Woodstra, Gerald Brennan, and Allen Schrott, 875–76. Ann Arbor, MI: All Media Guide; San Francisco, CA: Backbeat Books, 2005. A brief biography of Moore by Tyranny is followed by extensive essays on his two most famous operas, The Ballad of Baby Doe and The Devil and Daniel Webster. Ericksson’s essay on Baby Doe discusses the history of the composition of the opera, the expert character development of the opera, musical highlights, and important singers associated with the major roles. Palmer’s entry on Daniel Webster gives the performance history of the opera, musical influences on the score, an explanation of the libretto, and a discussion of the American aspects of the work. Both essays list current recommended recordings.

“University Orchestra Admits Women Players.” Barnard Bulletin, 30 September 1930, p. 3, col. 2. Under Moore’s direction, the orchestra will admit women for the first time. In addition, over $3,000 worth of musical instruments were donated for use by students.

“Unusual Forms of Musical Experiments Devised for Scientific Workouts at Next Assembly.” Barnard Bulletin, 27 April 1928, p. 1, cols. 2–3. Moore will conduct an experiment to measure musical taste at the Barnard College assembly on 1 May.

“U.S. Academy of Arts, Letters Elects 6 for Life: Pearl Buck Becomes Second Woman Member as Group of 50 Fills Vacancies.” New York Herald Tribune, 1 December 1951, p. 7, col. 1. Moore’s election to the Academy is announced, and the article is accompanied by a photograph.

“U.S.-Europe Ties Debated in Berlin: Self-Criticism Is Common Theme in Discussions on Today’s Culture.” New York Times, 22 September 1957, sec. 1, p. 11, cols. 1–7. Five symposia under the title “The Strength of the Unfettered Mind” marked the opening of the American building, Congress Hall, in West Berlin. Moore was one of the participants for the first symposium on music and the arts, held on 21 September.

“U.S. Opera Composers Produce and Talk.” Music Magazine and Musical Courier 163, no. 11 (October 1961): 7–8, 48. The Ford Foundation provided funds to produce four operas by American composers at the Metropolitan Opera, the New York City Opera, the Chicago Lyric Opera, and the San Francisco Opera. The four composers, of whom Moore was one, were asked three questions about composing operas. Moore answered that choosing the right libretto and getting the opera produced are problems for the

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American composer. In his opera The Wings of the Dove, he tries to give opportunities for lyrical singing and to “do justice to the magnificent story of Henry James.” He also believes that there is a great need to subsidize opera production in the United States.

“U.S. Seen Snubbing 2 Russian Singers: ‘Indignity’ of Treating Them as Foreign Agents Protested by 4 Prominent Musicians: Here on ‘Cultural’ Tour: Artists, with 3 Others, Went Home Rather than Comply with Washington Order.” New York Times, 15 October 1946, p. 27, col. 6, and comment, 20 October 1946, sec. 2, p. 7, col. 1. The Ukrainian singers Zoya Haidai and Ivan Patorzhinsky returned to the Soviet Union rather than register as foreign agents with the United States. Justice Department. They were touring North America under the auspices of the Ukrainian Society for Cultural Relations with Foreign Countries. Moore, along with Serge Koussevitzky, Howard Hanson, and Aaron Copland, wrote a letter to Attorney General Tom C. Clark with a copy to President Harry S. Truman protesting the Justice Department’s action.

Villamil, Victoria Etnier. “Douglas Moore.” In A Singer’s Guide to the American Art Song, 1870–1980, foreword by Thomas Hampson, 272–73. Metuchen, NJ: Scarecrow Press, 1993. This entry on Moore begins with a brief biography. Five of his songs are recommended: “Adam Was My Grandfather,” “Old Song,” “Under the Greenwood Tree,” “Come Away, Death,” and Three Sonnets by John Donne. The entries for each song state the author of the text, publisher, publication date, vocal range and tessitura, duration, tempo, and a short description of the character of the song. It concludes with a bibliography.

Volbach, Walther R. “Carry Nation by Douglas Moore.” In Problems of Opera Production, original drawings by John R. Rothgeb, 156. 2nd revised ed. N.p.: Archon Books, 1967. This is a photograph from act 1, scene 3 of the opera at the University of Kansas production, staged by Lewin Goff, with settings by James Hawes.

Wallace, Mary Elaine, and Robert Wallace. More Opera Scenes for Class and Stage: From One Hundred Selected Operas, 181–83. Carbondale: Southern Illinois University Press, 1990. Five excerpts from The Wings of the Dove are selected based on their appropriateness for teaching purposes and their effectiveness on the stage. Each scene is described, including the characters and the vocal range needed for the scene, the length of the excerpt, and its location in the vocal score.

———. Opera Scenes for Class and Stage, 9–11, 51. Carbondale: Southern Illinois University Press; London and Amsterdam: Feffer & Simons, 1979. Seven excerpts from The Ballad of Baby Doe and one excerpt from The Devil and Daniel Webster are selected based on their appropriateness for teaching purposes and their effectiveness on the stage. Each scene is described, including the characters and the vocal range needed for the scene, the length of the excerpt, and its location in the vocal score.

Ward, Robert. “Douglas Moore: Down East Suite for Violin and Piano (or Orchestra).” Notes 4, no. 1 (December 1946): 106. The article is a review of the publication by Carl Fischer. Ward says, “The idiom of this music, though contemporary, is fundamentally lyric, rather than percussive or intensely rhythmic.” The music is influenced by English folk songs and New England fiddling.

Warden, Marian. “Centennial Opera the Result: Chance Meeting Helps KU.” Lawrence Daily Journal-World, 9 February 1966, p. 1, cols. 4–6, and p. 11.

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This extensive article explains the meeting of Moore and William North Jayme at a party where Jayme offered to write a libretto based on the life of Carry Nation, the opera Moore was commissioned to write for the University of Kansas centennial. The article provides information about the life of Carry Nation as revealed by Jayme’s research and a discussion of Moore’s other operas. In addition, there is some information on Moore’s career in general.

Warrack, John, and Ewan West. The Concise Oxford Dictionary of Opera, 126, 345. 3rd ed. Oxford and New York: Oxford University Press, 1996. The book contains brief biographical information on Moore and a citation for The Devil and Daniel Webster.

———. The Oxford Dictionary of Opera, 189, 482. Oxford and New York: Oxford University Press, 1992. The book contains brief biographical information on Moore and a citation for The Devil and Daniel Webster.

“Warren, Thomson and Saarinen: Academy of Arts Elects Poet, Composer, Architect.” New York Herald Tribune, 6 December 1959, sec. 1, p. 45, cols. 1–2. Moore has been elected president of the Academy for 1960.

Waters, Edward N. “Variations on a Theme: Recent Acquisitions of the Music Division.” Quarterly Journal of the Library of Congress 27, no. 1 (1970): 56. The head of the Music Division of the Library of Congress enumerates major acquisitions. One paragraph is devoted to the donation of manuscripts of Moore: a Fugue for Organ (1921), a Gavotte for Piano (1921), sketches for The Pageant of P. T. Barnum, and sketches for White Wings.

“We Want Humphrey: And We Want You.” New York Times, 23 May 1968, p. 37, cols. 1–8. Moore is listed in this political advertisement soliciting members for N.Y. Citizens for Humphrey.

“Week’s Schedule of Events of Interest to Club Women.” New York Times, 2 February 1936, sec. 2, p. 6, cols. 2–7. Moore will give a lecture entitled “The Lay Person Listens to Music” to the Barnard-in-Bergen, New Jersey, women’s club in Leonia on 5 February.

Welch, Roy. “Further Initiation Rites.” Modern Music 19, no. 3 (March–April 1942): 208–10. In this ambivalent review of From Madrigal to Modern Music, the author examines the basic purposes of this book for music appreciation. The greatest value of the book is in its choice of representative musical works from each period of musical history. Using these pieces as a starting point for lectures and the study of music history is highly valuable. However, Moore’s analyses and comments on these works are seen as too superficial. In the book “not a single work is thoroughly analyzed, nor is any work followed through from beginning to end with provocative comment or indications to show how the continuity is achieved and where the salient and demonstrable interests are to be encountered.”

“What Is Going On This Week.” New York Times, 28 January 1934, sec. 2, p. 2, cols. 3–6. Moore’s lecture “Trends in Music,” sponsored by the Columbia University Institute of Arts and Sciences, is to be given on 1 February.

“Wins a Fellowship for Columbia Study: D. W. Richards Jr. Gets Award for Heart Disease Research; University Changes Listed.” New York Times, 22 March 1933, p. 20, col. 5. Moore is granted a leave of absence for the spring of 1934.

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Wlaschin, Ken. Opera on Screen: A Guide to 100 Years of Films and Videos Featuring Operas, Opera Singers and Operettas, 30–31, 200, 369. Los Angeles: Beachwood Press, 1997. There are entries for Moore, The Ballad of Baby Doe (listing three performances: Omnibus for ABC television, 1957; New York City Opera on Live from Lincoln Center, 1976; and Lancaster Opera, 1992), and Gallantry (listing the CBS telecast of 1962).

W[olf ], T. B. “The Stroller.” Columbia Daily Spectator, 19 March 1929, p. 2, col. 2. This announcement of the concert by the Columbia University Orchestra that will be given in the evening compliments Moore’s direction of the orchestra and describes each of the pieces to be played.

“Women’s Clubs: Douglas Moore Will Lecture at Musical Club.” Hartford Daily Courant, 16 December 1942, p. 13, cols. 4–6. The article announces a lecture entitled “Music and the Movies” to be given on 17 December; it will include comments on Moore’s music for the documentary Power and the Land. The article is accompanied by a portrait of Moore.

“Writers, Artists Receive Honors for Achievements in Fete Here: Fifteen $1,000 Grants Given with Special Awards from American Academy, National Institute of Arts, Letters.” New York Times, 23 May 1947, p. 18, col. 5. The article recounts a joint awards ceremony of the American Academy of Arts and Letters and the National Institute of Arts and Letters on 22 May. As president of the Institute, Moore presented Arnold Schoenberg its Award for Distinguished Achievement. The accompanying photograph shows Moore with Walter Damrosch, president of the American Academy, who is presenting its gold medal to John Alden Carpenter.

Wyant, William K. “Composer Urges Operas in English: Douglas Moore Suggests Collaboration with Symphony Orchestras.” St. Louis Post-Dispatch, 22 June 1962, sec. C, p. 3, col. 3. In an address to the American Symphony Orchestra League, Moore says: “Grand opera will stand a better chance with American audiences if sung in English and if more contemporary American operas are presented.”

“Yale Men in Wilde Play: Large Audience at the Presentation of ‘An Ideal Husband.’ ” New York Times, 5 March 1916, p. 17, cols. 4–5. Moore plays the part of Mabel Chilters in the Yale University Dramatic Association’s production of Oscar Wilde’s An Ideal Husband at the Waldorf-Astoria Hotel on 4 March.

“Yale’s Great Oak Sees ‘Tap Day’ Again: Senior Societies Return to the Campus to Honor Juniors with Election: ‘Bones’ Win Hadley’s Son: Seth Low, 2d, Goes to Wolf ’s Head and Scroll and Key Takes Wilson, the Football Captain.” New York Times, 21 May 1915, p. 8, cols. 1–2. Henry Hill Anderson is tapped by Moore for membership in Yale’s senior club, Wolf ’s Head.

Yontz, Mary Elaine. “Douglas Moore’s Giants in the Earth.” Sonneck Society Newsletter 11 (Fall 1985): 80. The author of this abstract of a paper given at the March 1985 meeting in Tallahassee of the Sonneck Society believes it is unusual that this opera, which won the Pulitzer Prize for 1951, has never received a professional production as of 1985. Part of the reason for this is that contract negotiations between the family of the librettist (O. E. Rølvaag) and the publisher (Carl Fischer) blocked the performance of the work for two years (1951–53) immediately following the award.

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Young, Allen. “The Ballad of Baby Doe.” In Opera in Central City, 36–41. Denver: Spectrographics, 1993. The author was a music critic and wrote for several Colorado newspapers and publications. He was present for many performances at the Central City Opera House, including the premiere of The Ballad of Baby Doe. In this chapter, he tells the history of the launching of the premiere performance. Because of his close involvement with the opera house, there are parts of his account that do not appear in other publications. However, quite a number of the details of his story do not correspond to facts recorded by other historians. The chapter covers how Moore and Latouche were chosen to write the opera, the controversies with Paul Green and Caroline Bancroft over their involvement with the libretto, and the different performers for the premiere and the 1958 New York performance.

b. Short Biographies Algemene muziek encyclopedie. Edited by J. Robijns and Miep Zijlstra, 6:376–77. 10 vols. Haarlem: De Haan, 1982. Allorto, Riccardo, and Alberto Ferrari, eds. Dizionario di musica: con 26 tavole in nero e a colori, 305. Biblioteca italiana e opere di consultazione. Milan: Ceschina, 1960. The Americana Annual 1952: An Encyclopedia of the Events of 1951. Edited by John J. Smith, 468. New York: Americana, 1952. This short biography of Moore appears here principally because he won the Pulitzer Prize in Music in 1951 for Giants in the Earth. A selective list of his works and writings is included.

Ammer, Christine. The Harper-Collins Dictionary of Music, 255. 3rd ed. New York: Harper Perennial, 1995. ———. The Harper Dictionary of Music, 249–50. 2nd ed. New York: Harper & Row, 1987. Anderson, E. Ruth, comp. Contemporary American Composers: A Biographical Dictionary, 309–10. Boston: G. K. Hall, 1976. ———. Contemporary American Composers: A Biographical Dictionary, 366. 2nd ed. Boston: G. K. Hall, 1982. Baumgartner, Alfred. Musik des 20. Jahrhunderts, 338–39. Der grosse Musik Führer: Musikgeschichte in Werkdarstellungen. Salzburg: Kiesel Verlag, 1985. ———, ed. Propyläen Welt der Musik die Komponisten: Ein Lexikon in fünf Bänden, 4:79. 5 vols. Berlin: Propyläen Verlag, 1989. Benét’s Reader’s Encyclopedia, 663. 3rd ed. New York: Harper & Row, 1987. Benét’s Reader’s Encyclopedia of American Literature. Edited by George Perkins, Barbara Perkins, and Phillip Leininger, 727–28. 1st ed. New York: Harper Collins, 1991. Benét, William Rose. The Reader’s Encyclopedia, 683–84. 2nd ed. New York: Thomas Y. Crowell, 1965. Blom, Eric. Everyman’s Dictionary of Music, 382. London: J. M. Dent & Sons, 1946. ———. Everyman’s Dictionary of Music. Revisions by Jack Westrup, 376. [4th] ed. London: J. M. Dent & Sons; New York: E. P. Dutton, 1962. Brennan, Elizabeth A., and Elizabeth C. Clarage. Who’s Who of Pulitzer Prize Winners, 424–25. Phoenix, AZ: Oryx Press, 1999. Britannica Book of Music. Edited by Benjamin Hadley, 533. Garden City, NY: Doubleday/ Britannica Books, 1980.

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Burke, W. J., and Will D. Howe. American Authors and Books: 1640 to the Present Day. Revised by Irving Weiss and Anne Weiss, 439. 3rd revised ed. New York: Crown, 1972. The Cambridge Dictionary of American Biography. Edited by John S. Bowman, 511. Cambridge and New York: Cambridge University Press, 1995. Carlton, Joseph R. Carlton’s Complete Reference Book of Music, 454. Studio City, CA: Carlton, 1980. Chambers Dictionary of Music. Edited by Katie Brooks, 428. Edinburgh: Chambers, 2006. There is a brief biographical entry with a selected list of works; it was taken from the Hutchinson Concise Dictionary of Music.

Claghorn, Charles Eugene. Biographical Dictionary of American Music, 316. West Nyack, NY: Parker, 1973. Columbia Encyclopedia. Edited by Paul Legassé, 1892. 6th ed. New York: Columbia University Press, 2000. Contemporary Authors, Permanent Series: A Bio-Bibliographical Guide to Current Authors and Their Works. Edited by Clare D. Kinsman, 1:455. 2 vols. Detroit: Gale Research, 1975. Corte, A. Della, and G. M. Gatti. Dizionario di musica, 404. Turin: G. B. Paravia, 1959. Cummings, David, ed. The Hutchinson Encyclopedia of Music, 432–33. Oxford: Helicon, 1995. The book is a revised and expanded edition of the New Everyman Dictionary of Music.

———. The New Everyman Dictionary of Music. Originally compiled by Eric Blom, 489. 6th ed. Everyman’s Reference Library. New York: Weidenfeld & Nicolson, 1988. ———, ed. Random House Encyclopedic Dictionary of Classical Music, 432–33. New York: Random House, 1997. This book is the U.S. publication of The Hutchinson Encyclopedia of Music (1995).

“Deaths.” New York Times, 29 July 1969, p. 37, cols. 5–8. “Deaths Elsewhere.” Chicago Tribune, 28 July 1969, sec. 3, p. 13, col. 7. Diccionario de la música Labor. Edited by Joaquín Pena and Higinio Angelés, with Miguel Querol et al., 2:1562. 2 vols. Barcelona: Labor, 1954. Dizionario Ricordi della musica e dei musicisti. Edited by Claudio Sartori et al., 758. Milan: G. Ricordi, 1959. “Douglas Moore.” Pan Pipes 62, no. 2 (January 1970): 16. Obituary.

“Douglas Moore Biography.” 2009. http://www.naxos.com/composerinfo/Douglas_Moore/ 26915.htm. Accessed 8 June 2009. Standard brief biography with discography of recordings on Naxos.

Enciclopedia della musica. Edited by Claudio Sartori, 3:211. 4 vols. Milan: Ricordi, 1964. Enciclopedia Garzanti della musica. Edited by Piero Santi, Luigi Rognoni, Francesco Degrada, et al., 377. 1st ed. Italy: Aldo Garzanti, 1974. The Encyclopedia Americana, 19:439. International ed. 30 vols. Danbury, CT: Grolier, 1991. Encyclopedie van de muziek. Edited by L. M. G. Arntzenius, Jr., H. H. Badings, J. B. Broeksz, Flor Peeters, E. W. Schallenberg, and Jos. Smits van Waesberghe, 2:360. 2 vols. Amsterdam: Elsevier, 1956–57.

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Encyclopedie van de muziek. Edited by L. M. G. Arntzenius, Jr., H. H. Badings, and J. B. Broeksz, 2:360. Volkseditie. 2 vols. Amsterdam: Elsevier, 1959. Encyclopédie de la musique. Edited by François Michel, François Lesure, Vladimir Fédorov, et al. 3:234. 3 vols. Paris: Fasquelle, 1961. Fath, Rolf. Reclams Opernlexikon, 447. Stuttgart: Philipp Reclam jun., 1989. Frank, Paul. Kurzgefasstes Tonkünstler-Lexikon: für Musiker und Freunde der Musik, Neu bearbeitet und ergänzt von Wilhelm Altmann, part 1, 407. 15th ed. 2 parts in 3 vols. Wilhelmshaven: Heinrichshofen’s Verlag, 1936. Frank, Paul, and Wilhelm Altmann. Kurzgefasstes Tonkünstler-Lexikon. Edited by Burchard Bulling, Florian Noetzel, and Helmut Rösner, part 2, 2:105. 15th ed. 2 parts in 3 vols. Wilhelmshaven: Heinrichshofen’s Verlag, 1978. Geïllustreerd muzieklexicon. Edited by G. Keller and Philip Kruseman. Supplement, 219. 2 vols. [’s Gravenhage]: J. Philip Kruseman, 1949. Griffiths, Paul. The Penguin Companion to Classical Music, 521. London and New York: Penguin Books, 2004. ———. The Thames and Hudson Encyclopedia of 20th-Century Music, 124. London and New York: Thames & Hudson, 1986. Hart, James D. The Oxford Companion to American Literature, 495. 3rd ed. New York: Oxford University Press, 1956. ———. The Oxford Companion to American Literature, 561. 4th ed. New York: Oxford University Press, 1965. The Harvard Biographical Dictionary of Music. Edited by Don Michael Randel, 605. Cambridge, MA: The Belknap Press of Harvard University Press, 1996. Hatch, Christopher. “Moore, Douglas Stuart.” In St. James Opera Encyclopedia: A Guide to People and Works, edited by John Guinn and Les Stone, 49–50, 538–40. Detroit: Visible Ink Press, 1997. “Here & There: Obituaries.” High Fidelity 19, no. 10 (October 1969): MA-8. Herzberg, Max J., and the staff of the Thomas Y. Crowell Co. The Reader’s Encyclopedia of American Literature, 757. New York: Thomas Y. Crowell, 1962. Honegger, Marc, ed. Dictionnaire de la musique: Les hommes et leurs œuvres, 2:739. 2 vols. Paris: Bordas, 1970. ———. Dictionnaire de la musique: Les hommes et leurs œuvres, 2:849. Nouv. éd. 2 vols. Paris: Bordas, 1986. Hughes, Rupert. The Biographical Dictionary of Musicians. Completely revised and newly edited by Deems Taylor and Russell Kerr, 300. Garden City, NY: Blue Ribbon Books, 1940. Hughes, Rupert, comp. Music Lovers’ Encyclopedia: Containing a Pronouncing and Defining Dictionary of Terms, Instruments, Etc., Including a Key to the Pronunciation of Sixteen Languages, Many Charts; an Explanation of the Construction of Music for the Uninitiated; a Pronouncing Biographical Dictionary; the Stories of the Operas; and Numerous Biographical and Critical Essays by Distinguished Authorities. Completely revised and new edition by Deems Taylor and Russell Kerr, 300. Garden City, NY: Garden City Publishers, 1939. “In 1969 Opera Lost . . . : Composer Douglas Moore.” Central Opera Service Bulletin 12, no. 5 (May–June 1970): 21.

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“In Memoriam: Douglas Stuart Moore, 1893–1969.” Bulletin of the Cleveland Museum of Art 56, no. 10 (December 1969): 365. The International Who Is Who in Music. Edited by J. T. H. Mize, 306. 5th ed. Chicago: Who Is Who in Music, 1951. The International Who’s Who, 677. 16th ed. London: Europa, 1952. The International Who’s Who, 698. 17th ed. London: Europa, 1953. The International Who’s Who, 670. 18th ed. London: Europa, 1954. The International Who’s Who, 678. 19th ed. London: Europa, 1955. The International Who’s Who, 645. 20th ed. London: Europa, 1956. The International Who’s Who, 651. 21st ed. London: Europa, 1957. The International Who’s Who, 647. 22nd ed. London: Europa, 1958. The International Who’s Who, 617. 23rd ed. London: Europa, 1959. The International Who’s Who, 658. 24th ed. London: Europa, 1960. The International Who’s Who, 676. 25th ed. London: Europa, 1961. The International Who’s Who, 690. 26th ed. London: Europa, 1962. The International Who’s Who, 735. 27th ed. London: Europa, 1963. The International Who’s Who, 755. 28th ed. London: Europa, 1964. The International Who’s Who, 787. 29th ed. London: Europa, 1965. The International Who’s Who, 846. 30th ed. London: Europa, 1966. The International Who’s Who, 907. 31st ed. London: Europa, 1968. The International Who’s Who, 920. 32nd ed. London: Europa, 1968–69. The International Who’s Who, 1037. 33rd ed. London: Europa, 1969. Isaacs, Alan, and Elizabeth Martin. Dictionary of Music, 251. New York: Facts on File, 1983. Jablonski, Edward. The Encyclopedia of American Music, 265–66. Garden City, NY: Doubleday, 1981. Jackson, Richard. “Moore, Douglas Stuart.” In The World Book Encyclopedia, 13:796. 22 vols. Chicago: World Book, 2001. Jacobs, Arthur. A New Dictionary of Music, 244–45. Revised ed. Chicago: Aldine, 1961. ———. A New Dictionary of Music, 245–46. Penguin Reference Books R12. Baltimore, MD: Penguin Books, 1965. ———. The New Penguin Dictionary of Music, 271. 4th ed. New York: Penguin Books, 1977. ———. The Penguin Dictionary of Music, 26, 289. 6th ed. London: Penguin, 1996. Jaques Cattell Press, comp. ASCAP Biographical Dictionary, 355. 4th ed.. New York: R. R. Bowker, 1980. Jones, Barrie, ed. “Moore, Douglas (Stuart) (1893–1969).” In The Hutchinson Concise Dictionary of Music, 427–28. Chicago: Fitzroy Dearborn, 1999. Larousse de la musique. Edited by Norbert Dufourcq, Félix Raugel, and Armand Machabey, 2:66. 2 vols. Paris: Librairie Larousse, 1957. Lebrecht, Norman. The Companion to 20th-Century Music, 230. New York: Simon & Schuster, 1992. Legány, Dezso. “Moore, Douglas Stuart.” In Bence Szabolcsi and Aladár Tóth, Zenei lexikon, edited by Dénes Bartha, 2:629. 3 vols. Budapest: Zenemukiadó, 1965. Lynn Farnol Group, comp. and ed. The ASCAP Biographical Dictionary of Composers, Authors and Publishers, 519–20. 1966 ed. New York: American Society of Composers, Authors and Publishers, 1966.

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Malmberg, Helge. “Moore, Douglas Stuart.” In Sohlmans musiklexikon: Nordiskt och allmänt uppslagsverk för tonkonst, musikliv och dans, edited by Gösta Morin, Carl-Allan Moberg, and Einar Sundström, 3:985. 4 vols. Stockholm: Sohlmans Förlag, 1951. Manuel de la musique. Edited by Pierre Paul Kelen, 238. Montreal: Centre de Psychologie et de Pédagogie, 1961. McNamara, Daniel I., ed. The ASCAP Biographical Dictionary of Composers, Authors, and Publishers, 264. New York: Thomas Y. Crowell, 1948. ———. The ASCAP Biographical Dictionary of Composers, Authors, and Publishers, 356. 2nd ed. New York: Thomas Y. Crowell, 1952. Merriam-Webster’s Biographical Dictionary, 730. Springfield, MA: Merriam-Webster, 1995. “Milestones.” Time, 8 August 1969, 62. Obituary.

La musica. Dizionario, part 2. Edited by Guido M. Gatti and Alberto Basso, 2:371. 2 vols. Turin: Unione Tipografico-Editrice Torinese, 1971. Musikkens: Hvem hvad hvor. II. Biografier A–Q: af skabende og udøvende musikere hvis væsentligste virksomhed ligger efter 1900. Edited by Nelly Backhausen and Axel Kjerulf, 2:347–48. 3 vols. Politikens musikleksikon. Copenhagen: Politikens Forlag, 1950. Musikkens: Hvem hvad hvor: Biografier. Edited by Ludvig Ernst Bramsen, Jr., 2:40. 2 vols. Politikens handbøgen, 256. Copenhagen: Politikens Forlag, 1961. Muzicka Enciklopedija. Edited by Krešimir Kovacˇevic´, Ivona Ajanovic-Malinar, and Koraljka Kos, 2:608–9. 3 vols. Zagreb: Jugoslavenski Leksikografski Zavod, 1974. “Necrology: Moore, Douglas (Stuart).” Current Biography 30 (October 1969): 45. Same obituary as that listed in the 1969 Yearbook.

“Necrology: Moore, Douglas (Stuart).” In Current Biography Yearbook 1969, edited by Charles Moritz, 471. 13th annual cumulation. New York: H. W. Wilson, 1970. This obituary is quoted from the New York Times, 28 July 1969, p. 31, cols. 3–4, 8.

The New Encyclopædia Britannica. 15th ed. Part 3, Micropædia, 8:301. 12 vols. Chicago: Encyclopædia Britannica, 1990. The Norton/Grove Concise Encyclopedia of Music. Edited by Stanley Sadie and Alison Latham, 498. New York: W. W. Norton, 1988. “Obituaries.” Variety 255, no. 12 (6 August 1969): 63. “Obituaries: Douglas Stuart Moore.” Facts on File 29, no. 1519 (4–10 December 1969): 800. “Obituary.” Opera 20, no. 10 (October 1969): 884–85. “Obituary.” Musical Times 110, no. 1521 (November 1969): 1173. Pennino, John. “Flashbacks: Opera News Marks the Anniversaries of Some Opera Greats: Douglas Moore, Composer.” Opera News, 19 December 1992, 28. Quereau, Quentin W. “Moore, Douglas Stuart.” In Academic American Encyclopedia, 13:567. Deluxe Library ed. 21 vols. Danbury, CT: Grolier, 1994. Rehrig, William H. The Heritage Encyclopedia of Band Music. Edited by Paul E. Bierley, 1:534, 3:552. 3 vols. Westerville, OH: Integrity Press, 1991–96. The article on Moore is a short biography followed by only one listing for band: “Good Night, Harvard,” arranged by Paul Yoder. The supplementary volume also lists one work: The People’s Choice.

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Reis, Claire. Composers in America: Biographical Sketches of Contemporary Composers with a Record of Their Works, 261–63. Revised and enlarged ed. New York: Macmillan, 1947. ———. Composers in America: Biographical Sketches of Living Composers with a Record of Their Works, 1912–1937, 184. New York: Macmillan, 1938. ———. “Douglas Stuart Moore.” In American Composers: A Record of Works Written between 1912 and 1932, 87. 2nd ed. New York: United States Section of the International Society for Contemporary Music, 1932. Riemann Musik Lexikon. Edited by Willibald Gurlitt, 2:250. 12th ed. 3 vols. Mainz: B. Schott’s Söhne, 1961. The entry is updated in the 1975 supplement by Hans Heinrich Eggebrecht, 2:220.

Rizzoli, Ricordi, Enciclopedia della musica. Edited by Angelo Solmi, 4:236. 6 vols. Milan: Rizzoli, 1972. Rostwo-Suski, Piotr. “Moore, Douglas.” In Encyklopedia Muzyczna PWM, edited by Elzbiety Dziebowskiej, 6:365. 10 vols. and supplements. Warsaw: Polskie Wydawnictwo Muzyczne, 2000. Sadie, Stanley, ed. The Grove Concise Dictionary of Music, 498. London: Macmillan, 1988. First American ed.: The Norton/Grove Concise Encyclopedia of Music (New York: W. W. Norton, 1988).

Scholes, Percy A. The Concise Oxford Dictionary of Music, 390. London: Geoffrey Comberlege; New York: Oxford University Press, 1952. ———. The Concise Oxford Dictionary of Music. Edited by John Owen Ward, 379. 2nd ed. London and New York: Oxford University Press, 1964. ———. The Oxford Companion to Music. Edited by John Owen Ward, 657. 10th ed., revised and reset. London and New York: Oxford University Press, 1970. ———. The Oxford Companion to Music: Self-Indexed and with a Pronouncing Glossary, 592. London and New York: Oxford University Press, 1938. ———. The Oxford Companion to Music: Self-Indexed and with a Pronouncing Glossary, 592, 1150. 8th ed., revised and with appendices. London and New York: Oxford University Press, 1950. ———. The Oxford Companion to Music: Self-Indexed and with a Pronouncing Glossary and over 1,100 Portraits and Pictures, 663. 9th ed., completely revised and reset and with many additions to text and illustrations. London and New York: Oxford University Press, 1955. Slonimsky, Nicolas. Baker’s Dictionary of Music. Edited by Richard Kassel, 651–52. New York: Schirmer Books, 1997. ———. The Concise Baker’s Biographical Dictionary of Musicians, 869–70. New York: Schirmer Books, 1988. ———, ed. The Concise Edition of Baker’s Biographical Dictionary of Musicians, 682. 8th ed. New York: Schirmer Books, 1994. ———. Webster’s New World Dictionary of Music. Edited by Richard Kassel, 333. New York: Macmillan, 1998. Soler, Josep. Diccionario de música, 149. Grijalbo/referencia. Barcelona: Grijalbo, 1985. Squibb, David. “Obituary.” Musical Times 110, no. 1519 (September 1969): 974. Stenkvist, Lennart. “Moore, Douglas.” In Sohlmans musiklexikon, edited by Hans Åstrand, 4:563. 7 vols. Stockholm: Sohlmans Förlag, 1977.

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Thompson, Oscar, ed. The International Cyclopedia of Music and Musicians, 1172. New York: Dodd, Mead, 1939. ———. The International Cyclopedia of Music and Musicians, 1172. New ed., revised and enlarged. New York: Dodd, Mead, 1943. ———. The International Cyclopedia of Music and Musicians. Edited by Nicolas Slonimsky, 1172. 4th ed., revised and enlarged. New York: Dodd, Mead, 1946. ———, ed. The International Cyclopedia of Music and Musicians. Edited by Nicolas Slonimsky, 1172. 7th ed., revised. New York: Dodd, Mead, 1956. ———, ed. The International Cyclopedia of Music and Musicians. Edited by Nicolas Slonimsky, 1172. 8th revised ed. New York: Dodd, Mead, 1958. ———, ed. The International Cyclopedia of Music and Musicians. Edited by Robert Sabin, 1379–80. 9th ed. New York: Dodd, Mead, 1964. ———, ed. The International Cyclopedia of Music and Musicians. Edited by Nicolas Slonimsky, Robert Sabin, and Bruce Bohle, 1430–31. 10th ed. New York: Dodd, Mead; London: Dent & Sons, 1975. The entry is the same as that in the 11th ed.

———, ed. The International Cyclopedia of Music and Musicians. Edited by Nicolas Slonimsky, Robert Sabin, and Bruce Bohle, 1430–31. 11th ed. New York: Dodd, Mead, 1985. In a short biography, Moore is characterized as: “essentially a lyricist with an unusual sensitivity to American folk music and life, and to American literature as well.” A list of works is included.

Thomson, Virgil. American Music Since 1910, 161–62. Twentieth-Century Composers 1. New York: Holt, Rinehart & Winston, 1971.. “Transition.” Newsweek, 11 August 1969, 46. Obituary.

“Vital Statistics: Deaths.” Music & Artists 2, no. 3 (September–October 1969): 47. This obituary is accompanied by a portrait.

Watson, Jack M., and Corinne Watson. A Concise Dictionary of Music: An Introductory Reference Book, 187. New York: Dodd, Mead, 1965. Webster’s Biographical Dictionary: A Dictionary of Names of Noteworthy Persons with Pronunciations and Concise Biographies, 1048. 1st ed. Springfield, MA: G. & C. Merriam, 1943. Westrup, J. A., and F. Ll. Harrison. The New College Encyclopedia of Music, 436. New York: W. W. Norton, 1960. Also published under the title Collins Encyclopedia of Music (Williams Collins Sons, 1959).

———. The New College Encyclopedia of Music. Revised by Conrad Wilson, 346. Revised ed. New York: W. W. Norton, 1976. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 22 (1942–43): 1576. Chicago: A. N. Marquis, 1942. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 23 (1944–45): 1493. Chicago: A. N. Marquis, 1944. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 24 (1946–47): 1664. Chicago: A. N. Marquis, 1946.

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Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 25 (1948–49): 1748. Chicago: A. N. Marquis, 1948. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 26 (1950–51): 1930. Chicago: A. N. Marquis, 1950. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 27 (1952–53): 1723. Chicago: A. N. Marquis, 1952. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 28 (1954–55): 1894. Chicago: Marquis—Who’s Who, 1954. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 29 (1956–57): 1812. Chicago: Marquis—Who’s Who, 1956. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 30 (1958–59): 1954. Chicago: Marquis—Who’s Who, 1958. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 31 (1960–61): 2045. Chicago: Marquis—Who’s Who, 1960. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 32 (1962–63): 2198. Chicago: Marquis—Who’s Who, 1962. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women, 33 (1964–65): 1417. Chicago: Marquis—Who’s Who, 1964. Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women: A Component Volume of Who’s Who in American History, 34: (1966–67): 1494–95. Chicago: Marquis—Who’s Who, 1966. Who’s Who in America with World Notables: A Biographical Dictionary of Notable Living Men and Women: A Component Volume of Who’s Who in American History, 35 (1968–69): 1547. Chicago: Marquis—Who’s Who, 1968. Who’s Who in Music and Musicians’ International Directory. Edited by Peter Townsend and David Simmons, 146. 4th ed. London: Burke’s Peerage, 1962. Who’s Who in Music and Musicians’ International Directory. Edited by W. J. Potterton, 217. 5th ed. London: Burke’s Peerage, 1969. Who’s Who in New York (City and State): Biography in Dictionary Form of the Leaders in All Phases of Life in the Metropolis and the Commonwealth. Edited by Winfield Scott Downs, 737. 11th ed. New York: Lewis Historical, 1947. Who’s Who in New York (City and State): Biography in Dictionary Form of the Leaders in All Phases of Life in the Metropolis and the Commonwealth, 807–8. 12th ed. New York: Lewis Historical, 1952. Who’s Who in New York (City and State): Biography in Dictionary Form of the Leaders in All Phases of Life in the Metropolis and the Commonwealth, 879. 13th ed. New York: Lewis Historical, 1960. Who’s Who in the East [and Eastern Canada]: A Biographical Dictionary of Noteworthy Men and Women of the Middle Atlantic and Northeastern States and Eastern Canada, 1966–67, 693. 10th ed. Chicago: Marquis—Who’s Who, 1965. Who’s Who in the East [and Eastern Canada]: A Biographical Dictionary of Noteworthy Men and Women of the Middle Atlantic and Northeastern States and Eastern Canada, 1968–69, 742. 11th ed. Chicago: Marquis—Who’s Who, 1967.

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Who Was Who in America: With World Notables, 5 (169): 508. Chicago: Marquis Who’s Who, 1973. Wier, Albert E., comp. and ed. The Macmillan Encyclopedia of Music and Musicians in One Volume, 1210. New York: Macmillan, 1938. The World Book Encyclopedia, 13:652–53. 24 vols. Chicago: World Book, 1984. TheWorld of Music: An Illustrated Encyclopedia, 3:886–88. 4 vols. New York: Abradale Press, 1963. c. Reviews and Concert Announcements The Ballad of Baby Doe “135 Costumes of Tabor Era Readied for Opera.” Denver Post, 5 July 1956, p. 23, cols. 3–5. The article tells of the large number of costumes needed for the premiere of The Ballad of Baby Doe at Central City. A photograph, captioned “A Toast to ‘Baby Doe’ Folk Opera, Picturing Frances Bible, Leyna Gabriele, Edwin Levy and Hanya Holm,” accompanies the article.

“25th Annual Festival: The Central City Opera House Ass’n. Presents Two Outstanding Operas: ‘La Tosca,’ ‘Ballad of Baby Doe.’ ” Central City Weekly Register-Call, Souvenir Ed., 29 June 1956, pp. 1–2. This is a souvenir program in the form of a newspaper. Photographs of the principal performers are on p. 1, and a synopsis of the opera is on p. 2.

“3 La Toscas Slated Before Baby Doe.” Denver Rocky Mountain News, 5 July 1956, p. 14, col. 3. This is a short announcement advertising the performances of Tosca preceding the premiere of The Ballad of Baby Doe.

“About the Cover: Baby Doe and . . . Alternate: Glamour Girls of the Opera Sing Her Part at Central City.” Denver Post, 1 July 1956, sec. Empire, p. 22, col. 1. The announcement of the premiere performance of the opera is accompanied by portraits of the production’s Baby Doe, Dolores Wilson, and her understudy, Leyna Gabriele.

Ackart, Robert. “News: America: Central City.” Opera 7, no. 11 (November 1956): 676–78. The author gives a brief history of Central City, Colorado, and its opera house. In the past summer season two operas, Tosca and The Ballad of Baby Doe, were produced with casts made up of singers from the Metropolitan Opera and the New York City Opera. A plot synopsis and three quotes from reviews in the New York press are included in the article. There are also three photographs of scenes from the opera and a photograph of Central City showing the location of the opera house.

Adler, Andrew. “ ‘Stand-Up Opera’ Pokes Gentle Fun at Art of Singing.” Courier-Journal, 18 January 1998, sec. I, p. 1, cols. 2–5. The article announces a performance by the soprano B. J. Ward at the Kentucky Center for the Arts that includes the Willow Song from The Ballad of Baby Doe.

Alburger, Mark. “Golden Touch to Silver.” 21st Century Music 7, no. 12 (December 2000): 8–9. In this review of The Ballad of Baby Doe, the San Francisco Opera performance of 29 September is praised, but the music is found lacking. The score of the opera “errs on the side of tameness. There is little of the grit or majestic sweep that one might expect from frontier settings. Instead we get warmed over Italianate belcanto [sic] and folksy songs that would be appropriate for some elegant National Geographic special.”

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[The Ballad of Baby Doe] Amole, Gene. “Baby Doe Was Like a Legend to Little Boy from Denver.” Denver Rocky Mountain News, 23 December 1999, sec. A, p. 6, cols. 1–4. The article is reprinted from 2 July 1996 and tells how the author’s grandfather took him to meet Baby Doe Tabor. The story of Baby Doe and Horace is briefly recounted. The article mentions both a film about the Tabors starring Edmund G. Robinson and Moore’s opera.

“An All-American Opera Weekend.” Cleveland Plain Dealer, 6 March 1960, sec. Pictorial Magazine, p. 8, cols. 1–4. The article announces the performance of The Ballad of Baby Doe by the New York City Opera in Cleveland on 11 and 12 March. A color photograph of the final scene along with Moore accompanies the article.

Arlen, Walter. “Anne Elgar Sings Lead in ‘Baby Doe.’ ” Los Angeles Times, 8 December 1969, sec. 4, p. 26, col. 3. The review focuses on the performance of the role of Baby Doe by Anne Elgar, instead of Beverly Sills, at the New York City Opera performance on 6 December at the Los Angeles Music Center. She looked the part, and she sounded the part as long as the range did not go too high. She approached the high notes carefully to minimize any problems.

———. “Carol Neblett Sings Recital at El Camino.” Los Angeles Times, 21 January 1971, sec. 4, p. 8, cols. 1–2. The Soprano Carol Neblett included the Willow Song from The Ballad of Baby Doe on her recital at El Camino College on 19 January. Listeners “encountered the singer in continually good fettle” in this song.

“Baby Doe.” Time, 16 July 1956, 40, 42. The review summarizes the plot of The Ballad of Baby Doe for the premiere in Central City, Colorado. The reviewer enumerates the most memorable arias and says that the music “succeeds in conveying strong period flavor without being condescendingly folksy.” A photograph of Frances Bible (Augusta), Clifford Harvuot (Horace), and Dolores Wilson (Baby Doe) in costume accompanies the article.

“Baby Doe and Her Silver King: Historic Love Story Is an Operatic Hit.” Life, 6 August 1956, 109–10, 112. This brief article is accompanied by photographs from the premiere production of The Ballad of Baby Doe by the Central City Opera juxtaposed with historical photographs of the real-life characters and locations of the drama. The photos include the three main characters, Augusta, Horace, and Baby Doe; Horace and Baby Doe’s daughter, Silver Dollar; the Matchless Mine; and the room where Baby Doe died.

“Baby Doe and Other Ballads.” New York Herald Tribune, 3 April 1958, sec. 1, p. 16, cols. 1–2. Ten operas, including The Ballad of Baby Doe, are to be produced at the New York City Opera this season through a Ford Foundation grant. The editorial writer believes that the production of these American operas in English will attract many people to opera who ordinarily would not go.

“Baby Doe Ballad to Open Here.” New York Herald Tribune, 18 February 1958, sec. 1, p. 13, cols. 3–4. This is a short article announcing the New York City Opera production of the opera. It also identifies the principal singers.

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[The Ballad of Baby Doe] “ ‘Baby Doe’ Going to N.Y.: Myerberg.” Denver Post, 10 July 1956, p. 28, col. 1. The Broadway producer Michael Myerberg vows to bring The Ballad of Baby Doe to the Broadway stage as soon as possible.

“ ‘Baby Doe’ Premiere.” Denver Rocky Mountain News, 1 July 1956, p. [41], cols. 1–4. The article announces the premiere, giving information about the singers and the opera. Three photographs of scenes of the opera are included.

“ ‘Baby Doe’ Premiere Attracts Country’s Top Opera Critics.” Denver Post, 6 July 1956, p. 2, cols. 4–5. The article lists the names of seventeen critics of major newspapers and mentions several noted attendees, including Mrs. Serge Koussevitzky, Mrs. Martin Beck, and Lily Pons. The pre-performance activities celebrating the premiere of the opera are also listed, along with the principal members of the cast.

“ ‘Baby Doe’ to Open in New Stanford Theater Tonight.” Palo Alto Times, 23 May 1957, p. 13, cols. 1–3. The article announces the performance of the opera at Stanford University and lists the names of the principal singers and the honorary speakers to open the auditorium; it also gives a brief idea of the story of the opera.

“ ‘Baby Doe’ World Premiere Is Completely Sold Out.” Denver Rocky Mountain News, 7 July 1956, p. 5, cols. 2–3. All of the tickets to the performances of The Ballad of Baby Doe by the Central City Opera were sold by noon on 6 July, the day before the premiere.

“ ‘Ballad’ Ducats Sold Out.” Denver Post, 6 July 1956, p. 2, col. 4. All sixteen performances of The Ballad of Baby Doe were sold out a day before the premiere.

“The Ballad of Baby Doe.” In Souvenir of Historic Central City Colorado: 25th Anniversary Festival, [11–12]. Central City, CO: Central City Festivals, 1956. The article contains information about the composer, the librettist, and the opera production.

“ ‘Ballad of Baby Doe’ Set for Musicarnival.” Cleveland Press, 7 June 1958, p. 7, col. 3. A short publicity article for the upcoming performances on 8–14 September at Musicarnival in Ohio is accompanied by a portrait of Beverly Sills as Baby Doe.

Bargreen, Melinda. “Castle’s Augusta in ‘Doe’ Is Superb.” Seattle Times, 20 January 1992, sec. B, p. 1. This review of the Seattle Opera production of The Ballad of Baby Doe praises highly the singing of Joyce Castle in the role of Augusta. The rest of the production gets high marks as well, but it is Castle’s performance that “has every detail, every nuance of the role clasped in a fist of iron, and she knows how to command your sympathy for this character of missed opportunities.”

Barry, Edward. “FM Listeners’ Choice. . . .” Chicago Daily Tribune, 27 February 1960, sec. 4, p. 4, cols. 1–2. Two radio stations in Chicago will broadcast a tape of the live performance of The Ballad of Baby Doe by the New York City Opera from the Chicago Lyric Opera House on 5 March. The broadcast on WFMT will feature a talk about the opera by Moore.

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[The Ballad of Baby Doe] “Bass-Baritones Davidson, Treigle among Busiest Central City Stars.” Denver Post, 3 July 1956, p. 12, cols. 3–8. In anticipation of the premiere of The Ballad of Baby Doe in Central City, this article announces the appearance of Norman Treigle and Lawrence Davidson in the role of William Jennings Bryan. Portraits of the two singers are included.

Bay, Howard. “Donald Oenslager, ‘The Ballad of Baby Doe’ (Central City, 1956).” In Stage Design, 70. New York: Drama Book Specialists/Publishers, 1974. This is a photograph of a drawing of the stage design for the premiere of the opera.

Beebe, Lucius. “Romantic West in ‘Baby Doe.’ ” New York Herald Tribune, 15 July 1956, sec. 4, p. 1, cols. 1–2, and p. 4. This critique of the premiere of The Ballad of Baby Doe at Central City recounts the history behind the opera’s story. There is so much local history familiar to the Colorado audience that productions in other locations will need greater explanation of the characters and setting in the program. The opera itself is “uneven, but with a calculated unevenness obviously intended by the authors; ranging from an almost Gilbert and Sullivan quicktime and rhyming at the outset to authentic grand opera of emotional volume . . . , and concluding on a note of dreary melancholy.” The performance of Walter Cassel as Horace “could hardly be improved,” but “the evening was dominated by Augusta Tabor, played by Martha Lipton.” On the other hand, Dolores Wilson as Baby Doe, “while both personally and vocally adequate to the part, lacked in character and definition.” The article is accompanied by a photograph of a scene from the opera.

“Behind the Pictures: The Cover.” Cleveland Plain Dealer, 7 September 1958, sec. Sunday Pictorial Magazine, pp. 1–2. There is a full-page color photograph on the front cover of Beverly Sills as Baby Doe with the two children who play Baby Doe’s daughters. The second page briefly announces the performance at Musicarnival on 8 September.

Belsom, Jack. “Opera Around the World: America; New Orleans.” Opera 51, no. 3 (March 2000): 302–3. The New Orleans Opera mounted an artistically successful production of The Ballad of Baby Doe on 17 November. Melanie Sonnenberg was particularly effective as Augusta; so was Richard Zeller’s portrayal of Horace. Cheryl Parrish sang well but “at times seemed a bit overparted.” Attendance at the performances was low owing to an “overconservative audience” and to financial and political difficulties the opera company experienced in previous years.

Bender, John. “The Ballad of Baby Doe: Judith Forst (Augusta) in the San Francisco Opera Production.” Opera Canada 41, no. 4, no. 165 (Winter 2000): 34. This is a rave review for the San Francisco Opera production. Judith Forst as Augusta sang and acted with “the ultimate in authority, passion and dramatic grip.” James Morris’s portrayal of Horace was so outstanding that it “seemed to lift Ruth Ann Swenson (Baby Doe) to a new level of dramatic intensity.” Moore’s score, which is sometimes criticized “because of its folksy melodies,” contains music that “draws more on Massenet and Puccini to achieve a profoundly moving simplicity” especially in the second act. The article is accompanied by a photograph of Judith Forst as Augusta.

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[The Ballad of Baby Doe] Bernheimer, Martin. “L.B. Opera Stages the ‘Ballad of Baby Doe.’ ” Los Angeles Times, 11 May 1987, sec. 6, p. 1, cols. 2–3, and pp. 2–4. The reviewer expected an innovative production from the usually adventurous Long Beach Opera, but instead found it “neat, literal and a bit somnolent.” Moore’s music receives equally critical remarks. It is “an opera blessed with pretty tunes, interesting characters, gushy harmonies, unabashed sentimentality and the comfy historical landmarks of turn-of-the-century mining in the Midwest. . . . It does contain a lot of padding, however, and a bad deal of simplistic theatricality.” However, the cast of Ruth Ann Swenson, Joyce Castle, and Richard Fredricks was strong.

———. “Live Opera via Lincoln Center.” Los Angeles Times, 23 April 1976, sec. 4, p. 16, cols. 1–4. The article is a review of the nationwide 19 April live simulcast of The Ballad of Baby Doe. The reviewer finds fault with various aspects of the performance, beginning with the technical difficulties of showing a stage production on television, in which the sound was excellent because of the FM radio simulcast, but the stage sets, costumes, and makeup looked too artificial. The opera itself “never was a great opera and never really pretended to be. It is merely a romantic period piece—a Bicentennial natural—that flirts with postcard realism, mingles folksy indulgence with operetta pathos and, when it isn’t treading musical and dramatic water, comes up with some strikingly pretty tunes.” Ruth Welting and Richard Fredricks are good but not up to the dramatic standards of Beverly Sills and Walter Cassel as Baby Doe and Horace, but Frances Bible performs “with undiminished resources of voice, dignity and intelligence.”

———. “Long Beach.” Opera (London) 38, no. 9 (September 1987): 1023–24. Bernheimer pans the score of The Ballad of Baby Doe and finds the Long Beach Opera production of 8 May bland and lacking in innovation, a trademark of this opera company. Nonetheless, the singing of Ruth Ann Swenson as Baby Doe was exquisite, reminding him of the young Hilde Gueden. Richard Fredricks and Joyce Castle gave convincing portrayals of Horace and Augusta, respectively.

———. “N.Y. City Opera Presents ‘Baby Doe’ at Music Center.” Los Angeles Times, 3 December 1969, sec. 4, p. 23, cols. 1–5. This is a quite positive review of both the opera and the performance at the Los Angeles Music Center on 1 December. While the work may not be the “great American opera,” it is a “success on its own notso-ambitious terms.” The characters have rich potential for development, and the music contains drama and vocal challenges. The stage sets and costumes are beginning to show their age, being more than a decade old, but the cast members sing superbly and act their parts convincingly.

Biancolli, Louis. “ ‘Baby Doe’ Gets City Premiere.” New York World-Telegram and Sun, 4 April 1958, sec. 1, p. 14, cols. 3–4. Both the music and libretto are praised in this review of the New York premiere of the opera. The music “suggests the Western background with its sturdy folk rhythms and rises at times to warm romantic and dramatic expression.”

Blaustein, Claire. “The Beautiful ‘Ballad of Baby Doe.’ ” Indiana Daily Student, 11 February 2004. http://www.idsnews.com/news/story.aspx?id=33173&comview=1. Accessed 18 August 2009. The reviewer finds this a first-rate performance by the Indiana University Opera Theater, from the impressive stage sets of David Higgins to the student singers, whose convincing acting and fine voices made for strong drama.

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[The Ballad of Baby Doe] Blomster, Wes. “Opera in Review: Festivals: USA: Central City Opera.” Opera Now, no. 6 (November–December 2006): 92, 94. The article reviews the fiftieth-anniversary performance of The Ballad of Baby Doe at the Central City Opera House. Each of the principal singers receives high praise from the reviewer. As Baby Doe, Joana Mongiardo “was wondrously vulnerable, stricken by a desire that grew to devotion unto death,” and Joyce Castle played Augusta as “a woman equally in love.” The conductor, John Moriarty, and the director, Michael Ehrman, made the production an “American Tristan.”

Blumenfeld, Harold, and Lionel Lackey. “The Battle of Baby Doe: Opposing Voices Debate the Virtues of Douglas Moore’s Most Popular Work on Its Return to the New York City Opera.” Opera News, 8 March 1969, 8–11. Blumenfeld finds Moore’s opera derivative, trite, banal, and cliché ridden. He questions why American opera companies regularly ignore the more worthy operas of Samuel Barber, Gunther Schuller, Roger Sessions, and others in favor of “homespun” Americana operas such as Moore’s. Lackey argues that Baby Doe may be a candidate for the “Great American Opera” because of the directness of the music. The plot also follows in the tradition of American literature such as works of Hawthorne, Hemingway, and Dreiser. The simplicity of Moore’s opera is not a weakness but rather is essential for the expression of American themes.

Blumenthal, Ralph. “You’ve Come a Long Way, Baby Doe; A Long-Lost Video Kindles Memories of a Young Soprano’s Triumph.” New York Times, 24 March 2001, sec. B, p. 14, cols. 4–6. The Museum of Television and Radio screens a segment of a WCBS program, “American Musical Theater,” from 4 March 1962 featuring Douglas Moore and Beverly Sills, who sings excerpts from The Ballad of Baby Doe. In the article Sills recounts how she got the role of Baby Doe for the New York premiere. She also talks about singing the high notes for the part and how she played Baby Doe as a character for whom the audience will feel sympathy, rather than seeing her as an opportunist.

“Blushing Lad Gets Kiss, Prize in News Race.” Denver Rocky Mountain News, 8 July 1956, p. 12, cols. 1–4. As part of the celebratory events for the premiere of The Ballad of Baby Doe, fifteen-year-old Clyde Turner won the Pony Express race from Idaho Springs to Central City. He received $200, the trophy cup, and a kiss from Kim Novak. Wally Nelson came in second.

Boros, Ethel. “Music Beat: Beverly Sills Captivating as Baby Doe.” Cleveland News, 9 September 1958, p. 7, cols. 1–4. The article is a totally positive review of the 8 September performance at Musicarnival.

Bradley, Jeff. “ ‘Baby Doe’ Anniversary Strikes Gold at Central City.” Denver Post, 30 May 1996, sec. E, p. 4, cols. 1–2, and p. 8, cols. 2–4. To mark the fortieth anniversary of its most important world premiere, Central City Opera will present a new production of Douglas Moore’s Ballad of Baby Doe in repertory with Verdi’s Rigoletto and Sigmund Romberg’s operetta The New Moon. Opening night is 29 June 1996.

———. “Central City’s ‘Baby Doe:’ Deftly Staged Production a Wild Success.” Denver Post, 2 July 1996, sec. E, p. 8, cols. 2–5, and p. 4.

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[The Ballad of Baby Doe] This review of the opening-night production of The Ballad of Baby Doe by the Central City Opera extends lavish praise on the soprano Jan Grissom in the role of Baby Doe, noting that her final aria moved some audience members to tears. Although the role lies a little low for his voice, Brian Steele as Horace was utterly convincing. Dana Krueger’s voice was somewhat smaller than the voices of the rest of the cast and did not project as dramatically as the role of Augusta demands. Overall the production was good. Two photographs are included. Title on page 4: “Dana Krueger an Imposing Augusta.”

———. “Fans Get Second Chance to Catch ‘Ballad of Baby Doe’ on Radio.” Denver Post, 6 October 1996, sec. E, p. 9, col. 1. The article announces a radio broadcast of The Ballad of Baby Doe on KVOD on 13 October of the 1996 Central City Opera performance. The recording will be released on CD in January on the Newport label.

———. “Home-Grown Opera: ‘Baby Doe’ Anniversary Strikes Gold at Central City.” Denver Post, 30 May 1996, sec. E, pp. 8, cols. 2–5, and p. 4. The article announces the fortieth season of the Central City Opera, which opens on 29 June with a new production of The Ballad of Baby Doe. The artistic director, John Moriarty, describes his selection of Jan Grissom as Baby Doe and gives his opinions about the opera: “It has a few flaws including a few scenes where Douglas Moore’s vocabulary was not up to the intensity of the moment, most obviously the hotel lobby scene (between Baby and Augusta), which is saved by (librettist) John Latouche’s marvelous text.” This is the first of three seasons to feature an American opera. A portrait of Baby Doe accompanies the article. Title on p. 4: “ ‘Baby Doe’ Opening American Series.”

———. “Memories of Baby Doe: Beverly Sills’ 1959 Recording Finally Issued in CD Version.” Denver Post, 24 April 1999, sec. F, p. 5, cols. 1–6. An announcement of the reissue of The Ballad of Baby Doe on a Deutsche Grammophon compact disc recounts some of the history of Beverly Sills’s audition for the role and the first recording. A photograph of Sills in the role accompanies the article.

Braun, William R. “Recordings: American Dreamer.” Opera News, September 1998, 94–95. The reviewer of Dawn Upshaw’s disc The World So Wide (Nonesuch 79458) finds that she sings the Willow Song from The Ballad of Baby Doe “not as a Stephen Fosteresque parlor song but as a gripping narrative—almost too much so, for it sounds more urgent than touching and eager.”

B[riggs], J[ohn]. “ ‘Baby Doe’ at Center: Jacquelynne Moody Is Heard First Time in Title Role.” New York Times, 27 April 1958, p. 79, col. 2. The article announces Moody’s first appearance in the role of Baby Doe in the New York City Opera production. She “was equal to the demands of the music, and acted the role convincingly.”

Briggs, John. “In Review: From Around the World; Austin, Texas.” Opera News, May 1997, 63–64. While the scenery for The Ballad of Baby Doe by the Austin Lyric Opera on 10 January worked admirably, and Cheryl Parrish and Mark Delavan were just right in the roles of Baby Doe and Horace, Melanie Sonnenberg had too light a voice and played too weak a character for the imposing role of Augusta. LeRoy Lehr sang well in the part of William Jennings Bryan but was made up as a man thirty years older than he would have been in the 1890s.

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[The Ballad of Baby Doe] Bronston, Levering. “Moore: The Ballad of Baby Doe.” New Records 44, no. 8 (October 1976): 11–12. This review begins with a long quote from Moore on the origins of the opera. The music is “a mixture of loveliness and banality” and is compared with that of Richard Rodgers and Samuel Barber. Beverly Sills’s performance is “fresh and gleaming, aglow with ardent lyricism, expressive poignancy, and intelligent phrasing, . . . a masterly performance, one of the memorable vocal interpretations on records.”

Buckles, Fred. “Lively Production: ‘Baby Doe’ Opera Hit at Santa Fe.” Albuquerque Journal, 1 July 1961, sec. A, p. 2, cols. 5–6. The review finds no fault with the opening of this opera at Santa Fe. The singers and production all get high marks for a fine performance.

Burdick, Elizabeth B., Peggy C. Hansen, and Brenda Zanger, eds. “Donald Oenslager: The Ballad of Baby Doe, 1956.” In Contemporary Stage Design, U.S.A., 40. Middletown, CT: International Theater Institute of the United States; distributed by Wesleyan University Press, 1974. This is a photograph of the stage design of the Tabor Opera House set for the premiere in Central City.

Burke, P. E. “Tulsa, Oklahoma: The Ballad of Baby Doe.” Music & Musicians 24, no. 11 (July 1976): 42–43. The opera “contains some likeable tunes, which are modest rather than great, and some pretty arias. However, these are strung together with some thinly scored music.” All of the principal singers gave excellent performances, but the conducting of Judith Somogi was “the really weak factor in an otherwise good production.”

Burklow, Jennifer. “Finer Arts: After Much Ado, Theater Is in Season.” Chicago Sun-Times, 15 April 1994, sec. Weekend Plus, p. 23, col. 5. An announcement of the Chicago Opera Theater’s entire season, which includes The Ballad of Baby Doe.

———. “Finer Arts: Opera Theater Heads for the Wild West.” Chicago Sun-Times, 20 May 1994, sec. Weekend Plus, p. 19, col. 3. This announcement of the Chicago Opera Theater’s production of The Ballad of Baby Doe on 20–29 May includes a list of the principal performers and directors.

Butcher, Harold. “The Nation’s Music: Santa Fe: Santa Feans Hear Berlin Preview.” Musical Courier 163, no. 9 (August 1961): 63–64. The Santa Fe Opera presents The Ballad of Baby Doe in preparation for the company’s European tour, during which it will go to the West Berlin Music Festival on 26–29 September. The staging and cast are excellent. An illustration of Robert Trehy as Horace and Doris Yarick as Baby Doe is included.

Bye, Antony. “The Ballad of Baby Doe.” London Financial Times, 14 March 1996, p. 21, cols. 1–4. In this review of The Ballad of Baby Doe performed by the University College Opera, the author comments on why this is the first British performance of the opera. He finds it totally banal and dependent on clichés. The opera “runs true to form and formulae on impeccable craft, underpinned by folkinflected music, alternately glowing or gawky, which does little enrich its cardboard, historically-based, characters and hollow sentiment.” He concludes “that the Great American Opera is, in fact, a chimera.”

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[The Ballad of Baby Doe] Cantrell, Scott. “ ‘Baby Doe’ Is 41 Years Old Now but Still Seems Young: Lyric Opera Offers Production of Popular Douglas Moore Opera.” Kansas City Star, 26 October 1997, sec. J, p. 5, cols. 1–2. The article announces the upcoming performance of The Ballad of Baby Doe by the Kansas City Lyric Opera on 1–9 November.

———. “Debut of Lyric’s ‘Baby Doe’ Finishes as Hit-and-Miss Affair.” Kansas City Star, 2 November 1997, sec. B, p. 10, cols. 1–3. This review of a performance by the Kansas City Lyric Opera of The Ballad of Baby Doe criticizes the overly brisk tempos, which made much of the text incomprehensible. While the acting of the principal characters was good, none were in good voice. A photo from the production is included.

———. “Opera: Baby Doe: Forever Young? Time Will Tell, but for Now the Work Is Enjoying a Lyric Production.” Kansas City Star, 31 October 1997, sec. Preview, p. 3, cols. 1–4, and p. 4. This extended feature article on the Kansas City Lyric Opera production of The Ballad of Baby Doe provides historical background on the lives of Baby Doe and Horace Tabor, including the Tabors’ link to Kansas. There is also commentary about the opera and the performance of Brian Steele in the role of Horace. Steele was in his twenty-sixth season with the Lyric Opera, and the conductor Russell Patterson was completing his fortieth. Photographs of Cheryl Parrish (Baby Doe), Rose Taylor (Augusta), and Steele, as well as a historical photograph of Baby Doe, are accompany the article.

Cariaga, Daniel. “ ‘Baby Doe’ in Revival by Long Beach Opera.” Los Angeles Times, 3 May 1987, sec. Calendar, p. 52, cols. 1–3. The reviewer wonders why Moore’s works are not better-known. The Long Beach Opera conductor, Randall Behr, concludes it is because “at this point in history, [Moore] is in a special limbo. His works are just old enough to seem old-fashioned, but not quite old enough to be considered ‘classic.’ ” There are a number of other quotes about the production and the opera from Behr in this announcement for the upcoming performances.

Cassidy, Claudia. “On the Aisle: ‘Ballad of Baby Doe’ Turns a Good Story into a Dull ‘Opera.’ ” Chicago Daily Tribune, 6 March 1960, sec. 1, p. 8, cols. 1–2. The reviewer judges the opera in the harshest of terms. The music “never seeks a fresh phrase when a cliche will serve, and its staging is rather like that of the melodrama Cap’n Andy directs in ‘Showboat.’ ” Even the libretto receives blistering criticism as being “extraordinarily vulgar.” But the worst words are reserved for the wedding scene, which was “one of the lower ebbs of drama, even in a world that considers anything excusable if it is sung.” She likens Beverly Sills to Greer Garson and William Jennings Bryan to Ted Lewis. Overall, she considers it a cheap drama but notes that it was sung to a sold-out house.

———. “On the Aisle: Operatic Americana in the Spring with ‘Susannah,’ ‘Street Scene’ and ‘Ballad of Baby Doe.’ ” Chicago Daily Tribune, 31 January 1960, sec. 7, p. 9, cols. 1–3, and p. 10. The author reports on the operas to be presented by the New York City Opera in Chicago, one of which is The Ballad of Baby Doe. There is information about the plot, the cast, and the composer. A photograph of Frances Bible, who plays the part of Augusta, is included.

“Central City All Astir for ‘Baby Doe’ Debut.” Denver Rocky Mountain News, 7 July 1956, p. 10, cols. 1–3.

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[The Ballad of Baby Doe] The article announces the premiere of The Ballad of Baby Doe at the Central City Opera. Celebrations will last all day and all night before and after the performance. Events include a Pony Express race, square dancing, rock drilling, and a parade. Celebrities such as Lily Pons, Olga Koussevitzky, and Mrs. Martin Beck will attend the performance, and reviewers from all over the country will be in attendance. Portraits of seven reviewers accompany the article.

“Central City Event: Festivities Precede ‘Baby Doe’ Premiere.” Denver Post, 4 July 1956, p. 12, cols. 1–2. The article announces various events and activities to celebrate the premiere of The Ballad of Baby Doe, including “rock-drilling contests, gold-panning exhibitions, hose cart wet-test runs, a parade of oldtime vehicles and band concerts.” The principal cast is also listed, along with a photograph of Martha Lipton, who sings the role of Augusta.

“Central City Opera Stars Steeped in Tabor Lore.” Denver Rocky Mountain News, 20 June 1956, p. 16, cols. 1–5. These two photographs are of Dolores Wilson and Walter Cassel, the leads in the upcoming premiere.

Chapman, John. “ ‘Baby Doe,’ a Superb Opera, Gets Swift, Touching Premiere in West.” New York Daily News, 9 July 1956, p. 42, cols. 1–3. The author reviews the premiere of the opera at Central City. “Composer Douglas Moore has covered this sturdy framework with a fascinating and beautiful score which is rich in lyric passages, bold and strong in dramatic effect and filled with zest and ambition.”

Chism, Olin. “Reports: Foreign; Fort Worth.” Opera News, 30 January 1971, 33. The article reviews the performance of The Ballad of Baby Doe by the Fort Worth Opera on 4 and 6 December 1970. The performance “offered a production that fell short in details but made a solid total dramatic experience.”

*Chute, James. “Trading Avant-Garde for Conventionality: Long Beach Opera Plays It Safe with ‘Ballad of Baby Doe.’ ” Orange County Register, 11 May 1987, sec. E, p. 6. The reviewer finds fault more with Moore’s dramatic sense than with his compositional ability. As a composer he is a “master at writing archaic, although effective set pieces,” but “he is not nearly as skilled at creating a dramatic flow.” The orchestration also seems heavy for music that sounds “as if [it] should be pounded out on an old upright.” The singing voices of the principal singers were quite good, except for their poor diction.

“City Opera Goes American.” New York Times, 30 March 1958, sec. 2, p. 9, cols. 3–6. This is a captioned photograph from the performance of The Ballad of Baby Doe showing Beverly Sills (Baby Doe), Martha Lipton (Augusta), and Walter Cassel (Horace Tabor).

“City Opera Lists ‘Manon’ for October 1, ‘Baby Doe’ for October 4.” New York Times, 21 September 1969, sec. 1, p. 80, col. 4. The cast and time for the New York City Opera performance of The Ballad of Baby Doe is listed.

Clark, Bob. “Memories of an Original Baby Doe: Leyna Gabriele Helped Launch a Classic Opera.” Calgary Herald, 26 January 2008. http://www.babydoe.org/pdfs/memories.pdf. Accessed 19 August 2009.

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[The Ballad of Baby Doe] In this interview, Leyna Gabriele reveals that Moore asked her when she was a student to sing portions of the part of Baby Doe while he was composing the opera to test out his ideas. Dolores Wilson, a soprano at the Metropolitan, was given the part of Baby Doe in the premiere, with Gabriele singing it the second night. Gabriele recently found a recording of the Central City performance of 1956 recorded by Walter Cassel over the public address system; it is probably the earliest recording of the opera.

Clark, Martin. “Finally, ‘Baby Doe’ Comes to Portland.” Oregon Daily Journal, 20 May 1966, p. 10, cols. 5–6. The review of the Portland State College performances praises the principal singers, with special commendation for Arthur Kayser as William Jennings Bryan. It was an ambitious production for a small theater and opera company.

“Classical Music.” New Orleans Times-Picayune, 5 November 1999, sec. Lagniappe, p. 4, col. 5. This announcement of the performance of The Ballad of Baby Doe by the New Orleans Opera on 17 and 20 November is accompanied by a photograph of Cheryl Parrish, who is to play the leading role.

Coe, Richard L. “ ‘Baby Doe’ Booked?” Washington Post and Times Herald, 21 August 1956, p. 31, col. 2. The article announces that it is likely that Michael Myerberg will produce The Ballad of Baby Doe at the Shubert Theatre in December.

Collette, Ann. “Baby Doe Turns Forty.” Opera News, June 1996, 32. The article announces the summer 1996 production of The Ballad of Baby Doe by the Central City Opera of Denver and the upcoming release of the recording by the same cast on Newport Classic.

Collins, Patricia. “The Smart Set: Champagne Supper to Follow Opera Premiere.” Denver Post, 4 July 1956, p. 32, cols. 1–8. This society column highlights the premiere of The Ballad of Baby Doe at Central City. At the party following the performance the composer, librettist, directors, and producer will greet the guests.

———. “Socially Speaking: Society Turns Out at Opera.” Denver Post, 16 July 1981, p. 32, cols. 1–2. The column gives a who’s who of Denver society that attended the twenty-fifth anniversary production, at $140 per couple, of The Ballad of Baby Doe at the Central City Opera.

Collins, Pat, and Kay King. “VIP’s Abound: Society Glittering for ‘Baby Doe’ Premiere.” Denver Post, 8 July 1956, sec. AA, p. 2, cols. 3–8. This society article recounts the names of the social, artistic, and journalistic elite who attended the preperformance dinners and post-performance parties for the premiere of The Ballad of Baby Doe. The authors tell about the seven-course dinner, the champagne supper, and the stunning evening gowns and jewels worn by the ladies.

Commanday, Robert. “Seattle’s ‘Baby Doe.’ ” San Francisco Examiner & Chronicle, 7 October 1984, sec. Review, p. 14, cols. 1–3. Seattle’s performance and production of The Ballad of Baby Doe was “strong enough that at several points the work actually entered the operatic realm.” According to the reviewer the opera suffers from a wordy and cliché-ridden libretto. Moore’s music “created a melodious current on which this verbosity

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[The Ballad of Baby Doe] flowed. But the very symmetries, tunefulness and charm . . . form the fatal weakness when the drama wants line and tension.” Despite these criticisms the reviewer gives a quite favorable review to the cast and producers.

“Composer Is an Admirer of ‘Baby Doe’: A Wonderful Woman, Dr. Moore Says.” Cleveland Plain Dealer, 8 September 1958, p. 4, cols. 5–7. An interview with Moore to introduce audiences to his music and the opera, which is scheduled to open that night at Musicarnival, is accompanied by a photograph of Moore seated at the piano with Margery Mayer and Beatrice Krebs.

Cook, Howard. “Opera: ‘Baby Doe’ Captivating U.S. Opera.” Billboard 70, no. 14 (7 April 1958): 7. The review of the New York premiere of the opera describes the score as “a captivating experience in modern romanticism.” The principal cast members are listed and praised for their performances.

Cooper, Matt. “Moore & LaTouche [sic]: The Ballad of Baby Doe.” American Record Guide 40, no. 1 (November 1976): 34. The article reviews the Deutsche Grammophon recording of the opera. The review complains that this is a third generation reissue of the original recording on MGM. Although the recording provides a chance to hear Beverly Sills at the beginning of her career, “[the opera] is a mildly interesting work about a grand delusion. It does not, musically or dramatically, fully plumb the tragic nature of that delusion nor delve deeply into the nature of the characters involved.”

Craig, Mary. “New York Concert and Opera Beat: New York City Center; ‘The Ballad of Baby Doe.’ ” Musical Courier 157, no. 6 (May 1958): 14–15. The 3 April performance of the New York City Opera receives a rave review here. Beverly Sills was perfect for the role of Baby Doe: she was “beautifully graceful and coped admirably with the exacting tessitura and wide range of the fluent arias, singing with almost perfect enunciation and employing her individualistic vocal projection in high, floating, sustained phrasing.” Walter Cassel portrayed Horace with skill, and Martha Lipton played Augusta with high drama, giving “a stately, opulent-voiced reading of the role.”

“Critics Call Opera ‘Good Show,’ ‘Success.’ ” Denver Post, 8 July 1956, sec. AA, p. 2, cols. 3–4. A poll of the critics taken during the intermission of the premiere of The Ballad of Baby Doe indicates that the opera is a success.

Croan, Robert. “ ‘Ballad of Baby Doe’ Has Broadway Elements.” Pittsburgh Post-Gazette, 15 May 1997, sec. D, p. 2, cols. 1–3. This announcement of the performances by the Opera Theater of Pittsburgh of The Ballad of Baby Doe on 15 and 17 May lists the primary cast members and producers. A photograph of Evelyn Courtenay Budd (Baby Doe) accompanies the article.

———. “In Review: From around the World; Pittsburgh.” Opera News, August 1997, 40–41. The last paragraph of this review is about the Opera Theater of Pittsburgh’s production of The Ballad of Baby Doe. Evelyn Courtenay Budd as Baby Doe sang “with more color and fullness of sound that the typical coloratura,” and Mimi Lerner as Augusta “had physical and sonic presence, her climactic monologue providing the evening’s emotional highlight.” Chris Owens’s performance was good in the acting department, but he was not up to the task vocally.

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[The Ballad of Baby Doe] ———. “Opera: ‘Baby Doe’ Really Sings.” Pittsburgh Post-Gazette, 16 May 1997, sec. Weekend Magazine, p. 22, cols. 1–5. The entire Opera Theater of Pittsburgh production of The Ballad of Baby Doe receives a positive review. “Moore’s lively and beautiful score evokes the atmosphere and brings its characters and their emotions to life in a way that touches the heart quite directly.”

Crory, Neil. “Opera in Review: New York.” Opera Canada 42, no. 3, no. 168 (Fall 2001): 337. This review of the New York City Opera performance of 12 April praises the production but gives the singers no more than medium ratings. While they performed well vocally, Elizabeth Futral (Baby Doe) and Mark Delavan (Horace) failed to develop their characters, leaving the best acting to Joyce Castle as Augusta. The article is accompanied by a photograph from the production of Elizabeth Futral.

Crosten, William L. “Current Chronicle: United States; Central City, Colorado.” Musical Quarterly 42, no. 4 (October 1956): 527–29. After a brief recap of the plot of the opera, the author reviews the premiere of The Ballad of Baby Doe. The libretto starts somewhat sketchily in preparing the background and characters but moves forward to great dramatic intensity in the final scenes, where the handling of the stage sets is crucial. Moore’s score and the treatment of the characters in the opera receive rich praise. In the opera “the pacing is well-modulated. The form is clear. The balance between pit and stage is nicely calculated. The orchestra is sometimes picturesque and ever alert to the progress of the action; while as for the vocal line, it is thoroughly distinguished.”

———. “A New Hall—A New Opera.” San Francisco Chronicle, 19 May 1957, sec. This World, pp. 22–23, 27. This article announces the opening of the new Florence Hellman Dinkelspiel Memorial Auditorium at Stanford University. The beginning of the article describes the features of the new hall and the reasons The Ballad of Baby Doe was selected as its inaugural work. There is also a synopsis of the opera and a listing of the principal cast members and directors. There are photographs of the new hall and of Stanley Noonan and Leyna Gabriele in their roles as Horace and Baby Doe.

Crutchfield, Will. “ ‘Ballad of Baby Doe’ Returns, with Faith Esham.” New York Times, 4 October 1988, sec. C, p. 20, cols. 3–6. The author reviews the 2 October performance by the New York City Opera. The article comments on the dramatic elements of the plot, the strengths and weaknesses of the score, the quality of the performance, and audience appeal. Moore’s music does not reach the level of operatic composition outside of the United States, but as an American work it appeals to both singers and audience.

———. “Opera: Moore’s ‘Ballad of Baby Doe.’ ” New York Times, 15 January 1987, sec. C, p. 14, cols. 4–7. This is a review of the Bronx Opera production at Lehman College on 11 January. “John Latouche’s libretto lacks the insightful strokes by which similar people are made into particular characters in the operas of Janacek, Strauss or even Puccini; the score lacks the transcendent humanity through which stereotypes become archetypes in Verdi and Wagner.” Nonetheless, the plot has important themes, and the music is as tuneful as, or more tuneful than, that of Menotti. The singing and acting of Amanda Halgrimson were good, although she is not quite capable of the highest notes in Baby Doe’s role. The production was essentially good but the orchestra pit was not large enough, which ruined the balance.

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[The Ballad of Baby Doe] Cullen, Reva. “7000 See Central City Premiere Events.” Denver Rocky Mountain News, 8 July 1956, p. 12, cols. 1–5. In a day of festivities celebrating the opening of The Ballad of Baby Doe, seven thousand people attended such events as a Pony Express race. The Pony Express race, from Idaho Springs to Central City, was won by fifteen-year-old Clyde Turner, who received his prize from Kim Novak. The hose-cart race was won by the Central City team, who received one hundred silver dollars. Lily Pons and Lucius Beebe were also in town for the premiere of The Ballad of Baby Doe. A photograph of the end of the race accompanies the article.

Cutts, Anson B. “Reports: United States; St. Paul.” Opera News, 29 January 1966, 30. The opera The Ballad of Baby Doe was “one of the most expertly cast and staged productions in the [St. Paul] Civic Opera’s long history.” Moore’s music “makes adroit use of native themes.” Mary Ellen Jenkins in the role of Baby Doe has a voice “lyric in quality and crystal clear at the top;” Bruce Neilson as Horace is “robust in voice as well as physique;” and Lois Duffy as Augusta “became a compelling picture of outraged innocence tempered with compassion.”

D’Arcy, Susan, ed. “News in Brief.” Times, 24 May 1998, sec. 6, p. 4, col. 8. The English Touring Opera’s summer school, held on 2–8 August and focused on The Ballad of Baby Doe, is announced.

Davis, Peter G. “Marylyn Mulvey Bows as Baby Doe.” New York Times, 7 April 1969, p. 50, cols. 2–3. The soprano made her debut as Baby Doe on 5 April. Her performance “has much to offer: Every one of Baby Doe’s lovely arias was shaped with care and musical sensitivity. With a bit more stage experience in the role, she will no doubt find the proper dramatic expression, as well.”

Davis, Peter G. “Moore: The Ballad of Baby Doe.” High Fidelity/Musical America 17, no. 1 (January 1967): 114. This is a review of the recording on Heliodor (H25035-3 reissued from MGM 3-GC-1–3-GC-3) of the New York City Opera production. In this recording “the music for Baby Doe comes off especially well: she radiates a feminine allure that is, in its naive way, as fascinating and individual as that of any opera’s more celebrated femmes fatales. The City Opera performance is representative of this company’s very best ensemble efforts.” The sound of the recording is improved in this reissue.

———. “Pure Gold.” New York 21, no. 41 (17 October 1988): 109–10. In this review of the New York City Opera production of 1988 of The Ballad of Baby Doe, the reviewer praises the staging but finds the singing of the principals somewhat strained. He advocates more frequent performances of this work, since it is one of the most successful of American operas. In contrast to many critics, he finds the character of Augusta to be unconvincing. Of the music he says: “Moore must have realized that he had been handed a libretto made expressly for him, because he characterizes and animates virtually every scene with lively, direct, infectious, tuneful music that comes straight from the heart—the saloon brawl, a political rally, a Washington party, and the grand opening of the Tabor Opera House, starring Adelina Patti, all create an unusually vivid sense of time and place.”

Dean, Winton. “Moore: The Ballad of Baby Doe.” Musical Times 118, no. 1611 (May 1977): 402. In this harsh review of the reissue of the New York City Opera recording on Deutsche Grammophon (2584 009–2584 011), both the music of the opera and the performance are panned. The characters

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[The Ballad of Baby Doe] do not develop into real human beings, and “the facile tunes and sugary harmony are full of clichés from Puccini, Massenet, Offenbach and Tchaikovsky, seasoned with the homespun flavour of American folk tradition.” The singing of Beverly Sills and Walter Cassel is good only with qualification, and real praise is reserved for Frances Bible. The sound of the 1958 recording doesn’t help matters.

Delacoma, Wynne. “Chicago Opera Theater Sings for Its Future.” Chicago Sun-Times, 10 April 1994, sec. Arts & Show, p. 6, cols. 1–5. Most of this article discusses the financial problems faced by the Chicago Opera Theater and the redefinition of its purpose and mission. The article mentions The Ballad of Baby Doe, which is part of the company’s upcoming season. A photograph of Carol Gale and Chris Owens as Baby Doe and Horace Tabor accompanies the article.

———. “Spring to Revive City Opera Theater.” Chicago Sun-Times, 16 December 1993, sec. 2, p. 59, cols. 4–5. The article announces that Chicago Opera Theater will include The Ballad of Baby Doe in its spring season. The company nearly failed owing to financial problems.

Delatiner, Barbara. “On the Island: Friday: Opera First.” New York Times, 24 February 1980, sec. 21 (Long Island Section), p. 14, cols. 4–5. The Manhasset Bay Opera Company will perform The Ballad of Baby Doe, starring Gail Robinson, on 29 February and 2 March.

DeLong, Kenneth. “Baby Doe a Triumph.” Calgary Herald, 28 January 2008. http://www .babydoe.org/pdfs/triumph.pdf. Accessed 19 August 2009. The article reviews the Calgary Opera performance of the opera on 26 January. The work “lives on the very edge between the world of opera and Broadway musical or, perhaps, American operetta,” and the performance was called “splashy and splendid.”

Dettmer, Roger. “Passing in Review: ‘Ballad of Baby Doe’ Marks Central City Silver Jubilee.” Chicago American, 8 July 1956, sec. Final ed., p. 13, cols. 1–4. The article informs the public of the premiere of The Ballad of Baby Doe at the twenty-fifth anniversary of the Central City Opera. Details are mentioned such as the cast and the subject of the opera. However, most of the article comments on the lavish attention shown to visiting critics, including travel arrangements, parties, parades, and trips to local resorts. Home ed.: p. 41, cols. 1–6.

———. “Passing in Review: Opera House in Colorado.” Chicago American, 9 July 1956, sec. 4-star final ed. (and 3-star ed.), p. 10, cols. 3–5. This critical review of the premiere of The Ballad of Baby Doe dismisses the opera as “sentimentality sentiment.” He finds the libretto by Latouche to be banal, pretentious, and “a kind of period pageant whose people strike poses—some satiric, some lowly comic, some attemptedly tender, some nearly human—but inevitably poses.” Moore’s score is considered “covertly” derivative of Menotti and “which, like tulle on a peach-cheeked debutante[,] is chiefly fluff.” The performance was also lackluster or marred by the out-of-tune singing of Dolores Wilson as Baby Doe.

Doerr, Mary Jane. “Roundup: U.S.A.; Detroit; Michigan Opera Theatre.” Opera Canada 30, no. 1 (1989): 35. A rather uneven production of The Ballad of Baby Doe was presented by the Michigan Opera Theatre in October. Cheryl Parrish and Cynthia Munzer delivered powerful performances of Baby Doe and

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[The Ballad of Baby Doe] Augusta. Timothy Noble as Horace “controlled the action” but did not meet the necessary vocal requirements of the role.

Dolmetsch, Carl. “World Report: United States; Washington.” Opera Canada 38, no. 2 (Summer 1997): 32. In this Washington Opera production of The Ballad of Baby Doe, Richard Stilwell provided an “indelible vocal and dramatic presentation” as Horace opposite Phyllis Pancella’s “enormously appealing and sympathetic Augusta.” Unfortunately, Elisabeth Comeaux proved not to be vocally powerful enough as Baby Doe in an otherwise excellent performance.

Downey, Roger. “Seattle.” Opera (London) 35, no. 12 (December 1984): 1357–58. Although Downey liked the performance of the Seattle Opera in this performance of The Ballad of Baby Doe, he criticizes the score harshly. The libretto provides dramatic situations, but Moore’s music just doesn’t live up to the potential, leaving it to the performers to make the opera work. He concludes: “Seattle’s production of Baby Doe demonstrates beyond question that with enough talent, passion, and dedication, the opera can be made to work. But one may ask if it is worth the effort of so many talented people to give life to a score which gives them nothing in return.”

Driscoll, F. Paul. “Recordings: Song Recital; Renée Fleming, ‘I Want Magic.’ ” Opera News, November 1998, 66–67. This review of a London recording (289 460 567-2) includes an excerpt from The Ballad of Baby Doe in which the singer “lacks the pellucid wordplay that Beverly Sills brought to the ‘Letter Aria,’ but Fleming’s fuller, riper tone effectively suggests the second Mrs. Tabor’s lush physical charms.”

———. “Yes, Sir, That’s Our Baby: A Classic American Opera Performance Makes Its LongAwaited CD Debut.” Opera News, August 1999, 52–53. Driscoll reviews the reissue of The Ballad of Baby Doe by the New York City Opera on Deutsche Grammophon (289 465 148-2), a recording he considers “an authentic masterpiece.” Most of the review focuses on the three principal singers. This is the role that brought Beverly Sills to the attention of operagoers with a voice “at its absolute freshest—silvery, clear, uncannily responsive—and her command of the text inspired.” He also praises Walter Cassel’s “sensitivity to musical detail” and Frances Bible’s “feminine tone and natural warmth.”

Drobatschewsky, Dimitri. “American Opera ‘Baby Doe’ Sings Hymn to Loyalty in Relationships.” Arizona Republic, 19 February 1993, sec. D, p. 13, cols. 1–3. An announcement of the Arizona Lyric Opera Theater performance of The Ballad of Baby Doe, including a brief synopsis and quotes from the stage director, Patricia Heuermann, is accompanied by a photograph of David Darling (Horace) and Tracy Jones (Baby Doe).

———. “ ‘Baby Doe’ Becomes a Darling Opera.” Arizona Republic, 22 February 1993, sec. C, p. 2, cols. 1–4. Baritone David Darling in the role of Horace was the outstanding performer in the Lyric Opera Theater production of The Ballad of Baby Doe at Arizona State University on 20 February. He “sang with a well-focused, powerful and warm voice and acted the part with consummate skill.” Cherrie Llewellyn, in the part of Baby Doe, tended “a bit toward stridency in the higher ranges but always remained expressive and in good control.” As Augusta, Linda Childs “was musically convincing and displayed a warm and resonant voice, and her acting was dignified if not a trifle stiff.”

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[The Ballad of Baby Doe] Dunphy, Robert J. “Notes: Alphabet Soup Stirs Travel Industry; Notes About Travel; Opera in Cincinnati.” New York Times, 4 January 1976, sec. 10, p. 20, col. 7. The Cincinnati Opera will present The Ballad of Baby Doe for its bicentennial celebration on 16–24 July.

Durgin, Cyrus. “ ‘Ballad of Baby Doe’ Good Festival Opener.” Boston Daily Globe, 9 June 1961, p. 27, cols. 1–2. The author reviews the Boston Arts Festival performance on 8 June by the New York City Opera. “ ‘Baby Doe’ is a real opera, one that plays, sings, moves and provides excellent theater. It is not only an American opera, but one based on a true story—that of Horace A. W. Tabor.”

Dyer, Richard. “Baritone James Maddalena Is Scaling New Heights.” Boston Globe, 11 January 1998, sec. N, p. 2, cols. 1–6. Maddalena describes his part as Horace in the Boston Lyric Opera’s production of The Ballad of Baby Doe. During the rehearsals for the opera he had to deal with the death of his father. A photograph of the singer accompanies the article.

———. “Central City Opera: Douglas Moore, Ballad of Baby Doe; Newport Classics. [sic]” Boston Globe, 15 January 1998, sec. Calendar (v. 23, no. 13), p. 28, col. 5. A review of the Central City Opera recording on Newport praises the superior sound of this new recording and the singing of the principal singers. Although Jan Grissom does a fine job, she does not reach the level of Beverly Sills.

———. “Donizetti to Open Lyric Season.” Boston Globe, 14 February 1997, sec. D, p. 18, col. 4. This is an announcement of the forthcoming Boston Lyric Opera season, which includes a performance of The Ballad of Baby Doe.

———. “An Encore for ‘Baby Doe.’ ” Boston Globe, 25 April 1999, sec. K, p. 4, cols. 3–6. This article quotes extensively from the press conference held in New York by Beverly Sills to announce the reissue of The Ballad of Baby Doe on compact disc by Deutsche Grammophon. In the conference, Sills recalls events from her audition for the part and from the recording session. A photograph of Sills in the role accompanies the article.

———. “Renee Fleming, James Levine, Metropolitan Opera Orchestra: I Want Magic!” Boston Globe, 15 October 1998, sec. Calendar (vol. 23, no. 52), p. 8, col. 5. A review of Renée Fleming’s recital recording on London entitled I Want Magic!, which contains arias from The Ballad of Baby Doe, does not comment on the music. However, of Fleming’s singing, Dyer says: “Fleming isn’t as convincing an ingenue as Upshaw is by nature, but she sings with a wider range of expression, crystalline diction, and a wonderful sense of character. This is an album crowded with people expressing their feelings. Fleming’s trump card is her voice; this is the most sumptuous American soprano voice since Eleanor Steber and Leontyne Price.”

———. “A Resonant, Irresistible Ballad of Baby Doe.” Boston Globe, 16 January 1998, sec. D, p. 1, col. 1, and p. 10. This is a review of the Boston Lyric Opera performance. James Maddalena excels as Horace to the extent that Dyer dubs this performance “The Ballad of Horace Tabor.” The sets are criticized as “ugly and cheap.” The music direction, by Susan Davenny Wyner, was done with care, and the supporting cast was very strong. Elisabeth Comeaux is a pretty Baby Doe but cannot compare with Beverly Sills in her legendary interpretation.

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[The Ballad of Baby Doe] Elwell, Herbert. “Baby Doe Best in Last Scenes.” Cleveland Plain Dealer, 14 March 1960, p. 40, cols. 2–4. The author has a mixed view of this New York City Opera production, given in Cleveland on 12 March. “Douglas Moore provided music that is eminently singable. It allows the voices to come out with passion, pathos and prosody cognizant of the beauty of the English language. . . . Where the music falls down is that it has no personal distinction, is indifferently orchestrated and is full of cliches borrowed from all too familiar sources.”

E[ricson], R[aymond] A. “Ballad of Baby Doe.” Musical America 78, no. 12 (1 November 1958): 14. Moore’s work was one of two operas carried over from the New York City Opera’s previous season of American pieces. However, the opera does not fare as well upon second hearing. Nonetheless, it is still an enjoyable work, since the New York cast gives an excellent performance throughout.

Ericson, Raymond [A.] “City Opera Troupe Offers ‘Baby Doe:’ Beverly Sills Sings Title Role in Moore’s Work.” New York Times, 24 March 1962, sec. 2, p. 16, col. 1. This mixed review of the New York City Opera performance of The Ballad of Baby Doe on 23 March comments on the clichés in the libretto and music and the stereotypical characters. Despite excellent performances from the principal singers and many of the new singers in the supporting cast, the music “can be irritatingly obvious, as in the scene for Augusta Tabor and her prissy, gossipy friends, but it can also be delightfully obvious in the romantic arias he has written for Baby Doe.”

E[ricson], R[aymond] A. “Festival of American Opera.” Opera 9, no. 7 (July 1958): 415–16, 418. The 1958 season of the New York City Opera produced four American operas with a grant from the Ford Foundation. The Ballad of Baby Doe opened the season. The opera “begins almost on a musicalcomedy level, but it deepens as the score progresses . . . it is always skillful, sometimes witty in its orchestration, and there are several rewarding arias for the principals and other singers.” There is also a photograph of a scene from the opera.

———. “New York City Opera Devotes Season to American Opera.” Musical America 78, no. 6 (May 1958): 7. The New York City Opera season begins with The Ballad of Baby Doe in a highly successful production. The music “is through-composed, serious[,] expertly crafted, sometimes wittily orchestrated . . . with several long arias requiring the services of gifted singers; and [Moore’s] style represents many years of interest in Americana.” The excellent performances of the cast are described, including that of Beverly Sills as Baby Doe.

Everts, Miriam. “ ‘Ballad of Baby Doe’ Given at Lake George: Douglas Moore’s Opera Is Scene in Colorado Mining Days of Primitive West.” Rutland Daily Herald, 30 August 1967, p. 7, cols. 5–6. This review of the Lake George Opera Company production praises the three lead singers (especially Frances Bible as Augusta), the libretto, effective staging, costumes, and music. Students were involved in all aspects of the production.

Evett, Robert. “A Poor-Man’s Louis XIV.” New Republic 136, no. 8 (25 February 1957): 22. This is a review of the abridged version of The Ballad of Baby Doe as presented on the television series Omnibus. Moore is characterized as either the Grandma Moses or the Norman Rockwell of American

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[The Ballad of Baby Doe] composers. What Moore does best is to write well for the voice, giving singers virtuoso parts that are singable, but there are few memorable melodies. The television producers are praised for presenting opera in a form that a mass audience could appreciate.

E[yer], R[onald]. “Ballad of Baby Doe.” Musical America 79, no. 5 (May 1959): 7. The reviewer claims that the opera “continues to impress the public as an uncommonly good show and the intelligentsia as one of the most mature and professionally competent pieces for the lyric theatre yet created by an American composer.” However, he believes that it could benefit from some editing, especially the final flashback scene where Horace relives his former success, which is too melodramatic. Overall the 3 April performance by the New York City Opera was excellent.

Eyer, Ronald. “Loud Guffaws on Cue at Prokofieff Opera.” New York Herald Tribune, 29 April 1963, p. 13, cols. 1–7. In the New York City Opera production of The Ballad of Baby Doe on 28 April, the opera “impresses this reviewer more with every hearing. It contains some fine melodic material. . . . The music is cast in a conventional mold, but it is very knowingly done, and much of it is downright inspired.”

———. “Operation Vanguard: New York Company Makes History in First Tour of American Operas.” Musical America 80, no. 6 (May 1960): 16–17, 49. The article examines the reception of four American operas presented on tour by the New York City Opera in 1959–60. The Ballad of Baby Doe was one of the operas and was performed twelve times during the nineteen-city tour. Excerpts of reviews from nine of the cities show mixed critical opinion.

F., W. “City Opera Gives ‘Baby Doe’ Ballad.” New York Herald Tribune, 15 February 1960, p. 11, col. 1. The review comments on the New York City Opera revival of the opera and notes the great appreciation of the audience. The performance of the principal performers was excellent, but some of the ensemble singing needs to be improved.

Felsenfeld, Daniel. “The Ballad of Baby Doe.” http://www.andante.com/magazine/ print.cfm?id=10502. Accessed 29 March 2002. The reviewer focuses on the performances of Elizabeth Futral (Baby Doe), Joyce Castle (Augusta), and Mark Delavan (Horace), the last of whom was the strongest player in the cast of the New York City Opera performance on 19 April. In the music of the opera, “the harmonies and tunes smack of a turnof-the-century dance hall, without resorting to quotation. . . . The power of this opera is that it does not sound like a period piece. Not, that is, until the final scene, in which Horace takes a look into the future—and the music looks forward as well, with a pastiche of 1920’s jazz to portray his youngest daughter’s boozy fate. Then it becomes apparent just how ‘period’ and powerfully nostalgic the whole of Baby Doe’s score is.”

Finn, Robert. “Baby Doe Is an Opera Rich in Americana.” Cleveland Plain Dealer, 29 March 1992. http://www.babydoe.org/pdfs/americana.pdf. Accessed 22 August 2009. The article was written in advance of the April opening of The Ballad of Baby Doe by the Cleveland Opera. The author provides a brief synopsis of the plot and gives some biographical details of Moore’s career as a composer, with emphasis on his four years in Cleveland.

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[The Ballad of Baby Doe] ———. “In Review: From Around the World; Cleveland.” Opera News, October 1992, 47. The production of the Cleveland Opera of The Ballad of Baby Doe on 3–5 April featured strong performances by the principal cast, with Joyce Castle as Augusta overshadowing Sheryl Woods in the lead. The sets, stage action, and costumes were all well done.

Fleming, Shirley. “New York: Moore Ballad of Baby Doe.” American Record Guide 64, no. 4 (July–August 2001): 30. The article reviews the 8 April opening of a new production by the New York City Opera with period sets by John Coyne. All of the principal singers gave exemplary performances. Elizabeth Futral’s voice has “a natural brilliance.” Joyce Castle played Augusta as “self-righteous but with genuine cause for grief,” while Mark Delevan was “a firm presence and a solid baritone” in the role of Horace.

———. “Notes: ‘Baby Doe’ on TV; Live from the City Opera.” New York Times, 18 April 1976, sec. 2, p. 19, col. 7. This announces the live broadcast on 21 April, which was the largest simulcast ever attempted to this date. It was projected to reach half of all households in America with television. The production was not altered in any way for the broadcast.

Fogel, Henry. “American Girl.” Fanfare 7, no. 4 (March–April 1984): 292–93. The article is a review of the recording (EB-SKO 1007), which includes two arias from The Ballad of Baby Doe: the “Willow Song” and “Gold Is a Fine Thing.” Although the recording was produced on the vanity label of Chicago soprano Helen-Kay Eberley (EB-SKO), the reviewer praises her as a an important performer. The piano accompaniments are performed well by Donald Isaak, but since all of the works on the recording are opera arias, orchestral accompaniment would have been more desirable. Fogel claims that the Moore arias “make a lasting impact.”

Frankenstein, Alfred. “Opera at Stanford Tells Story of a ‘Silver King.’ ” San Francisco Chronicle, 25 May 1957, p. 14, cols. 1–2. This review says that the opera “begins in musical-comedy style, but builds up dramatically to climaxes of considerable force and expressive power.” The production is professional, and the singing of Stanley Noonan and Dorothy Ledger as Horace and Augusta is “completely convincing.” Leyna Gabriele as Baby Doe “was especially effective in the lyrical aspects of her role, but was sometimes unsteady in her vocalism.”

Franklin, Wade. “Some Nuggets Picked Up in Colorado’s Rockies.” Chicago Sun Times, 15 July 1956, sec. 3, p. 2, cols. 1–2. In a companion article to the one about The Ballad of Baby Doe, the author talks about things to see and places to stay in Denver and Central City. He is impressed with the headquarters of United Airlines and the Red Rocks Amphitheatre, a natural amphitheater close to Denver. He describes the Brown Palace and the Teller House hotels in Central City. He also recommends that travelers take in Aspen and the natural beauties of Colorado.

———. “Travel Log: Baby Doe Rides in Central City Again.” Chicago Sun Times, 15 July 1956, sec. 3, p. 1, cols. 1–2, and p. 2. The article tells about the town of Central City as a travel destination during the premiere performances of The Ballad of Baby Doe. Not only is the opera house celebrating the twenty-fifth anniversary of its

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[The Ballad of Baby Doe] restoration, but the Teller House hotel and honky-tonk saloons give the city of eight hundred the feel of the old mining town it is. Both the audiences and the author enjoyed the opera, especially the emotional final scene. There is a photograph of a scene from the opera including the three principal singers.

Freeman, John W. “Helen-Kay Eberley.” Opera News, 14 April 1984, 45. This is a review of an album of arias from American operas, American Girl (EB-SKO 1007), by soprano Helen-Kay Eberley. Comments are generally positive about the performance, but not about the music.

———. “In Review: From Around the World; New York.” Opera News, July 2001, 54–55. The reviewer liked the recent revival of The Ballad of Baby Doe by the New York City Opera, but it couldn’t quite measure up to the original New York City Opera cast. A color photograph of Mark Delavan (Horace) and Elizabeth Futral (Baby Doe) accompanies the article.

———. “Moore: The Ballad of Baby Doe.” Opera News, July 1976, 43. The article is a review of the reissue on Deutsche Grammophon (DG 2709-061) by the New York City Opera. The music, performance, and recording quality are praised.

Fried, Alexander. “Big Stanford Event: New American Opera Opens Campus Auditorium.” San Francisco Examiner, 25 May 1957, sec. 1, p. 7, cols. 2–4. The review of The Ballad of Baby Doe as performed for the opening of a new hall at Stanford University finds the “orchestral writing at times . . . awkwardly limpy, instead of sure.” Nonetheless, the libretto saves the opera to make for an entertaining evening. The professional singers do a good job, as do the students, with only a few amateurish incidents.

Gelb, Arthur. “Folk Music Play May Be Done Here: Myerberg Is Likely Producer of ‘The Ballad of Baby Doe’ by Moore and Latouche.” New York Times, 18 June 1956, p. 20, cols. 3–4. The Ballad of Baby Doe is to be premiered on 7 July in Colorado, and the producer Michael Myerberg may present the work on Broadway.

“Geo. Williams Music Fete Opens July 8.” Chicago Daily Tribune, 20 May 1956, sec. 7, p. 10, col. 7. The article announces the premiere of The Ballad of Baby Doe at the Central City Opera on 7 July.

“Get ‘Baby Doe’ Details.” Denver Post, 8 July 1956, sec. AA, p. 3, cols. 3–4. The captioned photograph shows Mrs. Matt Skoray informing two reviewers, Albert Goldberg and Elmar Baxter, about The Ballad of Baby Doe in preparation for its premiere.

Giffin, Glenn. “ ‘Baby Doe’ as Exciting as It Was at Premiere.” Denver Post, 14 June 1981, sec. Roundup, p. 3, cols. 1–4. In this interview with director Edwin Levy and choreographer Hanya Holm, they reminisce about the premiere of The Ballad of Baby Doe twenty-five years ago. They talk about a number of revisions that were made while preparing the production, including cutting the song “Awake, Snakes.” A photograph from the 1956 production showing Holm, Levy, Frances Bible, and Leyna Gabriele at dinner accompanies the article.

———. “ ‘Baby Doe’ Comes Back to Central City Opera.” Denver Post, 13 July 1981, p. 9, cols. 1–4, and p. 10.

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[The Ballad of Baby Doe] This review of the 11 July performance of the opera for its twenty-fifth anniversary praises the main cast highly for their ability to develop the characters. The final scene, altered by the director, Peter Schifter, was not as effective, since Baby Doe simply walks upstage rather than being isolated in a bright light. There is a photograph of Karen Hunt in the role of Baby Doe.

———. “A Century of the Arts: Colorado Has Blossomed as an Artistic and Cultural Center in the Past 100 Years: The ’40s and ’50s.” Denver Post, 19 December 1999, sec. I, p. 9, col. 4. This article is an overview of significant arts events in Colorado from the past hundred years. One paragraph is an excerpt from a review of the premiere of The Ballad of Baby Doe.

———. “In Review: From Around the World; Central City, CO.” Opera News, November 1996, 50. In the fortieth-anniversary production of The Ballad of Baby Doe, new sets were designed by Michael Anania. Jan Grissom (Baby Doe) and Brian Steele (Horace) both gave exemplary performances, and Dana Krueger turns in a veteran performance as Augusta.

———. “Music: ‘Ballad of Baby Doe’ Presents Special Challenge to Schifter.” Denver Post, 12 July 1981, sec. Roundup, p. 4, cols. 3–4. In this interview with the director Peter Mark Schifter, he talks about the changes made in the opera and the challenges of directing the twenty-fifth-anniversary production. Although the sets and costumes are the same as those for the 1956 production, he will make some changes in Horace’s dream scene. He also considers the scene where Horace and Augusta discuss their divorce to be the most dramatic scene of the opera. A portrait of Schifter accompanies the article.

———. “Opera: ‘Baby Doe’ Spruces Up for 40.” Denver Post, 23 June 1996, sec. E, p. 1, cols. 4–5, and p. 12. The Central City Opera’s 1996 production of The Ballad of Baby Doe was done with new scenery for the first time since the premiere in 1956. The director, Michael Ehrman, and the stage designer, Michael Anania, talk about the merits and problems of the old scenery, which was very up to date in its time. The new scenery takes into account the expectations of modern audiences and makes scene changes easier and quicker, which helps the flow of the drama. There are also additional touches of realism, such as reproducing the curtain of the Tabor Grand Opera House. The article is accompanied by photographs of Baby Doe and Augusta Tabor. Title on p. 12: “New Sets Sharpen Drama, Facilitate Flow of ‘Baby Doe.’ ”

———. “Roundup: U.S.A.; Central City Opera.” Opera Canada 29, no. 4 (1988): 30. This production of The Ballad of Baby Doe was staged more like a Broadway musical than opera, which was the original intent of Moore and Latouche. The performances of Brian Steele, Amy Burton, and Dana Krueger were all of high quality in the principal roles. John Moriarty conducted the opera “with real love and appreciation for the score.”

———. “Special Festival Reports ’81: Central City.” Opera News, November 1981, 62. This is a short, positive review of the twenty-fifth-anniversary production of The Ballad of Baby Doe. Mezzo-soprano Dana Krueger was particularly good in the role of Augusta.

———. “There’s Opera and More at Central City Festival.” Denver Post, 14 June 1981, sec. Roundup, p. 4, cols. 3–5, and p. 10.

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[The Ballad of Baby Doe] The article announces the upcoming season of the Central City Opera, including the twenty-fifthanniversary performance of The Ballad of Baby Doe. The main singers are listed with the dates of the performances.

Glasow, E. Thomas. “In Review: From Around the World; Chautauqua.” Opera News, 14 December 1996, 60–61. A positive review of the 1996 Chautauqua performance of The Ballad of Baby Doe discusses the imaginative design of the stage props and costumes together with the vocal talents of the cast, which together created a memorable production.

Goldberg, Albert. “The Sounding Board: ‘Ballad of Baby Doe.’ ” Los Angeles Times, 5 December 1960, sec. 4, p. 15, cols. 4–6. The review finds fault with nearly every aspect of the opera and performance of the University of Southern California Opera Theater production of the opera on 3 December. Only the character of Augusta sustains real interest, and the details of the political issues behind the plot cause the drama to sag. Diction was a problem throughout for all but Sharon Bliss (Augusta), and the singing was only at the “average student level.”

———. “The Sounding Board: New American Opera, ‘The Ballad of Baby Doe,’ Receives Premiere at Central City Festival.” Los Angeles Times, 15 July 1956, sec. 5, p. 1, cols. 1–3. The author of this extensive review of the premiere of The Ballad of Baby Doe is impressed with the staging, performance, and reception given the opera, but less so with the music and parts of the libretto. The reviewer complains of a lack of melodic arias, leading to a “monotony of the harmonic scheme and the theater-pit orchestra type of instrumentation.” When there are arias, “only one or two get off the ground and give the story the intended emotional lift.” In the end, “Moore’s music underlines the lighter moments much more deftly than it scales the heights of dramatic impact.” There are a portrait of Moore and a photograph of a scene from the opera showing Martha Lipton (Augusta), Walter Cassel (Horace), and Dolores Wilson (Baby Doe).

*Goodman, Peter. “ ‘Baby Doe’: Reviving an American Opera.” Newsday, 4 October 1988, sec. 2, p. 9. This is a tepid review of New York City Opera’s revival of The Ballad of Baby Doe. The plot is summarized and the music described. Yet, “Moore’s music, professional as it is, continually undercuts the drama by trilling and bouncing happily along under scenes of anguish, anger and pain. The vocal lines themselves, earnest and sincere, never have the intoxicating beauty or overwhelming passion that lifts characters out of the ordinary. Ultimately, ‘Baby Doe’ is too sane to reach the heights on its own.” The cast also suffers from mediocrity, with the exception of Joyce Castle as Augusta, who “makes her a character of sympathy, principled and lonely.”

Goth, Trudy. “Stati Uniti: Una stagione di opera Americana.” Musica d’oggi 1, no. 7 (July 1958): 449–50. This is a review of the New York City Opera season that includes its premiere of The Ballad of Baby Doe.

Greenfield, Edward. “Music: This Week’s Classical CD Releases.” Guardian, 13 November 1998, sec. Review, p. 20, cols. 3–4. A short review of the compact disc I Want Magic (Decca 460 567-2), a song recital by Renée Fleming that features some arias from The Ballad of Baby Doe, is positive, but there is no discussion of Moore’s pieces other than to note their presence on the disc.

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[The Ballad of Baby Doe] Grondahl, Hilmar. “Music, Acting Excellent in Ballad of Baby Doe.” Oregonian, 20 May 1966, p. 27, cols. 2–3. The performance of The Ballad of Baby Doe at Portland State College on 19 May was dominated by Marie Peake (Baby Doe) and Linda MacNaughton (Augusta), both of whom excelled in acting their parts but lacked the polish of fine singers. The opera is compared in style to Weill’s Street Scene. The music contains orchestral writing that is “lively with intriguing rhythmic fillips and danceable tunes including a waltz worthy of those from Vienna.”

Grueninger, Walter F. “Phonograph Records.” Consumer Bulletin 50, no. 2 (February 1967): 17. This is a short review of The Ballad of Baby Doe as reissued on Heliodor HS 25035-3 (H25035-3 mono.). While the cast “knows the work thoroughly and sings well,” the recording has a “somewhat cavernous sound, but not objectionable.”

———. “Recorded Music in Review.” Consumer Research Magazine 59, no. 12 (December 1976): 43. This is a brief review of the reissue of The Ballad of Baby Doe (Deutsche Grammophon 2709061). The score by Moore is “well conceived and expertly directed,” and in the performance “featuring Beverly Sills as Baby Doe, the New York City Opera achieved a success on records which matched their earlier success in the musical theater.” The sound quality of the recording is not up to 1976 standards.

———. “Recorded Music in Review: Rodgers and Hart: On Your Toes.” Consumers’ Research Magazine 67, no. 6 (June 1984): 43. The second half of this review is of the album American Girl, featuring Helen-Kay Eberley (Eb-Sko ES 1007), on which she sings a work by Moore. The reviewer says that she sings “stylishly, powerfully, [and] brightly.”

Guzzo, Louis R. “Words and Music: New American Opera Staged Beautifully but Lacks Substance.” Seattle Times, 9 July 1956, p. 12, cols. 1–2. After an introduction describing the town of Central City, its opera house, and the history of the Tabor family, the reviewer outlines the failings of the newly premiered Ballad of Baby Doe. While the vocal writing for Augusta is dramatic, much of the other music follows the text so closely that it is “spasmodic.” The libretto is limited by its historical subject matter, so that it is not free to explore character development except in the case of the role of Augusta. The work is compared to the operas of Menotti but has “not captured the depth, understanding and undercurrent of meaning that distinguish a Menotti piece.”

H., A. “ ‘Baby Doe’ at City Opera for Last Time This Season.” New York Herald Tribune, 22 February 1960, p. 9, cols. 6–7. The reviewer observes a tired performance on 20 February. Several of the principal roles were sung by singers for the first time with a new conductor, and the singing left something to be desired, except for that of Chester Ludgin, who gave a fine performance. In all, “the production as a whole did not move with the precision and elan it once had.”

Haddad, Barbara. “Central City: Vets Enhance ‘Baby Doe.’ ” Denver Post, 11 July 1966, p. 12, cols. 1–4. In the review of the 10 July performance, the cast gets a lot of praise, but the opera has only one truly dramatic scene, the finale. Moore’s music provides fine melodies for the singers.

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[The Ballad of Baby Doe] Hall, David. “Moore: The Ballad of Baby Doe (Complete Opera).” Hi Fi/Stereo Review 4, no. 2 (February 1960): 78. The author reviews the MGM (3GC 1) recording of The Ballad of Baby Doe by the New York City Opera. He comments on the sponsorship of the Ford and Koussevitzky Foundations, which made the opera and recording possible. There is a synopsis of the plot and a reflection on Moore’s earlier opera, The Devil and Daniel Webster. Concerning the music, he states: “The sentimental arias, the fiddle dances, campaign choruses, miners’ ditties and dramatic jealousy and confrontation scenes—all these lend themselves admirably to Moore’s musical language.” All three principal singers receive high praise, especially Frances Bible as Augusta. The recording quality, however, is flawed.

Harrison, Jay S. “American Opera Hailed Here: ‘Ballad of Baby Doe’; The Girl of the Silver West.” New York Herald Tribune, 4 April 1958, sec. 1, p. 1, cols. 2–5, and p. 14. The review of the New York City Opera premiere begins with the obligatory historical background and synopsis of the plot. Although some cutting is advocated, this “is a good [opera], with fine fiery tunes, lilting arias and ensembles, and the smack of the soil to the sound . . . no single American work has mirrored so clearly the way of life of an era and a people.” Concerning the score, “the airs are all floated on an ingenious and easily accessible orchestral base and even the recitative has a willowy suppleness to make it communicate with pace and power. The scoring, as ever, with Moore, is appropriate and as fresh as the open air it depicts, and the composer’s sense of prosody enlivens every syllable and word.”

Haskell, Harry. “Reports: U.S.; Kansas City.” Opera News, 18 December 1976, 62–65. This review is of a “sparkling new production” of The Ballad of Baby Doe by the Kansas City Lyric Theater featuring Walter Hook as an “exuberant” Horace, a “bright, brave” Sharon Daniels as Baby Doe, and a “munificent, self-possessed” Joanne Highley as Augusta.

Hayes, Malcolm. “Homesteading and Huck Finn with Tunes: Opera.” London Sunday Telegraph, 17 March 1996, sec. 2, p. 7, cols. 1–5. The reviewer questions why The Ballad of Baby Doe has so few performances in Europe and concludes that it is because subjects of American opera (what he calls “homesteading, Huck Finn, and Henry Ford”) are not aimed at the typical opera attendee. Nevertheless, he says, “Moore’s score is also replete with the true opera composer’s gift of finding music which, rather than just filling a mould defined by the libretto, seems to expand outwards from within. The result is a sequence of set-pieces—arias, if you like—that give real opportunities to the principal singers.” The singing and production also get high marks.

Henahan, Donal. “City Opera: ‘Baby Doe’; Frances Bible Excels in Role of Augusta in Otherwise Lackluster Revival.” New York Times, 17 April 1976, p. 9, cols. 1–2. Henahan finds almost all of the performers in this production lacking except for Frances Bible, who, despite an aging voice, is such a good singing actress that her performance allows the listener to overlook the deficiencies of the music. She was also the one member of cast who sang in the 1958 production. The author criticizes the opera as inane and says that “there is not much to listen to, but in the past a Beverly Sills or a Walter Cassel could make you ignore that.” The only other memorable singer was James Billings in the minor role of the stage doorman.

———. “Second ‘Baby Doe’ Brings New Mama.” New York Times, 14 March 1969, p. 50, col. 3. Nell Evans made her debut with the New York City Opera in the role of Mama McCourt to very good effect. Unfortunately, the orchestra was too loud for some of the singers, and Anne Elgar as Baby Doe sang sharp at times.

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[The Ballad of Baby Doe] Henneberger, Matthias, and Rein A. Zondergeld. “Bielefeld.” Opera (London) 37, no. 10 (October 1986): 1182. The German premiere of The Ballad of Baby Doe on 1 May in Bielefeld does not impress the critics. The performance “succeeded in achieving an atmospherically highly-charged production, surprisingly undisturbed by the transfer of the action to a different period.” Aldo Tiziani as Horace and Jane Henschel as Augusta both turned in strong performances, but Cynthia Makris was not in good voice. Despite the efforts of the cast, the “stereotyped sweetness of the music, an enervating mixture of American folk song and waltz jollity, was hard to put up with for any length of time.”

Holmes, Ann. “Reports: U.S.: Houston.” Opera News, 11 April 1970, 30–31. The review of the Houston Grand Opera production of The Ballad of Baby Doe that started on 17 February cast three fine singers in the main roles: Patricia Brooks, Walter Cassel, and Frances Bible. The singers in the secondary roles could have benefited from better diction, while the borrowed sets looked old and did not work in this theater. The conducting, stage direction, and costumes all contributed positively to the performance, however.

Holtkamp, Rena C. “ ‘Baby Doe’ Production Is Sparkling.” Cleveland Plain Dealer, 13 March 1960, sec. A, p. 7, col. 1. In this short review, the author, who saw only the opening scenes, is led to conclude: “The vigorous pioneer spirit which pervaded the work, the honest straightforward portrayal of the themes, and the compassionate treatment of the characters, together with the music, communicated at once.”

Howell, John Daggett. “The Ballad of Baby Doe.” Playbill, 20 October 1958, 30. This is a synopsis of the opera for the New York City Opera performance.

Hoyt, Harlowe R. “ ‘Baby Doe’ at Musicarnival.” Cleveland Plain Dealer, 7 September 1958, sec. 8, pp. 1, 6. This is an extensive announcement of the upcoming performance on 8 September by Musicarnival.

———. “A Musicarnival ‘Most’: ‘Baby Doe’ Seen Most Noteworthy.” Cleveland Plain Dealer, 9 September 1958, p. 30, cols. 1–5. This is an extensive review of the opening performance on 8 September at Musicarnival. “It is an intricate score, with a wide variety of diversions from principals, to chorus, to arias and duets, each distinctively different with but one or two musical hints of folk melodies, [such] as ‘ My Darling Clementine’ and a bit of Foster’s melody. But it is exciting music, expressing moods and impacting the conflicting forces: the triangle of Tabor’s love affair; his skyrocketing to millions, and his equally swift descent to the depths of poverty.”

———. “Musicarnival Signs ‘Baby Doe’ for September.” Cleveland Plain Dealer, 8 June 1958, sec. F, pp. 12, 14. In this extensive announcement of the upcoming production beginning on 8 September at Musicarnival in Ohio, the story of the opera is told, and information about the principals of the cast is given. There are a couple of large photographs, one of Beverly Sills and Walter Cassel in costume and one of Beatrice Krebs.

Hruby, Frank. “Musicarnival Scores with ‘Baby Doe.’ ” Cleveland Press, 9 September 1958, p. 27, cols. 3–5. The article reviews the 8 September opening performance at Musicarnival. “Musically the opera is an outstanding contribution to the newly rising American efforts in that line.”

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[The Ballad of Baby Doe] Hughes, Allen. “Opera: ‘Baby Doe’ Again: David Oenslager’s Production for City Troupe Has Anne Elgar in Title Role.” New York Times, 8 March 1969, p. 18, cols. 1–2. The reviewer praises the opera in this revival by the New York City Opera. The score, “which sounded facile and even banal to many ears when it was new in 1956, is aging nicely and already has begun to take on a complementary patina.” The staging “is a masterpiece that makes it impossible to conceive of the opera in any other settings.” All of the principal singers were “commendable and contributed much to a cohesive performance,” except for Anne Elgar as Baby Doe, who had difficulties at the extremes of the vocal range.

Hull, Garrison. “A Capitol ‘Baby Doe.’ ” 20th Century Music 4, no. 3 (March 1997): 23. The reviewer is pleased with the performances of the principal singers and the musical direction in this performance of the Washington Opera on 16 January. The stage direction was not so successful, because the singers were placed too far upstage much of the time. Nonetheless, “when regarding ‘Baby Doe,’ the word courageous comes to mind: the libretto is rough in parts, the music sometimes jagged and difficult, but, like Horace Tabor, the work is epic in conception and brazen in execution.”

Hume, Paul. “Postlude: Big City Culture Coming to Us Hicks.” Washington Post, 26 February 1960, sec. C, p. 6, cols. 4–6. The article announces the performance of The Ballad of Baby Doe by the New York City Opera that will be coming to Washington on 28 February.

———. “Postlude: Capital Gets into the Act in Complete ‘Baby Doe.’ ” Washington Post, 1 March 1960, sec. D, p. 5, cols. 5–8. This opera “succeeds best where Moore lets go and gives his heroine, the second Mrs. Tabor, or her stiff-backed predecessor, Augusta, some good old-fashioned singing.” Hume believes this is the strength of the opera, which would also do well on Broadway. However, he also finds “tiresome places in the work: the overdose of a waltz theme, the interminable finale until Baby comes in, and Augusta’s long scene beginning and ending ‘Augusta,’ lack dramatic movement and offer us only triteness.” Nonetheless, the performers are outstanding. He questions whether a complete season of American operas is a wise move.

———. “The Record Player: Klemperer Is Outstanding in Mozart’s ‘Don Giovanni.’ ” Washington Post, 22 January 1967, sec. G, p. 7, col. 3. The reviewer recommends the MGM Heliodor 25035-3 recording of The Ballad of Baby Doe.

———. “A Vibrant ‘Doe.’ ” Washington Post, 29 April 1967, sec. B, pp. 1, col. 1, and p. 12. The author reviews the Kennedy Center production by the New York City Opera of The Ballad of Baby Doe in highly positive terms. The score contains “lyrical music of radiant beauty for Baby Doe, never forgetting that opera lovers love perfectly placed high notes. With a rich mixture of his own craft and his knowledge of the music of [the] West in the last century, Moore devised a tapestry that draws the listener in and holds him.” The performance and the cast were outstanding, with criticism reserved only for the diction.

“Hundreds Turned Away: Extra ‘Baby Doe’ Shows Sold Out.” Denver Post, 17 July 1956, p. 3, cols. 3–5. The extra performances of 22 and 25 July sold out on 17 July. A picture of the box office with a crowd of people accompanies the article.

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[The Ballad of Baby Doe] Hunt, Stephen. “Ballad of the Doe Heads: Fanatics Follow Opera from Town to Town.” Calgary Herald, 26 January 2008. http://www.babydoe.org/pdfs/balladOf TheDoeHeads.pdf. Accessed 19 August 2009. The article interviews David Kanzeg and announces the production of the opera opening in Calgary on 26 January. Kanzeg is one of the “DoeHEADS,” people who travel around to performances of the opera wherever it is staged. There are about fifteen people who do this regularly, and the group consists of over a hundred people around the world. Kanzeg recalls special performances at Central City, Colorado, where the opera premiered, and a Boston performance, which he considered to be nearly perfect. Kanzeg will appear at a symposium on the opera with Leyna Gabriele, who sang in the original 1956 production, in the afternoon before the first performance in Calgary.

Iantosca, Maria. “World Report: United States; Boston.” Opera Canada 39, no. 2 (Summer 1998): 25. The Boston Lyric Opera performance of The Ballad of Baby Doe featured the “intelligent direction” of Sharon Daniels backed by the solid stage production of Susan Wyner. The singers’ abilities were more mixed, with James Maddalena as a “detached” Horace, but his “singing was polished as ever.” Elisabeth Comeaux’s “vocalism was translucent, if too pretty” as Baby Doe, while Josepha Gayer’s voice was not at its best in the top range for the role of Augusta.

“In the News.” Dance Magazine 30, no. 9 (September 1956): 33. The article is a short announcement of the premiere of The Ballad of Baby Doe at the Central City Opera House and is accompanied by two photographs of the production.

“In the World of Music.” Chicago Daily Tribune, 22 January 1961, sec. 5, p. 11, cols. 1–3. The Santa Fe Opera will include The Ballad of Baby Doe in its 1961 season.

Jackson, Paul. “Gold Standard in Central City.” Opera News, 5 November 1956, 12–13. A review of the world premiere of The Ballad of Baby Doe, which was so successful that three additional performances were scheduled after the sixteen scheduled performances were sold out before opening night. The reviewer writes: “The emotional reaction of the audiences was due to the well-sustained drama, the appealing, moving music of Dr. Moore and LaTouche’s poetic text. A melodic line of constant beauty, a rhythmic subtlety in the recitative and a conservative, tuneful orchestral accompaniment made for immediate appeal.” The performances of all of the lead singers were effective, but the singing of Martha Lipton and Frances Bible in the role of Augusta gained the most applause.

Jacobson, Robert. “Reports: U.S.: New York.” Opera News, June 1976, 38–39. This article is a review of the 15 April 1976 performance of The Ballad of Baby Doe by the New York City Opera. The strength of the music and story give this opera an enduring place in the repertoire. However, the performance was weak in every major role except for the singing of Frances Bible as Augusta, and the staging looked old and tired.

John. “Ballad of Baby Doe.” Variety 203, no. 6 (11 July 1956): 60. The review of the 8 July premiere at Central City recounts the plot of the opera. If it were to be produced on Broadway, it would need a smaller orchestra and chorus to contain costs. He also suggests cutting all of the William Jennings Bryan material, as the opera is too long. Martha Lipton as Augusta is singled out from the rest of the cast as being outstanding.

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[The Ballad of Baby Doe] Johnson, Harriett. “ ‘Baby Doe’ Is First-Rate Theater.” New York Post, 8 March 1965, p. 17, col. 1. The review of the New York City Opera revival performance on 7 March notes that both singers for the role of Augusta were ill, and that Ruth Kobart stepped in at the last minute. “ ‘Baby Doe’ has beguiling folk-like melodies, which may seem deceptively simple, but actually represent a high degree of creativity and skill. The instrumental and vocal fabric is put together by a composer who had the intuition to fit the style to the story, and to create sound which an audience can absorb immediately with pleasure.”

———. “ ‘Baby Doe’ Opens American Opera.” New York Post, 4 April 1958, p. 26, cols. 1–2. The review sends mixed signals concerning the success of the opera in the New York premiere. The score “falls pleasantly on the ear without attempting depth of characterization or of penetrating dramatic impact.” Portraits of Walter Cassel (Horace) and Martha Lipton (Augusta) are included.

———. “ ‘Baby Doe’ Sung by NY City Opera.” New York Post, 29 April 1963, p. 17, col. 1. The opera “continues to wear well as a slice of Americana from Colorado history,” but various aspects of the performance are criticized.

Kaempfer, Walther. “Ballade von Silber und Gold: Gastspiel der Santa Fé Opera im Theater des Westens.” Der Tagesspiegel, 28 September 1961, p. 4. The article is a review of the Santa Fe production of The Ballad of Baby Doe at the Berlin Festival.

Kastendieck, Miles. “At City Center: A Splendid ‘Baby Doe.’ ” New York Journal-American, 24 March 1962, p. 8, cols. 6–7. The revival production of The Ballad of Baby Doe at the New York City Opera receives a positive review. “As a period piece this opera has artistic integrity. For all its conservatism and romantic atmosphere, the score fits ideally into the atmosphere. The music sounds apt and blends with the nature of the story. Its irresistible flow of melody and its true sentiment exert a real pull.”

———. “At City Center: ‘Baby Doe’ Tops.” New York Journal-American, 8 March 1965, p. 11, cols. 1–4. The author of this review of the 7 March performance considers it to have been a total success. “However conservative the music, it depicts a quality of human tenderness beautifully portrayed by these two singers. If it must be classified as folk opera, ‘Baby Doe’ is the finest yet produced in this country.”

———. “City Center at the State Theater: ‘Baby Doe’ Springs Alive.” New York JournalAmerican, 28 February 1966, p. 15, cols. 3–6. “[Moore] may not have penetrated to the emotional core of the situation, yet his music complements the libretto so neatly that the text assumes its rightful place for such an opera.”

———. “Tip Your Hat, America, to ‘Baby Doe.’ ” New York Journal-America, 4 April 1958, p. 9, cols. 1–2. This is a positive review of The Ballad of Baby Doe at its New York premiere. The opera “gave much pleasure through a continuous flow of lyrics and shrewd dramatic treatment.” The score “carries the stamp of mastery in operatic writing and the idiomatic style of a native product.” The conservative musical style is justified by the historical setting of the opera, and the strength of the work is its clear treatment of the text.

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[The Ballad of Baby Doe] ———. “A Welcome Return after 8 Years.” New York Journal-American, 29 April 1963, p. 14, cols. 3–7. This review of the 28 April performance of The Ballad of Baby Doe by the New York City Opera praises the singers who have made the roles their own.

Kerner, Leighton. “Reports: U.S.: New York.” Opera News, November 1974, 50. This is a review of the 7 September 1974 production of The Ballad of Baby Doe by the Bel Canto Opera at the Madison Avenue Baptist Church in New York. Janet Franschke as Baby Doe is criticized for poor acting, but the other principals, Jason Byce (Horace) and Claudia Catania (Augusta), delivered excellent performances.

Kimberley, Nick. “Opera on the Fringe: The Ballad of Baby Doe.” Opera (London) 47, no. 6 (June 1996): 714–16. University College Opera gave the English premiere of The Ballad of Baby Doe on 11 March. The opera is “through-composed, with relaxed conversational parlando swelling naturally into full-blown arias that are tuneful and touching.” The reviewer also praises the work of the principal singers and the production in general.

———. “Opera: The Ballad of Baby Doe: Bloomsbury Theatre, London.” Independent, 14 March 1996, sec. 2, p. 12, cols. 1–5. This is a review of the University College Opera opening-night production of The Ballad of Baby Doe. Highest praise is reserved for Klara Uleman in the role of Augusta. Omar Ebrahim is not quite in good voice but still turns in a good performance, as does Regina Nathan as Baby Doe. The professional singers are supported by a student cast that is not of the same caliber. The article is accompanied by a photograph of Klara Uleman as Augusta.

K[lein], H[oward]. “The Return of ‘Baby Doe.’ ” New York Times, 8 March 1965, p. 35, cols. 1–2. The 7 March performance of The Ballad of Baby Doe enjoyed a large audience. The opera’s “style wanders from heavily operatic writing to light pseudo-cowboy ditties, not always convincing, and rarely memorable. But because the characters change and grow, and because that growth is fully explored in the drama, it is viable theater.” Despite some last minute substitutions, the singing and acting were strong.

Kolodin, Irving. “Music to My Ears: ‘Baby Doe’: ‘Creation’ by Shaw.” Saturday Review 41, no. 16 (19 April 1958): 35. In this extended review of the New York City Opera production of The Ballad of Baby Doe, the reviewer says that the music is “woven for awhile into an artful kind of homespun which sounds simpler than it is and has been executed with much craft.” However, the musical interest is not sustained once the characters move into the darker and more dramatic side of the plot. Part of the difficulty is that the opera is in only two acts, even though a dramatic climax is reached in act 1 when Horace declares his love for Baby Doe. Also, the music in the “flashback scene,” where Horace recalls his past on the stage of the opera house, does not match the dramatic intensity of the libretto. Yet, this is music “with a sense of our own past in it, which we can recognize as our own and respond to with affection.”

———. “Music to My Ears: Bruckner by Walter; Operas, Live and TV.” Saturday Review 40, no. 8 (23 February 1957): 59.

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[The Ballad of Baby Doe] Kolodin comments on the television broadcast of The Ballad of Baby Doe on the series Omnibus in the last two paragraphs of this review of musical events in New York during the past week. He cannot evaluate the work from this broadcast version, because it is impossible to determine how much and where the score was abridged to accommodate television. The opera “evoked some pleasantly melodic music from time to time, but not much that was strongly dramatic.”

Koopman, John. “Central City.” Opera 57, no. 12 (December 2006): 1466–67. The article reviews the 3 August performance of The Ballad of Baby Doe. The baritone Robert Orth replaced the intended lead singer, who became ill, and Joanna Mongiardo played Baby Doe. Both gave convincing performances, but it was Joyce Castle as Augusta who sang with the most drama. The chorus and orchestra were both excellent.

———. “Milwaukee.” Opera (London) 39, no. 7 (July 1988): 820–21. The opening of the Florentine Opera of Milwaukee’s performance of The Ballad of Baby Doe was on 17 March. The performance was excellent in every respect.

———. “Traditionelles und eine neue Spitzenoper: Spielzeitbericht von der ‘Florentine Opera’ in Milwaukee, USA; Verdis ‘Troubadour,’ Puccinis ‘Turandot’ und Moores ‘Baby Doe.’ ” Translated by G[erhard] P[ersché]. Opernwelt 29, no. 8 (August 1988): 54–55. The reviewer gives high marks to this production of The Ballad of Baby Doe, especially the work of Cynthia Munzer (Augusta), Frederick Burchinal (Horace), and Erie Mills (Baby Doe), as well as that of the Milwaukee Symphony. A photograph of the two female leads accompanies the article.

Kosman, Joshua. “ ‘Dead Man’ Heads New Opera Season: ‘Semele,’ ‘Tsar’s Bride’ Also on Schedule.” San Francisco Chronicle, 14 December 1999, sec. D, p. 1, cols. 4–5. This announcement of the San Francisco Opera’s 2000–2001 season included The Ballad of Baby Doe. This is the first production of the opera in San Francisco. The general director of the Opera, Lofti Mansouri, says: “There is finally an American style in opera, with its own language, its own themes and its own composers.”

Krieger, R. E. “Frances Bible Superb in ‘Baby Doe’ Opera.” Albany Knickerbocker News, 25 August 1967, sec. B, p. 4, cols. 4–6. The reviewer of the 24 August Lake George performance says it “is staged with impeccable taste and pace despite innumerable scene changes and a cast that looks as if it rivals ‘Ben-Hur.’ ” The article is accompanied by a photograph of Barbara Ione Miller as Baby Doe.

Kupferberg, Herbert. “Slow ‘Don,’ Soaring ‘Tristan.’ ” New York World Journal Tribune Magazine, 22 January 1967, p. 28, cols. 1–3. The article reviews the recording on Heliodor of The Ballad of Baby Doe. “The composer and the librettist have put together a stirring, lively and altogether listenable work, one that manages to combine the conventions of opera and the events of American history quite convincingly.”

———. “They Shall Have Music: British and American Opera.” Atlantic Monthly, June 1965, 132. One paragraph mentions the reissued recording of The Devil and Daniel Webster (Desto DST-6450 and D450). A brief synopsis is followed by an evaluative statement: “Moore’s music has a fine New England tang, with plenty of fiddle and square-dance tunes, and it gets a rousing performance from a cast headed by Lawrence Winters, baritone, and Joe Blankenship, bass.”

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[The Ballad of Baby Doe] Land. “The Ballad of Baby Doe.” Variety 210, no. 6 (9 April 1958): 114. The New York City Opera production “is a fine show.” The opera is praised as good theater even if it is not grand opera. It is “superbly vital and richly native ‘lyric drama’ which sings its head off and is surprisingly exciting theatre.” Martha Lipton as Augusta has the most compelling role and is an operatic discovery. Beverly Sills and Walter Cassel as Baby Doe and Horace also perform well. John Latouche’s libretto provides many memorable scenes.

Laurent, Lawrence. “ ‘Ballad of Baby Doe’ Meets Omnibus Standards.” Washington Post and Times Herald, 11 February 1957, sec. B, p. 15, cols. 1–4. The article is a review of The Ballad of Baby Doe on the television series Omnibus on 10 February. The opera has “soaring, inspirational music and the words of John Latouche are at once sensitive and sensible.” The three principal singers are given accolades for their performances. It is hoped that the Omnibus series will not be dropped in March, as it has provided superior programs.

L[evinger], H[enry] W. “New York Concert and Opera Beat: Two Operas on TV in One Day.” Musical Courier 155, no. 4 (1 March 1957): 10. Excerpts from The Ballad of Baby Doe were presented on NBC on 10 February, narrated by Alistair Cooke. Martha Lipton (Augusta), William Johnson (Horace), and Virginia Copeland (Baby Doe) were an excellent cast.

Lewin, Frank. “In Review: From Around the World; Wilmington.” Opera News, August 1991, 42. This production of The Ballad of Baby Doe by Opera Delaware on 9 March, which used professional singers in the principal roles and community volunteers as the chorus and orchestra members, “proved consistently engrossing.”

“Lily Pons Is Guest in Central City.” Denver Rocky Mountain News, 6 July 1956, p. 63, cols. 1–2. Lily Pons arrived to attend the premiere of The Ballad of Baby Doe and will share an apartment with Martha Lipton (Augusta). Olga Koussevitzky is another famous attendee. A portrait of Pons accompanies the article.

“Lily Pons Views Opener of ‘Baby Doe’ Folk Opera.” Denver Post, 8 July 1956, sec. AA, p. 2, cols. 3–8. These are three captioned photographs of celebrities and local socialites, including Lily Pons and Mrs. William Geddes, attending the premiere of The Ballad of Baby Doe at the Central City Opera.

Littler, William. “Heppner CD Engages Listeners: Classical Recordings; Dawn Upshaw.” Toronto Star, 20 June 1998, sec. M, p. 9, col. 2. The article reviews Dawn Upshaw’s recording, The World So Wide, which includes an aria from The Ballad of Baby Doe.

“Live from Lincoln Center.” Theatre Craft 14, no. 5 (November–December 1980): 13–14. Three photographs by Susanne Faulkner Stevens from the New York City Opera live telecast of The Ballad of Baby Doe on 21 April 1976 appear with this article: the letter scene, a scene of Horace and Augusta arguing, and the Bryan scene.

Loskill, Jörg. “Honkytonk und Heroenkult: Moores ‘Ballade von Baby Doe’ in Bielefeld, Berlioz’ ‘Trojaner’ in Detmold.” Orchester 34, no. 7–8 (July–August 1986): 809–10.

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[The Ballad of Baby Doe] The performance of The Ballad of Baby Doe by the Bielefeld Opera was unusual repertoire for a German opera house. The reviewer comments on the subject matter of the opera and its sentimental nature. The conservative musical idiom is described as a combination of Viennese-type waltzes, Bernstein-like jazz music, Puccini lyricism, and Wild West, honky-tonk folk music. All of the performers are praised, especially Jane Henschel in the role of Augusta. A photograph of Cynthia Makris and Aldo Tiziani as Baby Doe and Horace accompanies the article.

———. “Millionärsnöte: Douglas Moores ‘Baby Doe’ in Bielefeld.” Opernwelt 27, no. 6 (June 1986): 26–27. The review of the Bielefeld performance on 1 May comments on the opera’s music and production quality and explores why this opera has secured an enduring place in the American operatic repertoire.

Lowens, Irving. “News of Music: ‘Baby Doe’ Full of Wit, Drama, Good Tunes.” Washington Star, 29 February 1960, sec. B, p. 16, cols. 6–7. In this review of the New York City Opera performance in Washington, D.C., the author believes that “it is Mr. Moore’s impeccable craftsmanship that carries the day. The way he handles the balance between voices and orchestra is an object lesson in the importance of artisanship in the musical theater.”

Lynn, George. “The Ballad of Baby Doe: Central City Opera Has Important Premiere.” Etude 74, no. 9 (November 1956): 12, 52–53. This review of the premiere of The Ballad of Baby Doe at the Central City Opera House on 7 July is primarily an extended plot synopsis. There is no discussion here of the performance or even any mention of the singers except in the captions for the two pictures heading the article. However, there is comment on the music: its American folklike tunes and the use of dissonance for conflict and lyricism for more tender scenes. The article concludes that the “opera is entertainment—not an essay in great literature or thought-provoking musical idiom.”

M., R. H. “Moore Writes What Public Likes to Hear.” Dundee and West Omaha Sun, 30 March 1967, p. 32, col. 4. This is an announcement of the 14 and 15 April performances of The Ballad of Baby Doe by the Omaha Civic Opera. The article interviews Moore to get his views on opera, his latest works, and music in general. There is a portrait of the composer accompanying the article.

MacCluskey, Thomas. “Alternate Cast Performs Well in Baby Doe Opera.” Denver Rocky Mountain News, 11 July 1966, p. 61, cols. 3–5. The article is a totally positive review of the 10 July performance at Central City.

———. “ ‘Baby Doe’ Libretto Moving.” Denver Rocky Mountain News, 10 July 1966, sec. Everybody’s, p. 6A, cols. 1–4. This review of the 9 July performance at Central City states: “There are passages which are constructed of inappropriate and banal melodies supported by almost totally sterile harmonies.”

Mahne, Theodore P. “Bring Up ‘Baby’: ‘The Ballad of Baby Doe’ Offers Fresh Challenges for the Cast, Director and Audience.” New Orleans Times-Picayune, 12 November 1999, sec. Lagniappe, pp. 22–25. In this richly illustrated cover article about the upcoming production of The Ballad of Baby Doe by the New Orleans Opera, director Jay Lesenger is quoted extensively concerning his views about the opera

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[The Ballad of Baby Doe] and its production. He considers the work one of the classic American operas. The dramatic development of the characters and the accessibility of the music make the opera very successful with audiences.

———. “Entertainment: Opera Review: ‘Baby Doe’ Makes for a Lovely Evening of Opera.” New Orleans Times-Picayune, 19 November 1999, sec. A, p. 22, cols. 1–2. This review of the opening-night performance on 17 November of the New Orleans Opera production of The Ballad of Baby Doe considers the opera “verismo Broadway.” The opera is the “surprise hit of the season,” and all of the principal singers, Cheryl Parrish, Richard Zeller, and Melanie Sonnenberg, who “stole the show with a striking voice and masterly command of the stage,” gave excellent performances.

———. “Favorite Stars, New Works Top N.O. Opera’s Newest Season.” New Orleans TimesPicayune, 8 August 1999, sec. E, p. 9, cols. 1–6. The Ballad of Baby Doe will be given its New Orleans premiere on 17 and 20 November with Cheryl Parrish (Baby Doe), Richard Zeller (Horace), and Melanie Sonnenberg (Augusta) in the title roles. Photographs of Zeller and Sonnenberg accompany the article.

———. “From the Balcony: All About Baby Doe.” New Orleans Times-Picayune, 7 November 1999, sec. E, p. 15, col. 6. Audience orientation programs for the New Orleans Opera production of The Ballad of Baby Doe are given by Phil and Ersalene Hubbell at the Genesis Hall of Aldersgate United Methodist Church on 7 November and by the Women’s Guild of the New Orleans Opera in a lecture by director David Morelock at the Opera Guild Home on 11 November.

———. “From the Balcony: Opera Offers Student Preview.” New Orleans Times-Picayune, 19 September 1999, sec. E, p. 10, cols. 3–4. School groups are invited to attend the 15 November dress rehearsal for The Ballad of Baby Doe, presented by the New Orleans Opera.

Margolin, Michael H. “Detroit.” Opera (London) 40, no. 3 (March 1989): 302–3. Margolin reviews the Michigan Opera Theatre performance of The Ballad of Baby Doe following the opening night, 7 October. He says, “Moore’s score has many pleasures[,] not the least of which are good melodies and roles for three singers.” Most of the review comments on the performances of the singers, musicians, and producers, all of which were excellent. The reviewer’s only reservations concerned Claudette Peterson as Baby Doe, who had “none of the intensity and steel” required by the role, and the melodramatic gestures plied by the otherwise extraordinary Cynthia Munzer as Augusta.

Maycock, Robert. “Opera: Moore; The Ballad of Baby Doe.” Records and Recording 19, no. 10 (July 1976): 29. This perceptive review of the New York City Opera recording on Deutsche Grammophon (270 906 1) plumbs the psychological depths of the libretto and scoring. The work “is not, as [is] often stated[,] a folk opera: various traditional American styles zoom in and out of focus from time to time, but the composition is basically eclectic, well held together and taking in set-pieces as the through-composed scenes speed on their way.” As a drama “its libretto relates [the events] concisely, idiomatically, and with a sure control of pace and timing that is shared by the composer.” The performances of Beverly Sills, Walter Cassel, and Frances Bible are all just right for the characters they portray.

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[The Ballad of Baby Doe] Mayer, Martin. “New York.” Opera (London) 40, no. 2 (February 1989): 182. Mayer recounts the New York City Opera season, which included productions of The Ballad of Baby Doe. Although the sets are now old, they are still “evocative and handsome,” and “the cast were one and all wonderful.”

———. “Opera Around the World; Washington.” Opera 48, no. 7 (July 1997): 800–803. The last paragraph of this review of the Washington Opera season comments on the 7 February production of The Ballad of Baby Doe in less than flattering terms. The opera is called “an academic exercise in Americana, skilfully crafted, slow to get started but authentically moving in the second act, when its hero declines with the silver market.” Richard Stilwell as Horace and Phyllis Pancella as Augusta receive high marks, but Elisabeth Comeaux does not measure up to Beverly Sills’s reputation in the role of Baby Doe. Two photographs from the production appear on p. 799.

Melrose, Frances. “ ‘Baby Doe Ballad’ Rates Attention in Theater Mag.” Denver Rocky Mountain News, 8 July 1956, sec. Everybody’s, p. 1, cols. 3–4. The success of the premiere of The Ballad of Baby Doe is the result of coincidences. Douglas Moore, John Latouche, and Donald Oenslager became interested in the Baby Doe story independently. Moore had been considering Baby Doe for an opera ever since he read of her death in 1934. Latouche had been approached earlier by Jerome Kern to write a libretto for a musical about her, but Kern died before the work began. Oenslager became interested in the story while visiting Colorado and subsequently engaged the other two men in writing the opera for Central City.

“Memorial for Douglas Moore.” New York Times, 4 October 1969, p. 35, col. 4. The New York City Opera presents a performance of The Ballad of Baby Doe as a tribute to Douglas Moore.

Merkling, Frank. “Americana at the Center.” Opera News, 27 October 1958, 6–7. The article is a description of the New York City Center’s spring 1958 season of American operas, which includes The Ballad of Baby Doe.

Mermelstein, David. “American Arias Find a Groove.” New York Times, 15 November 1998, sec. 2, p. 16, cols. 5–6, and p. 17. The author reviews recordings by Dawn Upshaw (The World So Wide; Nonesuch 79458-2) and Renée Fleming (I Want Magic; London 289 460 567-2). Each of these discs contains an aria from The Ballad of Baby Doe—the Willow Song and the Letter Song, respectively. In these arias, Upshaw’s “personal magnetism combines with the material to form an irresistible mixture,” and Fleming “communicates heartbreak without overstatement.”

———. “Vocalism in Her Soul, Drama in Her Blood.” New York Times, 8 April 2001, sec. 2, p. 29, cols. 1–3, and p. 38. Most of this article is about soprano Elizabeth Futral, who is singing the role of Baby Doe in the production at the New York City Opera this evening. Futral finds the role interesting because, as she says, “there’s a real sense of Baby Doe’s maturing as the opera proceeds, musically as well as dramatically.” She hopes that the production will not become overly sentimental. A photograph of Futral in rehearsal accompanies the article.

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[The Ballad of Baby Doe] Metcalf, Steve. “ ‘Baby Doe’ Is a Great Evening in the Theater.” Hartford Courant, 7 March 1997, sec. A, p. 4, cols. 1–6. The opening performance of The Ballad of Baby Doe by Connecticut Opera on 6 March was good in every respect, but it was the singing that stood out above all else, especially that of Sharon Graham as Augusta. The article is accompanied by a photograph of Mary Dunleavy (Baby Doe) and Sharon Graham during the dress rehearsal.

Midgette, Anne. “He Fell for Her Bait, and Then She Fell for Him (The Ballad of Baby Doe).” New York Times, 10 April 2001, sec. E, p. 5, cols. 3–6. The reviewer thinks that the opera is now dated. She finds the libretto too “wordy” and Moore’s text setting too awkward because he places many of the phrases in a range that is too high and emphasizes the vowels “i” and “e,” which results in an overly strident tone. The story is so melodramatic that it is manipulative rather than “poignant.” The performers in the New York City Opera production sang the parts well despite the composer’s shortcomings. There are two photographs of scenes from the production.

Miller, Philip L. “American Girl.” American Record Guide 47, no. 3 (March 1984): 71. The article is a review of a disc (EB-SKO 1007) containing two arias from The Ballad of Baby Doe, the Willow Song and “Gold Is a Fine Thing,” performed by the soprano Helen-Kay Eberley and the pianist Donald Isaak.

———. “From M-G-M, ‘The Ballad of Baby Doe.’ ” American Record Guide 26, no. 6 (February 1960): 443. This is a very understated review of the first recording of The Ballad of Baby Doe (M-G-M 3GC-1) by the New York City Opera. Miller does not think that this will be “the great American opera” and questions whether the story will vie for prominence with the great nineteenth-century European operas. He also wonders whether the main arias will become standard fare on recitals and whether the opera will be able to stand up to repeated listening. Further, the performance “could be enhanced by more distinguished vocalism.” Beverly Sills’s voice is nice most of the time but lacks definition in the high register, and Frances Bible as Augusta gets off to a shaky start.

———. “Moore:The Ballad of Baby Doe.”American Record Guide 33, no. 9 (May 1967): 799–800. After briefly recounting the plot of the opera, the reviewer discusses the performance of the cast on this reissue on Heliodor (HS-25035-3). He quotes from his previous review of February 1960 for the MGM release, where he writes that Beverly Sills’s high register “loses focus in some of the higher passages,” Frances Bible improves after a shaky start, and the cast could generally act with more subtlety.

Miller, Sarah Bryan. “Opera’s Beverly Sills, ‘Ballad of Baby Doe’ Get a Revival on CD.” St. Louis Post-Dispatch, 3 May 1999, sec. E, p. 1, cols. 5–6, and p. 4. In an interview with Beverly Sills, she recounts her audition for the role of Baby Doe and discusses the original recording, reissued on a Deutsche Grammophon compact disc. A photograph of Sills in costume accompanies the article.

Mills, Derek M. “American Opera: The Sublimation of Ordinariness.” February 1998. http://www.babydoe.org/pdfs/americanopera.pdf. Accessed 22 August 2009. This is a review of the Boston Lyric Opera production in January of The Ballad of Baby Doe. The author finds new insights in the opera through the interpretation of the director, Sharon Daniels, and the

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[The Ballad of Baby Doe] conductor, Susan Davenny Wyner. The production emphasizes the personal relationships between the main characters and the political and social pressures they had to endure. Elisabeth Comeaux’s performance as Baby Doe shows an unusual depth of personality, and she is compared to Teresa Stratas or possibly Maria Callas. The author expands upon the significance of this new interpretation to generalize on the nature of American opera, where the subjects are about the striving of real people to make a new life in a new land.

———. “An American Tale: The Ballad of Baby Doe.” Opera Now 4 (1997): 97. The article reviews the production and performers of recent performances in Washington, D.C., and Hartford, Connecticut. The opera production in Washington took on epic qualities and is compared to Mussorgsky’s Boris Gudonov because of both works’ historical aspects. The cinematic stage sets added to the drama. The Hartford production focused more on the principal roles and shared a number of singers with the Washington performance. Mary Dunleavy has “a sweet but penetrating quality to her highs and easy production throughout her range” in her portrayal as Baby Doe at Hartford. Elisabeth Comeaux was less convincing in Washington. Each of the other principal singers playing Horace and Augusta is also reviewed in detail.

———. “In Review: From Around the World; Indianola, Ia.” Opera News, 9 December 1995, 55–56. The singers and conductor for a performance of The Ballad of Baby Doe as produced by the Des Moines Metro Opera on 30 June receive high marks.

Milnes, Rodney. “Fine Silver with a Hint of Lead: The Ballad of Baby Doe; Bloomsbury.” Times, 13 March 1996, p. 36, cols. 4–8. This review of the University College Opera performance of The Ballad of Baby Doe claims that it is one of the best productions mounted by that company. It is also a “well-made opera,” but the libretto is seen as the primary flaw: “Incredibly wordy, it insists on telling a story, and if you want a story it’s better to buy a novel than go to the opera.” As a result, there is little room for the music to expand and develop the relationships between the characters. Klara Uleman dominates the performance as Augusta.

Miranda, William D. “Boston Arts Festival: Dr. Moore at Baby Doe Premier.” Jewish Advocate, 15 June 1961, sec. 2, p. 9, cols. 3–4. The article reviews the performance and comments on each of the major singers in the cast. Also, Moore is interviewed and asked who some of the most important opera composers are today in America. He names Jack Beeson and Vittorio Giannini. He also talks about working with different librettists.

———. “Kennebunkport Opera: Arundel Presents ‘Baby Doe.’ ” Jewish Advocate, 4 August 1960, p. 7, cols. 1–4. According to the review of The Ballad of Baby Doe by the Arundel Opera Theatre during the week of 24 July, “the most astounding factors about this work are its originality and its purity of American expression.”

Modi, Sorab. “In Review: From Around the World: Washington, DC.” Opera News, 19 April 1997, 47–48. The Washington Opera production of The Ballad of Baby Doe on 1 February was a superb performance in every regard. Phyllis Pancella as Augusta acted her part “with supreme poise, dignity and a mature

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[The Ballad of Baby Doe] understanding of the rejected woman.” Elisabeth Comeaux sang expressively, and her transformation in the final scene was “achieved with a remarkable sense of theater.” Richard Stilwell as Horace “led the drama, pulling everyone with him, his acting as distinguished as his singing was polished.”

“Moore Opera Listed: ‘Ballad of Baby Doe’ to Have Local Premiere April 3.” New York Times, 18 February 1958, p. 24, col. 2. The article announces the New York premiere of the opera by the New York City Opera and lists the principal cast and directors.

“Moore: The Ballad of Baby Doe.” Atlantic Monthly, March 1967, 132. This review of the reissue recording of The Ballad of Baby Doe (Heliodor HS-25035-3 and H2503503) by the New York City Opera claims that the music “catches the zest, liveliness, and eventual tragedy of the participants in that lusty era.”

Mossman, Josef. “ ‘Baby Doe’ Opera Hits High Note.” Detroit News, 19 March 1960, sec. B, p. 8, col. 1. Mossman has a high opinion of the 18 March performance of the New York City Opera in Detroit. “The opera contains some melodies of unforgettable beauty, and some ensemble composition that is among the best ever created for the opera stage.”

Mott, Gilbert. “In Review: From Around the World; Hartford.” Opera News, July 1997, 42. In this highly successful production of The Ballad of Baby Doe by Connecticut Opera on 6 March, Kimm Julian sang Horace with “convincing passion . . . along with supple rhythmic sense and sensitive phrasing, his ‘free man’ aria sounding wonderfully dramatic,” while Mary Dunleavy as Baby Doe “gave a memorable performance.” Commendable performances were also given by Sharon Graham as Augusta and Anna Maria Silvestri as Mama McCourt.

Movshon, George. “New York City Opera: The Ballad of Baby Doe (March 7).” High Fidelity/ Musical America 19, no. 6 (June 1969): MA-12. This review of the opera after it premiered in New York finds all of the singers lacking: “Anne Elgar . . . sings sweetly . . . but she went off pitch in the high display passages”; Chester Ludgin acts convincingly “but does not generate enough sheer volume to match the other characters.” The reviewer also points out that American composers should not call their stage works operas, but musicals, as the latter would ensure greater popular success.

Murphree, Alex. “Central Citians Stage 5-Hour Whing-Ding before Big Premiere.” Denver Post, 8 July 1956, sec. AA, p. 2, cols. 1–2. On 7 July festivities to mark the premiere of The Ballad of Baby Doe at Central City included a parade with clowns, cowboys, and antique cars. There were a reenactment of a Pony Express ride, a helicopter landing, and a rock-drilling contest. In addition to twenty-five reviewers from major newspapers, there were also several celebrities in the crowd, including Kim Novak, Lucius Beebe, Olga Koussevitzky, and Lily Pons.

“Music Groups Plan Auditions.” Chicago Daily Tribune, 17 September 1961, sec. 7, p. 12, cols. 6–8. The Santa Fe Opera tour to Warsaw has been canceled by the Polish government. The opera will present its productions, which include The Ballad of Baby Doe on 4 and 5 October in Belgrade instead.

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[The Ballad of Baby Doe] “Music Notes.” New York Times, 2 March 1966, p. 49, col. 5. The article announces the performance of The Ballad of Baby Doe by the New York City Opera on 2 March.

“Music: Opera at Otterbein.” Columbus Dispatch, 25 May 1992, sec. C, p. 10, col. 1. The article is an announcement of the Otterbein College Opera Theatre production of scenes from operas, including The Ballad of Baby Doe.

“N. York City Opera Here March 4, 5, 6.” Chicago Daily Tribune, 21 February 1960, sec. 7, p. 10, cols. 3–4. The New York City Opera will perform The Ballad of Baby Doe in Chicago. The article also lists the principal singers.

“New American Folk Opera Opens in Mining Town.” Seattle Times, 8 July 1956, sec. 1, p. 12, cols. 2–3. The article reports on the premiere of The Ballad of Baby Doe at Central City. The names of the principal cast members are given, and it is noted that the performances are sold out. The pre-performance festivities and the presence of major newspaper reviewers are also mentioned.

“New Faces in the Denver Post Gallery of Fame: In Appreciation for Some Public or Private Act of Service or Benefaction in the Current Week.” Denver Post, 7 July 1956, p. 14, cols. 5–6. The item consists of two photographs of Moore and Latouche with a caption crediting them as the composer and librettist of The Ballad of Baby Doe, to be premiered that week.

“New Opera by Moore: ‘The Ballad of Baby Doe’ to Bow in Colorado in July.” New York Times, 11 February 1956, p. 13, col. 1. The article announces the premiere of The Ballad of Baby Doe at Central City, Colorado, on 7 July.

“New Season, New Work.” New York Herald Tribune, 30 March 1958, sec. 4, p. 5, cols. 4–6. In this captioned photograph Moore is seen talking to Walter Cassel and Beverly Sills, in costume for their roles as Horace and Baby Doe, about the upcoming New York premiere of The Ballad of Baby Doe at the New York City Opera. It accompanies an article by Julius Rudel, “Bold Experiment in Opera: Season of American Works,” which talks about the upcoming New York City Opera season.

“New York City Opera Is Booked.” Chicago Daily Tribune, 6 November 1959, sec. 3, p. 3, cols. 2–3. The New York City Opera will produce The Ballad of Baby Doe on 5 March 1960 with assistance from the Ford Foundation.

“New York City Opera Sings Here in March.” Chicago Daily Tribune, 24 January 1960, sec. 7 (NW), p. 8, cols. 5–6. The New York City Opera will perform The Ballad of Baby Doe at the Lyric Opera of Chicago on 5 March.

“New York Opera’s American Season Opens Here Friday.” Chicago Daily Tribune, 28 February 1960, sec. 7, p. 7, cols. 7–8. The article announces the New York City Opera performance of The Ballad of Baby Doe in Chicago on 5 March.

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[The Ballad of Baby Doe] Nichols, Dorothy. “Dinkelspiel Auditorium Opens: Baby Doe Production Happy Occasion for Stanford Music.” Daily Palo Alto Times, 24 May 1957, p. 2, cols. 1–3. After commenting on the opening of the new auditorium at Stanford University, the reviewer praises the main performers but criticizes The Ballad of Baby Doe. Dorothy Ledger as Augusta “brought spontaneous applause.” The sets and costumes were not fully authentic to the period, and the libretto was sentimental. In the music, “the lyric line is often good enough to hold the drama, but the orchestral form is uninspired.”

“Nine of 16 Shows Sold Out: Baby Doe Recording Ticket Sale Records.” Denver Rocky Mountain News, 4 July 1956, p. 29, cols. 4–5. The premiere performance of The Ballad of Baby Doe at Central City has set a record for ticket sales, and it is possible that all performances will be sold out by the time of the premiere. Other festivities slated for the premiere date of 7 July included a Pony Express race, a rock-drilling contest, and an antique car parade.

North, James H. “Baby Doe.” Fanfare 22, no. 1 (September–October 1998): 252. In this review of the Central City Opera recording (Newport NPD 85593) of The Ballad of Baby Doe, the opera is considered the quintessential American opera. In it “the two leading female characters develop so far over the course of the work. Baby Doe becomes much more than the golddigger she first appears to be, and Augusta Tabor goes from a pathetic minor character to a major force in all their lives.” Overall the recording is successful but doesn’t quite measure up to the performance of the earlier New York City Opera recording with Beverly Sills.

North, James H., and Marc Mandel. “Moore, The Ballad of Baby Doe.” Fanfare 23, no. 1 (September–October 1999): 288–89. These two reviews of the reissue of the opera on Deutsche Grammophon compact discs (289 465 1482) differ in their assessment of the qualities of the performance, but both recommend the recordings highly. North admires the performances of the main singers, Beverly Sills (Baby Doe), Walter Cassel (Horace), and Frances Bible (Augusta), and is also satisfied with the bright, thin sound of the recording. Mandel does not think that Moore’s music retains the listener’s interest without staging and believes that crucial parts of the opera (the William Jennings Bryan scene, Augusta’s monologue in act 2, and Horace’s flashback scene) are weak and go nowhere. The recorded sound is also deficient: “trebleheavy, bass-deficient, and artificially reverberant.” Nonetheless he recommends it because of the strong performances and the historical importance of the piece and the recording.

“Notes of Music World.” Chicago Daily Tribune, 14 June 1959, sec. 7, p. 8, cols. 5–6. On 4 July Moore will take part in a reunion of artists involved in the Central City Opera, which will also be staging performances of The Ballad of Baby Doe.

O’Connor, John J. “TV: ‘La Traviata’ and ‘Baby Doe.’ ” New York Times, 27 April 1976, p. 70, cols. 4–5. This is a review of the production simulcast live on television and radio as part of the Live from Lincoln Center series. The reviewer finds the opera to have “distinctive charms and moments of powerful effectiveness” but not to be a good enough work to bear repeated listenings. It does lend itself well to television, however, although better solutions need to be found for material at intermissions.

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[The Ballad of Baby Doe] Oestreich, James R. “The Annotated List: The Ballad of Baby Doe.” New York Times, 10 September 2000, sec. 2, p. 85, cols. 2–3. This is an announcement of the performance of the opera by the New York City Opera starring Elizabeth Futral.

“Opera Lineup Next Season.” Hartford Courant, 18 February 1996, sec. G, p. 4, col. 6. This is an announcement for the 1997 season of the Connecticut Opera season. It will be built around the vocal talents of Mary Dunleavy, who will sing the role of Baby Doe on 6 and 8 March.

“Opera Off Broadway.” International Musician 56, no. 11 (May 1958): 14. This lengthy review of the New York premiere of The Ballad of Baby Doe by the New York City Opera on 3 April remarks on the unusual success of this American opera. The music “is most listen-able and carries along with tender arias, virile male ensembles and splashes of instrumental asides.” The lead singers, conductor, and stage designer are singled out for praise.

“Opera Workshop Lists ‘Baby Doe.’ ” Los Angeles Times, 3 April 1970, sec. 4, p. 12, col. 1. The article announces the performance of the California State University Opera Workshop performance of The Ballad of Baby Doe at the Alhambra High School Auditorium on 4 April.

“Orientation for Opera ‘Baby Doe’ is Nov. 17, 20.” New Orleans Times-Picayune, 4 November 1999, sec. H2 (Slidell Picayune), part 2, p. 18, cols. 1–4. A two-hour audience orientation for the New Orleans Opera production of The Ballad of Baby Doe, in which Ersalene and Phil Hubbell will present the story of the opera and excerpts, is scheduled for the afternoon of 7 November.

Osborne, Charles. “Central City, Colorado: Local History.” Opera (London) 39, no. Festival Issue (Autumn 1988): 113–14. Osborne reviews this 27 May Central City production of The Ballad of Baby Doe, “a highly enjoyable work which could today take its place on Broadway beside the quasi-operas of Sondheim as a piece of American popular musical theatre.” All three principal singers performed well.

Osborne, Conrad L. “Douglas Moore: The Ballad of Baby Doe (1956).” In The Metropolitan Opera Guide to Recorded Opera, edited by Paul Gruber, 270–71. New York: The Metropolitan Opera Guild and W. W. Norton, 1993. Osborne believes that this opera’s strengths lie in the text and music for the main arias and choruses, and its weaknesses in the areas where the plot and drama are conveyed. Nonetheless, it is the final scenes that capture the listener’s attention. The Deutsche Grammophon CD recording of the New York City Opera is reviewed. The singing of the principals is excellent, the chorus needs more rehearsal, and the technical aspects of the recording are inferior.

———. “Moore: The Ballad of Baby Doe.” High Fidelity 9, no. 10 (October 1959): 91. This is an extensive review of the first recording of this opera by the New York City Opera on MGM (3 GC-1). The reviewer finds the libretto to be full of dramatic possibilities, which both the librettist and composer have dealt with well. Occasionally, lines in the libretto would have been better spoken than sung, but the writing is good overall and provides strong central characters. The singing of Beverly Sills is remarkable, Walter Cassel’s vocal quality is well suited to the part, and Joshua Hecht delivers a “stirring” speech. The sound of the recording is harsh, unfortunately.

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[The Ballad of Baby Doe] ———. “Spring Comes to City Center.” High Fidelity 15, no. 4 (June 1965): 139. The last paragraph of this review of the spring season of opera in New York covers The Ballad of Baby Doe. This 1965 production was not strong. Sloppy staging and orchestral playing and a complete lack of strong singing in the major roles require that the production be completely rethought.

“P-I Critic Attends: New U.S. Folk Opera Is Hailed.” Seattle Post-Intelligencer, 9 July 1956, sec. 1, p. 13, col. 3. This basic news article about the premiere of The Ballad of Baby Doe informs readers of the cast, composer, and librettist and notes that most reviews have been favorable.

Page, Tim. “ ‘Baby Doe’ Returns, Still Girlish at 50.” Washington Post, 23 October 2006, sec. C, p. 1. An abridged performance of the Ballad of Baby Doe was presented on 22 October at the historic Willard Hotel in Washington, D.C., the actual location of the wedding scene from the opera, by the DomingoCafritz Young Artist Program of the Washington National Opera. The production was narrated by David Kanzeg, who maintains the babydoe.org Web site and counts himself as one of the “Doeheads.” The performance of the baritone Trevor Scheunemann as Tabor was just right for the role, but Baby Doe’s high coloratura passages were a strain for Elizabeth Andrews Roberts. Magdalena Wor sang the part of Augusta with “appropriate gravity.”

———. “Mini Reviews: New This Week: The Ballad of Baby Doe.” Washington Post, 24 January 1997, sec. Weekend, p. 24, col. 1. This is a review of the 1997 Washington Opera performance of The Ballad of Baby Doe, whose score “combines elements of 19th-century American popular music in a manner that is evocative and nostalgic without ever descending into sentimental wallowing.” The three principal singers give good performances.

———. “Opera: Washington Aria: A Charming ‘Baby Doe.’ ” Washington Post, 17 January 1997, sec. D, p. 1, cols. 1–2, and p. 3. Page questions what it is that keeps The Ballad of Baby Doe in the operatic repertoire, concluding that “it works.” The combination of music that incorporates nineteenth-century popular music without being sentimentalized, a good libretto, and a story with universal appeal all contribute to its success. The production by the Washington Opera included excellent singing from Phyllis Pancella as Augusta, and fine acting and generally good singing from Elisabeth Comeaux as Baby Doe and Richard Stilwell as Horace.

Paller, Rebecca. “I Can’t Live Without . . . ‘Baby Doe’: Opera.” Opera 52, no. 4 (April 2001): 512. The article describes the characters of the opera, provides a synopsis of the plot, and discusses the singers who are most closely associated with the work—Walter Cassel, Frances Bible, and Beverly Sills. The author describes some of the most moving moments of the opera as a prelude to the upcoming production at the New York City Opera, to open in April 2001.

P[armenter], R[oss]. “Lazarus in New Role: Bass Portrays Bryan in City Opera’s ‘Ballad of Baby Doe.’ ” New York Times, 27 October 1958, p. 32, col. 4. Roy Lazarus sings the role of William Jennings Bryan in The Ballad of Baby Doe, produced by the New York City Opera beginning 26 October. The young bass “did not have all the suavity and force of personality that were needed, but he sang with agreeable sonority and clarity of enunciation.” A short

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[The Ballad of Baby Doe] comment is made about the principal singers in the cast. Betty Pascale, in the role of Samantha, was the only other new member of the production.

Parmenter, Ross. “Opera: A Lively ‘Ballad of Baby Doe’ Is Presented: City Troupe’s Offering Has 5 Newcomers: Beverly Sills, Walter Cassel in Lead Roles.” New York Times, 29 April 1963, p. 24, cols. 5–7. In this return performance by the New York City Opera on 28 April, the reviewer says, the “music, especially through the heights it rises to in the long final scene, endows the work with an added dimension that seems to deepen with familiarity. . . . [It is] one of the great merits of the work that its three central characters are not only real but also penetratingly explored.” With minor imperfections, the whole cast performs with authority, and they bring their roles to life.

———. “In Review: From Around the World: Indianapolis.” Opera News Online, 5 May 2001. http://www.operanews.com. Accessed 19 August 2009. The production of The Ballad of Baby Doe by the Indianapolis Opera provided impressive stage settings and lighting, but had uneven performances from the singers and orchestra. Timothy Noble as Horace was the strongest singer, while the two female leads, Diane Alexander (Baby Doe) and Melanie Sonnenberg (Augusta), either had vocal problems or were dramatically ineffective.

Parsons, Charles H. “Opera Everywhere: Indianapolis: Indianapolis Opera: The Ballad of Baby Doe.” American Record Guide 64, no. 2 (March–April 2001): 33. The article reviews the 17 November 2000 performance of the opera given in memory of Walter Cassel. Much of the review is dedicated to a description of the effective new set designs. Timothy Noble used with his “strong, relaxed baritone [voice] and a variety of acting details to create a moving and realistic Horace Tabor.” Diane Alexander as Baby Doe was able to sing the music but did not really have the voice or character for the part. Melanie Sonnenberg started out weakly as Augusta but improved greatly in the second act.

Patner, Andrew. “Classical Music: COT’s ‘Doe’ an Affair to Remember.” Chicago Sun-Times, 23 May 1994, sec. 2, p. 26, cols. 1–3. Chicago Opera Theater’s production of The Ballad of Baby Doe was successful due to good direction, staging, and conducting. Chris Owens as Horace gave a “sturdy and persuasive” performance. Although Mignon Dunn “offer[ed] a riveting stage portrayal” of Augusta and Carol Gale “offer[ed] an unusual evocation of a turn-of-the-century soprano,” the former’s voice was beginning to age, and the latter’s diction was less than clear. Patner finds Moore’s conservative and traditional musical language of little interest and says, “Rodgers and Hammerstein gave us much better Americana in the earlier ‘Oklahoma!’ and ‘Carousel.’ ”

Pauly, Reinhard G. “Douglas Moore, The Ballad of Baby Doe (Central City, Colorado, 1956).” In Music and the Theater: An Introduction to Opera, 375–88. Englewood Cliffs, NJ: Prentice-Hall, 1970. This is a balanced description and analysis of the opera from the standpoint of opera as drama. The plot of the opera is recounted, and the weaknesses and strengths of the drama are described. An analysis of the three main roles shows Augusta to be the most complex character and Horace the least changing character. Numerous musical examples are included showing how the composer wrote original music suggestive of late nineteenth-century America.

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[The Ballad of Baby Doe] Pecktal, Lynn. “Stage Design by Donald Oenslager: The Ballad of Baby Doe.” In Designing and Drawing for the Theatre, 334. New York: McGraw-Hill, 1995. This is a photograph of the Tabor Opera House set from the premiere at Central City.

———. “Stage Designs by Donald Oenslager.” In Designing and Painting for the Theatre, 123. New York: Holt, Rinehart & Winston, 1975. There are two photographs of drawings of the stage designs for the premiere of The Ballad of Baby Doe.

Perkins, Francis D. “City Opera Puts on ‘The Ballad of Baby Doe.’ ” New York Herald Tribune, 24 March 1962, p. 6, col. 4. The article is a review of the 23 March performance. “The score’s generous array of tunes has a savor which is distinctly American and also suggests the atmosphere of the time and place of John Latouche’s libretto, and the music is set forth with continuity and flexibility; the orchestration has deftness and color, but the voices hold the foreground. The work is, indeed, a little too long and episodic, but its text is a remarkable accomplishment in presenting events in Colorado in a convincingly dramatic form.”

Perry, Richard. “Music: The Glory of Dawn.” Ottawa Citizen, 2 August 1998, sec. C, p. 13, cols. 1–4. This extensive review of Dawn Upshaw’s recording The World So Wide (Nonesuch 79458-2), on which she sings the Willow Song from The Ballad of Baby Doe, devotes three paragraphs to describing Moore’s music.

Pfeifer, Ellen. “Opera Review: Directors Deliver a Poignant ‘Ballad of Baby Doe.’ ” Boston Herald, 16 January 1998, sec. Scene, p. 20, cols. 1–5. The reviewer praises the directors of the Boston Lyric Opera production of The Ballad of Baby Doe. “Sharon Daniels . . . moves her cast around with skill and an obvious understanding of dramatic motivation,” while Susan “Davenny Wyner . . . brought a wonderful lilt to the dances, a poignant warmth and yielding quality to the serious arias and duets and accompanied her singers with a sensitivity that maybe only a fellow singer could supply.” The principal singers made a good ensemble, but individually they each had shortcomings. A photograph of a scene from the opera accompanies the article.

———. “Whatever Happened to Score of ‘Baby Doe’? Music.” Boston Herald, 12 January 1998, sec. Arts & Lifestyle, p. 33, col. 1, and p. 34. Conductors who have recently performed The Ballad of Baby Doe all agree that the score and parts currently available for performance are full of errors and discrepancies. Moore never supervised the publication of the score. A portrait of the Boston Lyric Opera conductor Susan Devenny Wyner accompanies the article.

Pitman, Frank. “Miner’s ‘Baby Doe’ Is Heroine of New Folk Opera Production: Ballad Follows Tragic Life of 1880’s Darling.” Providence Journal, 22 July 1956, sec. 6, p. 6, cols. 1–3. The article announces the premiere of the opera in Central City and gives particulars of the plot and cast. A photograph of a woman from Denver modeling Baby Doe’s jewelry and gown accompanies the article.

Ponick, T. L. “This Cloud Had a Silver Lining: The Washington Opera Has Revived the Improbable Story of Horace and ‘Baby Doe’ Tabor; ‘The Ballad of Baby Doe’ Includes Related Information.” Insight on the News, 10 February 1997. http://www.babydoe.org/ pdfs/ponick.pdf. Accessed 22 August 2009.

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[The Ballad of Baby Doe] The article examines the background of The Ballad of Baby Doe, which will be produced by the Washington Opera. The names of the principal performers are given, and the Washington Opera’s director, Plácido Domingo, considers it the “quintessential American opera.” The remainder of the article tells the story of the opera and the history of the Tabors.

Porter, Andrew. “Earthbound.” In Music of Three Seasons: 1974–1977, 354–55. New York: Farrar, Straus, Giroux, 1978. This review of performances of American operas is reprinted from the New Yorker of 10 May 1976.

———. “Musical Events: Earthbound.” New Yorker, 10 May 1976, 128. One paragraph of this review relates to the 1976 revival production of The Ballad of Baby Doe. Porter notes that the opera is a collection of folk dance tunes and “sentimental” ballads in a blatantly diatonic style, for which he does not fault the composer. The problem is that the opera is boring because of “the blandness of its melodies—cliché tunes accompanying, not bringing vividness and particularity to, a play that is itself a series of dramatic clichés.” In fact, the only memorable melody is Baby Doe’s final aria, where the “vocal line avoids any straight-forward tonic close but hovers again and again on silvery F  s, differently harmonized.” Good singing actors could have been convincing, but Richard Fredricks and Ruth Welting provided only “two-dimensional figures in a pasteboard setting.”

“Pre-Premiere Party: Top ‘Baby Doe’ Guests Feted.” Denver Post, 7 July 1956, p. 3, cols. 3–6. A party to celebrate the premiere of The Ballad of Baby Doe was held at the Brown Palace Hotel in Denver on 6 July and included actress Kim Novak, opera star Lily Pons, opera director Elemér Nagy, journalist Lucius Beebe, and numerous other reviewers. There is a quote by Beebe on the suitability of the Tabor story as the plot of an opera.

Rabb, Bernard P. “The Ballad of Baby Doe.” Musical America 82, no. 5 (May 1962): 24. This review of the New York City Opera performance of the opera on 23 March says that “it lacks creativity and an individual identity not to mention the almost adolescent simplicity of the score.” Beverly Sills and Frances Bible impressed the audience with their singing and acting, and William Chapman debuted as Horace effectively with good diction.

Rehberg, Karl. “Ballade von Baby Doe: Der erste Abend der Santa Fé Opera.” Berlin Telegraf, 28 September 1961, p. 12. The article is a review of the performances at the Santa Fe Opera 1961 summer season.

Reininghaus, Frieder. “Blind und unbelehrbar: ‘Die Blinden’ von Walter Zimmermann in Gelsenkirchen; ‘Baby Doe’ von Douglas Moore in Bielefeld.” Neue Zeitschrift für Musik 147, nos. 7–8 (July–August 1986): 57–58. The review of the Bielefeld production of The Ballad of Baby Doe begins with biographical information about Moore, which is followed by a lengthy synopsis of the opera. The music contains elements of boogie-woogie, country music, waltzes, the romanticism of Rubinstein or Tchaikovsky, Italian verismo, and touches of the Broadway musicals of Weill and Bernstein.

Rhein, John von. “New Season: Chicago Opera to Premiere Berlioz Work Featuring Kristine Jepson.” Chicago Tribune, 27 January 1994, sec. 5, p. 10, col. 4. This is an announcement for the Chicago Opera Theater’s season, which includes The Ballad of Baby Doe. The dates and casting are included, as is a photograph of Mignon Dunn, who is to play the part of Augusta.

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[The Ballad of Baby Doe] “Reporters, Stars Arrive for Baby Doe Premiere.” Denver Post, 7 July 1956, p. 3, cols. 3–6. Two captioned photographs from the party at the Brown Palace Hotel show Lily Pons and Kim Novak celebrating the premiere of The Ballad of Baby Doe.

“Riders Start 50-Mile Trek to See Central City Opera.” Denver Rocky Mountain News, 5 July 1956, p. 14, cols. 1–2. Twenty riders are traveling on horseback from Grand Lake, Colorado, to Central City to attend performances of Tosca and The Ballad of Baby Doe. Ten of the riders are children.

“ ‘Rigoletto’ to Open City Opera’s Season.” New York Times, 3 May 1969, p. 38, cols. 4–5. The Ballad of Baby Doe is one of the operas to be given this season by the New York City Opera.

Rockwell, John. “Music Review: ‘Baby Doe’ at Cal State L.A.” Los Angeles Times, 30 May 1970, sec. 2, p. 9, cols. 3–6. This production of The Ballad of Baby Doe proved to be too ambitious for students to mount. Although it was well rehearsed, the principal roles require strong professional singers, which were not present. The staging and orchestra were also weak. Despite the shortcomings of the performance, “and for all of the work’s periodic banality, its historical basis is superbly dramatic, and Moore and his librettist manage to come forth just often enough with passages of genuine dramatic and musical inspiration.”

Rogers, Emmy Brady. “Baby Doe and Fledermaus Highlight Central City Opera.” Musical America 79, no. 9 (August 1959): 35. This review of the 1959 season of the Central City Opera praises the production and cast. It notes that there were some changes to the score, including cuts and the addition of the gambling scene. All of the principal performers are mentioned, but Martha Lipton is singled out for her extraordinary performance as Augusta.

———. “Moore Opera Has Premiere at Central City: ‘Ballad of Baby Doe’ Has Local Setting; ‘Tosca’ Alternating in Repertoire.” Musical America 76, no. 10 (August 1956): 3. The premiere production of The Ballad of Baby Doe was the highlight of the Central City Opera Company. The best music of the opera was written for its most dramatic character, Augusta Tabor, which was sung with “tremendous impact” by Martha Lipton and Frances Bible. The music for Baby Doe and Horace is less memorable. Overall, the music “is colorful, yet unobtrusive, and catches the era’s atmosphere with a mixture of nostalgia and rugged harmonies.” All other aspects of the production were well done, including the staging, the set design, and the orchestral playing.

Rogers, Harold. “ ‘Ballad of Baby Doe’ in Colorado: Opera by Douglas Moore in Central City Première.” Christian Science Monitor, 14 July 1956, p. 10, cols. 1–4. The article reviews the premiere extensively with two photographs from the production. “Dr. Moore’s score is not the least modern, in a dissonant sense, but nostalgic like the sentimental calendar art of the period. It pulses with the vitality of the mining camp; it is filled with melodic arabesques like penmanship drawings of the Victorian era; it quotes discreetly from ballads and barroom songs of the roaring West.”

Rosenberg, Donald. “Unburied Treasures: Record Companies Dig Deeper for Unheralded Operatic Works.” Cleveland Plain Dealer, 14 December 1997, sec. I, p. 5, cols. 1–6. The last paragraph of this article reviews the recording of The Ballad of Baby Doe on Newport Classic and gives high marks to the cast and conductor.

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[The Ballad of Baby Doe] Ruhe, Pierre. “Music Review: ‘The Ballad of Baby Doe’ Is Both Boom and Bust.” Baltimore Sun, 20 January 1997, sec. D, p. 4, cols. 5–6. This is a less than flattering review of Washington Opera’s production of The Ballad of Baby Doe. Elisabeth Comeaux’s high notes are not up to what is required. Keith Lockhart’s direction did not produce a cohesive ensemble from the orchestra. The reviewer says that “Moore doesn’t develop [the melodies] sufficiently, and he seems to lack the innate know-how to modulate into the key that would ratchet up the tension, thus giving full emotional expression to the drama. The extremes in the plot are flattened out musically, leaving us with a very friendly if overly mild-mannered folklike idiom.”

*Russell, Smith. “ ‘Ballad of Baby Doe’ Enjoyable.” Music of the West Magazine 16, no. 5 (January 1961): 13. The reviewer concludes that The Ballad of Baby Doe deserves a place in the operatic repertoire despite being “episodic.” In this production by the University of Southern California Opera Theater on 9 December, the best singing came from Sharon Bliss in the role of Augusta and Orville White as Horace. The role of Baby Doe was beyond the vocal talents of Emily McKnight.

S., D. “Hronika muzickog zivota: Beograd; Stravinski u Beogradu; Gostovanje opere Santa Fe iz sad.” Zvuk no. 51 (1961): 113–15. The last two paragraphs of this review recount the Belgrade performance of The Ballad of Baby Doe during the European tour of the Santa Fe Opera.

Salzman, Eric. “Baby Doe and Regina.” New York Times, 8 November 1959, sec. 2, p. 12, cols. 3–4. This is a review of the premiere recording of The Ballad of Baby Doe on M-G-M records by the New York City Opera. The music and libretto are discussed in some detail. The libretto is compared to a folk ballad, where real-life events are chronicled into a poetic epic. Moore’s score contains many elements imitative of folk tunes and nineteenth-century parlor music but still manages to maintain an element of contemporary symphonic language. The melodies sung by “the various characters are not only suited to their personalities but also are imbedded in a continuous flow within each scene. There are almost no real ensembles. Duets, trios and even choruses have the quality of dialogues with the musical lines passing from one singer or one group of singers to another.” The cast in the recording “not only projects everything with great clarity but also is able to define every role and every dramatic nuance down to the very tiniest. These characters live and breathe with all the intensity that they must have had in real life.”

———. “ ‘Baby Doe’ Sung at City Center: American Opera Returns for Second Season; Frances Bible Portrays Augusta.” New York Times, 4 April 1959, p. 13, col. 6. The Ballad of Baby Doe continues to find success at the New York City Opera. The libretto is just right for today’s audiences. The score “never gets in the way (it is thought [through] nearly exclusively in terms of the voice) and often underlines and uplifts the way music for the theatre ought to. On a rehearing the music remains unpretentious, concealing a good deal of skill and wisdom.” The cast is strong, with an especially good performance from Frances Bible as Augusta.

———. “The World of Music: Santa Fe Opera Played Belgrade Not Poland.” New York Times, 11 October 1961, sec. 2, p. 11, cols. 5–6. The tour of the Santa Fe Opera to Eastern Europe experienced various problems owing to political differences with the West. Performances in Warsaw and Prague were canceled. The performance in West

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[The Ballad of Baby Doe] Berlin was plagued by a lack of experienced stage personnel, who lived in East Berlin, and by difficulties in securing a grand piano, which was critical to the performance of the Stravinsky works on the program. The audience reception was enthusiastic, although The Ballad of Baby Doe “did not prove to be a completely successful export.”

Sargeant, Winthrop. “Musical Events: Bonanza.” New Yorker, 12 April 1958, 70–72. This glowing review of the New York premiere of The Ballad of Baby Doe considers the work to be a revolution in opera, because it is “a sort of declaration of independence—independence from all the fashionable highbrow fiddle-faddle and mysterious technical mumbo-jumbo that during the past forty years have tended to reduce the art of opera to a feeble caricature of itself.” The libretto is well crafted and allows for character development. Every aspect of the performance and the work is praised and can be summarized as “a completely enchanting work of art—one that points to a bright future in which people will attend contemporary opera not out of a grim sense of cultural duty but simply because it is so infectious that they can’t bear to stay away from it.”

———. “Musical Events: Survival of the Fittest.” New Yorker, 11 May 1963, 150–52. In this review of the revival of The Ballad of Baby Doe by the New York City Opera, Sargeant claims to have little new to say about the work. He considers it to be a “modest masterpiece.” Most of the article is devoted to his opinion that modern music has strayed from the path by abandoning tonal music. He finds the music of the past and particularly the music of the nineteenth century, although considered old fashioned, still valuable and in demand by most audiences.

Satz, Arthur. “New York City Opera: The Ballad of Baby Doe (April 5).” High Fidelity/Musical America 19, no. 6 (June 1969): MA-13. In this performance, the soprano Marylyn Mulvey assumes the role of Baby Doe. Although her phrasing, intonation, and stage presence serve her well in the role, she does not sing loudly enough even to be audible, not to mention balancing with the orchestra and other voices.

“SC Opera to Present American ‘Baby Doe.’ ” Los Angeles Times, 27 November 1960, sec. Calendar, p. 24, cols. 1–2. The article announces the performances of the University of Southern California Opera Theater on 3, 9, and 11 December of The Ballad of Baby Doe. A listing of the cast and a photograph of the conductor, Walter Ducloux, are included.

“SC to Stage ‘Baby Doe.’ ” Los Angeles Times, 25 September 1960, sec. Calendar, p. 24, col. 4. The opera will be produced at the University of Southern California with the conductor Walter Ducloux.

Schonberg, Harold C. “Ruth Kobart in Debut: Sings Role of Augusta in ‘The Ballad of Baby Doe’ Here.” New York Times, 12 April 1958, p. 13, col. 6. In her New York City Opera debut in the role of Augusta, Ruth Kobart “sang clearly and accurately, her enunciation was first-rate, and she made the most of her solo opportunities.”

S[hanley], J. P. “Part of ‘Ballad of Baby Doe’ on ‘Omnibus.’ ” New York Times, 11 February 1957, p. 53, cols. 2–3. An abridged version of The Ballad of Baby Doe was broadcast on the Omnibus television series on 10 February. Alistair Cooke’s introductory summary filled in the portions that were cut from the broadcast. The music was “impressively sung . . . but the libretto by the late John Latouche appeared sketchy and incomplete.”

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[The Ballad of Baby Doe] Shengold, David. “In Review: From Around the World; North America; Central City, CO.” Opera News, October 2006, 51–52. The article is a review of the fiftieth-anniversary production of The Ballad of Baby Doe at Central City, specifically the 15 July matinée. The reviewer praises every aspect of the production: staging, orchestra, direction, and singers. Joanna Mongiardo “came up aces: petite, with a theater-filling smile, she radiated warmth through her unforced, pearly-fresh timbre.” Jake Gardner had to be replaced, due to illness, by Jason Richard Plourde in the second act, but Plourde “finished the show with dignity and strong sound.” Robert Orth was later cast in the part for the remainder of the performances. Joyce Castle, the one veteran singer, “made a magnificent Augusta, her three-dimensional characterization marked by superb timing, crystalline diction and sovereign phrasing.” The article is accompanied by a color photograph of Castle and Mongiardo.

Sherman, Robert. “ ‘Ballad of Baby Doe’ Renews Its Welcome.” New York Times, 6 October 1969, p. 57, cols. 3–4. At the New York City Opera The Ballad of Baby Doe was well received once again. The excellent performance starred William Chapman, who was “stolid and vocally commanding” as Horace. Anne Elgar as Baby Doe sang with “lightness and charm,” and the “most touching of all” was Frances Bible as Augusta.

———. “Music: An American Epic of Love and Loss.” New York Times, 2 March 1997, sec. 13CN, p. 8, col. 4. The article announces the Connecticut Opera performance of The Ballad of Baby Doe on 6 and 8 March.

Short, Don. “Travel and Resorts: Opera Season in the Rockies.” New York Journal-American, 15 July 1956, sec. 1, p. 20, cols. 1–2. The author describes the events surrounding the premiere of The Ballad of Baby Doe in a highly engaging writing style. He mentions the celebrities who were present, the Pony Express race, and the Colorado governor’s arrival by helicopter. Also, he gives a brief synopsis of the story of the opera.

Shulgold, Marc. “Cover Story: In the Real Story, Melodrama’s Built In.” Denver Rocky Mountain News, 28 June 1996, sec. D, p. 11, cols. 1–2. The article summarizes the historical events behind the plot of The Ballad of Baby Doe.

———. “Return of a Colorado Classic: Central City Opera Dusts ‘Ballad of Baby Doe’ 40 Years After Premiere.” Denver Rocky Mountain News, 28 June 1996, sec. D, pp. 10–11. The article includes quotes from interviews with soprano Jan Grissom, who plays the part of Baby Doe, and director Michael Ehrman about the upcoming production of The Ballad of Baby Doe by the Central City Opera. Although other members of the cast have performed the work in Colorado before, this is Grissom’s debut in Central City, and she tells how she prepared for the performance. Other changes in the production are mentioned, particularly the new scenery and how it will affect the performance. Color photographs accompany the article.

Simmons, Walter. “American Girl.” Fanfare 7, no. 4 (March–April 1984): 293–94. The article is a review of a recording (EB-SKO 1007) of American opera arias by the soprano HelenKay Eberley. The disc is praised for the selection of repertoire except for the arias by Moore, which are characterized as “simple-minded” and “obviously inferior.” The soprano’s performance is judged “adequate,” and the pianist, Donald Isaak, “provides satisfactory piano accompaniment.”

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[The Ballad of Baby Doe] Smith, Jeffrey C. “In Review: From Around the World; Indianapolis.” Opera News, September 1994, 62–63. The 15 April staging of The Ballad of Baby Doe by the Indianapolis Opera gets a first-rate review.

Smith, Ken. “Voices from the Past Make Their Presence Felt: Baby Doe’s Success.” Billboard, 4 September 1999, 52. The article notes the reissue of the 1958 Deutsche Grammophon recording of The Ballad of Baby Doe with Beverly Sills and the New York City Opera. The recording appeared on Billboard’s Top Classical Albums chart, which is unusual for a reissue and an opera recording.

Smith, Norman. “New Operatic Venture.” Canon 10, no. 5 (December 1956): 187. The author reports on the premiere of The Ballad of Baby Doe at Central City, which he considers to be a “work of great distinction.” Both the critics and the audiences were enthusiastic about the work.

S[mith], P[atrick] J. “Recordings: Moore: ‘The Ballad of Baby Doe.’ ” Opera News, 8 February 1997, 40. In this review of the release on Newport Classic (85593), “the title role is well characterized musically throughout, and her final scene joins librettist John Latouche’s finest verse with Moore’s most winning inspiration. The composer also brings Horace Tabor memorably to life; his major failure is with Tabor’s abandoned wife, Augusta. Her Act III soliloquy, which could have been overwhelmingly poignant, lies flat onstage—less scene than weakly enhanced recitative.” The cast, assembled from a recent Central City Opera engagement, sings well throughout.

Smith, Robert. “ ‘Baby Doe’ Proves to Be Rich Strike.” Denver Rocky Mountain News, 9 July 1956, p. 8, cols. 2–5. The second performance of The Ballad of Baby Doe on 8 July at Central City was performed to a standing-room-only audience. This rave review comments positively on every member of the alternate cast and also on the directors and producers.

———. “ ‘Ballad of Baby Doe’ Is Smash Hit: First-Nighters Cheer.” Denver Rocky Mountain News, 8 July 1956, p. 12, cols. 1–5. This rave review of the premiere at Central City believes that the “magnificent score brings out the humor, drama and pathos to the fullest degree. There are no unnecessary folderols, no musical gymnastics merely for exercise.” The reviewer comments positively on every member of the cast and production and concludes that “Saturday night’s premiere was one where everything came off simultaneously, and made a thrilling performance. Costumes, sets, settings and lighting were beautiful, brilliant and at times most daring.”

S[nyder], L[ouis]. “Weekend Concert Roundup: Miss Kobart Saves the Day.” New York Herald Tribune, 8 March 1965, p. 13, col. 1. The article is a review of the 7 March performance, in which both Claramae Turner and her cover were ill. Ruth Kobart took the honors.

“Soprano in Concert.” Indianapolis Star, 5 December 1998, sec. E, p. 5, cols. 1–2. A concert by Bettina Zaneteas, who sings an aria from The Ballad of Baby Doe, will be given on 12 December 1998 in Indianapolis.

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[The Ballad of Baby Doe] “South Mountain First.” Berkshire Eagle, 7 October 1957, p. 8, cols. 1–8. The column consists of three captioned photographs of dignitaries associated with the South Mountain concert performance of The Ballad of Baby Doe in Pittsfield, Massachusetts, on 6 October.

Steane, John B. “Moore, The Ballad of Baby Doe.” Gramophone 54, no. 638 (July 1976): 206, 211. The article reviews the 1958 recording reissued in 1976 on Deutsche Grammophon (2709 061). It is praised for the tunefulness of the music but criticized for the opera’s sentimentalism.

Storrer, William Allin. “Bloomington.” Opera [London] 27, no. 7 (July 1976): 651. The article is a one-paragraph review of the Indiana University Opera production of The Ballad of Baby Doe on 13 March 1976. The performance “was a potential rival to the famous City Centre premiere.” Constance Fee projected “pathos” as Augusta; Nicholas di Toro “was a solid Tabor”; but Edith Vannerette, who resembles Beverly Sills, was not able to project the climactic aria.

———. “World Reports: ‘The Turn of the Screw’ in Boston.” Opera (London) 12, no. 19 (October 1961): 648–49. The second paragraph of this review concerns the Boston Arts Festival performance of The Ballad of Baby Doe by the New York City Opera. The highest praise goes to Chester Ludgin (Horace), Frances Bible (Augusta), and Doris Yarick (Baby Doe) for their convincing performances. While Julius Rudel receives accolades for his “sympathetic insight into the minutest details of the score,” John Howell is berated for “much ineffective staging.”

Strongin, Theodore. “City Opera Moves Doe North; Other Events.” New York Times, 28 February 1966, p. 20, cols. 1–2. In this first performance of The Ballad of Baby Doe by the New York City Opera in the new Lincoln Center on 27 February, “the pleasure of hearing it . . . , equaled that of seeing it.” All of the principals (Beverly Sills, Walter Cassel, Frances Bible, and Muriel Greenspon) draw praise for their singing and acting, though not always for their enunciation. There is a photograph of Beverly Sills as Baby Doe.

Sullivan, Mark. “Reviews & Previews: On Stage: The Ballad of Baby Doe (City Opera, New York); Lulu (Metropolitan Opera, New York).” Billboard, 12 May 2001, 47. The reviewer likes the performances of the cast but thinks the opera is something of “a musty museum piece still smelling of mothballs.” Moore’s music fails to heighten the drama of the story, settling for “a series of old-fashioned arias and duets,” with a stilted libretto by John Latouche making the opera more “an operetta clad in cowboy boots.”

“Sunday ‘Central City Day’ on TV: ‘Baby Doe,’ ‘The Lark’ Debut at the Same Hour.” Denver Post, 10 February 1957, sec. Sunday Denver Post TV and Radio Roundup, p. 15. The article announces the broadcast of The Ballad of Baby Doe on the CBS television series Omnibus. A photograph of William Johnson (Horace), Virginia Copeland (Baby Doe), and Martha Lipton (Augusta) accompanies the article.

Swed, Mark. “Five Sopranos Singing.” Los Angeles Times, 17 May 1998, sec. Calendar, p. 56, col. 6. Swed gives Dawn Upshaw’s recording The World So Wide, which includes an aria by Moore, a threeand-a-half-star rating (out of four).

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[The Ballad of Baby Doe] T., L. “ ‘Omnibus’ Shows Moore Opera.” New York Herald Tribune, 11 February 1957, sec. 1, p. 14, col. 1. The reviewer considers the television production of The Ballad of Baby Doe broadcast on 10 February to have been “stunning” and indicative of “TVs adaptability to the demands of opera.” The cast is given high praise, as is the writing of the composer and librettist.

Tajiri, Larry. “The Spectator: ‘Baby Doe’ at Santa Fe.” Denver Post, 25 July 1961, p. 31, cols. 1–2. The author reviews the standing-room-only performances at Santa Fe.

———. “The Spectator: ‘Baby Doe’ to Go Abroad.” Denver Post, 5 April 1961, p. 38, col. 1. The article announces that The Ballad of Baby Doe will be presented by the Santa Fe Opera in the summer of 1961. It will be included in the company’s tour to Europe.

“Tales of Love Tinged with Tragedy on Tap: ‘The Ballad of Baby Doe.’ ” New Orleans TimesPicayune, 14 March 1999, sec. E, p. 4, cols. 4–6. This announcement of the New Orleans Opera’s fifty-sixth season includes The Ballad of Baby Doe as one of four operas to be presented.

Taubman, Howard. “ ‘Baby Doe’ Out West: Moore-Latouche Opera: A Colorado Natural.” New York Times, 15 July 1956, sec. 2, p. 7, cols. 1–2. Taubman sets the scene by describing the natural setting of the Central City Opera House in the Rockies. After giving a brief synopsis of The Ballad of Baby Doe, he finds Moore’s music to be “at its best in its genre moods, although he has given Augusta’s part some depth.” Because of its largely conventional, diatonic harmonic language, the music does not depict the roughness of the Wild West. The role of Augusta impresses Taubman, who feels that this character is the only thing that gives the opera “artistic stature.” Overall, the opera is a credit to Central City and Colorado.

———. “Music: ‘Baby Doe’ Back: Ballad of Old West Is at City Center.” New York Times, 10 October 1958, p. 35, cols. 1–2. The Ballad of Baby Doe is added to the regular repertoire of the New York City Opera after its debut season as part of a series of American operas. Moore’s music is described as direct, modest, and full of tunes. The production compares favorably to efforts by even the best of European opera houses. The cast fulfills its obligations well. Taubman concludes by saying, “If you are not bent on a masterpiece every time you pay your way into an opera house, the Moore-Latouche effort will provide you with a cheerful, sentimental evening.”

———. “Opera: ‘Baby Doe’ Here.” New York Times, 4 April 1958, p. 19, cols. 1–2. This is a review of the New York premiere and includes a complete listing of the cast and a photograph from the production. “The score makes no attempt to pursue advanced techniques. It is full of tunes; it seeks to sing at all times. Mr. Moore’s lyric gift may not be distinguished, but it is fertile and resourceful. In jubilation or sorrow it scales no heights. But it provides scenes of atmosphere and feeling. It serves the story well enough to cause it to hold the interest firmly.” The performance of the cast is praised. A photograph from the production accompanies the article.

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[The Ballad of Baby Doe] ———. “Opera: Rooted in West; ‘Ballad of Baby Doe’ Sung in Colorado.” New York Times, 9 July 1956, p. 26, col. 5. This is a review of the premiere of The Ballad of Baby Doe by Central City Opera on 7 July. The reviewer sees the opera as “a tender sentimental evocation of the past, with the character of Augusta providing the redeeming bite that gives it dimension as art.” Moore’s conservative musical language and gift for diatonic melody are noted. The stage production is imaginative in its use of period costumes and sets, with the projection of historical photographs lending a special touch. The cast has strong singers, especially Martha Lipton as Augusta. The article is accompanied by a portrait of Lipton.

Taylor, Robert. “ ‘Ballad of Baby Doe’: Festival Opener Gaudy, Exhilarating.” Boston Herald, 9 June 1961, p. 10, cols. 3–5. The author reviews the Boston Arts Festival performance by the New York City Opera on 8 June. “Mr. Moore creates music that is modern in the idiom of the camp-meeting, the fancy ball, the political rally—the grass-roots of our musical lore. There are no outstanding arias immediately accessible; but on the other hand, the score is of singular beauty throughout and written to suggest both the familiar and the new.”

“Television This Week: Of Special Interest.” New York Times, 18 April 1976, sec. 2, p. 29, col. 2. The listing for Wednesday, 21 April, includes the live performance of The Ballad of Baby Doe by the New York City Opera on WNET, with a stereo simulcast on WQXR.

“Theatre Calendar: Opera.” New Orleans Times-Picayune, 19 November 1999, sec. Lagniappe, p. 29, cols. 3–4. The article announces the opening performance of The Ballad of Baby Doe at the New Orleans Opera on 20 November 1999.

Thomas, Dick. “ ‘Baby Doe’ Company Visits True Locale.” Denver Post, 19 July 1966, p. 52. The cast of the Central City production visits Leadville in costume. The full-page article contains five photographs of them in various places in the city where the action of the opera takes place.

Thorpe, Day. “News of Opera: ‘Ballad of Baby Doe’ First of Two Novelties.” Washington Evening Star, 28 February 1960, sec. H, p. 14, cols. 1–2. The article announces the performance on 28 February by the New York City Opera at the Kennedy Center of The Ballad of Baby Doe. The plot is summarized, and there is a picture of Beverly Sills as Baby Doe.

“Three Metropolitan Artists Will Star in Baby Doe Opera.” Denver Rocky Mountain News, 5 July 1956, p. 14, cols. 1–3. The cast for the premiere of The Ballad of Baby Doe at Central City is announced. Portraits of Walter Cassel (Horace), Martha Lipton (Augusta), and Dolores Wilson (Baby Doe) are included in the article.

“Ticket Demand High for ‘Baby Doe’ Opera.” Denver Post, 3 July 1956, p. 19, cols. 3–4. The article reports that almost all of the tickets have been sold. A photograph of Moore looking at the score with Walter Cassel, Dolores Wilson, and Emerson Buckley accompanies the article.

“Tickets Can Fit Tastes, Needs of Recipients.” Seattle Times, 12 December 1991, sec. C, p. 7. The article suggests getting tickets to the Seattle Opera’s production of The Ballad of Baby Doe for 18–20 January as a holiday present for opera buffs.

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[The Ballad of Baby Doe] Todd, Geraldine. “Leyna Gabriele: ‘Baby Doe’ Star Feels Opera Will Broaden Music Scope.” Palo Alto Times, 23 May 1957, p. 13, cols. 4–5. This is a brief interview with the lead singer in the Stanford University production of the opera. She enjoys singing opera in English and is making a career in singing American operas. A photograph of her accompanies the article.

Tommasini, Anthony. “A Smorgasbord of Styles (Even Puccini’s).” New York Times, 25 January 1997, p. 13, col. 3, and p. 24. The article is a review of the Washington Opera production of The Ballad of Baby Doe with Elisabeth Comeaux and Richard Stilwell. The performances by Comeaux and Stilwell were acted well, yet both show some vocal limitations. Phyllis Pancella had a rich voice and a commanding presence as Augusta. The orchestra and stage direction contributed nicely to the opera, but the scenery detracted from some of the scenes. The reviewer believes that “Moore was a skilled theater man who knew things about dramatic pacing, text setting and theatrical effects, and with his librettist, John Latouche, he created beguiling operatic characters.”

Toms, John. “Reports: U.S.: Tulsa.” Opera News, May 1976, 40–41. The 11 March performance of The Ballad of Baby Doe was handled well, “for the solos and duets awarded musical satisfaction, and as for the overall tenor of the performance, conductor Judith Somogi’s firm hand brought about a distinct cohesiveness, with top cooperation from director Patrick Bakman.” Jean Kraft as Augusta had the best voice of the principals, while Constanza Cuccaro as Baby Doe and John Reardon as Horace have voices that are still young and undeveloped.

“Top U.S. Critics to Attend ‘Baby Doe’ Debut Saturday.” Denver Rocky Mountain News, 6 July 1956, p. 18, cols. 2–3. The article lists the reviewers who will be attending the premiere of The Ballad of Baby Doe at Central City.

“Travel: Central City Celebrates Its Silver Jubilee.” San Francisco Examiner, 8 July 1956, sec. 3, p. 18, cols. 1–4. The article is an announcement of the opening of The Ballad of Baby Doe in the twenty-fifth-anniversary season of the Central City Opera. Basic information is given such as the cast, composer, and librettist.

Trimble, Lester. “Music.” Nation, 3 May 1958, 398–99. This is a review of the opera season of the New York City Opera, funded by the Ford Foundation to give American composers an opportunity to have operas performed by a major operatic company. The season included The Ballad of Baby Doe. The high point of the opera is achieved in the characterization of Augusta, which allows the composer to enhance the drama through the use of extended song. The action does have slow points, which the reviewer feels could be modified or removed, but “just as it stands, it is real, lusty, bona fide opera.”

Tucker, Dan. “Jealousy, Politics: A Potent Formula for ‘Baby Doe.’ ” Chicago Tribune, 23 May 1994, sec. Arts Plus, p. 14, col. 5. The production by the Chicago Opera Theater of The Ballad of Baby Doe was successful artistically and economically, as it brought the company out of debt. It was “a peppy, imaginative performance in which all the performers seem to relish what they’re doing.” Chris Owens does not have a big voice, but he “uses it to ringing, dramatic effect,” while Carol Gale’s voice “had the combined strength and

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[The Ballad of Baby Doe] lightness of Mylar.” Moore’s music “does not have show-stopping tunes (though one or two come close), but the music follows the story with the liveliness and flexibility of a shadow.” The article is accompanied by a photograph of Carol Gale as Baby Doe. In the Chicagoland North edition the article is titled: “A Tale of Ruin: ‘Baby Doe’ Nimbly Mixes Stories of Jealousy and Politics.”

Turner, Robert. “Five American Operas.” Canadian Music Journal 4, no. 2 (Winter 1960): 44–51. The discussion of The Ballad of Baby Doe occurs on the last two pages of this review of recordings of new American operas. The recording of this work on MGM (3 GC-1) was not released in Canada, so the reviewer based his comments on a study of the vocal score. Following a brief synopsis of the opera, the characters and music are examined. Moore’s conservative musical style is augmented with folklike and popular melodies of the 1890s and also with hints of more modern devices such as bitonality and a slow blues. Although there are a few shortcomings, “it is a work that combines, within a clear and controlled formal structure, a stirring and poetic text with equally fresh and moving music.”

Turok, Paul. “Buried Treasure.” Music Journal 34, no. 9 (November 1976): 44. This article discusses reissues of little-known but important performances. The only sentence in the article concerning Moore’s music is: “Or the decades-old recording of Douglas Moore’s rather anemic Ballad of Baby Doe reissued [Deutsche Grammophon 2709 06, 3 LPs] if a young singer named Beverly Sills hadn’t appeared in the title role.”

Ulrich, Allan. “Opera Around the World: America Brave but Muddled; San Francisco.” Opera 52, no. 3 (March 2001): 329–31. The San Francisco Opera’s production of The Ballad of Baby Doe disappointed the reviewer in every respect. The libretto and plot are likened to a historical charade, with cameo appearances by Chester Arthur and William Jennings Bryan. The second act is a dream sequence for Horace Tabor reminiscent of Scrooge’s as he watches his life flash before his eyes. The character of Augusta, played by Judith Forst, captured the sympathies of the aud\ience more than did Ruth Ann Swenson’s Baby Doe, and James Morris was a “Tabor in the wooden Howard Keel manner.” Colin Graham’s production could not handle the dream sequence; the orchestra covered up the singers; and the sets “suggested impermanence.”

Van Sant, J. A. “USA: In Review; San Francisco Opera; Luisa Miller, Verdi; The Ballad of Baby Doe, Moore; War Memorial Opera House.” Opera Now, no. 1 (January–February 2001): 48. The article provides a mixed review of the fall 2000 production in San Francisco. The musical score, “seemingly so ‘new’ when first heard, now has an almost academic air about it. Professor Moore . . . wrote with elegance and imagination, yet his score seems light[,] almost an operetta at times.” Colin Graham’s production is criticized for being too English—missing the feel of the Wild West. However, the performance of Ruth Ann Swenson (Baby Doe) was “insouciant and dashing; her high piano tones [were] ravishing,” while Judith Forst (Augusta) “was touching . . . , singing strongly and making a sympathetic figure of Horace’s jilted wife.” James Morris (Horace) was miscast, seeming “a caricature, lacking sympathy and warmth.”

“ ‘Voice’ Broadcasts U.S. Opera.” New York Times, 28 August 1956, p. 55, col. 3. The Ballad of Baby Doe is to be broadcast to Europe over the Voice of America in ten serialized segments starting on 27 August. It is expected to open on Broadway in the fall.

Voorhees, John. “Look and Listen: Stars Shine Big, Bright, Deep in Heart of Colo.” Seattle Post-Intelligencer, 8 July 1956, sec. Pictorial, p. 7, cols. 1–2. The article informs Seattle readers of three festivals in Colorado, including one in Central City, where the premiere of The Ballad of Baby Doe will be staged.

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[The Ballad of Baby Doe] Wagner, Rainer. “Panorama: San Francisco; Heggie, Dead Man Walking; Moore, The Ballad of Baby Doe.” Opernwelt 41, no. 12 (December 2000): 42–43. The review praises the production of the San Francisco Opera and especially the performances of James Morris (Horace) and Ruth Ann Swenson (Baby Doe). Colin Graham also receives good marks for the imaginative sets.

Walsh, Mike. “Debuts & Reappearances: Chautauqua; Chautauqua Opera; ‘Baby Doe.’ ” High Fidelity/Musical America 26, no. 10 (October 1976): MA17–18. The article is a review of the performances by the Chautauqua Opera on 2 and 5 July 1976. The opera suffers dramatically because the libretto is weakened by the absence of a true villain, but the music carries the interest. Good performances by the singers.

Ward, Charles. “UH Does Good Job with ‘Baby Doe.’ ” Houston Chronicle, 23 April 1996, sec. D, p. 3, cols. 2–4. The reviewer sees a parallel between the economic politics of 1896 in the battle between the gold and silver standards and the debate a hundred years later over the North American Free Trade Agreement. In The Ballad of Baby Doe the political struggle is the backdrop for the tragic romantic triangle of the main characters. The difficulties of a plot that tries to span twenty years were handled convincingly in this production, and the directors compensated for the varying abilities of the student performers.

Ward, David. “48 Hours in . . . the Rockies: Things to Do in Denver to Make You Feel Alive; Pioneers Overlanded Here Slowly and Riskily to Prospect for Gold and Silver in the Hills; Now Skiers Can Get to the Resorts in a Few Hours on a New Direct Flight from Gatwick; But Denver’s More than Just a Shuttle Stop to the Slopes.” Guardian, 29 August 1998, sec. Travel, p. 10, cols. 1–5. The article mentions several unusual facts about Denver, briefly recounts the story of the Tabors, and mentions the opera. A map of downtown Denver accompanies the article.

Warriner, Anne. “The Arts in Denver: The Ballad of Baby Buck.” Cervi’s Rocky Mountain Journal, 20 July 1966, p. 40, cols. 3–5. The article informs readers about the current performances of the opera at Central City and gives information on each of the major cast members. The music is “more florid than [Moore’s] new ‘Carrie [sic] Nation’ opera[,] which is distinguished for being spare.”

Watt, Douglas. “ ‘Baby Doe’ Fine American Opera.” New York Daily News, 4 April 1958, p. 43, cols. 1–2. A review of the New York premiere of The Ballad of Baby Doe considers it a success. The music “has underscored the vulgarity of the period (1880–99) with much rousing music and has risen to the emotional scenes with fine romantic fervor.”

Webster, Daniel. “New Recordings: Classical.” Philadelphia Inquirer, 23 February 1997, sec. F, p. 10, cols. 3–4. The article reviews recordings of The Ballad of Baby Doe (Newport Classic NPD 85593) and The Devil and Daniel Webster (Newport Classic 85585). Both receive praise as quality operas with strong performances from most of the singers. Photographs of the CD covers accompany the article.

Weinstock, H. “America: New York: ‘A Genuine Hit.’ ” Opera 20, no. 6 (June 1969): [496]–97. This review of the 13 March revival of The Ballad of Baby Doe by the New York City Opera is given less than high marks. Two of the principal singers (Anne Elgar as Baby Doe and Chester Ludgin as Horace)

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[The Ballad of Baby Doe] are accused of faulty diction, are victims of bad casting, and their voices are not well matched to the vocal ranges of the parts. However, Muriel Greenspon as Augusta received multiple curtain calls for her performance. The reviewer has little sympathy for the opera. He will be “delighted when no opera is presented solely because it is ‘American,’ which too often means, as in this instance, cosily folksy, simple-minded, and artistically empty.”

“What’s Up: Gift a Day; Sound of Summer.” Denver Post, 19 November 1996, sec. E, p. 1, col. 1. The recording of The Ballad of Baby Doe by the Central City Opera with the cast from the 1996 production is announced.

“What’s Up: Music; Opera Crazy.” Denver Post, 25 July 1996, sec. E, p. 1, col. 1. The recording session of the Central City Opera’s 1996 production of The Ballad of Baby Doe for Bridge Recordings is announced.

White, Michael. “The Critics: Records; Classical.” London Independent, 5 July 1998, sec. 2, p. 8, cols. 5–6. The review of Dawn Upshaw’s recording on Nonesuch, The World So Wide, which includes a song by Moore, describes her singing as “superlatively sensitive and lovely.”

“Who Makes Music and Where.” New York Times, 29 October 1967, sec. 2, p. 18, cols. 6–8. A concert version of The Ballad of Baby Doe is to be presented today at the Goddard-Riverside Community Center at the Sol Bloom School in New York.

“Windsor Hotel among 10 Settings: Colorful Sets and Costumes Make ‘Baby Doe’ Outstanding.” Denver Rocky Mountain News, 6 July 1956, p. 18, cols. 1–3. The costumes and sets for the premiere of The Ballad of Baby Doe are the most elaborate in the history of the Central City Opera, costing more than $30,000. The sets accurately reproduce the historic locations in the opera. Various celebratory events precede the event. A photograph of Beatrice Krebs (Mama McCourt) and Joseph Folmer (various roles) accompanies the article.

“With Metropolitan Performers: ‘Ballad of Baby Doe’ Opera ‘a Smash Hit’ in Colorado.” New York Herald Tribune, 9 July 1956, sec. 1, p. 9, cols. 3–4. The review of the premiere at Central City reports that local papers concluded the opera was a “smash hit.”

Wolters, Larry. “Where to Dial Today: TV Dishes Up a Feast of Culture.” Chicago Daily Tribune, 11 February 1957, sec. 4, p. 9, col. 1. An episode of the TV series Omnibus aired The Ballad of Baby Doe.

“Work’s Pleasure: ‘Baby Doe’ Composer Arrives.” Denver Post, 18 June 1956, p. 11, col. 2. Moore talks about the opera and the rehearsals in New York to get it ready for the premiere at Central City. A photograph of Moore accompanies the article.

Worland, Tommy. “Summer Theatre Presents Brilliant ‘Baby.’ ” Music & Dance 51, no. 10 (October 1960): 29–30. The reviewer begins with a synopsis of The Ballad of Baby Doe. The production of the Arundel Opera Theatre of Kennebunkport, ME is outstanding. The opera “contains so many arias in rich melodic style that it is truly difficult to single out any for special consideration. . . . [Moore] seldom resorts to

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[The Ballad of Baby Doe] dialogue and never to parlando, using, in fact, such a treasury of melody that one wonders if he has any left for further operas.”

Wyner, Elizabeth. “Denver’s Party Line: Society All Dolled Up for ‘Baby Doe’ Premiere.” Denver Rocky Mountain News, 9 July 1956, p. 43, cols. 1–4. This society column lists the social elite of Denver who attended parties following the premiere of The Ballad of Baby Doe in Central City. The who’s who describes the gowns and jewels of the ladies, and there are four photographs showing some of those who were in attendance.

———. “Denver’s Sunday Party Line: Society Turns Out in Full Splendor for Central City.” Denver Rocky Mountain News, 1 July 1956, pp. [48–49]. This society column names the cream of Denver society and the stars of the premiere of The Ballad of Baby Doe, along with ten photographs from pre-premiere celebrations. The article describes the furnishings of the rooms in which the parties were held and the gowns of the hostesses and invitees.

Young, Allen. “Alternate Cast Heard: Second Performance of ‘Baby Doe’ Given.” Denver Post, 9 July 1956, p. 30, cols. 1–2. The review of the second performance of The Ballad of Baby Doe gives unqualified praise to both the score and the performance of the opera. Frances Bible gave the most arresting performance as Augusta, with fine work also by Leyna Gabriele (Baby Doe) and Clifford Harvuot (Horace). Norman Treigle excelled in his depiction of William Jennings Bryan.

———. “The Ballad of Baby Doe.” In Opera in Central City, 36–41. Denver: Spectrographics, 1993. The author was a music critic and wrote for several Colorado newspapers and publications. He was present for many performances at the Central City Opera House, including the premiere of The Ballad of Baby Doe. In this chapter he tells the history of the launching of the premiere. Because of his close involvement with the opera house, there are parts of his account that do not appear in other publications. However, quite a number of the details of his story do not correspond to facts recorded by other historians. The chapter covers how Moore and Latouche were chosen to write the opera, the controversies with Paul Green and Caroline Bancroft over their involvement with the libretto, and the different performers for the premiere and the 1958 New York performance.

———. “Central City Triumph: ‘Baby Doe’ Praised as Forceful, Original.” Denver Post, 8 July 1956, sec. AA, p. 3, cols. 1–6. The article is an extensive review of the premiere, with three photographs of scenes from the opera. “The music of Douglas Moore sings with a prodigal variety of moods. It sings songs for the summer night, waltzes and popular tunes of the day. The music communicates to the listener with a directness and freshness that is extraordinary.”

———. “Music and Dance: ‘Baby Doe’ Heads List of 10 Regional Musical Bests.” Denver Post, 30 December 1956, sec. Roundup, p. 21, cols. 1–5. One of the ten most notable events in Denver in 1956 was the premiere of The Ballad of Baby Doe.

———. “Music, Song and Dance in Denver: ‘Baby Doe’ and ‘Silk Stockings.’ ” Denver Post, 1 July 1956, sec. Roundup, p. 16, cols. 1–5.

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[The Ballad of Baby Doe] The author talks with the stars of the upcoming premiere of the opera and with Moore, who tells how he decided to write an opera on this theme.

Zimmermann, Christoph. “Bielefeld: Bühnen der Stadt Bielefeld; Moore, Die Ballade von Baby Doe; Premiere, 1.5.1986.” Oper und Konzert 24, no. 6 (1986): 5. In this lengthy review of the German premiere of The Ballad of Baby Doe, the author provides a synopsis of the plot and examines the musical score, including the harmony, melodic invention, and orchestration. He comments on the stage production of director John Dew and the opera’s depiction of the American west. The article provides comparisons to other current productions of operas in Germany.

The Ballad of William Sycamore “Composers Forum Concert.” New York Times, 12 February 1940, p. 15, col. 2. The WPA Composers Forum-Laboratory held a concert on 11 February at the Lenox Gallery of the New York Public Library of works by Henry Cowell and Moore. The works by Moore were the String Quartet and The Ballad of William Sycamore.

“Greenwich Village Holds ‘Open House’: Gala Week Begins with a Barn Dance and Children’s Athletic Carnival: Attracts Many Visitors: Festival Inviting All to ‘Come and Bring Your Aunt,’ Aims to Promote Business.” New York Times, 22 May 1932, sec. 1, p. 8, col. 1. Moore performed The Ballad of William Sycamore at the Hudson Park Library on 21 May. Stephen Vincent Benét read his poem on which Moore’s work is based.

“Greenwich Village Ready to Celebrate: Concerts and Plays Are to Be Given by Various Groups During Festive Week: Dinner to Be Final Event: Provincetown Playhouse Scene of Several Productions—Music School Plans Program.” New York Times, 19 May 1932, p. 23, col. 3. During Greenwich Village Week Moore will perform his setting of The Ballad of William Sycamore preceded by a reading of the text by Stephen Vincent Benét.

“Musical Recital Set Saturday.” New Orleans Times-Picayune, 19 July 1998, sec. H2 (Slidell Picayune), p. 13, col. 1. This is an announcement of a recital by the Slidell Musical Arts Association, which will include The Ballad of William Sycamore on 25 July.

“Quincyans Heard in Beautiful, Sympathetic Interpretations of Contemporary Composers.” Quincy Herald-Whig, 6 April 1949, p. 4, cols. 1–2. This review of the Quincy Chamber Music Ensemble concert of 5 April included The Ballad of William Sycamore. The reviewer thought that “the tune is a singable, forthright one.” The accompaniment to the singer “provided the dissonant, bizarre qualities with which modern composers seem impelled to invest their music.”

Carry Nation Anderson, Owen. “New York City Opera.” Music Journal 26, no. 5 (May 1968): 59. One paragraph of this review of the New York City Opera season concerns Carry Nation, an opera “with a libretto involving psychological motivation rather than strong action and a score skillfully wrought but gentle and somewhat bland, the result is a genre piece possessing a certain picturesque charm without being memorable.”

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[Carry Nation] Bernheimer, Martin. “America: From the Prohibition Era; Lawrence, Kansas.” Opera 17, no. 7 (July 1966): 566–67. The reviewer finds both the opera and its production of Carry Nation by the University of Kansas to be a “vacillation between stylized comedy and melodramatic tragedy.” It gets off to an unconvincing start with an “amusing” bar-smashing scene. The libretto is a “psychoanalytic soap-opera treatment” of the life of Carry Nation, and the music is “too cliché-ridden.” The performance is highly praised, however, from the expert singing of the four professional lead roles to the rest of the student cast. There is a photograph of a scene from the opera.

———. “Kansas as Opera Wasteland Splintered by ‘Carry Nation.’ ” Los Angeles Times, 29 April 1966, sec. 4, p. 15, cols. 3–8. The author reports on the premiere performance of Carry Nation at the University of Kansas. The university is well equipped to sponsor an operatic performance in a relatively new arts center with four professional singers supplementing the large cast of undergraduate student performers. The plan provides an excellent educational opportunity for the students including hosting Moore as composer-in-residence for a semester and artistic consultant to the opera. Following the Kansas premiere, the production will tour with students to other Kansas locations, and then be produced professionally in San Francisco and by the New York City Opera.

———. “Opera ‘Carry Nation’ Corn from Kansas.” Los Angeles Times, 30 April 1966, sec. 1, cols. 1-4, p. 20. In this ambivalent review of the premiere of Carry Nation on 28 April, Bernheimer believes that “as a sentimental audience pleaser, it is a smashing success. As a significant work of art, it isn’t.” The review flip-flops between praise and condemnation. On the one hand, “Moore makes no great demands on the intellect,” and on the other, he “reveals the craftsmanship of a superior artisan at every turn.” Most of the criticism is reserved for the libretto and the way the work was staged. The music and performance receive the reviewer’s admiration, somewhat. A photograph of Beverly Wolff (Carry) and John Reardon (Charles) in costume accompanies the article.

———. “The Status of Little League Opera: More Evidence: Best of Two Worlds.” Los Angeles Times, 5 June 1966, sec. Calendar, p. 1, cols. 3–4, and p. 32. Bernheimer complains of the lack of a regular opera season in Los Angeles despite excellent performances at UCLA and USC. He suggests that the recent production of Carry Nation at the University of Kansas could serve as a model. There the university supplemented the student cast with four professional singers supported by student understudies. The melding of professional and student performers creates a situation that takes advantage of the best of the academic and professional worlds. Despite this Carry Nation “seemed hopelessly corny and cliché-ridden, despite its craftsmanship and overall prettiness.”

Bloomfield, Arthur. “America: A Cinematic ‘Screw’; San Francisco.” Opera 17, no. 9 (September 1966): 737. The article is a review of the San Francisco Spring Opera season, which included Carry Nation in its first fully professional production. The opera is a “pallid and uneven work” with a score that “hardly generates enough tension.” The libretto is “little more than a standard soap opera.”

“Carry Nation.” New York Times, 24 March 1968, sec. 2, p. 19, col. 8. This is a captioned photograph of Beverly Wolff as Carry Nation. The opera will be given its New York debut on 28 March.

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[Carry Nation] “ ‘Carry Nation’ Now Opera: Composer Hears Rehearsal; Premiere Thursday.” Newark Evening News, 24 April 1966, sec. 1, p. 35, cols. 1–3. The article announces the premiere performance of Carry Nation at the University of Kansas, where Moore has been attending rehearsals. A synopsis of the opera is included, and the article discusses Moore’s choice of subject matter for the libretto.

“City Opera Will Perform ‘Carry Nation’ Debut Here.” New York Times, 22 December 1967, p. 42, col. 1. The article is an announcement of the New York premiere of Carry Nation on 28 March 1968.

Commanday, Robert. “Carry Nation Opens with Sensational Star.” San Francisco Chronicle, 16 June 1966, p. 4, cols. 3–5. The performance of Beverly Wolff as Carry is considered the highlight of the San Francisco Opera on 14 and 17 June, but Moore’s music does not quite measure up. It does not convey the intensity of feeling needed for the fundamentalist crowd scenes, Carry’s “vicious” father, or her “bitter” husband. However, “Moore’s extremely congenial melodic gift has created persuasive lyric scenes and numbers— most significantly the love duets between Carry and Charles.” In all, the opera is “a slow-moving, uneven piece.” There is a photograph of Beverly Wolff as Carry.

———. “Saloon Smasher to Folk Heroine: Operatic ‘Carry Nation.’ ” San Francisco Chronicle, 10 June 1966, p. 51, cols. 3–6. The article covers a discussion on 15 June held with the press to publicize the San Francisco Opera performances of Carry Nation on 14 and 17 June. There are comments by Moore, Ellen Faull, and the conductor, Herbert Grossman. A significant article.

———. “The World of Music: The Picket Line Aria.” San Francisco Chronicle, 7 June 1966, p. 47, cols. 1–2. Two young composers, Ian Underwood and Robert Moran, picket the War Memorial Opera House for producing conservative operas during the season, which includes Carry Nation.

Davis, Peter G. “Moore: Carrie [sic] Nation.” High Fidelity/Musical America 19, no. 3 (March 1969): 96. In the review of the Desto (DC 6463–6465) recording with the New York City opera cast, the reviewer claims that the opera is “a collection of attractive but essentially anonymous, innocuous, and inappropriate tunes wedded to an unconvincing libretto.” The libretto contains weak characterizations and a contrived climax. The music cannot begin to portray the complex psychological states of the characters, and the topic does not lend itself to Moore’s Americana musical style. The singing is good but the recording is not done well.

Dickinson, Peter “Moore, Carry Nation.” Gramophone 68, no. 806 (July 1990): 275. The review of the reissued recording on Albany (BCD 1012–1013) cites these discs as mainly of archival interest because of the poor sound quality and the conservative and dated musical style of Moore.

“Douglas Moore’s ‘Carry Nation’ Bows in New York.” Newsletter, Galaxy Music Corporation (Spring–Summer 1968): 1, 4. The article quotes positive reviews from the New York premiere of Carry Nation.

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[Carry Nation] Eaton, Quaintance. “Birth of a Nation: This Week, America’s Saloon-Smasher Takes New York.” Opera News, 30 March 1968, 26–27. Most of the article is taken from an interview with the writer William North Jayme, who tells how he and Moore wrote the work. The libretto for Carry Nation was chosen in a conversation with Jayme at a party after they ruled out John Brown and Alf Landon as subjects for an opera with Kansas as a theme. Moore asked Jayme to draft an outline, but Moore was unsympathetic to the character at first. Jayme also talks about the premiere and the reaction of Nation’s descendants who attended the performance.

“Entertainment Events.” New York Times, 28 March 1968, p. 53, col. 2. The opening of Carry Nation at the New York City Opera is announced for 28 March.

“Entertainment Events.” New York Times, 2 April 1968, p. 50, cols. 6–7. A performance of Carry Nation at the New York City Opera is listed.

Ericson, Raymond. “Behind Carrie [sic] Nation’s Hatchet.” New York Times, 26 January 1969, sec. D, p. 26, cols. 5–8. This review of the recording of Carry Nation on Desto (DC 6463–6465) finds both the libretto and the music of the opera to be lacking. After a synopsis of the plot, the reviewer concludes that the story “does not have much dramatic conflict” and “lacks subtlety and genuine interest.” The music, while accessible, “lacks distinction; some of it sounds suspiciously like musical-comedy writing, and the devices for stirring up a melodramatic atmosphere are commonplace. The work has enough worth to give it some currency but not enough to make it durable.” Beverly Wolff as Carry and Arnold Voketaitis as her father are both strong leads, but Ellen Faull as the mother sings without “vocal ease.” A photograph of Wolff and Voketaitis accompanies the article.

———. “A Composer for Symbols: Operatic Notes.” New York Times, 1 May 1966, sec. 2, p. 13, cols. 1–6. The Spring Opera of San Francisco will add Carry Nation to its repertoire beginning 24 May.

———. “More Americana from Moore.” New York Times, 14 November 1965, sec. 2, p. 11, cols. 3–4. The article reports on Moore’s latest opera, Carry Nation. It is to be premiered in Kansas in April 1966. The New York cast suggests an eventual production in New York.

Flanagan, William. “Moore: Carry Nation.” Stereo Review 22, no. 5 (May 1969): 95–96. This review rates the recording of Carry Nation on the Desto label (6463–6465): “Performance: Highly professional; Recording: Good; Stereo Quality: Intelligent.” A synopsis of the opera is provided. The music “has neither the range nor the contrast to dig very deeply into the dramatic possibilities of his subject matter.” However, Moore is credited with writing well for the voice and setting the text skillfully. The characters and the use of popular musical idioms of Kansas in the late nineteenth century are convincing. The performance is “superb.”

Forbes, Elizabeth. “Carry Nation.” Opera (London) 42, no. 3 (March 1991): 362–63. The reviewer gives high praise to the music and cast in this recording of Carry Nation (Bay Cities BCD-1012—BCD-1013). The libretto is dramatic and the music is “also highly dramatic for the most part, [and] flowers into some extremely lyrical moments.” Beverly Wolff as Carry and Ellen Faull as the mother give strong performances. Arnold Voketaitis “is quite frightening as the Father.”

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[Carry Nation] Freeman, John W. “Moore: Carry Nation.” Opera News, 1 February 1969, 35. This review of the Desto (DC-6463/5) recording finds it sung by “a workmanlike cast that infuses as much conviction as possible into overstressed situations set to understated music.” It is also derivative of Jack Beeson’s Lizzie Borden and The Ballad of Baby Doe. Despite these negative comments, the reviewer praises the work for its melodiousness and its exploration of historically important American themes.

Fried, Alexander. “Carry Nation’s Legend Carries On in Opera.” San Francisco Examiner, 12 June 1966, sec. 2, p. 4, cols. 1–6. The article informs the readers about the recent production of Carry Nation at the San Francisco Opera, including the historical background of the character and the plot of the opera. The picketing of the opera by a group wanting more “modern” works to be performed is also mentioned. An illustration of the real Carry Nation accompanies the article.

———. “The Premiere of ‘Carry Nation.’ ” San Francisco Examiner, 15 June 1966, p. 34, cols. 5–6. The author pans the San Francisco Opera performance of 14 June. Although the audience gave a standing ovation and bravos, the opera “too readily turns into sentimental simplemindedness and cliches.” He regards Moore as “an experienced opera composer, [who] once again had solid purpose and certain solid abilities. He writes well for singers and powerfully for choruses. Despite his frequent declamatory idiom, he provides voices with plenty of flowing, if not originally inspired melody to sing.” There is a picture of Beverly Wolff as Carry.

Fuchs, Harry. “New York State Theater; April 2, 1968; Moore’s Carry Nation; New York City Opera; Samuel Krachmalnick, Conductor; Beverly Wolff (Carry Nation); Ellen Faulll [sic] and Arnold Voketaitis (Her Parents); Julian Patrick (Charles).” Music & Artists 1, no. 2 (April–May 1968): 59–60. This review comments favorably on the opera, but notes that it occurred in the season between extraordinary productions of Manon and Bomarzo which eclipsed it. The music was “appropriately conservative with a good deal of sensitivity and atmosphere; it neither ignited nor dampened all of the story’s theatrical potential.” The performance was excellent except that the words were unintelligible due to the scoring, poor enunciation, and a loud orchestra. Quotes from reviews of the New York Times and the New York Post conclude the article.

Genauer, Emily. “Today with Newsday: Emily Genauer on the Arts; A Caricature and a Melodrama.” Newsday, 9 April 1968, p. 1A, cols. 1–3. The article reviews Carry Nation and compares it to a play on Broadway, Tennessee Williams’s The Seven Descents of Myrtle. The article gives a synopsis of Carry Nation and talks about how the librettist and composer succeed at building the characters. “Douglas Moore’s opera succeeds because he knows what he wants to tell us, because he succeeds in communicating with us, and because he does it with complete honesty and true artistry.”

Glackin, William C. “Carry Nation Was a Young Girl in Love Once: Douglas Moore’s New Opera Tells a Touching Story in an Old Fashioned Way.” Sacramento Bee, 19 June 1966, sec. L, p. 12, cols. 1–5.

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[Carry Nation] The article is an extensive one-page review of the 14 and 17 June performances of the San Francisco Opera production of Carry Nation. There is a synopsis and detailed analysis of the plot and how the music heightens or fails to heighten the dramatic action. The review starts with a caveat to meet Moore on his own ground musically without expecting a modern musical language. “It is frequently and movingly beautiful and dramatically effective, and often interesting in its construction. For me, it did not reach the deepest, grandest range of musical feeling often enough, the way the greatest music does in any era. But it was an effective evening of musical theater, partly due to its own merits, partly due to a superb production and partly because it springs from a genuinely touching story.” Photographs of Richard Fredricks and Beverly Wolff accompany the article.

Green, Harris. “Un bel di? Music.” Commonweal 88, no. 8 (10 May 1968): 237. The article is a review of the New York City Opera production. “Carry is proof that Moore can neither create music in the good old way nor put valuable avant-garde discoveries to recognizably musical use. He cannot write opera, only bad musical comedy with delusions of grandeur. . . . Maybe I will make a prediction: Future musicologists will find nothing called ‘American opera’ up to 1968—only Americans who tried to write opera.”

Groth, A. Nicholas. “Moore’s Opera: ‘Carrie [sic] Nation’ on Desto Records.” Jewish Advocate, 12 December 1968, p. 5, cols. 3–4. This review of the recording on Desto (DC 6463–DC 6465) considers the opera unexcelled by any other American opera. Nonetheless, the libretto is criticized for the characters’ lack of depth and development. On the other hand, “the music Douglas Moore has written for this work is, for the most part, marvelous. It reaches the listener even when the libretto does not. The opera is blessedly ‘oldfashioned’ in its construction: arias, duets and quartets are interwoven in a tapestry of rich tonal beauty. Dr. Moore gives us melody and rhapsody instead of atonality, emotional involvement instead of intellectualization. Through his music he recreates a period of Americana and communicates to the listener the dramatic essence of each situation in the story.”

Haskins, John. “Music in Mid-America.” Kansas City Star, 27 March 1966, p. 41, cols. 1–3. In preparation for the premiere of Carry Nation, Moore was in residence at the University of Kansas for a semester. The article briefly recounts his accomplishments as a composer. While in Kansas he visited Carry Nation’s home and met people who knew her. The score is sympathetic to the temperance leader and focuses on the psychological aspects of her character. Details of the opera plot and information about the professional singers in the cast, whose pictures accompany the article, are given.

———. “Opera Reveals a Real ‘Carry:’ Premiere of Work Commissioned for K. U. Draws Ovation; Drama in Early Life; Libretto, Music Underscored Family Relationships.” Kansas City Star, 29 April 1966, p. 13, cols. 1–4. The audience gave a standing ovation, but the author delivers a reserved review. All the principal singers gave good performances except Kenneth Smith as the father, who “over-emphasized the peculiar fatherdaughter relationship built in to the role.” Also, the words were frequently difficult to understand. The score “seemed relatively unobtrusive making its points with a deceptive lightness.” The author concludes: “Brilliant it may not be, but it is musically and dramatically solid.”

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[Carry Nation] “Hatchet Lady.” Newsweek 67, no. 20 (16 May 1966): 115. This review of the premiere performance of Carry Nation at the University of Kansas describes the plot of the opera and comments on the work and the performance. The music is “lyric and accessible, adhering strictly to the natural rhythms of speech.” The performance by the New York City Opera mezzosoprano Beverly Wolff “scored a triumph.” She was accompanied by the Metropolitan Opera baritone John Reardon and an equally good cast. There is also a photograph of a scene from the production.

Hertelendy, Paul. “Opera Records Life of Carry Nation.” Oakland Tribune, 12 June 1966, sec. Entertainment, p. 28, cols. 1–4. The article is an announcement of the opening of Carry Nation at the San Francisco Opera that gives a synopsis of the plot. A photograph of Beverly Wolf accompanies the article.

Holland, Bernard. “Moore’s ‘Carry Nation,’ a Prohibitionists’ Story.” New York Times, 1 July 1990, sec. 1, p. 49, cols. 1–4. Holland reviews a production of Carry Nation by New York University in unflattering terms. The opera’s plot is likened to a “stock Victorian melodrama,” and the composer’s excursions into nineteenth-century styles, “including the martial, the sentimental, the devotional and the dancelike,” do not serve to heighten the more dramatic aspects of Nation’s life. The singers are capable of the roles to which they are assigned, but they strain their voices in a small hall that does not require that much volume. The article is accompanied by a picture of Janet Ariosto as Carry and Richard Holmes as Charles.

Hume, Paul. “Postlude: Carrie [sic] Nation’s Axe Is Sharpest Element in Operatic Study.” Washington Post, 30 April 1966, sec. F, p. 10, cols. 4–8. The reviewer begins with a summary of the life and history of Carry Nation and notes that the opera deals with only a portion of her early life. He then goes on to review the premiere at the University of Kansas in which four professional singers took the lead roles with student performers filling out the cast and orchestra. All of them turned in fine performances, especially Beverly Wolfe in the leading role. However, the performance cannot save the work, for “it is in the libretto, which is incredibly naive, and in the music, which rarely rises above the level of the embarrassing, that the new work falls. But fall it does, now with a dull thud, now with a loud boring thump.”

Johnson, Harriett. “Carry Nation’s Temperance Bout.” New York Post, 29 March 1968, p. 70, cols. 1–5. The reviewer describes the characters from the opera with little sympathy in this review of the New York City Opera premiere on 28 March. Beverly Wolff (Carry), Arnold Voketaitis (father), and Ellen Faull (mother) all sing and play their roles effectively. Julian Patrick in his debut with the company sings well but with faulty diction. The opera “is least successful when it dips into tragic irony,” but it is also “the work of a skilled, experienced composer, who knows how to write for the voice.” Nonetheless, the material cannot rise to the level of The Ballad of Baby Doe.

“KU composer in Residence.” Lawrence Daily Journal-World, 9 February 1966, p. 2. This is a captioned photograph of Moore talking about the score of Carry Nation.

Kastendieck, Miles. “New York Opera Premiére [sic]: ‘Carry Nation’ Wins Favor.” Christian Science Monitor, 7 April 1968–8 April 1968, sec. Weekend issue, p. 6, cols. 1–3.

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[Carry Nation] The review gives a mixed account of the New York City Opera production. On the one hand, it is a “successful period piece” with impressive performances by the principal singers, especially Beverly Wolff in the title role. On the other hand, the music “is very pleasant where it should have been more dramatic, especially in the saloon-smashing prologues where the lustiness sounded tired and forced.” The story “makes everything a little too quaint for instant appeal.”

Kay, Kent. “Music: The Hatchet Lady of Grand Opera.” San Francisco Chronicle, 12 June 1966, sec. This World, p. 30, cols. 1–5. This lengthy article on the life and “career” of Carry Nation serves to introduce readers to the subject of Moore’s opera, to be produced on 14 June. A photograph of Moore holding a hatchet in front of a portrait of Carry with her hatchet and Bible illustrates the article.

King, Dick. “Carry Nation: Push for Perfection.” Topeka Capitol-Journal, 24 April 1966, sec. Midway, pp. M6, M11–M13. This major article on the premiere of Carry Nation contains numerous quotes from Moore about the music and the story. He mentions the topics he rejected for this commission including the KansasMissouri fights, Quantrill, and early University of Kansas chancellors. His meeting with Jayme is recounted and how the libretto was fashioned into an opera. There are thirteen photographs by Rich Clarkson from rehearsals of the opera.

Kolodin, Irving. “Music to My Ears: Father, Dear Father, Come Home to Carry Nation.” Saturday Review 51, no. 15 (13 April 1968): 58. This review of the New York City Opera premiere of Carry Nation claims that “Moore’s command of craft serves him well in filling out the dramatic framework provided by Jayme. . . . But the feeling persists that it made more appeal to Moore’s mind than it did to his heart.” The subject of the opera (the heroine of the nineteenth-century temperance movement) simply does not make for good drama. Nonetheless, the performance of the singers and the craft of the producers have much to recommend them.

“Lady with a Cause.” New York Daily News, 24 March 1968, p. S3, cols. 3–5. This is a captioned photograph of Beverly Wolff, Arnold Voketaitis, and Ellen Faull in Carry Nation, to be performed on 28 March at the New York City Opera.

“Medicine Lodge Hosts Pulitzer-Prize Winning Author of Carry Nation Opera.” Barber County Index, 17 March 1966, p. 1, cols. 1–9. Eight photographs of Douglas and Emily Moore visiting Medicine Lodge, where Carry Nation lived, make up the top half of the page.

Merchant, Catherine. “ ‘Carry Nation:’ A New American Opera.” Opera Journal 1, no. 3 (Summer 1968): 24–25. Although the opera was not exactly new by this time, it was new to the New York City Opera. The author does not think that the composer fully realizes the dramatic potential of the story of a prohibitionist with a fundamentalist, slightly incestuous father and a “Tennessee Williams” mother. In fact, Moore “chose a less-than-heroic figure and then went downhill from there.” The music does little to heighten the drama. It simply accompanies the onstage action and is not very memorable.

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[Carry Nation] Merkling, Frank. “Reports: United States; Boston, Los Angeles, Kansas.” Opera News, 4 June 1966, 24–25. The article is a review of the premiere performance of Carry Nation on 28 April 1966 at the University of Kansas in Lawrence.

Miller, Philip L. “New York City Opera Performance of Douglas Moore’s Carry Nation.” American Record Guide 35, no. 6 (February 1969): 452–54. This is a sympathetic review of the recording on Desto (DC-6463–DC-6465). The article briefly recounts Moore’s stage works and gives a synopsis of the opera. Although the music for Baby Doe benefits from Moore’s predilection for using musical Americana, Carry Nation requires a different kind of music. Most of the musical interest comes from the orchestral accompaniment rather than from the vocal lines. The performance of the cast on the recording sounds stiff and underrehearsed. However, the recording is welcome even if the work does not rise to the level of Baby Doe.

“Music Notes.” Chicago Tribune, 21 November 1965, sec. 5, p. 10, col. 4. The article announces Moore’s new opera, Carry Nation, which is to be produced in April 1966 at the University of Kansas.

“Music Tonight. . . .” New York Post, 28 March 1968, p. 63, cols. 3–4. The article announces the opening of Carry Nation by the New York City Opera on 28 March. A photograph of Beverly Wolff accompanies the article.

“New Opera Scheduled.” New York Daily News, 9 November 1965, p. 61, col. 3. The article announces that Moore is nearing completion of Carry Nation, to be performed next year in Kansas. The singers have been signed for the performance.

North, James H. “Moore: Carry Nation.” Fanfare 13, no. 6 (July–August 1990): 203. The reviewer feels that Carry Nation never equals the dramatic or musical intensity of The Ballad of Baby Doe. Of this reissue of the Desto recording on Bay Cities (CD 1012–1013), North says: “The forces of the New York City Opera do justice to the music, but there is no role, no performer, who makes it fly.”

“Opera, but No Gunsmoke.” Topeka Capitol-Journal, 24 April 1966, sec. Midway, p. M2, cols. 1–2. The article announces the premiere of Carry Nation at the University of Kansas on 28 April and notes the national importance of the performance.

*“Opera ‘Carry Nation’ to Premiere at KU.” KU Paper, April 1966. The article announces the premiere of Carry Nation at the University of Kansas. Three illustrations accompany the article: Moore holding a hatchet in front of a portrait of Carry Nation holding a hatchet, a reproduction of a poster depicting Carry Nation, and a picture of Beverly Wolff, who plays the lead role.

“Opera Cast Polishes KU Centennial Show.” Lawrence Daily Journal-World, 23 April 1966, p. 9, cols. 1–8. This is a full-page photographic announcement of the premiere of Carry Nation at the University of Kansas. Seven pictures are included showing rehearsals and cast.

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[Carry Nation] Rich, Alan. “Dr. Moore’s Carry Nation: Kansas City Report.” High Fidelity Incorporating Musical America 16, no. 7 (July 1966): MA-27. This lengthy review of the premiere of Carry Nation praises Moore’s music and the performance. Unfortunately, the libretto is the weakness in the work, which Rich characterizes as two sketchy and unmotivated acts of an opera which needs three good ones. There were two performances: one with New York singers in the lead roles and one with an all-student cast. The reviewer found the student performance the most convincing and the work of the orchestra and stage designer also first-rate.

Sargeant, Winthrop. “Musical Events: Hatchet Girl.” New Yorker 44, no. 7 (6 April 1968): 143–44. The reviewer takes this opportunity to claim that America has produced no composers of masterpieces. Nonetheless, he admires the music of Moore for its sincerity and directness. The opera Carry Nation is no exception, although it is not as good an opera as The Ballad of Baby Doe. The music is not the problem, however; it is the libretto and perhaps the subject matter. The only strong character is Carry herself, and given the American experience with Prohibition, the audience is left to wonder whether or not the temperance movement was a good idea at all, which brings into question Carry as a heroine. Nonetheless, the work received a first-class production by the New York City Opera.

Schablone, Simon. “Music: Pain and Pleasure of Opera in English.” People’s World, 2 July 1966, p. 7, cols. 3–4. Carry Nation is not quite what the reviewer expected in a modern opera because of its conservative idiom. In fact, “the music is so rich in its lyricism that it is difficult to associate it with the Freudian qualities of psychopathology that make up the basis of the plot.” Highest praise went to the singers and the production, and the audience’s positive reaction leads the reviewer to predict that it is an opera that will remain in the repertoire, while so many other modern operas have not.

Schonberg, Harold C. “Opera: The Folk Heritage of a Young Carry Nation in Missouri; Local Premiere Given Moore-Jayme Work; Title Role Is Sung by Beverly Wolff.” New York Times, 29 March 1968, p. 35, cols. 1–5. In the New York premiere performance of Carry Nation by the New York City Opera, the singers and musicians provide a fine performance. Beverly Wolff as Carry “sang and acted with intensity”; Arnold Voketaitis as the father is “a smooth singer, careful in his diction, reserved and convincing in his acting”; and in his debut, Julian Patrick as Charles has “a good, serviceable baritone and knows how to use it.” While the audience responded very favorably to the opera, with comparisons at intermission to Oklahoma!, Schonberg finds the music too conventional: “When Mr. Moore tries to achieve an intensity of expression, he goes off into a kind of grand-opera imitation that goes through the motions but lacks the basic material to rise to eloquence.” In conclusion, the opera is “too much psychology and not enough action: that’s what’s wrong with the libretto of ‘Carry Nation’; and too much meandering, too little originality, that’s what’s wrong with ‘Carry Nation’ as a musical score.”

Sherman, Thomas B. “New Kansas Opera, ‘Carry Nation.’ ” St. Louis Post-Dispatch, 29 May 1966, sec. C, p. 5, cols. 1–3. The review finds the opera “old fashioned but effective.” The article details the biography of Carry Nation and the plot of the opera. It is an overwhelmingly positive review of all aspects of the performance.

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[Carry Nation] “Smashing Time with Carry.” Daily Kansan, 23 March 1966, p. 13, cols. 1–3. Ruth Stout, who remembers Carry Nation, writes an account of one of Carry’s raids.

Smith, Patrick J. “New York City Opera: Carry Nation (April 2).” High Fidelity/Musical America 18, no. 6 (June 1968): MA-29. Smith says of the New York City Opera performance of the opera: “Swollen with clichés both as to language and situation, the opera can never compel any sort of belief, and Moore’s resolutely passive music can only, at best, vaguely titillate the tune-buds.” Only the scenic projections of American paintings were convincing.

Soria, Dorle J. “Artist Life: Douglas Moore and the Demon Rum.” High Fidelity/Musical America 16, no. 2 (February 1966): 129–30. The article is an announcement of Moore’s new opera, Carry Nation, to be premiered at the University of Kansas in April 1966.

“Spring Opera.” Chicago Tribune, 24 April 1966, sec. 5, p. 11, col. 2. The San Francisco Opera will include Carry Nation in its spring season.

Strongin, Theodore. “Opera by Moore Bows in Kansas: ‘Carry Nation’ Intertwines Love Story and Legend.” New York Times, 30 April 1966, p. 18, cols. 1–2. The reviewer of the premiere performance of Carry Nation praises the work of the four principal singers from New York, but the supporting student cast was unable to assist the lead singers in keeping the story fresh and convincing. Beverly Wolff does not physically evoke the “burly and cantankerous” Carry Nation, and her “character, as presented by the music and the libretto, is too sweet and yielding to explain the legend.” The score is “eminently singable music, conservative but eloquent.” Strongin simply cannot reconcile the love story created by the librettist and composer with the real-life Carry.

“Students Will Perform in ‘Carry Nation’ Here.” Wichita Eagle and Beacon Magazine, 6 May 1966, sec. F, p. 3. The article announces the performance of Carry Nation at the University of Kansas, Lawrence, and the upcoming performance in Wichita on 7 May. Information about the subject of the opera and about Moore is given. A photograph of students in rehearsal for the opera accompanies the article.

Watt, Douglas. “Show Business: Musical ‘Carry Nation’ Makes Its Bow Here.” New York Daily News, 29 March 1968, p. 70, cols. 1–2. The review of the New York premiere by the New York City Opera of Carry Nation recounts the history of the temperance leader and the plot of the opera. In the second act, the work “suddenly gains focus and, with it, dramatic power, building toward a finish in which we see the first suggestions of the formidable woman to come.” A photograph of Arnold Voketaitis (father) and Beverly Wolff (Carry) accompanies the article.

Weinstock, Herbert. “America: ‘Bomarzo’ Fails to Shock; New York.” Opera 19, no. 5 [i.e., 6] (June 1968): 467–68. This review of the New York City Opera’s production of Carry Nation is less than flattering. The music is “alternately sickly-sweet and roundly ‘operatic,’ in the styles of several earlier opera-composers, of American folk-song and the manner of Oklahoma! ” All of the principal singers performed well, and the stage settings and costumes were good. The conducting was restrained, robbing the score of any “vitality” it might have.

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[Carry Nation] Zimmer, W. D. “Reports: U.S.; New York.” Opera News, 18 May 1968, 24–25. The reviewer considers the New York City Opera’s Carry Nation to be a first-rate performance but finds the music lacking in intensity and the melodic writing to be “curiously old-fashioned.”

Zook, Carol. “Medicine Lodge Honors Composer Who Made Heroine of Carry Nation.” Wichita Sunday Eagle and the Wichita Beacon, 13 March 1966, p. 1, cols. 2–3, and p. 4. The article reports on Moore’s visit to Medicine Lodge, Kansas, where Carry Nation lived. There he met and talked to several people who knew her and were part of her movement. There is a picture of Moore playing Carry’s reed organ.

———. “Opera to Premiere at KU in April: Sympathetic Hands Remold Image of Medicine Lodge’s Carry Nation.” Wichita Sunday Eagle and the Wichita Beacon, 20 February 1966, sec. B, p. 1, cols. 1–6. This full-page article gives information on the origin of Moore’s Carry Nation, on working with librettist William North Jayme, on Moore’s interest in Carry’s autobiography, on casting the professional lead singers, and on future productions already being planned. The article concludes with Moore’s remarks about opera in America and the greater acceptance that art has in Europe as opposed to the United States. There are several photographs of Moore, Jayme, Beverly Wolff and directors, Robert Baustian and Clayton Krehbiel.

Chamber Music “Concert Here to Honor Douglas Stuart Moore.” New York Times, 15 May 1962, p. 48, col. 4. The article announces a concert at Columbia honoring the retiring Moore on 17 May featuring the Three Sonnets of John Donne, the Piano Trio, and the Clarinet Quintet.

“Faculty Critic Praises Musical Compositions Presented by Columbia Students Last Night.” Columbia Spectator, 26 April 1928, p. 1, cols. 4–5, and p. 4. This review of a Columbia University concert on 25 April that included songs from the incidental music to Twelfth Night and Much Ado about Nothing says, “Professor Moore’s music is characterized by a certain delicacy of line and a modal color which lend such charm to the Museum Pieces and other works by this gifted composer.”

“Come Away, Death,” from Five Shakespeare Songs Rich, Alan. “Songs by American Composers.” High Fidelity/Musical America 15, no. 4 (April 1965): 103–4. This is a review of a recording of American songs on the Desto label (411–412 and 7411–7412). Douglas Moore is represented by one selection, “Come Away, Death,” which the reviewer says “is both moving and a tour de force.” The singing of Donald Gramm is praised as having “a rich smoothness that is altogether beguiling.”

Cotillion Suite “More Briefly Noted.” High Fidelity 7, no. 1 (January 1957): 78, 80. In a review of CRI-107, Cotillion Suite is dismissed with one phrase: “simply American Offenbach.”

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Schonberg, Harold C. “Suite by Moore Heard: Antonini Directs C.B.S. Group in First Complete ‘Cotillion.’ ” New York Times, 15 February 1954, p. 20, col. 4. The premiere of the Cotillion Suite was presented by the CBS Radio Orchestra conducted by Alfredo Antonini at Columbia University in celebration of the university’s bicentennial and was broadcast on the CBS program Twentieth Century Concert Hall.

Soffer, Sheldon. “Record Reviews and Ratings: . . . Moore: Cotillion Suite.” Hi-Fi Music at Home 3, no. 6 (January–February 1957): 38. The recording of Cotillion Suite (CRI-107) is rated excellent as a composition and for recording quality and outstanding for the performance. The very brief review says the piece “stylizes the American dances in vogue during the nineteenth century with gusto and sweet sentimentality.”

“Death, Be Not Proud,” from Three Sonnets of John Donne Hume, Paul. “Postlude: Shirlee Emmons Shows Real Talents As Recitalist.” Washington Post, 6 May 1957, sec. A, p. 20, cols. 2–6. The mezzo-soprano Shirlee Emmons appeared at the American Music Festival at the National Gallery of Art and included Moore’s song “Death, Be Not Proud,” of which the reviewer says that the composer “realizes the stature of the text with appropriate strength, [but] [i]t was insecurely sung and forced.”

Destroyer Song “17 Composers to Write on Themes Dealing with War.” Chicago Daily Tribune, 28 November 1943, sec. Books, p. 3, col. 1. Moore is one of the composers commissioned by the League of Composers to write a short, patriotic work about the war. The piece will receive its premiere by the New York Philharmonic with Artur Rodzinski conducting. Moore’s piece is entitled Destroyer Song.

The Devil and Daniel Webster “American Lyric Theater [sic] Makes Debut May 18.” Chicago Daily Tribune, 7 May 1939, sec. 7, p. 2, col. 5. The American Lyric Theatre was formed for the “encouragement of American drama, music and ballet; and the attempt to discover a medium of entertainment between commercial musical comedies and straight grand opera.” The first presentation will be The Devil and Daniel Webster, whose cast is listed in the article.

“American Lyric Theater [sic] to End Season Saturday: New Works Studied in Plans for Opening Next April.” New York Herald Tribune, 25 May 1939, p. 20, col. 3. The article announces the future plans of the American Lyric Theatre to follow the closing of its first season. These include a revival of The Devil and Daniel Webster in the fall, followed by an extensive tour. The first season is considered a success by the theater’s board.

“American Lyric Theatre Presents Native Opera.” Musical Leader 71, no. 10 (27 May 1939): 8, 10. The review of the 18 May premiere of The Devil and Daniel Webster describes the score. “Mr. Moore’s music opens with the wedding celebration, a Virginia reel to the music of the town fiddler in progress— very American and characteristically done, with folk flavor of an Anglo-Saxon blend. His music does

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[The Devil and Daniel Webster] not remain in the folk manner, but changes to suit the situation into romantic, dramatic, picturesque, and even spectacular in the Devil’s Invocation. A delicate touch is Mary’s Prayer for Jabez’ soul, based on Biblical text. Daniel Webster has several magnificent bits to sing but much of his work is declamatory speech. In fact, Mr. Moore drops from song into speech, sometimes accompanied and sometimes without music, in a natural way which does not create any incongruity.”

“American Opera Series to Start on W-G-N May 11.” Chicago Daily Tribune, 22 April 1942, p. 12, col. 8. A series of six American operas will be broadcast as the First American Opera Festival on the Mutual network under the direction of Alfred Wallenstein. The Devil and Daniel Webster will be the second offered in the series.

“American Operas Chosen for a Radio Festival.” Chicago Daily Tribune, 3 May 1942, sec. 6, p. 8, col. 2. The Devil and Daniel Webster is one of the operas chosen for a radio series of American operas.

“American Operas to Open Eighth Arts Festival.” Boston Daily Globe, 17 May 1959, p. 62, col. 8. The article announces the performances of The Devil and Daniel Webster at the Boston Arts Festival on 5, 6, 8, and 9 June.

Anderson, John. “American Lyric Theatre Displays Its Wares: Ballet and Operetta Given.” New York Journal and American, 19 May 1939, p. 12, cols. 1–2. Anderson recounts the story of the opera and praises the performers. “Mr. Moore’s music seemed to me to sustain and enlarge the effect, and there are passages, especially in the demoniacal trial scene, that are as weirdly hypnotic as a memorable ghost story.”

———. “Uplift in Drama Should Begin on Stage, Says Mr. Anderson: Points Out Danger to Lyric Theatre.” New York Journal and American, 28 May 1939, sec. E, p. 7, cols. 1–2. The writer cites the dismal failure of Susanna, Don’t You Cry as the main reason the American Lyric Theatre needs to worry about its future. It received favorable reviews for The Devil and Daniel Webster. Talented directors and substantial financial support are not enough to sustain a theater without “fresh and vigorous work by authors and composers. Life begins on the stage, not in an endowment fund.”

Atkinson, Brooks. “Cheating the Devil to Music.” New York Times, 21 May 1939, sec. 10, p. 1, cols. 1–2. This review of The Devil and Daniel Webster critiques the opera from a theatrical point of view. Atkinson prefers theater that is more modern, more realistic and relevant to contemporary life, such as Blitzstein’s The Cradle Will Rock. This opera uses the Faust legend as the backdrop for the plot, a familiar literary device, which the reviewer considers a theatrical anachronism. However, opera seems prone to anachronisms. Part of the problem is that the reviewer finds little in Webster’s life, as interesting as it was, that would make for good theater.

B., E. “The Opera Yesterday and Today.” Cincinnati Post, 8 April 1949, p. 34, col. 1. The reviewer of the performance of The Devil and Daniel Webster by the Cincinnati Music Opera Guild praises the principal singers and finds the set “simple and effective.” The music “is set to Stephen Vincent Benet’s virile words in a lively and artful manner. Its style is angular and forceful and it is as American as apple pie for breakfast.”

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[The Devil and Daniel Webster] B., J. “Punch Opera Gives Moore, Offenbach: ‘Devil and Daniel Webster’ Is Presented on Double Bill with ‘The Smugglers.’ ” New York Times, 24 July 1952, p. 31, cols. 5–6. The Devil and Daniel Webster was presented by Punch Opera on 23 July. It is a difficult work to stage, especially for an inexperienced opera company. The cast must be able to sustain the drama through the scene of Webster’s summation to the jury, which it did not do. John Kling as Webster was “inadequate.” The work was performed with two-piano accompaniment rather than orchestra.

Beebe, Lucius. “Stage Asides: Steve, Dan’l and the Devil.” New York Herald Tribune, 14 May 1939, sec. 6, p. 1, col. 4, and p. 2. The article prepares the public for the premiere of The Devil and Daniel Webster. The majority of the article is taken from an interview with Stephen Vincent Benét, who states that the intent is to create a musical drama more attuned to American audiences than traditional opera is. Benét mentions that he discovered the similarity between his story and Washington Irving’s “The Devil and Tom Walker” after The Devil and Daniel Webster was published in the Saturday Evening Post. A drawing of Lansing Hatfield as Daniel Webster and a photograph of Nancy McCord (Mary) and George Rasely (Devil) accompany the article.

———. “This New York.” Washington Post, 28 May 1939, sec. 6, p. 1, col. 8. Also published in the Los Angeles Times, sec. 3, p. 4, cols. 5–6. The author reports on the personalities who attended the premiere of The Devil and Daniel Webster, including the most important people in New York society and the arts.

“Benet-Moore Ties Date Back to Yale.” New York World-Telegram, 13 May 1939, sec. 1, p. 8, cols. 7–8. The article recounts how the friendship of Moore and Stephen Vincent Benét developed through their years at Yale and in Paris. Now they are collaborating on a new opera based on Benét’s The Devil and Daniel Webster.

“Benet Theme Planned for New England.” Washington Post, 21 June 1953, sec. 6, p. 3, col. 6. The article announces the production of The Devil and Daniel Webster at the new amphitheater at the Old Sturbridge Village, a re-creation of a traditional New England village, from 18 July through 30 August. The names of the cast are given.

Bestor, Charles L., and Freed Virgil. “Douglas Moore, Composer of Opera about Dan’l Webster and the Devil, Is Here; Man of Distinguished Career.” Chautauquan Daily, 1 August 1947, p. 8, cols. 1–2. The article gives information concerning the premiere of the opera and biographical information about Moore.

Biancolli, Louis. “Music: Double Bill at City Center Gives U.S. Opera a Boost.” New York World-Telegram and the Sun, 6 April 1959, sec. 1, p. 12, cols. 2–4. The article reviews the 5 April performance of The Devil and Daniel Webster at the New York City Opera. The opera is praised, and it is noted that the audience enjoyed itself.

Bone. “Strawhat Reviews: The Devil and Daniel Webster.” Variety 191, no. 9 (5 August 1953): 58. The review of the 26 July performance at the Old Sturbridge Village in Massachusetts describes the new amphitheater, where The Devil and Daniel Webster was the first production. It comments mainly on the performance, the staging, and the new Sturbridge amphitheater setting.

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[The Devil and Daniel Webster] Bookspan, Martin. “Is There a Great American Opera?” New York Times, 16 December 1990, sec. 2, p. 35, cols. 1–4, and p. 40. The article contains a review of the reissued recordings of The Devil and Daniel Webster (Phoenix PHCD 103) and Carry Nation (Bay Cities BCD 1012–1013). Bookspan finds both the music and libretto of The Devil and Daniel Webster to be naive, and he says that the opera is “a 20th-century singspiel, with extensive stretches of dialogue alternating with the musical numbers.” Of the other opera, he observes: “[It] suff\ers from a serious structural miscalculation: its one great dramatic moment—the smashing of a bar in Topeka by the prohibitionist Carrie [sic] and her followers—is the Prologue to the opera. . . . The score is mild and generalized.” A portrait of Moore accompanies the article.

Briggs, John. “Records: Opera: First Disk of a Work by Douglas Moore.” New York Times, 20 April 1958, sec. 2, p. 17, cols. 1–3. The first recording of The Devil and Daniel Webster was released on Westminster Records. The reviewer concludes that the opera “just misses fire.” The opera has two weaknesses. The first is the introduction of the character of Mary Stone, wife of the main character, who was not in the original story. Mary is needed for the opera, or it would have been an all-male cast. Moore also had to dramatize the trial scene, which is also absent from the original story, and needed to do so with a climactic aria. This he fails to do, yet overall, the score “is not without musical interest.”

Brown, John Mason. “Two on the Aisle: An Experiment with the American Lyric Theatre; The Dramatic Merits of Mr. Moore’s and Mr. Benet’s Opera Are Considered.” New York Post, 23 May 1939, p. 14, cols. 1–2. This is a very negative review of the premiere of The Devil and Daniel Webster from the pen of the theater critic. Benét’s libretto, the sets, and the supporting actors receive harsh criticism. Concerning the music, he writes that “to my untutored ears the pleasantest, if most unobtrusive, feature of the program. . . was hampered by the very lack of structure of Mr. Benet’s libretto.”

Cantrell, Scott. “In Review: From Around the World; Kansas City.” Opera News, 17 February 1996, 47. A review of the Lyric Opera of Kansas City’s production of The Devil and Daniel Webster in a modern production is characterized as a “triumph.”

———. “Operatic Death Sentences: Lyric Presents Two One-Act Operas; One Works, One Doesn’t Quite.” Kansas City Star, 20 September 1995, sec. F, p. 1, cols. 2–4, and p. 2. In this double bill offering The Devil and Daniel Webster and Kurt Weill’s Down in the Valley, Moore’s proved to be the more engaging work. Darren Keith Woods gave an exemplary performance as Scratch, as did Cary Miller as Justice Hathorne. The staging, lighting, and costumes were all highlights in this performance, but the orchestra played with “leaden determination.” A photograph of Brian Steele as Webster accompanies the article.

Cassidy, Claudia. “Records: Folk Lore of a Sort in ‘Mahagonny’ and Daniel Webster’s ‘Devil.’ ” Chicago Daily Tribune, 4 May 1958, sec. 7, p. 10, cols. 1–2. The reviewer of the recording on Westminster (OPW-11032) states that the story is a far better work than the opera. However, this is the only recording of the work. Lawrence Winters sings Webster’s part with a “soft, deep voice.”

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[The Devil and Daniel Webster] “Casting Starts for Operas at ‘Y:’ Summer Festival Presentations Scheduled in Provo July 19, 20.” Salt Lake City Desert News, 2 July 1950, sec. F, p. 4, cols. 4–8. In this announcement of the upcoming performance of The Devil and Daniel Webster at Brigham Young University, a photograph of four cast members rehearsing with the conductor Willard Rhodes accompanies the article.

Chotzinoff, Samuel. “Words and Music: Opera Given in English Is Taken for Granted; MusicDrama in the Vernacular Makes Strides Unnoticed.” New York Post, 21 May 1939, p. 11, cols. 1–2. The reviewer advocates translating more operas into English for Americans, pointing out the audience enjoyed and appreciated The Devil and Daniel Webster much more because the text was in English.

———. “Words and Music: Webster Beats the Devil in Benet’s Folk Opera; New England Tale, with Quaint Village Music, Unfolds at Martin Beck.” New York Post, 19 May 1939, p. 8, cols. 1–2. The reviewer recounts the plot of The Devil and Daniel Webster, given its premiere on 18 May. Despite praise for other aspects of the production, he is ambivalent about the role of music in the drama. In fact, “it seemed to me that the story was most absorbing when the music ceased and the homely characters talked in New England fashion.”

“City College Will Present First Opera.” Los Angeles Times, 31 May 1942, sec. 3, p. 4, col. 8. The article announces the 10, 12, and 13 June performances of The Devil and Daniel Webster at Los Angeles City College.

Clinchy, Evans. “ ‘Devil and Daniel Webster’ Opens Engagement at Sturbridge, Mass.” Hartford Times, 22 July 1953, p. 21, cols. 2–4. The article reviews the Sturbridge performance on 18 July of The Devil and Daniel Webster: “But he has written a brisk, pointed score that, when combined with dancing and good acting, does underscore the drama and make some of the libretto’s bald hokum much more acceptable.”

“Collegians Will Present Folk Opera.” Los Angeles Times, 7 May 1951, sec. 2, p. 6, cols. 1–3. The article is an announcement of the 11 May and 9 June production of The Devil and Daniel Webster at the University of Redlands. A photograph shows three students rehearsing.

Coleman, Robert. “Mr. Coleman’s Verdict: Benét-Moore Opera Smartly Presented at Martin Beck.” New York Daily Mirror Pay-Off Ed., 20 May 1939, p. 19, cols. 1–2. The article is reprinted from the 19 May late edition. Both the music and libretto “manage to catch the home-spun earthiness of the New England of the ’40s.” The production is “stunning,” and the four lead singers act and sing well.

“Concerts Set at Claremont.” Los Angeles Times, 25 June 1950, sec. 4, p. 10, col. 6. The Claremont Institute of Music will present The Devil and Daniel Webster on 1 and 2 August.

“Cue Says Go! Yankee Faust.” Cue (Manhattan Edition) 7, no. 29 (13 May 1939): 11. The announcement of the upcoming production of The Devil and Daniel Webster advises: “America needs indigenous lyric drama, a mean between grand opera and musical comedy.”

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[The Devil and Daniel Webster] “Daniel Webster Outwits a Boston Devil in a New American Folk Opera.” Life, 12 June 1939, 37–38, 40. The article gives a brief synopsis of the opera accompanied by nine captioned photographs from the American Lyric Theatre production in New York.

Ditsky, John. “Moore: The Devil and Daniel Webster; Folk Opera in One Act.” Fanfare 13, no. 2 (November–December 1989): 285. The article reviews the reissue recording of The Devil and Daniel Webster on the Phoenix label (PHCD 103).

“Double Opera Bill.” Cincinnati Enquirer, 5 April 1949, p. 13, col. 3. The article announces performances of The Devil and Daniel Webster on 7–9 April.

Downes, Olin. “Problems of Native Opera.” New York Times, 16 April 1939, sec. 10, p. 7, cols. 1–4. The article announces the premiere of The Devil and Daniel Webster by the American Lyric Theatre on 18 May. Downes outlines the various works to be presented as part of the American Lyric’s season and follows this with an essay on the development of a national style of opera. He argues that comic or light opera is the first style to appear. Grand or epic operas develop after many years, as happened in Italy, France, and Germany. Moore’s opera is similar to “divertimenti” that were presented in between acts of Italian grand opera in the previous century. Downes concludes: “Opera will be popular in this country, not when it is merely sung in English, but when it is conceived in our spirit and composed for our tongue. Then it will be a national expression, understood and welcomed as such.”

———. “World Premiere for Benet Opera: American Lyric Theatre, for Its Bow, Gives ‘The Devil and Daniel Webster’: New England Folk Tale; Music Is by Douglas Moore; Text in English Idiom of Time and Place.” New York Times, 19 May 1939, p. 26, cols. 1–3. This review praises the composer’s method of setting the text as partly sung, partly spoken. Some parts are weak, such as the love duet of Jabez and Mary and Mary’s Prayer. But most of the scenes are effective, including the Wedding Scene, the Devil’s Fiddle Song (i.e., Scratch’s Song), Webster’s Song, and the Trial Scene. The singers were also good actors who had the advantage of excellent conducting, stage direction and sets. Overall it “entertained; it had popular pulse and the quality of the vernacular, and it showed American artists in admirably coordinated efforts in the direction of a real musical theatre.”

Drake, Herbert. “The Playbill: New Lyric Theater [sic].” New York Herald Tribune, 23 April 1939, sec. 6, p. 1, cols. 1–3. The article explains the aims of the American Lyric Theatre and then moves on to discuss its first two productions, focusing on The Devil and Daniel Webster, to be premiered on 18–20 May. A short synopsis is followed by a discussion of how music and speech are used to advance the drama. In addition, there is a fairly lengthy description of the costumes and sets, designed by Robert Edmond Jones.

Duncan, Barbara. “Operas Open Festival Night Events: 1500 on Hand for Outdoor Double Bill at Public Garden.” Boston Daily Globe, 6 June 1959, p. 1, cols. 3–6, and p. 12. The review of the opening of the Boston Arts Festival includes one paragraph on The Devil and Daniel Webster, which claims that it is “what American opera ought to be at its best: both an absorbing show and superior music for voices and instruments.”

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[The Devil and Daniel Webster] “Final Performance of Contemporary Operas Applauded.” Provo Daily Herald, 21 July 1950, p. 5, cols. 5–6. The article is a review of the Brigham Young University performance of The Devil and Daniel Webster on July 20. “Particularly outstanding in . . . [The Devil and Daniel Webster] was the scene of the jury returning from hell to judge whether or not the soul of Daniel Webster, played by Harold Brereton, should go to the Devil, Rex Johnson. Perhaps the finest music of the opera was played at that point.”

Fisher, Marjory M. “ ‘Devil and Daniel Webster’ Proves Exciting Show.” San Francisco News, 2 May 1942, p. 7, cols. 4–5. The review of the performance at the Veterans’ Auditorium on 1 May has only this to say about the music: “Termed ‘a play-opera in one act,’ . . . [the opera] held the stage for 55 minutes and within that period there was crammed drama, melodrama, fantasy and excitement enough for a full length opera—and alternately setting and underscoring the moods, was one of the most excitingly dramatic music scores we have ever heard in a theater.”

———. “Gracie Fields Gives Fine Show at Opera House: American Folk Operas Well Staged at Stanford.” San Francisco News, 12 March 1951, p. 15, cols. 1–2. “The melodramatic fantasy of Benet’s with Moore’s dramatic musical score was heard in San Francisco some years ago. It has enough good Americanism in it and sufficient theatrical merit to warrant the attention of today’s young people on both sides of the footlights.” The performance and especially the orchestra were excellent.

———. “Theater Helped Moore Write Good Opera: ‘Devil and Daniel Webster’ to Be Given Here Tonight.” San Francisco News, 1 May 1942, p. 12, cols. 6–7. In announcing the performance on 25 April of The Devil and Daniel Webster in San Francisco, the author touches on Moore’s acting career and the numerous performances of the opera to date. She also discusses what it is that makes the opera so popular. A portrait of Moore accompanies the article.

Flanagan, William. “Moore: The Devil and Daniel Webster.” HiFi/Stereo Review 14, no. 6 (June 1965): 74–75. This review of the Desto (DST 6450) reissue of the 1959 Westminster recording rates the performance as excellent and the recording quality as good. The reviewer praises Moore’s sense of drama and use of folk elements. He also claims that Moore has learned his operatic techniques from Virgil Thomson and says that “when the occasion calls for it, Moore can spin out a diatonic vocal line of considerable skill, sensitivity, and underplayed class and sophistication.”

Frankenstein, Alfred. “Douglas Moore: Opera Must Fit Rhythm of U.S. Speech.” San Francisco Chronicle, 30 April 1942, p. 26, cols. 1–2. The announcement of the performance of The Devil and Daniel Webster on 1 May in San Francisco includes a number of quotes from Moore. He talks about how the timeliness of a libretto works to make a successful opera: “American music will be born when American composers learn how to set the rhythms of American speech.”

———. “Music: 2 American Composers Triumph Here.” San Francisco Chronicle, 2 May 1942, p. 9, cols. 1–2. Frankenstein’s review of the San Francisco performance of The Devil and Daniel Webster on 1 May comments: “The folk and period interest; the macabre and sinister side of the story; its heroic conflict

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[The Devil and Daniel Webster] wherein one great man rises gigantically to the apex of his powers in single-handed combat with the massed forces of evil; the lyric and compassionate strain; the appeal to ideas that are at the heart of the American spirit and are now hugely in travail—it’s a short opera, but it’s a huge order Stephen Benet set for Douglas Moore, and Moore filled the bill superbly in music that should be heard much more than once. . . . And there is not a shading or facet of its theatrical possibilities which is not brilliantly realized in Moore’s exhilarating score.”

———. “Opera in English: Stanford’s ‘Devil and Dan Webster,’ Popper’s ‘Cosi fan tutte’ First Rate.” San Francisco Chronicle, 12 March 1951, p. 23, cols. 1–2. This is a very positive review of The Devil and Daniel Webster as performed by Stanford University: “To be sure, there is more to the score than this one scene, and all of it rings true, theatrically and musically. It has the symphonic contrasts of incident and feeling and the well-timed build to its tensest scene, which are of the essence of opera, but which are to be found in so few American attempts at this form. Moore, furthermore, really knows how to compose a melody and his whole style has the resonance of a thoroughly skilled and creative musician.”

Fried, Alexander. “1 Act American Opera Praised.” San Francisco Examiner, 2 May 1942, p. 11, col. 3. The review of the 1 May performance at the Veterans’ Auditorium of The Devil and Daniel Webster finds that “Moore’s score matches the intermingled qualities of Benet’s text. It is hearty in a folkish manner. Yet it has dramatic impulse, astute narrative atmosphere and a true elevation of spirit.”

———. “Benet’s ‘Devil and Daniel Webster’: Douglas Moore’s Folk Opera Rates ‘Excellent Theater’ on Record.” San Francisco Examiner, 30 March 1958, sec. Pictorial review, p. 10, cols. 4–5. The review of the Westminster release of the opera considers it to be excellent theater. The music sometimes “slips over, a shade, into sentimentality. But it’s an honest sort of sentimentality that fits the whole flavor of Benet’s New England yarn.” All of the principal singers do a good job. The review is accompanied by an illustration from the record jacket.

———. “Stanford Folk Operas Held Big Service to Art: Twain and Benet Stories Given.” San Francisco Examiner, 11 March 1951, sec. 1, p. 5, cols. 1–2. This article is a review of the Stanford University production of The Devil and Daniel Webster on 8–10 March. “Moore’s music has flow, atmosphere, impact, imagination. It and Benet’s brilliant libretto make up a minor masterpiece.”

———. “Stern Grove Opera Pleases Throng: ‘The Devil and Daniel Webster’ Repeats Success.” San Francisco Examiner, 20 July 1942, p. 3, col. 8. The article is a review of the 19 July performance at Stern Grove in which “Douglas Moore’s score, despite an acoustic handicap, again sharply enhanced the spirit of the New England legend. It made an especially intimate appeal not only by its shrewd theatrical force, but also by its pleasant use of folkish songs and dances.”

Gilbert, Gama. “Douglas Moore.” Stage 16, no. 10 (15 May 1939): 48. The article is an announcement of the upcoming performance of The Devil and Daniel Webster by the American Lyric Theatre on 18–20 May. A portrait of Moore accompanies the article.

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[The Devil and Daniel Webster] “Group Formed to Present U.S. Operatic Works: American Lyric Theater [sic], Headed by Lee Pattison, to Open Here in April.” New York Herald Tribune, 11 January 1939, p. 13, cols. 1–4. This announcement of the formation of the American Lyric Theatre mentions that The Devil and Daniel Webster will be one of the works in the first season. The article is accompanied by a captioned photograph of five people central to the formation of the American Lyric Theatre that includes Moore, the director Lee Pattison, and Stephen Vincent Benét.

Grueninger, Walter F. “Phonograph Records.” Consumer Bulletin 41, no. 7 (July 1958): 30. This is a brief three-sentence review of The Devil and Daniel Webster (Westminster OPW 11032). The opera “offers agreeable tunes and adds up to a good show” with a cast that is “acceptable, but not the best that could have been assembled.”

Heinsheimer, H. W. “Opera for Americans.” Holiday 14, no. 6 (December 1953): 112–16, 120–21. Pages 114–15 show a large full-color photograph of the set and cast of the Sturbridge production of The Devil and Daniel Webster.

Hugues, Elinor. “The Theater: Sturbridge Amphitheatre: ‘The Devil and Daniel Webster.’ ” Boston Herald, 20 July 1953, p. 4, cols. 4–5. The article is a positive review of the opening performance: “Mr. Moore’s music is melodious[,] straight-forward and largely without operatic artificiality.”

Ibee. “Plays on Broadway: The Devil and Daniel Webster.” Variety, 24 May 1939, p. 42, col. 1. The review of the premiere of The Devil and Daniel Webster on 18 May concludes that “for the operaminded the venture suggests a possible welcome, but for the average theatre-goer, it’s too highbrow.”

Johnson, David. “Moore: The Devil and Daniel Webster.” High Fidelity 8, no. 9 (September 1958): 66, 68. This review of the Westminster recording (OPW 11032) enumerates the additions to Benét’s short story that make up the libretto, namely the addition of Jabez Stone’s wife and the dramatic speech by Daniel Webster. The reviewer can’t seem to make up his mind about the music. At first he says: “It is musically and dramatically well made, speech shading into melodrama (i.e., speech accompanied by music), melodrama into aria, duet, or concerted number almost imperceptibly.” Later, though, he remarks: “The music is rarely memorable (exception: Mary’s song ‘Now may there be a blessing’), but it is always craftsmanlike and equal to the dramatic situations.” The performance is also marred by the bad acting and singing of Joe Blankenship in the role of Jabez.

Johnson, Harriett. “Words and Music: Witch and Devil Hold Stage at Center.” New York Post, 6 April 1959, p. 46, cols. 1–3. The author reviews the New York City Opera performance of The Devil and Daniel Webster on 5 April. “The composer has fashioned his music in the Americana tradition, giving it a folksy quality which doesn’t intrude but acts as a blast to the plot.”

Jones, Isabel Morse. “Music: American Music Gains Recognition.” Los Angeles Times, 24 May 1942, sec. 3, p. 4, cols. 1–2. The author reports on the New York broadcast of The Devil and Daniel Webster by Alfred Wallenstein the previous week and on the upcoming production of the opera by the Los Angeles City College

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[The Devil and Daniel Webster] Opera Club, directed by Hugo Strelitzer, on 10, 12, and 13 June. Moore is also lecturing at the City College on 24 May.

Kastendieck, Miles. “At the City Center: Singers Spark American Works.” New York JournalAmerican, 6 April 1959, p. 17, cols. 3–7. The article reviews the 5 April performance of The Devil and Daniel Webster by the New York City Opera. “Moore knows how to spin a melody and compose effectively, but just a score of years ago he wrote too modestly.”

———. “ ‘The Devil and Daniel Webster’: Festival Music Play Appealing.” New York JournalAmerican, 20 July 1953, p. 8, cols. 5–8. The article reviews the 18 July opening performance at Sturbridge, Massachusetts. “The present version expands considerably the original Broadway production of 1939.”

———. “Sturbridge Village Spirit Graphically Recreated.” New York Journal-American, 26 July 1953, p. 18, cols. 7–8. The author reviews The Devil and Daniel Webster from 18 July, but most of his comments concern the Sturbridge Festival itself.

Keiser, Tucker. “Music in Review: The Devil and Daniel Webster.” Boston Post, 19 July 1953, p. 5, cols. 1–2. The review of Sturbridge performance of The Devil and Daniel Webster opening on 18 July recounts the story and comments on the performers.

King, William G. “Music and Musicians: Douglas Moore: About the Composer of ‘The Devil and Daniel Webster.’ ” New York Sun, 13 May 1939, p. 28, cols. 3–5. This extensive article announces the upcoming production of the opera by the American Lyric Theatre. The plot of the opera is given and a fairly extensive biography of Moore. Moore’s opinions about the accessibility of the opera, his desire to continue to write theatrical works, and the state of music at the time are included. There are portraits of Moore and the conductor Fritz Reiner, as well as a photograph of a scene from the production.

Kolodin, Irving. “Music to My Ears: More and More of Moore: Hoiby’s ‘Scarf.’ ” Saturday Review 42, no. 16 (18 April 1959): 43. The revival of The Devil and Daniel Webster at the New York City Opera twenty years after its premiere is the impetus for this review. The performance of all of the singers was excellent and particularly the acting of Norman Kelley as Scratch. The libretto is “much too fine a piece of creation to be called a libretto. It proves beyond question that writing can be folksy without being banal, and eloquent without being high-flown.” As a composer, Moore is “almost defiantly resolute in working his own vein of musical materials, derived from folk sources, hymnal tunes and a discriminating view of such operatic models as Wagner and Strauss. Not much American music since 1939 has said as much so succinctly as ‘I’ve got a ram, Goliath,’ nor has another composer handled a dramatic situation better than Moore’s treatment of the jury of renegades, traitors, and cut throats [sic] who are, ultimately, cut to size by Webster’s—and the combined Moore-Benét—eloquence.”

———. “Two Operatic Firsts.” Saturday Review 41, no. 17 (26 April 1958): 43. Kolodin reviews the first recording of The Devil and Daniel Webster on Westminster. The performance is “serviceable rather than distinguished,” and Moore’s setting is “consistently expert, rising to real

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[The Devil and Daniel Webster] eloquence in the final trail [i.e., trial] scene.” Nonetheless, recordings of American repertoire are needed. There is also a portrait of Stephen Vincent Benét, the librettist.

*Kyes, John F. “Play at Sturbridge Top Entertainment.” Worcester Evening Gazette, 20 July 1953, p. 11. The author reviews a performance of The Devil and Daniel Webster, which opened 18 July. It is an extensive review of the performers and production and is accompanied by a photograph of a scene from the opera.

“Laguna Opera to Stage ‘Pagliacci.’ ” Los Angeles Times, 28 August 1965, sec. 3, p. 7, col. 1. The article announces the Festival of Opera production in Laguna Beach on 28 August of The Devil and Daniel Webster.

Land. “The Devil and Daniel Webster.” Variety 214, no. 6 (8 April 1959): 72. This review of the New York City Opera production of 5 April considers the opera a good show despite a few blunders in staging. Walter Cassel’s acting as Webster was excellent, as was that of Norman Kelley as Scratch. The directing of John Houseman and the conducting of Max Goberman are praised except in the trial scene, which moved too quickly.

Lewando, Ralph. “Savoyards Double-Header Program Proves Spotty: Orchestra Merits Praise, but Diction and Lighting Are Poor in Both Shows.” Pittsburgh Press, 21 April 1948, p. 23, cols. 1–2. The review of the Pittsburgh Savoyards’ performance of The Devil and Daniel Webster on 20 April thought Moore’s score to be “of excellent caliber. Good music all the way, and something that should be heard here again.”

Lewis, Emory. “Disc Data: Long-Playing ‘Take-Five’ Is Now an LP Record.” Cue 27, no. 21 (24 May 1958): 7. This review of the Westminster release of The Devil and Daniel Webster devotes a paragraph to recommend the recording, especially the “particularly brilliant . . . final trial scene.”

———. “Old Sturbridge Village: New England History Comes Alive in an Eighteenth Century Town, Where Roads Are Unpaved and Horses Are Shod Gratis.” Cue 22, no. 33 (15 August 1953): 12–13. The article gives information for the traveler about the Sturbridge Village. It mentions that The Devil and Daniel Webster will be produced there this year and is accompanied by a photograph of a scene from the opera.

*Lissfelt, J. Fred. “Savoyards Give New, Old Opera.” Pittsburgh Sun-Telegraph, 22 April 1948, p. 12. The reviewer of the 20–21 April performance of the Pittsburgh Savoyards of The Devil and Daniel Webster comments on the work: “Like movie music, it seldom obscures the dramatic movement; there is a strong tang of New England folk materials in its rhythms and tune. The characters are well known in American history, but are treated in fantastic spirit.”

“Lyric Experiment.” New York Times, 21 May 1939, sec. 9, p. 4, cols. 1–4. This is a captioned photograph of a scene from The Devil and Daniel Webster including cast members identified as George Rasely (Devil), Lansing Hatfield (Webster), and Nancy McCord (Mary). The man identified as Hatfield may actually be John Gurney (Jabez).

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[The Devil and Daniel Webster] “Lyric Theater [sic] Opens May 18 at the Beck: Casts Chosen for First Two Productions; Bill of Ballets Will Follow.” New York Herald Tribune, 30 April 1939, sec. 6, p. 6, cols. 5–6. The article announces the cast for the premiere of The Devil and Daniel Webster.

“Lyric Theater [sic] Opens Season Next Thursday: Moore-Benet Opera Will Have Premiere; Second Production on May 22.” New York Herald Tribune, 14 May 1939, sec. 6, p. 7, cols. 3–4. The article announces the premiere of The Devil and Daniel Webster on 18 May and also discusses the cast and producers. A photograph of Fritz Reiner, who is the conductor, accompanies the article.

“Lyric Theater [sic] Opens Season on April 20: Reiner Will Conduct the First Production; Next Will Be under Polah.” New York Herald Tribune, 5 March 1939, sec. 6, p. 6, col. 6. The article is an announcement of the opening season of the American Lyric Theatre, which includes the premiere of The Devil and Daniel Webster.

Mace, Louise. “Theater News and Views: Benet-Moore Music-Play Opens at Sturbridge: ‘The Devil and Daniel Webster’ Presented at Outdoor Amphitheater in Village Established to Perpetuate Old New England.” Springfield Union, 20 July 1953, p. 11, cols. 1–4. The article is a review of the Sturbridge performance on 18 July of The Devil and Daniel Webster and includes comments on the stage setting and the performers.

Mantle, Burns. “The American Lyric Theater [sic] Negotiates a Stirring Debut.” New York Daily News, 19 May 1939, p. 45, cols. 1–2. The reviewer of the premiere performance of The Devil and Daniel Webster is pleased with the performance. “Composer Moore’s score is as simple and direct as Mr. Benet’s lyrics, which have the articulate quality we revue followers associate with Ira Gerswin [sic]. There is a George Gershwin quality in the music, too. Especially in a Webster solo, ‘I’ve got a ram, Goliath,’ and Jabez’ confession ‘I wanted clothes from a city store, and a big white house with a big front door.” A portrait of Nancy McCord as Mary accompanies the article.

———. “Finds Federal Theater Top-Heavy with Defeatist Drama: Critic Mourns Lack of Plays about Success.” Chicago Daily Tribune, 28 May 1939, sec. 7, p. 2, col. 6. The reviewer is quite impressed by the premiere performance of The Devil and Daniel Webster by the American Lyric Theatre, calling it “downright inspiring.” A brief synopsis of the plot of the opera is included, as well as a list of the principal cast members.

McLellan, Joseph. “Mmm: A Tasty Revival; ‘Bon Appetit’ Mixes with Dramatic ‘Devil.’ ” Washington Post, 23 March 1998, sec. E, p. 7, cols. 5–6. This performance by the Opera Theater of Northern Virginia on 20 March of The Devil and Daniel Webster “is intensely dramatic, vigorously rhetorical[,] and . . . it dazzled the audience.”

Miller, Philip L. “Moore: ‘The Devil and Daniel Webster.’ ” American Record Guide 24, no. 10 (June 1958): 430–31. In his review of Westminster OPW-11032, Miller compliments Moore on setting to music only the parts of the libretto that lend themselves well to such treatment and leaving the rest as spoken dialogue. The performance is excellent, and the “voices are fresh and young, musically used, and the diction is exemplary.” All of the principal singers perform their roles with conviction, although Doris Young has some trouble with the high E in the finale.

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[The Devil and Daniel Webster] ———. “Moore: ‘The Devil and Daniel Webster.’ ” American Record Guide 31, no. 9 (May 1965): 862. Miller approves of this stereo reissue on Desto (DST-6450), his only reservation being Joe Blankenship as Jabez Stone, who could have been better. Moore “writes music with an earthy quality particularly suited to his purpose.”

Miranda, William D. “American Operas Open the Boston Art Festival.” Jewish Advocate, 11 June 1959, sec. Magazine, p. 9, cols. 1–3. The article reviews the Boston Art Festival performance of The Devil and Daniel Webster : “Purists may carp on the portions of spoken dialogue which seem to cry for musical treatment but in such scenes as Webster’s charge to the jury the spoken word accompanied by majestic patriotic strains creates a striking modern ‘recitative.’ This sparkling work with its local flavor, variety of musical expression and message of freedom is a perfect opera for cultural exchange with Russia.”

Model, Peter. “Music Review.” Cornell Daily Sun, 6 December 1951, p. 2, col. 3. The review is of the Ithaca College performance of The Devil and Daniel Webster on 5 December. “Because of generally good singing, excellent staging, and fine acting, the entire opera was able to engage the emotions of the audience so that they applauded for more than five minutes.”

Monfried, Walter. “ ‘Dan Webster’ Opera Saluted: Chamber Group’s Debut.” Milwaukee Journal, 30 January 1952, sec. 2, p. 4, cols. 1–3. The article is a review of a 29 January performance by the Milwaukee Chamber Opera of The Devil and Daniel Webster. “The musical score, by Douglas Moore, is pungent, straightforward and engaging. This combination of American flavor, tunefulness and pointed dramatic incident makes for real theater.”

“Moore Opera Opens Sturbridge Festival.” Musical America 73, no. 10 (August 1953): 4. The article announces the performance of The Devil and Daniel Webster and Farm Journal at the opening of the Sturbridge Festival on 18 July.

*Morin, Raymond. “ ‘Devil and Daniel Webster’ Delights Festival Audience: American Opera Refreshing; Cast Excellent, Stoessel’s Direction Skillful; ‘Spanish Hour’ Weak, but Typical Ravel Fantasy.” Worcester Telegram, 7 October 1941, p. 9. At the 6 October performance of the opera at the Worcester Festival, the reviewer discovered the work to be refreshing in its use of American themes. “ ‘The Devil and Daniel Webster’ combines the lively witticisms of Stephen Vincent Benet and the deliciously colorful music of Douglas Moore. This unified production is saturated with New England philosophy and humor. Its effect on last night’s audience was psychological as well as musical. Such works point the way to the perpetuation of important American opera. It was a far cry from the unintelligible recitations of many foreign librettos to Daniel Webster’s—‘And, frankly, Madam, in a very few moments, this is going to be no place for a lady’—and it was refreshing.”

“Music, Art School Gives Two Operas.” New York Times, 19 January 1946, p. 18, col. 3. The High School of Music and Art produced two operas, including The Devil and Daniel Webster, on 18–19 January. The cast is listed.

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[The Devil and Daniel Webster] “Music: Lyric Theatre.” Time, 29 May 1939, 40. The brief article summarizes the plot and critical reception of The Devil and Daniel Webster at its premiere, concluding that it “is well staged and occasionally rises above self-conscious Americanism.” A photograph of the jury scene from the opera accompanies the article.

Nairn, Norman. “Opera Repetition Again Draws Capacity Kilbourn Audience.” Rochester Democrat and Chronicle, 10 May 1950, p. 14, cols. 2–3. The article is a review of the 9 May performance of The Devil and Daniel Webster at the Eastman School of Music. High praise goes to the entire production, which experienced its second sold-out house.

Nathan, George Jean. “Theater Week: The Eagle Lays Two Eggs.” Newsweek, 5 June 1939, 34. This is a harsh review of the premiere of The Devil and Daniel Webster by the American Lyric Theatre. The reviewer believes that the American Lyric has not achieved its goals of furthering the cause of native American theater through the choice of its first two productions, one of which was Moore’s opera. That work was “almost completely dramaless and never more so than when Mr. Moore periodically embroidered it with his genteel and wholly respectable, if generally impotent, score. The lyrics, with their allusions to pies, farmyard esoterica, and the like, might have passed critically in print but they warred against any musical accompaniment and, in the singing, impressed the sensitive ear with much of the discomfort that would be attendant upon simultaneously listening to a violin concerto and reading ‘On a Slow Train Through Arkansas.’ ”

“National Music Week Promises ‘Porgy and Bess’ as High Spot.” Washington Post, 3 May 1942, sec. 6, p. 5, cols. 7–8. WOL radio in Washington will program American operas for National and Inter-American Music Week, including The Devil and Daniel Webster.

“News and Notes: Premieres of American Music Scheduled for Museum Concert on Feb. 22.” New York Times, 8 February 1953, sec. 2, p. 8, cols. 1–3. The Old Sturbridge Village is constructing an open-air theater in the form of a village square of the 1820s. The Devil and Daniel Webster will be presented there during the summer of 1953. A portrait of Moore accompanies the article.

“Notes Here and Afield.” New York Times, 30 April 1939, sec. 11, p. 8, col. 5. The article is an announcement of the premiere of The Devil and Daniel Webster by the American Lyric Theatre and a listing of the cast.

“Notes on an American Opera.” Saturday Review of Literature 20, no. 5 (27 May 1939): 8. The reviewer of the American Lyric Theatre production of The Devil and Daniel Webster considers the opera a success from the standpoint of drama, with excellent characterization and music that is “vigorous, organic, and intelligible.” It has American qualities in its subject matter and in a score that does not remind the listener of the music of European composers. However, this reviewer is bothered by the alternation of speech and music and would have preferred uninterrupted music, because the score “is organically composed; it does not run to isolated arias; it flows, it has musical continuity and structure, and it should not be interrupted. . . . Both as drama and as opera it is good as far as it goes, but it is neither quite one nor the other.”

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[The Devil and Daniel Webster] “Opera and Concert Asides.” New York Times, 5 June 1938, sec. 9, p. 5, col. 8. The article is an announcement that Moore and Benét are at work on a new opera, The Devil and Daniel Webster, which will be completed by the fall of 1938.

“Opera at Sturbridge.” Boston Post, 19 July 1953, p. 38, col. 3. The article is an announcement of the performances of The Devil and Daniel Webster given at Sturbridge Village between 18 July and 30 August.

P., H., Jr. “Moore: The Devil and Daniel Webster.” New Records 26, no. 3 (May 1958): 10–11. In this short review of the Westminster (OPW-11032) recording, Lawrence Winters is singled out as a fine singing actor in the role of Webster, and the music is “warm, folksy and slightly sentimental.”

Parsons, Charles H. “Moore: The Devil and Daniel Webster.” American Record Guide 53, no. 6 (November–December 1990): 83–84. The review of the 1957 recording reissued on Phoenix 103 characterizes the operas as having “not-toofolksy music, which carefully expresses the drama.” However, the performance of most of the singers and orchestra is weak and unenthusiastic except for that of Lawrence Winters as Webster.

Perkins, Francis D. “ ‘Devil and Daniel Webster’ and ‘The Scarf ’ Presented.” New York Herald Tribune, 6 April 1959, sec. 1, p. 17, cols. 3–4. The author reviews the New York City Opera performance on 5 April. “Mr. Moore does not quote folk or traditional tunes, but his arias, with some variation in their appeal to the listener’s memory, give a sense of local color in their appropriately straightforward melody. The use of musical hues in the trial by the infernal jury is particularly persuasive. The orchestration is always well balanced.”

———. “The Lyric Theater [sic] Ends First Series.” New York Herald Tribune, 28 May 1939, sec. 6, p. 6, cols. 1–4. The article reviews the past season at the American Lyric Theatre, which experienced low attendance. Moore’s opera is considered the highlight of the year, and the score of the work is discussed positively and in some detail. The opera “showed considerable dramatic and musical strength and in several ways can be regarded as at least pointing the way to a definitely American form of musical stage work of a type particularly well suited to the American Lyric Theater’s [sic] plans and policies.” The article advocates the need for a company such as the American Lyric Theatre to fill the gap between Broadway musicals and opera as presented at the Metropolitan so that American composers and performers will have an opportunity to develop.

Pettis, Ashley. “Music: ‘The Devil and Daniel Webster.’ ” Argonaut 121, no. 3365 (8 May 1942): 13. A detailed review of the performance of the opera at the Veterans’ Auditorium on 1 May believes that “Moore and Benet have retained the home-spun and elemental quality of this American tale with amazing fidelity. They have not attempted to make ‘grand,’ inflated opera from it. It seems to me that with all its unpretentiousness, in fact, because of this very quality, it points the way towards the development of an indigenous American lyric theatre (about which we shall write more later) which others might well pursue.”

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[The Devil and Daniel Webster] [Photograph of The Devil and Daniel Webster.] New York Herald Tribune, 16 August 1953, sec. 4, p. 4, cols. 1–3. This is a captioned photograph of a scene from the Sturbridge performance of The Devil and Daniel Webster.

[Picture of Nancy McCord and George Rasely.] New York World Telegram, 13 May 1939, sec. 1, p. 12, cols. 3–4. This is a photograph of two of the principals (Mary and Scratch) in the premiere of The Devil and Daniel Webster.

“Premiere of Opera Scheduled: City College Group to Sing ‘The Devil and Daniel Webster.’ ” Los Angeles Times, 7 June 1942, sec. C, p. 4, col. 8. The article announces the production of the opera by Los Angeles City College on 10, 12, and 13 June and gives the names of the cast and producers.

“Recent Happenings: New American Opera Heard.” Pacific Coast Musician 31, no. 12 (20 June 1942): 5. In the review of the Los Angeles City College production of The Devil and Daniel Webster on 10, 12, and 13 June, the reviewer states that “Mr. Moore’s music is refreshingly free from imitation of European trends and has something of its own to say. The opera is a mixture of ensemble numbers, solos and spoken dialogue which provide a variety of mood levels and enhance the work tremendously.” The article is accompanied by a photograph of the conductor, Hugo Strelitzer.

Rich, Alan. “Moore: The Devil and Daniel Webster.” High Fidelity 15, no. 5 (May 1965): 84. The review of this reissue on Desto (D 450 and DST 6450) says the opera “is a work of charming craftsmanship, and great high spirits.”

Roy, Klaus George. “Moore: The Devil and Daniel Webster (Complete Opera).” HiFi & Music Review 1, no. 6 (July 1958): 54. Although the composer and librettist claim that The Devil and Daniel Webster is a folk opera, Roy thinks the music is not simple enough in its language, being too dependent on late nineteenth-century musical rhetoric. However, they did write an opera that has remained in the repertoire. The performance on Westminster (OPW 11032) has good singers who sing well but do not act well. A photograph of the album cover accompanies the article.

S[abin], R[obert]. “The Scarf; The Devil and Daniel Webster.” Musical America 79, no. 6 (May 1959): 7. Most of this review is devoted to Lee Hoiby’s The Scarf. The reviewer finds The Devil and Daniel Webster not up to the same standard as The Ballad of Baby Doe. Nonetheless, it “preserves a certain charm” and the performance of the singers was excellent.

Sagmaster, Joseph. “Superb Performance by Music Drama Guild.” Cincinnati Times-Star, 8 April 1949, p. 27, cols. 4–6. For this performance of The Devil and Daniel Webster in Cincinnati on 7 April, the reviewer believes that “Douglas Moore’s score is modern without being at all unintelligible. With a wealth of melodies,

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[The Devil and Daniel Webster] some ingenious, some haunting, and several fine choruses, it captures perfectly the mood of Benet’s remarkable book.”

Sanborn, Pitts. “ ‘Devil Webster’ Opera Has World Premiere: American Work by Stephen V. Benet Excellently Performed and Is Thoroughly Enjoyed by the Audience.” New York World Telegram, 19 May 1939, sec. 1, p. 20, cols. 1–2. Sanborn’s review is mixed but generally positive. “The score . . . shows both the hand of the trained musician and a feeling for the theater that came last night as something of a surprise, of course an agreeable surprise. True, there are pages in this one-act opera where the interest lags. But they are relatively few. Mr. Moore has been chary of modernistic devices, but rather has dried the idiom of the most successful scenes from a happy mingling of ordinary operatic parlance with an unforced native folkish quality.”

Sanders, Forrest. “Music: ‘An Evening of Opera’: Ithaca College Students.” Ithaca Journal, 6 December 1951, p. 4, col. 5. The article reviews the Ithaca College performance of The Devil and Daniel Webster on 5 December. “A more ambitious production was ‘The Devil and Daniel Webster,’ the plot more complicated and the music delightfully complex. There is a large and colorful cast, beautiful costuming and scenes, vivid and dramatic lighting, an effective chorus and orchestra, and some very lively dancing. The staging was excellent. It is good opera and very good theater.”

Schonberg, Harold C. “Pie and Opera Open New England Fete: Old Sturbridge Provides Fillip to ‘Devil and Daniel Webster’ and Audience Digs In.” New York Times, 20 July 1953, p. 14, cols. 7–8. The Devil and Daniel Webster and Farm Journal are performed at the first Old Sturbridge Festival. Old Sturbridge is a re-creation of a preindustrial New England town, and these works were chosen to open its new amphitheater. Following the opera’s “Pies for Breakfast” final scene, the audience was invited to join the cast for apple pie on opening night and on the following Monday performances. The stage scenery was made as realistic as possible to retain the New England setting.

Segal, Lewis. “Opera Review: ‘Devil’ Plays in Riverside.” Los Angeles Times, 11 May 1976, sec. 4, p. 9, cols. 1–2. This review of the performance by the Riverside Opera Association on 8 May gives the performance good marks. The opera has “a rough-hewn vitality, incorporating social dances, ballad arias, hymnlike choral passages and extended melodrame. The result manages to probe our national character without ever seeming ill-natured or highfalutin.’ ” Bruce Langford as Scratch “sang securely,” Chris Webb (Webster) “produced a strongly vocalized portrayal,” and Joy Schuh as Mary “sang capably throughout,” but Philip Bremenstuhl (Jabez) “gestured awkwardly.”

“Short Operas Presented on Claremont Campus.” Los Angeles Times, 4 August 1950, sec. 2, p. 7, cols. 6–7. The review comments on the Claremont Opera Workshop performances of The Devil and Daniel Webster on 1 and 2 August, which were “thoroughly professional performance[s]” with the help of Richard Hale as Webster. The opera itself “is an interesting bit of Americana though it would be a better opera if the composer had been able to write music that would be a vital part of the action.”

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[The Devil and Daniel Webster] Simon, Robert A. “Musical Events: Speaking of the Devil; World’s Fair Sounds.” New Yorker, 27 May 1939, 82–83. The reviewer informs the reader that The Devil and Daniel Webster doesn’t use “any standard operatic formulae; [Moore and Benét] used music whenever it seemed to build up a situation, and the result is an attractive stage version of a delightful American tale.” The combination of spoken dialogue, dialogue underscored by music, and full arias allows the “music to melt into the drama.” The performances of the singers and the work of the producers and directors are all successful.

Slater, M[arguerite]. “Music on the Peninsula: Stanford Operas.” Opera and Concert 16, no. 4 (April 1951): 31. The article reviews the performance of The Devil and Daniel Webster on 8–10 March at Stanford University. The opera has “earthy, spoken dialogue, dramatic intensity, an exciting and singable score and wonderful opportunities for imaginative staging.” The entire production, from the orchestra playing and lighting to the members of the cast, was in top form.

S[mith], P[atrick] J. “Moore: The Devil and Daniel Webster.” Opera News, October 1996, 38. This review of the performance on Newport Classic (NPD-85585) says the opera “partakes of the same folksy, down-home idiom, with a veneer of ‘learned sophistication.’ ” The performance of Brian Steele as Webster and the conducting of Russell Patterson are singled out for praise.

Sorell, Walter. “Keeping Step: U.S. Opera Composers’ Season.” Providence Journal, 12 April 1959, sec. W, p. 15, cols. 6–8. The author reviews the performances of The Devil and Daniel Webster at the New York City Opera. “The simplicity in the melodic line, the entity of the homespun humor in music and story, the impressive craftsmanship have achieved a thoroughly entertaining work.”

Steinfirst, Donald. “Savoyards Try Short Opera Successfully: Final Performance of Season Given by Gifted Amateurs.” Pittsburgh Post-Gazette, 21 April 1948, p. 4, cols. 5–6. The article is a review of the Savoyards’ performance of The Devil and Daniel Webster on 20 April, in which the performances of the three principal male leads was excellent, though the soprano singing the role of Mary had difficulty with enunciation.

Strongin, Theodore. “Dan Webster vs. Scratch.” New York Times, 21 February 1965, sec. 2, p. 22, cols. 1–5. The review of The Devil and Daniel Webster on Desto (D-450 or DST-6450), reissued from Westminster, finds the opera to be “dignified as well as fun, songful as well as crackerbarrel.” Moore is quoted as saying: “We have tried to make an opera in which the unit of speech, song and instrumental music will communicate the essence of the dramatic story—enhance but not distort.” The performance of the orchestra and singers is well done, and the sound of the reissued recording has been improved.

*“Sturbridge Village Bowl Theater Opens.” Worcester Telegram, 19 July 1953, sec. A, p. 8, cols. 1–2. The article reviews the 18 July performance of The Devil and Daniel Webster.

“Synopsis: The Devil and Daniel Webster.” Chautauquan Daily, 1 August 1947, p. 7, cols. 1–2. This is a synopsis of the opera.

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[The Devil and Daniel Webster] Taubman, Howard. “Opera: Two One-Acters.” New York Times, 6 April 1959, p. 33, cols. 1–2. Taubman provides a rave review of the New York City Opera’s production of The Devil and Daniel Webster. The libretto, by Stephen Vincent Benét, has the feel of a folk tale that “is so good it deserves to be true.” Moore’s music fits the libretto and story admirably, giving it “an air of primitive art, using the term in its best sense. . . . And it is delightful.” The cast and the staging also are praised.

Taylor, Robert. “The Opera: Public Garden; Festival Operas.” Boston Herald, 6 June 1959, p. 26, col. 4. The article reviews The Devil and Daniel Webster as performed on 5 June at the Boston Arts Festival. “The opera has a real folk spirit with its rousing choruses, cidery arias and tart ensembles; and its [sic] a pleasant, modest but comely thing ending in an anthem to hot New England pie.”

“They Looked upon American Native Opera and Found It Good.” New York Herald Tribune, 9 April 1939, sec. 7, p. 4. This is a captioned photograph of the composers and librettists of the American Lyric Theatre with Moore at the piano going over the score of The Devil and Daniel Webster.

Thompson, Oscar. “ ‘The Devil and Daniel Webster’ Has Premiere: Folk Opera by Stephen Benet and Douglas Moore Launches New American Lyric Theatre.” Musical America 59, no. 10 (25 May 1939): 9. In this detailed review of the premiere of The Devil and Daniel Webster, the purposes of the fledgling American Lyric Theatre as formulated by the scene designer and managing director Robert Edmond Jones are quoted in full. The opera is a “work of a serious, well-grounded musician, who thinks in terms of melody rather than tune and whose orchestration is that of full-fledged opera rather than of the Broadway ‘musical.’ The music carries on the plot, rather than interrupting it, and has little in common with the song-hit parades of musical comedy.” Because of the attention to the libretto, Moore’s music, “good as it is, is crowded into second place.” Overall the performance of the singers and musicians was good, especially the orchestra under Fritz Reiner. There are two photographs: a scene from the opera with George Rasely (devil), Nancy McCord (Mary), and Lansing Hatfield (Webster); and the presentation of the scores, by the soprano Bettina Hall to Carleton Sprague Smith, chief of the Music Division of the New York Public Library, of four composers (Clarence Loomis, Moore, Elliott Carter, and Aaron Copland) who wrote for the American Lyric Theatre.

———. “The Devil and the Composer: Some of the Many Operatic Companions for Daniel Webster’s Adversary.” New York Sun, 20 May 1939, p. 30, cols. 1–2. This lengthy and significant article about The Devil and Daniel Webster compares the work to other operas using the Faust theme: “Mr. Moore has done his part of ‘The Devil and Daniel Webster’ with skill and taste. His music is melodious and it is well orchestrated. But this reviewer is unable to escape the feeling that the subject, much as it seems to have appealed to the composer, afforded him relatively little scope for the lyric scenes which, more than consideration of the effect of the text, are what have made opera an enduring and cherished form of art entertainment.”

———. “A New American Opera: ‘The Devil and Daniel Webster’ Achieves Premiere; Ballet Also Presented.” New York Sun, 19 May 1939, p. 16, cols. 3–5. The article is an extensive review of the premiere of the opera on 18 May. The work is a folk opera primarily because of the subject matter and setting, with a few musical references in the form of some

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[The Devil and Daniel Webster] country dances. The music itself is that of the operatic stage and, owing to the use of spoken dialogue, more in the tradition of the German singspiel. Moore is praised for his setting of the lyrics, and “the vocal writing is straightforward and persistently melodious. But there is nothing very striking about this melody. It is honest and rather plain, with no disturbing banality and no exhilarating inspiration.”

“Traubel on All-Wagner Symphony Program: Guild Gives Operas by Pergolesi, Moore.” Cincinnati Enquirer, 3 April 1949, sec. 3, p. 4, cols. 5–7. The article announces performances of The Devil and Daniel Webster by the Cincinnati Music Drama Guild on 7–9 April. A short synopsis of the opera and a listing of the cast are included.

“Two Works Planned by Festival of Opera.” Los Angeles Times, 22 August 1965, sec. K (Orange County), p. 3, cols. 6–8. The article announces the Festival of Opera production in Laguna Beach on 27 August of The Devil and Daniel Webster. The cast is listed, and a portrait of Harlod Enns, who plays Jabez Stone, accompanies the article.

Vernon, Grenville. “The Stage and Screen: The Devil and Daniel Webster.” Commonweal 30, no. 6 (2 June 1939): 160–61. The reviewer finds merit in Moore’s score. “In telling this tale, Mr. Benét has written a libretto at once singable and imaginative in a homespun fashion, and Douglas Moore has composed music which especially in its orchestral portions, is both dramatic and melodious. It is music which, while in its set pieces . . . is of no great force or originality, both characterizes and sustains the story.”

W., C. E. “St. Augustine Dons Its Easter Bonnet.” New York Times, 31 March 1968, sec. 10, p. 9, cols. 1–3. The St. Augustine Arts and Crafts Festival and International American Music Festival will present The Devil and Daniel Webster at the St. Augustine Amphitheater. This work and others with texts by Stephen Vincent Benét were chosen because the Benét family maintained a house in St. Augustine.

W., E. V. “The Opera: Modern Dress for ‘The Devil and Daniel Webster.’ ” Syracuse HeraldJournal, 8 August 1947, p. 3, cols. 1–2. The Syracuse Opera Workshop performance on 7 August of The Devil and Daniel Webster is positively reviewed. “The fine sensitive score of Douglas Moore . . . shows the temper of the times of the great American statesman and his native New Hampshire.” A photograph of Robert Stull (Daniel Webster), Jerome Reed (Jabez), and Hildegarde Bristol (Mary) in costume accompanies the article.

Watt, Douglas. “Devil Has Two Faces in Opera Double Bill.” New York Daily News, 6 April 1959, p. 51, col. 1. The article is a positive review of the music and performance on 5 April of The Devil and Daniel Webster by the New York City Opera.

Watts, Richard, Jr. “The Theater: A Folk Tale Is Told.” New York Herald Tribune, 28 May 1939, sec. 6, p. 1, cols. 1–3, and p. 2. The theater reviewer considers The Devil and Daniel Webster a partial success, “and it indicates the vast possibilities for using American subjects as the stuff of American opera.” The libretto and staging are “imaginative” and “effective,” but the music does not equal those efforts. The music does not add

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[The Devil and Daniel Webster] enough to heighten the dramatic effects called for by the libretto and is lacking in power. It is an extensive and important review. The article is also published as “Richard Watts, Jr., Contemplates Lyric Drama with mixed Emotions,” Washington Post, 28 May 1939, sec. 6, p. 3, cols. 7–8.

———. “The Theaters: The Devil and Daniel Webster.” New York Herald Tribune, 19 May 1939, p. 16, cols. 1–2. Overall this is a positive review of the premiere of the opera. High marks are given to the director, John Houseman, the production, and to the actors. Remarks concerning the music are more ambivalent, at first finding “that Mr. Moore’s work, while invariably attractive, is just a trifle too modest and retiring for its own good.” The reviewer defers to the Tribune music critic, Francis D. Perkins, who states: “The distribution of song, of speaking with an instrumental background and of speech without music is unusually discerning and appropriate. . . . [The music] never handicaps the progress and point of the drama, and it often accomplishes what in theory an opera should accomplish throughout: the carryingout and enhancement of the drama in musical terms.”

Wolffers, Jules. “Opera Twin Bill Opens Arts Festival: ‘Scarf,’ ‘Daniel Webster’ in Public Garden.” Christian Science Monitor, 6 June 1959, p. 11, cols. 5–8. The author reviews the 5 June opening performance at the Boston Arts Festival. “Both music and the adaptation of the words have their moments of sentimentality, but the over-all bustling of the barndance contrasted with the trial scene are in turn captivating and gripping.”

Dirge “Chorus Here Sings Words from Isaiah.” Washington Post, 11 June 1941, p. 25, col. 3. Organist Lyman McCrary played Dirge as one of the organ selections between pieces sung by the choir on 10 June at Calvary Methodist Church.

Elwell, Herbert. “Quimby Pleases in Organ Recital: Curator of Music Opens Series at Museum.” Cleveland Plain Dealer, 10 October 1940, p. 6, cols. 6–8. The reviewer of this concert at the Cleveland Art Museum of organ works played by Arthur Quimby on 9 October says of the Dirge, “It proved to be of workmanlike construction, well sustained in the mood which its title [Dirge] suggests.”

Down East Suite Biancolli, Louis. “Music: Henri Temianka Joins in Topflight Fiddling.” New York WorldTelegram, 25 January 1945, sec. 1, p. 11, cols. 4–5. The review of the premiere performance of the Down East Suite by Henri Temianka at Carnegie Hall declared that “the frosting went a mite thick in the slow section, the rest was breezy, sophisticated and crisply suited to violin and piano combination.”

B[owles], P[aul]. “Music of Today: Contemporary American Works Are Presented in Times Hall.” New York Herald Tribune, 21 January 1946, p. 11, col. 4. The reviewer compliments the performance of the Down East Suite as being “expertly played by Henri Temianka, assisted at the piano by Arthur Hollander.” The article is reprinted in Paul Bowles on Music, ed. Timothy Mangan and Irene Herrmann (Berkeley: University of California Press, 2003), 253–54.

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Hague, Robert A. “Some New Music for the Violin.” New York PM Daily, 25 January 1945, p. 16, col. 2. The Down East Suite was performed on 24 January by Henri Temianka at Carnegie Hall and was the work most appreciated by the audience on the program. “It is pastiche Americana in three movements— the first and last fast, pyrotechnic recollections of Yankee barn-dance fiddle music; the second flowing with Stephen Fosterish melody.”

Henken, John. “Premiere at Chamber Finale.” Los Angeles Times, 5 May 1983, sec. 6, p. 3, col. 2. Mischa Lefkowitz performed the solo part in the premiere performance of this arrangement of the Down East Suite for the California Chamber Orchestra conducted by Henri Temianka. The reviewer liked the “bright, pseudo-folkloric music,” into which Moore “packed a considerable amount of fiddling display,” but the soloist sometimes played so aggressively that he had some trouble with tone and pitch.

“Henri Temianka Is Heard in Carnegie Hall Recital: 3 Modern Violin Works Are Given First Performances.” New York Herald Tribune, 26 January 1945, p. 12, col. 8. In a 24 January concert featuring Moore’s Down East Suite, the reviewer comments: “Bright and swift in the outer allegros, Moore has brought to fruition his delicate Americanistics, and in this piece added a strong way of dealing with the larger formal shapes.”

Sanson, Kenneth. “Music Review: Violinist Mischa Lefkowitz in Recital.” Los Angeles Times, 4 June 1983, sec. 5, p. 6, cols. 1–2. In this recital at the Culver City Public Library with pianist Gloria Cheng, Lefkowitz played the Down East Suite “with facility, wide dynamics and the ability to make the instrument sing.”

Straus, Noel. “Temianka Heard in Carnegie Hall: Violinist Offers ‘Down East’ Suite by Douglas Moore and Other New Works.” New York Times, 25 January 1945, p. 17, col. 1. Henry Temianka played a concert of masterworks and modern American pieces on 24 January. The Down East Suite, “in which thematic material of a folk nature are [sic] subjected to elaborate development in the modern dissonant idiom, was played with the vitality and understanding that characterized the other offerings. The composition made its chief appeal in the second of its three movements, an Andante built up on a song-like theme ingeniously worked out and decidedly well written for the violin and gave Mr. Temianka opportunity to display his prowess and sensitivity in the handling of broad cantilena.”

The Emperor’s New Clothes Ankers, Luise. “From Children, Highest Praise: Opera Workshop Show Delightful.” VirginianPilot and the Portsmouth Star, 20 March 1960, sec. G, p. 3, cols. 1–2. The Emperor’s New Clothes was performed for a junior high school audience by the College of William and Mary Opera Workshop with great success. The work “gave the effect of a music box, bright, cheerful and tinkling.”

“Children’s Corner.” Review of Recorded Music 9, no. 7 (July 1949): 12. The reviewer writes of The Emperor’s New Clothes on Young People’s Records: “I don’t know how well it will stand up under the constant repetition children demand, but it certainly will fascinate them for a while anyway. And in its vivacity and freedom from mawkish whimsy, it can be heard with considerable interest by adults too.”

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“Children’s Opera Scheduled: In Philharmonic Program Feb. 19 at Carnegie Hall.” New York Herald Tribune, 5 February 1949, p. 9, col. 4. The article announces the premiere of The Emperor’s New Clothes.

H., C. “Young People Hear New Moore Opera: ‘Emperor’s Clothes,’ in Concert Form, Is Conducted by Hendl at Carnegie Hall Program.” New York Times, 20 February 1949, sec. 1, p. 63, col. 3. The reviewer reports on a successful premiere of the opera’s concert version by the New York Philharmonic on 19 February.

“Moore Opera for Young: ‘Emperor’s New Clothes’ Tops Next Philharmonic Program.” New York Times, 5 February 1949, p. 11, col. 4. The article announces the premiere of Moore’s opera in a concert performance by the New York Philharmonic, conducted by Walter Hendl, on 12 February.

Taubman, Howard. “Records: New Opera for Children.” New York Times, 3 April 1949, sec. 2, p. 6, col. 3. The article is a positive review of The Emperor’s New Clothes on Young People’s Records. “Their opera is neither hifalutin’ nor patronizing. The story is told simply and clearly, and the pleasant music adds an atmosphere of color and jauntiness.”

Farm Journal Eversman, Alice. “American Music Festival Ends with Large Audience at Gallery.” Washington Evening Star, 31 May 1948, sec. B, p. 6, cols. 3–6. On 30 May the National Gallery Orchestra played Farm Journal, in which “Mr. Moore has put his well-known appreciation of things peculiar to this country, so often the subject of his other successful compositions to the same descriptive ends. It has color, sentiment and charm, combined with the expertness of a fine craftsman.”

G[oldberg], Albert. “Record Reviews.” Los Angeles Times, 6 May 1956, sec. 4, p. 7, cols. 1–6. The column reviews Farm Journal (CRI-101), calling it “a bucolic essay conservative in manner but easy to listen to.”

Gunn, Glenn Dillard. “American Folk Tunes Score in Finale of Gallery Festival.” Washington Times-Herald, 31 May 1948, p. 7, cols. 2–3. In the piece Farm Journal, “the orchestral writing was crystal clear. The patterns were clean cut. There were no thematic clichés. This is sturdy and original music despite its New England folk flavor and will thrive as have other works of Moore.” The work was performed by the National Gallery Orchestra on 30 May.

Hume, Paul. “$500 Still Needed for Concert Series: Postlude; Bales Gives Brilliant Fete Finale.” Washington Post, 31 May 1948, p. 6, cols. 1–2. Moore’s Farm Journal was played in a concert on 30 May at the National Gallery of Art conducted by Richard Bales. It “was scored with perfect feeling for orchestral balances and bright, yet amazingly rich texture.”

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———. “5th Festival Opens Next Sunday: American Music Blooms in May.” Washington Post, 25 April 1948, sec. 6, p. 1, cols. 3–5, and p. 6. Moore’s Farm Journal will be played at the American Music Festival at the National Gallery of Art on 30 May.

Kolodin, Irving. “The Music Makers: Prof. Moore Cuts a Country Caper.” New York Sun, 20 January 1948, p. 16, cols. 1–2. On 19 January Farm Journal was performed “with sympathy and a reasonable amount of poise” by Thomas Scherman and the Little Orchestra Society. The reviewer says that it is a piece “to charm the ear with simple, unpretentious melodic writing, while leaving an embellishing texture of much sophistication.”

Lyons, James. “Reviews and Ratings: Moore: Farm Journal.” Hi-Fi Music at Home 3, no. 2 (May–June 1956): 33. The article is a very brief review of Farm Journal (CRI-101). The reviewer rates it an outstanding composition and performance with excellent recording quality. He says the work is “a minor classic of folklorism that should have been added to the catalogues long since.”

Putnam, Thomas. “Representative of the Series: Music Festival Ends in Happy Spirit.” Washington Post, 14 June 1966, sec. B, p. 7, cols. 3–5. The conductor Richard Bales included Farm Journal on the final concert of the American Music Festival at the National Gallery of Art on 12 June.

Five Shakespeare Songs, see “Come Away, Death” Four Museum Pieces Bell, Archie. “Stars and Stardust: From Theater and Concert Stage; Beckwith Gets Big Ovation from Masonic Hall Audience.” Cleveland News, 16 November 1923, p. 22, cols. 1–3. The article reviews the 15 November concert of the Cleveland Orchestra playing the Four Museum Pieces. The reviewer was unable to fully grasp the programmatic aspects of the four pieces. He predicts that Moore’s talent is “indicative of things even better to come.”

“Free to the Public.” New York Times, 18 March 1923, sec. 7, p. 3, col. 7. An organ concert including “Madonna” from the Museum Sketches is to be played by Lynnwood Farnam at the Church of the Holy Communion in New York on 19 March. [The actual performance may have been on 26 March.]

Rogers, James H. “Orchestra Brings Out Home Talent: Concertmaster and Museum Pieces Win Hand at Masonic Auditorium.” Cleveland Plain Dealer, 16 November 1923, p. 3, cols. 1–2. The article, a review of the Four Museum Pieces performed by the Cleveland Orchestra on 15 November, states that “[Moore’s] musical miniatures, which in scope and purpose recall the genre pieces of Alfred Casella and Eugene Goosens, are cleverly orchestrated, quite in the modern manner.”

Smith, Wilson G. “Symphony Concert.” Cleveland Press, 16 November 1923, p. 28, cols. 1–5. The article reviews the 15 November concert of the Cleveland Orchestra performing the Four Museum Pieces, which “displayed a recognizable feeling for tone painting and colorful atmosphere.”

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Gallantry “ ‘Arias and Arabesques.’ ” New York Times, 26 August 1962, sec. 2, p. 13, cols. 4–7. This is a captioned photograph of the TV production of Gallantry.

Arlen, Walter. “UCLA Gives Evening of Musical Americana.” Los Angeles Times, 21 November 1958, sec. 2, p. 8, cols. 5–8. The production of Gallantry by the UCLA Opera Theater on 19 December was “much more than merely a good student production for, taking the pieces for what they are, there was nothing that could have been improved upon.”

Cariaga, Daniel. “Music Review: UCLA Operatic Marathon.” Los Angeles Times, 28 May 1974, sec. 4, p. 10, cols. 1–3. The UCLA Opera Workshop performed Gallantry on 26 May along with other chamber operas, all of which had “promising singing from some of the solo vocalists.”

*Donaldson, Herbert. “Beckman Shines in ‘Gallantry.’ ” Los Angeles Examiner, 21 November 1958, sec. 2, p. 6, cols. 4–7. The article is a review of the UCLA Opera Workshop on 19 November. The opera “is a satire, but its burlesque was happily done with an air of complete seriousness and with a screamingly funny sence [sic] of urgency.”

Dyer, Richard. “Douglas Moore: Gallantry; Paul Hindemith: Hin und Zurueck; Gian-Carlo Menotti: The Telephone.” Boston Globe, 9 May 1996, sec. Calendar (vol. 21, no. 29), p. 33, cols. 3-4. This is a positive review of the Albany CD recording. Dyer’s only comment on the Moore work is: “Douglas Moore’s ‘Gallantry’ is an affectionate parody of a television soap opera episode, complete with commercials; it doesn’t accomplish anything Bernstein’s ‘Trouble in Tahiti’ didn’t do better, but it is a craftsmanlike and entertaining piece, nicely performed.”

Everest, Wesley. “New Opera Cabaret ‘Well Worth Seeing.’ ” Orlando Sentinel, 18 July 1967, sec. B, p. 1, cols. 1–2. This review of Gallantry at the Florida International Music Festival is praised for the idea of staging opera in a nightclub as a cabaret. All of the cast sang well in this production except for the soprano in the role of the announcer.

Frank, Leah D. “An Ambitious Troupe with Talent on Hand.” New York Times Long Island Weekly, 14 October 1990, sec. 12LI, p. 19, col. 5. A small company in America has produced “one of the finest theatrical events in Long Island” in 1990 with its double-bill evening of Gallantry and Leonard Bernstein’s Trouble in Tahiti. Even though its small budget required simple sets staged in a high school auditorium, the company performed “with the grandeur that only talent and true artistry can supply.”

Goertz, Harald. “American Opera-Workshop: Perfekte Parodie.” Österreichische Musikzeitschrift 24, no. 5–6 (May–June 1969): 336. The article is a short review of the performance of Gallantry by the American Opera-Workshop in Vienna, conducted by Barry Brisk. The parody of a television soap opera is well received by the audience, as are the performances of the cast, especially Walker Wyatt and William Bauer.

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[Gallantry] Harris, Paul A. “Soap Opera Comes to SIUE Stage in ‘Gallantry’:‘Dido and Aeneas’ Is Also on Program.” St. Louis Post-Dispatch, 25 March 1999, sec. St. Clair-Monroe County Post, p. 4, cols. 1–4. The article announces the Southern Illinois University at Edwardsville production of Gallantry, directed by Lori McCann, on 26 and 27 March.

Harrison, Jay. “ ‘Gallantry’ and ‘Boor’: Brander Matthews Theater Gives 2 Opera Premieres.” New York Herald Tribune, 20 March 1958, sec. 1, p. 16, cols. 3–4. The review of the premiere of Gallantry at Columbia on 19 March talks extensively about the music. “The musical proportions have to be just right or else the joke falls flat. In Mr. Moore’s case, his opera has precisely the amount of yeast it needs.”

Holland, Bernard. “Chamber Ensemble vs. Noise: Music Wins.” New York Times, 31 May 1993, p. 15, cols. 1–2. Holland reviews an outdoor concert in Bryant Park, New York, of three short operas, including Gallantry, by the New York Chamber Ensemble. All three operas were well done and competed heroically with invading noise of the city. A photograph of the conductor Stephen Rogers Radcliffe and the soprano Jeanne Ommerle in performance accompanies the article.

———. “Opera: Bernstein’s ‘Trouble in Tahiti.’ ” New York Times, 31 January 1988, sec. I, p. 56, cols. 4–6. The article is a review of a performance of Gallantry by the American Chamber Opera in New York. “Mr. Moore’s operatic specialty has always been long melodies that both soothe and attract. Everyone on stage has a chance at them here, though these soaring arias seem out of place in such a parodistic setting. Characters we are asked to laugh at end up singing hardly laughable music. We don’t know how to take it.” Despite this criticism, the final vocal quartet, which combines television commercialism with drama, points out how modern American advertising promotes consumerism as the solution to all problems.

Holman, Rhonda. “In Review: From around the World; Wichita.” Opera News, August 1997, 40. Tasteless stage settings and an overly loud orchestra characterized this production of Gallantry by Opera Kansas on 13 May. The singers all had good voices and were convincing actors.

Horowitz, Joseph. “Westchesterites Offer Latin Tenor in ‘Pagliacci.’ ” New York Times, 11 December 1977, sec. 1, p. 85, col. 4. The performance of Gallantry by the Performing Arts Society of Westchester on 10 December was “effectively acted, delightfully sung and fluently played and conducted. Unfortunately, it is an altogether pointlessly bland work, not really worth reviving.”

Hughes, Allen. “Music: Previn Conducts: Leads the London Symphony in Florida through Mozart, Falla and Strauss.” New York Times, 15 July 1967, p. 13, cols. 5–6. On 13 July at the Florida International Music Festival, Gallantry was performed at the Opera Cabaret at the Daytona Plaza Hotel following the featured concert of the evening. The performance was conducted by Robert Hause, with Carol Courtman, Julian Patrick, and Enrico de Giuseppe in the lead roles.

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[Gallantry] Hume, Paul. “CBS Special Tonight Features Musical Premieres.” Washington Post, 30 August 1962, sec. D, p. 9, cols. 3–6. The article announces the broadcast of Gallantry this evening, which includes an introductory interview of Moore by Jan Peerce on the subject of new music.

Iams, Jack. “TV Review: ‘Arias and Arabesques.’ ” New York Herald Tribune, 31 August 1962, p. 11, cols. 4–5. The article reviews a performance of Gallantry on TV on 30 August. “But as satire, the MooreSundgaard opus was something less than successful. The trouble was that its targets, soap opera and commercials, are such old and battered targets that it makes for pretty tired fun to have at them once again.” The article is accompanied by a portrait of Martha Wright (the announcer).

L[aderman], E[zra]. “ ‘The Boor’ and ‘Gallantry.’ ” Musical America 78, no. 5 (April 1958): 32. The reviewer declares Gallantry “a hit.” He finds the score “jazzy, piquant, and at the same time tender, with a lyricism that is Moore at his best.” The opera was very funny and the cast performed well.

“Lee Presents ‘A Game of Chance’ and ‘Gallantry.’ ” Chattanooga Times Free Press, 10 November 2006, sec. H, p. 4. The article announces the performance of Gallantry by Lee University on 11–12 November.

Mackinnon, Douglas A. “New York News.” Opera News, 21 April 1958, 30. The article is a one-paragraph review of the premiere performance of Gallantry at Columbia University on 19 March 1958.

Mazey, Steven. “Citylights: Company Stages Opera for Opera Haters: Opera Breva.” Ottawa Citizen, 13 October 1994, sec. F, p. 10, cols. 1–4. The article announces the upcoming performance of Gallantry by Opera Breva on 15 October. It describes why the opera company was formed and the type of repertoire they perform.

McLellan, Joseph. “GWU Performance Corrects Operatic Misconceptions.” Washington Post, 18 February 1999, sec. DC, p. 4. Gallantry was presented as one of three 1-act operas on 12 and 14 February at George Washington University.

———. “New Releases: Classical: Douglas Moore, Gallantry (A Soap Opera); Paul Hindemith, Hin und zuruck [sic] (There and Back); Gian Carlo Menotti, The Telephone or L’amour a trois.” Washington Post, 21 January 1996, sec. G, p. 11, col. 1. This review briefly describes the three operas recorded on an Albany disc (TROY 173), including the opera Gallantry.

Murray, Bain. “Singing Good in Spoof of Soap Operas.” Cleveland Plain Dealer, 8 August 1958, p. 34, cols. 6–8. The article reviews the performance of Gallantry by students at the Cleveland Institute of Music on 7 August.

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[Gallantry] “Of Ghosts & Soap.” Time, 31 March 1958, 49. The article is a review of two United States premieres, Gallantry and Benjamin Britten’s The Turn of the Screw. The music by Moore is “alternately jazzy and sugary, but that in itself every so often sounds embarrassingly ‘sincere.’ ” Although the opera is intended to be satirical, one of the arias is so heartfelt that the audience is not sure whether or not the composer and librettist are serious. A photograph of one of the scenes from the opera accompanies the article.

“Princeton Theater to Offer 3 Operas.” New York Times, 4 January 1976, p. 58, col. 3. The article announces the performance of Gallantry by the Princeton Opera Association in mid-January.

Sargeant, Winthrop. “Musical Events: A Glimpse Ahead.” New Yorker, 29 March 1958, 107–8, 111. A review of three new opera productions includes the premiere of Gallantry. Sargeant praises the “freshness” of the innocent plot, in contrast to the more decadent plots of many current theater works, and also finds it to be a work that respects the voice. He goes on to say: “If there is any flaw in the opera, it is that Mr. Moore’s music is so beautiful and so unaffected in its melodic inspiration that it tends to diminish the work’s effectiveness as satire. . . . Mr. Moore seems to combine the frank lyricism of a popular tunesmith with the intellectual stature demanded of a serious operatic composer.”

S[chonberg], H[arold] C. “Moore’s Opera, ‘Gallantry,’ in Premiere.” New York Times, 20 March 1958, p. 34, cols. 3–4. Even though the opera is well written and enjoyable, Moore’s music becomes too serious for the subject matter. He writes a “real” love duet and a “real” lullaby rather than the parodies called for by the libretto. The premiere, which took place on 19 March at Columbia University, had an excellent cast and direction.

Schwartz, William Carroll. “Reports: U.S.; New York.” Opera News, 18 February 1978, 45. The article is a review of a performance of Gallantry on 4 December 1978 by the Performing Arts Society at Hunter College in New York. The review says that the opera “is a slight, unpretentious spoof of television soap opera in which the overblown sentiments of the daytime serial (the Gallantry of the opera’s title) are contrasted with grubby goings-on in the TV studio.”

Shanley, John P. “TV: Soap-Opera Satire on Channel 2: Martha Wright Excels in Work by Moore.” New York Times, 31 August 1962, p. 45, cols. 2–4. The performance of Gallantry on 30 August was televised on the program “Arias and Arabesques.” The opera was “done in fine mock-bravura style.” The highlights of the work are the satirical ads for soap and wax.

Webster, Dan. “New Recordings: Classical: Douglas Moore.” Philadelphia Inquirer, 17 August 1997, sec. F, p. 10, cols. 5–6. This review of Gallantry (Albany Troy 173) credits Moore with “the true operatic voice.” The rest of the paragraph describes the opera in capsule form.

West, William D. “Reports: U.S.: Cooperstown.” Opera News, 19 December 1981, 39. In this review of the 6 August 1981 performance of Gallantry by the Glimmerglass Opera Theatre in Cooperstown, New York, the reviewer finds that the performance “was most successful when the satire was gently understated.” The cast “exhibited a sense of comedy, but some of the wilder extravagances should have been held in check.”

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[Gallantry] “Who Makes Music and Where: Wednesday.” New York Times, 27 February 1972, sec. 2, p. 16, col. 3. The Brooklyn College Opera Theater will present Gallantry on 1 March at the Gershwin Theater, Brooklyn College.

Williams, Bob. “On the Air.” New York Post, 31 August 1962, p. 69, cols. 3–4. The article is a positive review of the TV production of Gallantry on 30 August.

“Workshop to Give Operatic Highlights.” Los Angeles Times, 16 May 1963, sec. 7 (West Side), p. 3, cols. 5–6. The article announces the performances of the UCLA Opera Workshop on 17–19 May of opera excerpts and a complete performance of Gallantry.

Giants in the Earth Adler, Gerald. “Lion about Music: Giants in the Earth.” Columbia Daily Spectator, 29 March 1951, p. 2, cols. 1–2. The article is a review of the premiere of the opera by the Columbia University Opera Workshop on 28 March. “Although limited by his libretto, Professor Moore has written a generally warm and often intense score. He may use polytonality and complex harmonies in the orchestra, but all is subordinated to his love for the simple melodic line of the voice. One feels that the orchestra is setting the stage for the action and commenting on it. Arias, as such, virtually do not exist, for the dialogue is so closely interwoven with the solo and ensemble numbers that we do not know where one ends and the other begins.”

Bauer, Marion. “According to Marion Bauer: New Opera by Douglas Moore.” Musical Leader 83, no. 5 (May 1951): 9. The article is a brief, positive review of the premiere performances of Giants in the Earth at Columbia University.

Beni, Gimi. “Giants in the Earth by Douglas Moore.” Opera Journal 7, no. 2 (1974): 34–37. The article is a review of the premiere of the revised version of the opera by the Opera Company of the University of North Dakota at Grand Forks on 4 and 6 April, with Chester Ludgin and Eileen Schauler in the title roles of Per Hansa and Beret. There is a detailed synopsis of the plot. The performances of the singers were good, especially those in the lead roles. The student orchestra was sloppy, and the stage settings were unconvincing. A photograph from the production accompanies the article.

Biancolli, Louis. “Music: American Opera Advances by a Big Notch.” New York World-Telegram and the Sun, 29 March 1951, sec. 1, p. 16, cols. 6–8. The reviewer, commenting on the premiere performance of 28 March by the Columbia University Opera Workshop, considers Giants in the Earth to be Moore’s best opera to date. “This is honest music, by an honest man working on a theme that is as honest as the soil that nurtured it and the men and women who worked it.”

C[arson], L[eon]. “Giants in the Earth: New Opera by Moore, Bows.” Musical Courier 143, no. 8 (15 April 1951): 18. The reviewer of the premiere performance of Giants in the Earth on 29 March gives high marks to the musical score but not to the libretto, where “the action moves with marked unevenness, and at times

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with lapses of dramatic interest.” The cast also performed well as led by the conductor Willard Rhodes, who discharg[ed] a difficult assignment in sympathetic and capable fashion.”

Collins, Greg. “Opening Night.” Grand Forks Herald, 5 April 1974, p. 1. This photograph from the evening of the performance of Giants in the Earth shows Arnold Sundgaard and his wife and son; Thomas Clifford, president of the University of North Dakota; and Ethan Ayer entering the Chester Fritz Auditorium.

Downes, Olin. “New Moore Opera Is Presented Here: ‘Giants in the Earth’ Offered by Columbia Theatre Associates; Book by Sundgaard.” New York Times, 29 March 1951, p. 25, col. 1. This review of the premiere of Giants in the Earth finds much to praise in the performance, the stage production, the plot, and the musical devices used to heighten the drama. However, the overall effect is stagnant and consists of “recitative of little inherent significance.” The libretto is too long. The music for the singers lacks emotional intensity, and the characters lack distinguishing characteristics. The best music occurs in the instrumental sections and a couple of the main arias.

“Giants in Tableau.” Time, 9 April 1951, 66. This review notes that Moore has the opportunity to write an opera every seven years, coinciding with his sabbaticals from Columbia University. This time Giants in the Earth is the result. Although the composer gets high marks for the quality of the music, the opera does not provide a “sharp delineation of character,” which makes it “more of a series of tableaux (or a bad western) than an opera.” The article is accompanied by a portrait of Moore with the caption “Douglas Moore, after seven years, locusts.”

Greissle, Felix. “Current Chronicle: United States; New York.” Musical Quarterly 37, no. 3 (July 1951): 402–4. This is a report on the Columbia University production of Giants in the Earth, which runs from 28 March through 7 April. The reviewer states that the opera deserves to reach a wider audience. The libretto suggests the use of folkloristic elements in the score, used by Moore to advance the drama in a trivial way. The music serves to highlight the psychological conflict, which is central to the plot, through clear musical forms.

Hagerty, Marilyn. “ ‘A Thoroughly Enjoyable Night’ Describes U Opera Performance.” Grand Forks Herald, 5 April 1974, p. 2. The article reports on the opening performance on 4 April at the University of North Dakota of the revised version of Giants in the Earth, which was attended by the librettist, Arnold Sundgaard. The production cast the New York City Opera singers Chester Ludgin and Eileen Schauler in the principal roles and included sixty university students. Although not all of the words could be understood, “the scene in which the pioneers welcomed the newcomers was especially warm. The wedding scene with its authentic costuming was a highlight of the performance. And the scene depicting the coming of the locusts was impressive.” Photographs of a drinking scene and a scene featuring Ludgin and Scheuler accompany the article.

Jacobs, Arthur. “Giants in the Earth.” Musical America 71, no. 5 (1 April 1951): 8, 34. Jacobs finds little of value in this premiere performance of Giants in the Earth. The music is not dramatic, has little variety, and does not contribute to characterization. The libretto leaves many events unclear and inexplicable.

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———. “Impressions of New York.” Opera 2, no. 10 (September 1951): 526. In this survey review of the New York opera season, the Columbia University performance of Giants in the Earth is covered in two paragraphs. The British reviewer is amazed that a liberal-arts college is able to stage such an ambitious work, although he does not find the opera to be a significant piece. Among its many weaknesses are its conservative idiom, a monotonous vocal part, and a weak libretto.

“Moore’s Latest.” Newsweek, 9 April 1951, 82. This review evaluates Giants in the Earth as an opera with “moments of strength and beauty. But it also suffers from a verbose libretto with a weak climax.” It concludes with a quote from Virgil Thomson’s review in the New York Herald Tribune, which similarly finds value in the music but not in the libretto.

Munzer, Kay. “Douglas Moore’s Opera Runs Through Sat. at B. Matthews.” Barnard Bulletin 55, no. 30 [i.e., 31] (5 April 1951): 2. The article gives a brief synopsis of the plot for Giants in the Earth, which is being performed at Columbia University. The author interviewed Moore and reports his comments about composing the opera.

Parmenter, Ross. “Orchestra of America at Carnegie Hall.” New York Times, 7 December 1961, p. 53, cols. 1–2. The Orchestra of America played a concert of works by American composers, including a duet scene from Giants in the Earth. Unfortunately, the orchestra was so loud that the singers’ words were unintelligible, and “one got a distinct impression that the drama inherent in the situation would have had more force if the music was not so romantically lush.”

Schonberg, Harold C. “New Opera by Moore: After 11 Years He Finds Appealing Libretto.” New York Times, 25 March 1951, sec. 2, p. 7, col. 8. Schonberg interviews Moore at a rehearsal for the premiere of Giants in the Earth. Quotes from Moore about the difficulty of finding a suitable libretto, how he came to choose this subject, the relationship of music to theater in an opera, the emphasis on the voice and the text, the use of contemporary plots, and the degree of unreality that will work in a modern opera are included. There is also a large photograph of a scene from the opera.

Thomson, Virgil. “Music: ‘Giants in the Earth.’ ” New York Herald Tribune, 29 March 1951, p. 18, cols. 3–4. The music of the opera “succeeds in keeping the lyric line alive” and has a “real outpouring of song in moments of emotional stress.” However, it cannot make up for a verbose libretto with characters that never develop. The performers are excellent, especially Brenda Miller as Beret, a photograph of whom accompanies the article.

Wallis, Dave. “Giants in the Earth.” Dakota Student, 2 April 1974, p. 9. The article announces the performances on 4 and 6 April at the University of North Dakota. The opera, directed by Phil Hisey, features a thirty-four-piece orchestra, and a $10,000 grant was awarded for the production. The principal roles will be sung by the New York City Opera singers Chester Ludgin and Eileen Schauler.

Watt, Douglas. “ ‘Giants in the Earth’ Makes Pygmies of Dakota Settlers.” New York Daily News, 29 March 1951, p. 66, cols. 1–2. The article is a scathing review of the premiere of Giants in the Earth by the Columbia University Opera Workshop. “Moore’s music, likewise, is artful at times, but undistinguished. It is melodic, full of movie-like impulses in the underscoring, but rather shallow.” The whole story is unconvincing.

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———. “Musical Events: Spring Show.” New Yorker, 7 April 1951, 81–83. There is little to recommend in this premiere performance of Giants in the Earth at Columbia University except for the singing of Brenda Miller (Beret). The libretto does not develop the characters enough to make them convincing, and the music “meets all this handily but with little persuasiveness.”

The Greenfield Christmas Tree “ ‘Christmas Tree’ Music Program Set.” Los Angeles Times, 23 December 1972, sec. 2, p. 8, col. 5. The article announces the West Coast presentation of The Greenfield Christmas Tree at the Wilshire Presbyterian Church in Los Angeles on 24 December.

Orell, Barbara. “D. S. Moore Opera to Premiere.” Hartford Courant, 8 December 1962, p. 8, col. 8. The article announces the performance in the evening by the Hartford Symphony Orchestra of The Greenfield Christmas Tree.

“Symphonic Highlights: Premieres.” International Musician 61, no. 8 (February 1963): 23. The article is an announcement of the premiere of The Greenfield Christmas Tree by the Hartford Symphony, conducted by Fritz Mahler, on 8 December.

The Headless Horseman “Behind the Scenes.” New York Times, 15 August 1937, sec. 10, p. 10, col. 8. The Headless Horseman will be broadcast over WJZ on 22 August.

“Benet Satire Hit[s] Education: ‘Headless Horseman’ to Play Wednesday.” Stanford Daily, 20 May 1940, p. 1, col. 7. In the first opera ever to be produced at Stanford University, the cast and director have added “local allusions and padding to fit Stanford’s taste” to Benét’s libretto. The performing forces consist of Stanford students supplemented by local school children and other musicians to fill out the orchestra.

Bender, William. “Harlem Kids Love Opera: ‘Headless Horseman’ & Squeals of Delight.” New York Herald Tribune, 21 May 1963, p. 26, cols. 7–8. The article reports on the performance of The Headless Horseman on 20 May by the Hartt School at Carnegie Hall for New York schoolchildren.

“Farm Operetta Will Present Song Premiere: Columbia Music Head Writes Special Aria for ‘Horseman’ Show.” Stanford Daily, 17 May 1940, p. 2, col. 6. For the Stanford University performance of The Headless Horseman, Moore has written an additional aria for Katrina, sung in this performance by Barbara Caswell, entitled “Oh Sun, Be Quick to Bow Your Head.” The article announces the upcoming performance and lists the principal cast members.

Gould, Jan. “ ‘Headless Horseman’ Opera Causes Directorial Tug of War.” Stanford Daily, 6 May 1940, p. 2, cols. 4–5. The reviewer covers the first full rehearsal of Stanford University’s first opera production. The article recounts the comments and suggestions of the music director, Nicholas Goldschmidt, who also conducted the premiere in 1938, and the stage director, F. Cowles Strickland.

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———. “Student Cast to Produce ‘Horseman’ Satire at 8:15.” Stanford Daily, 22 May 1940, p. 1, cols. 6–7. The article describes the final dress rehearsal at Stanford University, during which Nicholas Goldschmidt led the cast and orchestra through The Headless Horseman twice in preparation for the 22 May performance.

“ ‘Headless Horseman’ Rehearsal Changed.” Stanford Daily, 2 May 1940, p. 1, col. 6. The article announces the correct time of the second full rehearsal for the opera at Stanford University.

“ ‘Headless Horseman’ Will Offer Music and Gay Plot at Stanford Tonight: Dutch Costumes and Folk Dance Add Color.” Daily Palo Alto Times, 22 May 1940, p. 9, cols. 3–8. The article announces the performance of the opera on the evening of 22 May and lists the main performers, directors, and producers.

“Moore Operetta Given: Bronxville School Students Give Premiere of ‘The Headless Horseman.’ ” Musical America 57, no. 6 (25 March 1937): 29. The article is an announcement of the premiere performances on 5 and 6 March.

“Moore’s Children’s Opera to Be Performed 4 Times.” New York Times, 17 May 1963, p. 29, col. 4. This is an announcement of a performance of The Headless Horseman by the Hartt School of Music at Carnegie Hall on 28 May for twelve thousand schoolchildren.

Nichols, Dorothy. “Audience Is Delighted with Stanford Opera Starring Ichabod Crane.” Daily Palo Alto Times, 23 May 1940, p. 8, cols. 3–4. The article reviews the performance of The Headless Horseman on 22 May. The review is positive overall but does not hesitate to point out shortcomings in both the composition and the performance. The reviewer comments on the similarity in style to Gilbert and Sullivan operettas. “Douglas Moore and Benet are pioneering a new field, in which music within the reach of college resources is combined with a modern libretto. In this first work, Moore’s music is all of a high standard without being particularly striking.”

“Notes Here and Afield.” New York Times, 31 January 1937, sec. 11, p. 9, cols. 5–6. The article announces the upcoming performance of The Headless Horseman at the Bronxville Schools Auditorium on 5 and 6 March, directed by Willard Rhodes.

Nowell, Jean. “Audience, Performers Rollick through ‘Headless Horseman.’ ” Stanford Daily, 23 May 1940, p. 1, cols. 4–5. The review of the opera at the 22 May performance by Stanford University considers it a delightful performance and singles out Joel Carter (Ichabod Crane) as an especially strong singer, followed by Brad Young (Brom Bones).

“One-Act Opera to Be Staged: ‘Headless Horseman’ to Be Seen May 22.” Stanford Daily, 5 April 1940, p. 1, col. 4. The article announces the production of The Headless Horseman at Stanford on 22 May. Basic facts about the opera and cast are given.

“Opera to Have Its Premiere at Bronxville High: Modern Operetta by Benet and Moore Is Based on ‘Legend of Sleepy Hollow’; To Be Offered March 5; Fits Emotional and Technical Scope of Student[s].” New York Herald Tribune, 31 January 1937, sec. 2, p. 6, col. 6.

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The premiere of The Headless Horseman on 5 March at Bronxville High School is announced. The opera, commissioned by Willard Rhodes, music director of the school, is written for the talents of high school performers.

“Operetta at Bronxville: School Cast Gives World Premiere of ‘The Headless Horseman.’ ” New York Times, 6 March 1937, p. 10, col. 4. The article is an announcement of the premiere of The Headless Horseman at the Bronxville High School on 5 March 1937.

“Patrons Are Listed for Bronxville Show: ‘The Headless Horsemen’ Will Be Presented in High School Tonight and Tomorrow.” New York Times, 5 March 1937, p. 18, col. 2. The principal cast and the sponsors of the production of The Headless Horseman by the Bronxville Schools on 5 and 6 March are listed.

“Skating Carnival to Be Held in Rye: Event Next Sunday to Benefit the Westchester County Children’s Association: Bronxville to See Play ‘The Headless Horseman’ to Have Premiere Friday; Tea in New Rochelle to Be Given Tomorrow; Photographs to Be Shown; Pelham Opera Guild to Meet.” New York Times, 28 February 1937, sec. 6, p. 2, col. 6. The premiere of The Headless Horseman at the Bronxville Schools on 5 and 6 March is announced, along with a list of the principal cast and a complete list of the production’s sponsors.

“Two American Works to Be Performed for Music Clubs Group.” Chicago Daily Tribune, 24 November 1951, sec. 2, p. 2, col. 6. The Illinois Federation of Music Clubs will present a concert on 25 November including excerpts from The Headless Horseman.

In Memoriam Biancolli, Louis. “Music: Heifetz Playing of Concerto by Beethoven Unforgettable.” New York World Telegram, 12 January 1945, sec. 1, p. 15, cols. 2–3. This is a review of the 11 January concert by the New York Philharmonic-Symphony, with Artur Rodzinski conducting. “Earlier on the program Douglas Moore’s ‘In Memoriam’ proved a deep-felt, sensitively scored addition to the growing body of vital native music. The head of Columbia University’s music department is one of America’s alertest symphonists. . . . The music never goes maudlin. The dirge is manly, valiant, despite the rending anguish. Mr. Moore’s mind is on the bleakest phase of war. The music shows it without whining.”

———. “Music: Home-Grown Talent Boosted.” New York World Telegram and The Sun, 14 February 1955, sec. 1, p. 12, cols. 5–8. The article reviews the broadcast concert on 13 February of the Symphony of the Air, conducted by Howard Hanson, including In Memoriam. “It was also a pleasure to hear again Douglas Moore’s ‘In Memoriam,’ a deeply felt tribute to those cut down in their prime. This is elegiac American music at its best, sincere in feeling, broad in outlook and strongly impassioned in utterance.”

———. “Music: Spirit of Grace Moore at Stadium.” New York World Telegram, 10 June 1947, sec. 1, p. 19, cols. 6–8. The article is an announcement of the Grace Moore Memorial Concert on 21 June by the New York Philharmonic-Symphony at Lewisohn Stadium; In Memoriam begins the concert. It is a work that is “warm with fervor and sincerity.”

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B[owles], P[aul]. “Jascha Heifetz Is Heard in Beethoven Concerto: Rachmaninoff Symphony Is Presented by Philharmonic.” New York Herald Tribune, 12 January 1945, p. 8, col. 5. The article is a review of the 11 January concert of the Philharmonic-Symphony Orchestra conducted by Artur Rodzinski, in which “the opening number on the program was Douglas Moore’s onemovement piece, ‘In Memoriam,’ written in 1943, and dedicated, according to the composer, ‘to those who die young.’ The piece is subdued in feeling, although not in its sonorities, which, by means of certain novel effects in the instrumentation, achieves sporadic brilliance. The middle section emerged at first hearing as the most appealing part, with its flavor of far-away things and its evocation of nostalgia for them.”

Cohn, Arthur. “Ruggles: Organum; Moore: In Memoriam; Ward: Symphony No. 2.” American Record Guide 26, no. 12 (August 1960): 999. This review of CRI-127 contains only two sentences concerning Moore’s piece, which is characterized as having “simplicity of expression, not merely superficially nice, but of integrated beauty” and as not being “music of casualness.”

DeMotte, Warren. “Ruggles: Organum; Moore: In Memoriam; Ward: Symphony No. 2.” HiFi/Stereo Review 5, no. 2 (August 1960): 56–57. The reviewer rates this recording on CRI (127): “Interest: Significant Americana; Performance: Very Good; Recording: Very Good.” In Memoriam is “an intense, compact work . . . and it evokes a bitter feeling of loss for those who were cut down in their prime.”

Downes, Olin. “Heifetz Is Heard at Carnegie Hall: Plays Beethoven Concerto; Philharmonic Also Offers Rachmaninoff Symphony.” New York Times, 12 January 1945, p. 21, cols. 3–4. In the 11 January concert of the New York Philharmonic-Symphony with Artur Rodzinski conducting, “there was one short work which constituted a novelty for these programs. This was Douglas Moore’s ‘In Memoriam,’ a brief composition inspired by the war, and originally commissioned, we believe, by the League of Composers. It is in greater part a dirge for the young and the fallen, and ‘the middle section is a soliloquy in which youth is imagined as speaking with longing for familiar things now lost.’ The form of the work is ABA.”

———. “Music: By Americans; Symphony of Air Plays Works by Americans.” New York Times, 14 February 1955, p. 25, cols. 1–2. The article reviews the 13 February concert by the Symphony of the Air conducted by Howard Hanson and including In Memoriam. “We thought Mr. Moore’s ‘In Memoriam’ a work of very sincere feeling, of genuine emotion and climax and always lofty statement.” A portrait of Moore accompanies the article.

“Eastman School Presents American Music Festival: 3 Contemporary Works Have Premiere at Rochester.” New York Herald Tribune, 28 April 1944, p. 13, col. 4. This review of the 27 April concert of the Eastman-Rochester Symphony Orchestra with Howard Hanson conducting In Memoriam finds value in the work. “ ‘In Memoriam’ is dedicated ‘to those who die young.’ [The f]irst and last parts of the music consist of a dirge. The middle section is a soliloquy in which the dead person longs for familiar things. The atmosphere is reverent and never lugubrious.”

Frankenstein, Alfred. “Ruggles: Organum; Moore; In Memoriam; Ward: Symphony No. 2.” High Fidelity 10, no. 7 (July 1960): 61. A review of the recording CRI 127 says that Moore’s work is “a deeply felt and finely achieved threnody written during World War II.”

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French, Richard F. “Review of In Memoriam.” Musical Quarterly 46, no. 4 (October 1960): 548–60. This is a review of seven recordings on the CRI label. In Memoriam (CRI 127) is considered one of the pieces that make up the core works of the set. It is written using forms from earlier periods and is not as “distinguished” as Walter Piston’s pieces in this style. French finds Moore’s style to be “capable of expressing the greatest subtlety and strength” but finds it difficult to objectively evaluate a traditionally conceived work in a time when musical modernism is prevalent.

Hague, Robert A. “Heifetz Gives a One-Man Show.” New York PM Daily, 12 January 1945, p. 16, col. 3. The article is a review of the 11 January concert of the New York Philharmonic-Symphony, with Artur Rodzinski conducting. “The first New York hearing of Douglas Moore’s In Memoriam[,] which opened the program, was more coolly received. Dedicated by the composer to ‘those who die young,’ the short work falls into three sections—the first and last dirge-like in quality and the middle a mournful soliloquy in which ‘youth is imagined as speaking with longing for familiar things now lost.’ It is sincere, often affecting, but relatively undistinguished music.”

Johnson, Harriett. “Words and Music: Beethoven Would Love Heifetz.” New York Post, 12 January 1945, p. 30, col. 1. The article is a review of the 11 January concert of the Philharmonic-Symphony Orchestra, conducted by Artur Rodzinski, in which the reviewer writes that “Douglas Moore’s ‘In Memoriam,’ in an elegiac mood, is fitting for its purpose. . . . With a simplicity of means which is expressive and not obvious, Mr. Moore tells his story, one which is only too sadly true.”

Jones, Ralph E. “Ruggles: Organum and Moore: In Memoriam.” New Records 28, no. 7 (September 1960): 2. There is half a sentence about the Moore work in this review of the recording on CRI (127): “In Memoriam (dating from 1943) is a subdued and plaintive elegy.”

Kastendieck, Miles. “In Carnegie Hall: Symphony of Air Offers U.S. Works: Pulitzer Prize Compositions.” New York Journal-American, 14 February 1955, p. 12, cols. 1–3. The author reviews the 13 February concert by the Symphony of the Air conducted by Howard Hanson that included In Memoriam. “Of these works [on the concert], the most moving and enduring was Moore’s elegy.”

Nairn, Norman. “Hanson Presents 3 New Works at Festival.” Rochester Democrat and Chronicle, 28 April 1944, p. 8, col. 1. The reviewer of the 27 April concert of the Eastman-Rochester Symphony Orchestra conducted by Howard Hanson that included In Memoriam believes that “Moore’s music, first and last parts a dirge, is by no means lugubrious. It has many climactic moments, is worked out strongly, with surging feeling.”

Thompson, Oscar. “Heifetz Soloist of Philharmonic.” New York Sun, 12 January 1945, p. 21, col. 2. This is a review of the 11 January concert of the New York Philharmonic-Symphony under Artur Rodzinski and featuring In Memoriam. “The Moore work is a solemn, well-written score. . . . It speaks ‘of the bitterness of youth cut down in its prime, the irreconcilable loss to us and to them.’ Well played, it went its dirge-like way as memorial pieces usually do, leaving the audience uncertain whether to applaud or preserve a respectful silence.”

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“Today on WQXR.” New York Times, 30 May 1969, p. 53, cols. 3–4. At 9:07 P.M. In Memoriam is to be broadcast. Licorice Stick from Young People’s Records. Instrument Series G[oldberg], A[lbert]. “Record Reviews: ‘Licorice Stick: The Clarinet’s Story’ by Douglas Moore.” Los Angeles Times, 31 July 1949, sec. 4, p. 5, col. 7. The review describes the contents of Young People’s Record 420, which contains an original composition introducing children to the clarinet.

Moby Dick “American Composers at Kilbourn Hall.” Rochester Times-Union, 23 November 1929, p. 14, cols. 2–3. This is a review of a concert at the Eastman School of Music in the American Composers series, where Moore’s Moby Dick “proved to be typically ‘modern’ in all that term has come to mean for those to whom modernity in music signified the dethronement of the established standards of melody and beauty in sound.”

“Orchestral Activities Afield: Western Organizations Vie with East in New Productions of Wide Diversity as Shown in Coast-to-Coast Review.” New York Times, 12 January 1930, sec. 8, p. 10, cols. 5–7. Moore’s symphonic poem Moby Dick will be presented at a “manuscript concert” by the Rochester Philharmonic Orchestra, conducted by Howard Hanson.

Sabin, Stewart B. “American Composers’ Concerts.” Rochester Democrat and Chronicle, 23 November 1929, p. 10, cols. 1–2. At the premiere of Moby Dick, “Mr. Moore last night offered tragedy instead of comedy; his inspiration was Melville’s sea romance of the mad Ahab in vain chase of the white whale. At the start of the piece which has three divisions, succeeding each other without pause, the suggestion of the sea and its lonely watches is well given. Then develops a score which seems to the writer, with its intricacies and undoubted musically expert contrivance, to constitute a performance problem of little appeal to a general public; the interest must be for students.”

W[ill], M[ary] E[rtz]. “Rochester Hears American Novelties: Five New Symphonic Works Get Hearty Reception by Large Audience.” Musical America 49, no. 23 (10 December 1929): 33. The article is a review of the American Composers’ concert at the Eastman School of Music on 22 November. In these concerts the audience votes for which piece will be published by the Eastman School. Moore’s symphonic poem Moby Dick “was decidedly atmospheric, was strong, and the orchestra was well handled.” Although the piece was warmly received, Paul White’s The Voyage of the Mayflower received greater accolades from the audience.

Orchestra Music Downes, Edward. “Records: Contemporary Americans.” New York Times, 13 January 1957, sec. 2, p. 15, cols. 2–3. This is a review of the first seven releases of Composers Recordings Inc. Moore is represented by recordings of Cotillion Suite and Farm Journal. The two pieces “interpret different aspects of traditional American life in a deceptively simple, traditional-sounding manner.”

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Overture on an American Tune “Activities of Musicians Here and Afield: Stadium Season Assured: Bruno Walter’s Statement; ‘Jones’ in Chicago; Other Items.” New York Times, 23 April 1933, sec. 10, p. 5, cols. 3–6. The Rochester Philharmonic Orchestra conducted by Howard Hanson performs Babbitt on 4 May.

“Eastman School Offers 3d Concert of Festival: Dr. Howard Hanson Conducts Orchestra and Chorus.” New York Herald Tribune, 5 May 1933, p. 13, cols. 4–5. In this review of the Rochester Philharmonic performance on 4 May of the Overture on an American Tune, the reviewer states that the work “put hearers in a receptive mood. It was brilliantly played.”

Elwell, Herbert. “Babbitt Wins a Place in American Music.” Cleveland Plain Dealer, 29 June 1933, p. 5, col. 4. The reviewer of a concert by the Cleveland Orchestra on 28 June conducted by Moore gives it high marks. “In translating Babbitt into music, however, Moore tried to find his likeable side, his earnestness and striving which often end in sentimentality, his self-distrust and overconfidence, his gayness and sadness and his fondness for ‘Sweet Adeline,’ which, by the way, is generously quoted by the cellos and trombones of Moore’s score. The composer has made a capital characterization. The music is irresistibly propelled by a sort of blundering, scattered energy, and in spite of its grasping constantly at something new—typical, perhaps, of the American’s optimism and faith in experiment—it somehow results in continuity and rides merrily to its close. It obtained a rousing reception from the unusually large audience.”

“Hanson Conducts Eastman Concert: Capacity Audience Cordially Receives Third Program of Festival at Rochester; Two Premieres Are Given: Theme and Variations by Irving Landau and ‘The Exodus’ by Rogers Are Performed.” New York Times, 5 May 1933, p. 13, col. 5. The Rochester Philharmonic Orchestra conducted by Howard Hanson played Moore’s Babbitt on 4 May. The music, “with its trend toward humorous suggestion of the commonplace but rather likable American type, its use of ‘Sweet Adeline’ and prevailing energy of movement, was brilliantly played and heartily applauded.”

“Programs of the Week: Second Visit of Philadelphia Orchestra—Ensembles and Recitalists.” New York Times, 3 November 1935, sec. 10, p. 6, cols. 1–4. The Columbia University Orchestra conducted by Herbert Dittler will perform Moore’s Overture on an American Tune on 9 November.

Simon, Robert A. “Musical Events: Two Tristans, New English Singers, ‘Xerxes’ Uptown, and ‘Babbitt.’ ” New Yorker, 24 December 1932, 27. In a review of one of the December concerts by the Manhattan Symphony conducted by David Mannes that included the Overture on an American Tune, it is stated that “[Moore] views his hero [Babbitt] kindly, in spite of a malicious allusion to ‘Sweet Adeline,’ and epitomizes him in a bright, melodious score which, if it had been signed by Tansman, would be featured by half a dozen visiting maestri. This is a dirty crack, but not at Prof. Moore.”

T., H. “Manhattan Symphony Heard.” New York Times, 12 December 1932, p. 18, col. 6. The premiere of Babbitt was conducted by Moore on 11 December. The Pageant of P. T. Barnum “Activities of Musicians Here and Afield: The Philharmonic on Tour; Miss Norton with Philadelphia Orchestra; Other Items.” New York Times, 11 December 1932, sec. 9, p. 8, cols. 3–6.

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[The Pageant of P. T. Barnum] On 17 December at a children’s concert of the Philharmonic-Symphony Orchestra, The Pageant of P. T. Barnum will be played.

Aldrich, Robert. “Barnum Piece Scores a Hit.” Omaha Morning World-Herald, 20 January 1948, p. 1, col. 2, and pp. 4, 8. The concert of the Omaha Symphony playing The Pageant of P. T. Barnum was attended by twelve hundred people. The article comments on the novelty of using a cap gun and gives quotes from some of the orchestra musicians.

“Audience and Critics Vote on Compositions: Works by Moore and Still Win Recognition in Eastman School Experiment.” New York Times, 22 November 1927, p. 32, col. 5. On 21 November 1927 the Rochester Philharmonic Orchestra under the direction of Howard Hanson presented a concert of four works by American composers. The best work on the concert was selected for publication by a vote by the audience and a jury consisting of Eugene Goosens, Howard Hanson, Edward Royce, Bernard Kaun, Stewart Sabin, and Olin Downes. The jury voted unanimously for The Pageant of P. T. Barnum, for which a majority of the audience also voted. After the voting, the winning compositions were performed a second time. The article was reprinted in the Cleveland Orchestra program book of 1–2 December 1927, 203.

B., H. “Music: Novelties by American Composers Played Here by the Cleveland Orchestra.” New York Evening Post, 19 January 1927, p. 13, col. 1. The three works by American composers on the concert of 18 January in Carnegie Hall “do not seem to be destined for posterity, [but] . . . are all interesting and worth hearing.” Moore’s The Pageant of P. T. Barnum “is amusing, and it is interesting, of course, for what it sets out to do. But at best it is little better than second-rate Stravinsky, and Stravinsky, except at his best, is of very little consequence.”

“Barnum in a Tone Poem.” New York Times, 9 January 1927, sec. 7, p. 9, cols. 2–3. This is an announcement of the 18 January performance in New York by the Cleveland Orchestra of The Pageant of P. T. Barnum.

“Barnum in Music: Orchestra Plays Suite by Moore in North Newark.” Newark Evening News, 19 January 1940, p. 16, col. 8. This is a positive review of the New Jersey WPA State Symphony Orchestra performance of The Pageant of P. T. Barnum. The work is humorous and uses “cap pistols along with the usual orchestra material, achieves both solid music and light entertainment in picturing Tom Thumb, Jenny Lind and some of Barnum’s other midway masterpieces.”

Bell, Archie. “Barnum Life Set in Tune for Concert: Cleveland Orchestra Pleases Sunday Audience with Douglas Moore’s Composition; Miss Huddie Johnson, Pianist, Praised.” Cleveland News, 29 March 1926, sec. 2, p. 18, cols. 5–6. This review of the premiere of The Pageant of P. T. Barnum is enthusiastic in its praise of the work. The reviewer particularly likes Moore’s sense of humor and continues: “Here is some first rate descriptive writing, the blare and flare of tawdry tinselled processions, gaudily bedecked riders from many countries, the hoofing of the animals on the pavement and the comicalities of squawking bands.”

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[The Pageant of P. T. Barnum] ———. “Stars and Stardust: From Theater and Concert Stage: Old and New Styles in Music Is [sic] Concert Menu.” Cleveland News, 14 January 1927, p. 18, cols. 1–2. The reviewer comments again on the second performance of The Pageant of P. T. Barnum by the Cleveland Orchestra.

Bush, Martin W. “Symphony in Fine Fettle for Opening: Program Appeals; Soloist Wins Crowd.” Omaha Morning World-Herald, 20 January 1948, p. 4, cols. 6–7. The Omaha Symphony played an excellent performance of The Pageant of P. T. Barnum on 19 January. The work is described as “craftsmanship of a high order—which spells good music, melodically, harmonically and orchestrally.”

C., W. B. “Music in Review: Jose Euchaniz, Cuban Pianist, Reappears—Lucrezia Bori Sings Native Folk-Songs to Young People.” New York Times, 18 December 1932, sec. 2, p. 4, cols. 5–6. Selections from The Pageant of P. T. Barnum are to be performed by the Philharmonic-Symphony Orchestra on 27 December.

Charlesworth, Hector. “Barnum Pageant Suite Prom. Concert Feature.” Toronto Globe and Mail, 23 July 1943, sec. 1, p. 4, cols. 6–7. The concert of the Toronto Philharmonic on 22 July was attended by seven thousand people. The reviewer devotes a paragraph to The Pageant of P. T. Barnum and says that Moore’s “melodic resources are wide and [he] is prolific in fresh and vivid harmonic devices.”

———. “Musical Events: Douglas Moore’s Barnum Suite.” Saturday Night 58, no. 47 (31 July 1943): 20. The Toronto Philharmonic Orchestra concert included The Pageant of P. T. Barnum on 22 July. The music “makes a wonderfully vivid series of pictures. You can see the elephants without being told about them, and every detail has its meaning. Mr. Moore knows how to handle dissonances without making them the aim rather than the means.” Much of the article is devoted to Moore and the suite.

“Concerts and Opera of the Week.” New York Times, 22 July 1934, sec. 9, p. 5, cols. 2–4. The New York Orchestra conducted by Nikolai Sokoloff will play The Pageant of P. T. Barnum on 24 July in Weston, Connecticut.

Curtis, William D. “Carpenter: Adventures in a Perambulator ; Moore: The Pageant of P. T. Barnum; Nelson: Savannah River Holiday.” American Record Guide 41, no. 1 (November 1977): 38–39. This review of Moore’s suite is of the reissue on Mercury Golden Imports (SRI 75095). The reviewer finds these works to be “lightweight in character” but not “trivial” in any way. Their “unpretentiousness” is what gives them their value and charm.

Cushing, Edward. “Mr. Sokoloff ’s Americans.” Brooklyn Daily Eagle, 16 January 1927, sec. E, p. 5, col. 1. The article is an announcement of the 18 January concert of the Cleveland Orchestra that presented the New York premiere of The Pageant of P. T. Barnum. The composer is incorrectly identified as “Dudley” Moore in the article.

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[The Pageant of P. T. Barnum] “Damrosch Lauds Bowl as Holy Grail of Music.” Los Angeles Times, 9 July 1931, sec. 2, p. 7, cols. 2–3. The Hollywood Bowl concert of 9 July includes The Pageant of P. T. Barnum.

DeMotte, Warren. “Piston: The Incredible Flutist; Moore: Pageant of P. T. Barnum.” HiFi/ Stereo Review 4, no. 2 (February 1960): 80. This recording on Mercury (SR 90206 stereo. and MG 50206 mono.) is rated: “Interest: Considerable; Performance: Excellent; Recording: Excellent; Stereo Directionality: Effective; Stereo Depth: Good.” Moore’s work is “indubitably American in character, with regional coloration,” and the performance is “richly communicative.”

Downes, Olin. “Fair Play for Young America: Rochester’s Experiment of Giving New Men a Hearing; Some Productions Just Heard There.” New York Times, 27 November 1927, sec. 9, p. 8, cols. 1–3. The article is a lengthy review of the concerts of new American works given on 21 November by the Rochester Philharmonic Orchestra. The works were judged by a jury of musical experts and also by the audience. The work receiving the majority vote of the jury, with consideration of the audience’s ballot, was published. The Pageant of P. T. Barnum received the unanimous vote of the jury and the majority of the audience vote. Although Downes agrees that Moore’s piece was the best on the program, he also observes that none of the works “would have escaped a degree of derogative criticism if it had been performed at a big orchestral concert in Carnegie Hall. The work of Douglas Moore . . . is the work of a young composer in an early stage of development, with a real talent and considerable expertness in the use of his material.”

———. “Henry Hadley Gives Four Native Works: James P. Dunn Conducts His Own Melodious and Rhythmical ‘Negro Overture’; ‘Pageant of P. T. Barnum’: Moore’s Composition Is Humorous and Effective; Barnett Plays Beethoven Concerto.” New York Times, 24 March 1930, p. 24, col. 3. A review of a concert by the Manhattan Symphony Orchestra on 23 March at the Mecca Temple includes a work by Moore. The score of The Pageant of P. T. Barnum is a “witty composition of Douglas Moore [that] has a reminiscence and a kind of humor which may fittingly be called ‘American.’ If this quality were the only claim of the score to recognition, it could be quickly dismissed, but, as a matter of fact despite the cloven hoof of Igor Stravinsky, this score is well made and effective.”

———. “Music: The Cleveland Orchestra.” New York Times, 19 January 1927, p. 20, col. 2. This is a review of a concert of American music on 18 January at Carnegie Hall. Downes summarizes the content of the characters depicted in the five movements of The Pageant of P. T. Barnum. He praises the orchestration of the piece and notes parallels with Petrouchka. In all, “the music is ingenious in its orchestration and sometimes funny, although it is easy to prolong a joke too far, and some of Mr. Moore’s jokes are over-obvious.” This is a generally positive review of Moore’s piece.

D[urgin], C[yrus] W. “Music: Jordan Hall: N.E. Conservatory Orchestra.” Boston Daily Globe, 22 January 1942, p. 7, col. 3. The concert, conducted by Quincy Porter on 21 January, featured three American works, all of which the reviewer found to be without merit. The Pageant of P. T. Barnum was the last of these works and “is no more than musical caricature, fine-pointed caricature in places to be sure, but essentially trivial.”

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[The Pageant of P. T. Barnum] “Dutch Royalty to Attend Concert: Mrs. Roosevelt Will Have Princess Juliana as Guest in Her Box.” Washington Post, 15 December 1940, sec. 4, p. 4, col. 3. The concert of the National Symphony Orchestra on 18 December will include the “Circus March” from The Pageant of P. T. Barnum.

Frankenstein, Alfred. “Piston: The Incredible Flutist: Suite; Moore: Pageant of P. T. Barnum.” High Fidelity 10, no. 2 (February 1960): 62. This review of the Mercury (MG 50206 and ST 90206) release says: “The music sounds like Ives with all the notes in the right places.”

Gilman, Lawrence. “Barnum in Tones.” New York Herald Tribune, 9 January 1927, sec. 6, p. 8, col. 1. This extensive article on Moore and The Pageant of P. T. Barnum was written in anticipation of the 18 January Cleveland Orchestra concert at Carnegie Hall. There is a biography of Moore and a complete quotation of the composer’s program notes from the upcoming concert.

———. “New American Music Presented by Mr. Sokoloff with the Cleveland Orchestra.” New York Herald Tribune, 19 January 1927, p. 15. Despite the good performance of the orchestra, the reviewer thinks that Moore’s depiction of the characters in The Pageant of P. T. Barnum does not go far enough. In the music “the rich blend of vulgarity and extravagance and uproariousness, the preposterous humor, the preposterous pathos, of the theme have yielded him too often a music thin and meager, insufficiently saturated with its flowing juices.”

Grosbayne, Benjamin. “Notes on Broadcast Music.” New York Times, 23 March 1930, sec. 10, p. 14, cols. 6–8. Moore’s Pageant of P. T. Barnum will be played on WOR by the Manhattan Symphony Orchestra. A brief description of the movements is included.

Jones, Isabel Morse. “Bowl Rehearsals Begin: Damrosch Arrives to Start Work with Orchestra Preparatory to Opening Concert Tuesday.” Los Angeles Times, 5 July 1931, sec. 3, p. 17, cols. 1–2. Damrosch has only one modern piece planned for the Hollywood Bowl program: The Pageant of P. T. Barnum.

———. “Two Music Festivals Due: Summer Seasons to Open at New York Stadium and Hollywood Bowl Night of July 7.” Los Angeles Times, 28 June 1931, sec. 3, p. 14, cols. 1–2. A concert of the Hollywood Bowl on 9 July will include The Pageant of P. T. Barnum, conducted by Walter Damrosch.

K., S. “Professor Moore’s ‘Pageant of P. T. Barnum.’ ” Barnard Bulletin, 28 March 1930, p. 2, col. 5. The reviewer reports that the performance of The Pageant of P. T. Barnum by the Manhattan Symphony Orchestra on 23 March was “enthusiastically received” by the audience. She was also “pleasantly surprised to find that this composition is not ultra-modern, but is really easily listened to, and extremely entertaining.”

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[The Pageant of P. T. Barnum] K[aine], A[lfred]. “Moore: The Pageant of P. T. Barnum; Piston: The Incredible Flutist.” American Record Guide 26, no. 8 (April 1960): 621–22. In this review of the Eastman-Rochester Orchestra performance on Mercury (SR-90206), the author finds that there are “no demands whatever on the listener’s harmonic sensitivities or his deeper emotions” but tempers this by saying that “the intent is purely atmospheric, and in this Moore succeeds very well indeed.”

Kresh, Paul. “Carpenter: Adventures in a Perambulator; Moore: The Pageant of P. T. Barnum; Nelson: Savannah River Holiday.” Stereo Review 39, no. 6 (December 1977): 140. A short review of reissued recordings by the Eastman-Rochester Symphony (Mercury SRI 75095), which the reviewer finds delightful, well performed, and well recorded.

“L.I. Philharmonic to Play 3 Free Weekend Concerts.” New York Times, 5 August 1980, sec. C, p. 20, col. 5. This article announces three performances by the Long Island Philharmonic of a concert including The Pageant of P. T. Barnum.

L[ewis], R[ichard]. “Circus-Inspired.” Musical America 80, no. 3 (February 1960): 244. This short review of the recording of The Pageant of P. T. Barnum (Mercury MG 50206) has only one sentence about the piece: “The Moore work is a musical portrait of various characters that inhabited the spectacular side-show, plus a good old fashioned march to make us taste momentarily the somewhat forgotten luxury of cotton candy.”

MacDonald, Rose. “7,000 at Prom give Thibault Great Ovation: Baritone Sings Own Song in English and French; Generous with Additions to Program.” Toronto Evening Telegram, 23 July 1943, p. 14, cols. 6–7. The review of The Pageant of P. T. Barnum by the Toronto Philharmonic on 22 July says that the “writing in this instance, is by turns charming and amusing, the most charming, the Jenny Lind portrait, opening with the melody in the wind section, with a charming initial accompaniment on the harp.”

Miller, Philip L., and James Coover. “Piston: The Incredible Flutist (Suite). Moore: Pageant of P. T. Barnum.” Library Journal 85, no. 8 (15 April 1960): 1557. This review of the recording on Mercury (MG 50206) gives one sentence about the work: “A wellplayed program which contains a real treat in Moore’s ‘Pageant,’ a new addition to the catalogs and one of the composer’s most listenable folksy works, with moments of rare beauty.”

“Music: Americana.” Time, 31 January 1927, 19–20. This review of the Cleveland Orchestra at Carnegie Hall conducted by Nikolai Sokoloff the previous week gives a lengthy description of The Pageant of P. T. Barnum and mentions the other pieces on the program in passing. The performance of the Moore piece received a standing ovation. Portraits of Moore and Sokoloff are included.

“Music Notes.” New York Times, 10 August 1933, p. 20, col. 4. The performance of The Pageant of P. T. Barnum by the New York Orchestra, to be conducted by Nikolai Sokoloff, on 10 August is announced.

“Music Notes.” New York Times, 31 January 1935, p. 23, col. 2. The Greenwich Sinfonietta will play The Pageant of P. T. Barnum at Columbia University on 31 January.

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[The Pageant of P. T. Barnum] “New York Orchestra Programs.” New York Times, 5 November 1933, sec. 9, p. 6, cols. 4–5. The orchestra will perform The Pageant of P. T. Barnum, with Nikolai Sokoloff conducting, as part of its season on 13 February 1934.

“Notes of Music and Musicians Here and Afield.” New York Times, 28 April 1935, sec. 10, p. 5, cols. 3–6. The Melrose Orchestral Association conducted by George Brown will play The Pageant of P. T. Barnum on 29 April in Melrose, Massachusetts.

Olinda, Edgar S. Van. “1,200 Applaud Symphony for New Program: Albany Orchestra Delights with Professional Tone at High School Concert.” Albany Times-Union, 29 November 1939, p. 3, col. 4, and p. 13. This review says of the performance of The Pageant of P. T. Barnum that it “is strictly modern music without encroaching on the bizar [sic].” A photograph of the event appears on p. 13.

“Orchestras.” New York Herald Tribune, 11 December 1932, sec. 7, p. 6, cols. 7–8. The article covers orchestra concerts to be occurring within the next week. The Pageant of P. T. Barnum is to be played on 17 December by the Philharmonic-Symphony Society on a children’s concert, and the Overture on an American Tune will be played on 11 December by the Manhattan Symphony. There is a long quote from program notes by James Dunn on the overture and biographical material on Moore quoted from John Tasker Howard.

“P. T. Barnum in Music.” Literary Digest 92, no. 5 (no. 1919) (29 January 1927): 25. Following the first performances of The Pageant of P. T. Barnum in Cleveland and New York by the Cleveland Orchestra, the article informs its readers about this piece, generously quoting from Moore’s program notes.

“Pageant of P. T. Barnum by Douglas Moore.” Chatter from Around the White Tops 1, no. 12 (April 1928): 6. The article is a republication of the description of the piece from the program book of the Cleveland Orchestra.

Parris, Robert. “But Not to Critic: Concert at Gallery Appeals to Some.” Washington Post, 16 May 1960, sec. B, p. 9, cols. 4–6. The concert at the National Gallery of Art on 15 May included The Pageant of P. T. Barnum, a work that is “fun, and was, clearly, written with no false claims to high art.”

Phœnician. “The Phoenix Nest.” Saturday Review of Literature 3, no. 28 (5 February 1927): 572. This is a brief positive review of The Pageant of P. T. Barnum as played by the Cleveland Orchestra under Nikolai Sokoloff at Carnegie Hall. In the piece “Moore has not made the mistake of being heavy with Barnum, and the variety he furnishes in his treatment of Joice Heth, the antediluvian negress, General and Mrs. Tom Thumb, and Jenny Lind, excellently indicates the gamut that Barnum’s exhibiting genius ran.”

“Plans and Performances.” New York Times, 16 January 1927, sec. 7, p. 10, col. 4. The article reports that the Cleveland Orchestra under Nikolai Sokoloff performed three New York premieres that week, including that of The Pageant of P. T. Barnum at Carnegie Hall.

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[The Pageant of P. T. Barnum] “Radio.” Barnard Bulletin, 10 April 1931, p. 2, col. 5. The Pageant of P. T. Barnum, conducted by Walter Damrosch, will be broadcast on The General Electric Hour on 11 April.

Reinthaler, Joan. “Fine Finale.” Washington Post, 31 May 1976, sec. C, p. 6, cols. 2–3. The American Music Festival at the National Gallery of Art included The Pageant of P. T. Barnum in its final concert, conducted by Richard Bales.

Rogers, James H. “Modern Music Again Well Done: Miss Johnson Proves Apt Exponent of Schelling; Moore’s Work Clever.” Cleveland Plain Dealer, 29 March 1926, p. 4, cols. 5–7. This review of the Cleveland Orchestra’s premiere of The Pageant of P. T. Barnum notes that “there was great applause for Mr. Moore’s diverting, fanciful, adroitly fabricated musical snapshots at a few phases of American life.”

———. “Moore’s ‘Barnum’ Gets Good Laugh: Orchestra Plays Young Modernists, Franck and Stravinsky.” Cleveland Plain Dealer, 14 January 1927, p. 16, col. 5. The reviewer appreciated this repeat performance of The Pageant of P. T. Barnum by the Cleveland Orchestra and noted that humor in music is not easy to do. The audience enjoyed the piece, as was evidenced by their laughter.

Sabin, Stewart B. “Rochester Philharmonic Orchestra.” Rochester Democrat and Chronicle, 7 December 1929, sec. 1, p. 13, col. 1. The reviewer of The Pageant of P. T. Barnum concludes: “Comedy is not farce and this music is not; the scoring is excellent; there is good contrast.”

Salzman, Eric. “Records: A Pair of New Symphonies.” New York Times, 31 January 1960, sec. 2, p. 18, cols. 3–6. The article is a review of several recordings that contains a brief mention of The Pageant of P. T. Barnum on the Mercury label, performed by the Eastman-Rochester Orchestra under Howard Hanson. The music “consists of five short character pieces made up of extremely simple material treated in simple fashion. . . . . Two of the movements (three and five) are too broken up for their short length; the others move along with the charm of a childhood memory.”

Sanborn, Pitts. “Pageant at Stadium.” New York World-Telegram, 7 August 1939, sec. 1, p. 8, cols. 3–4. For this sparsely attended concert, the reviewer believes The Pageant of P. T. Barnum was given a better performance than the other pieces. The music is “delightfully ingenious (the fourth of the five sections, entitled Jenny Lind, is the least successful) and in it the composer pays his happy tribute to the soul of wit.”

*The Sec. “Round About Harrisburg and Pennsylvania: The Professor Goes to the Concert; Radio Device Registers His Impressions.” Harrisburg Morning Telegraph, 18 November 1933, cols. 1–2. The article is a humorous column reviewing the Harrisburg Symphony concert of 16 November, which included The Pageant of P. T. Barnum. A paragraph describes the five movements of the piece.

S[imon], R[obert] A. “Musical Events: Barnum in Tone; Mr. Sokoloff ’s Americans; A New Deal at the Opera; Mozart Near Broadway.” New Yorker, 29 January 1927, 69–70.

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[The Pageant of P. T. Barnum] This article is a patronizing review of the Cleveland Orchestra’s performance at Carnegie Hall of The Pageant of P. T. Barnum. The reviewer vacillates between praising Moore’s talent and lamenting his lack of experience as a composer. He finds that “the music was underdone, for Mr. Moore’s burlesque was not sufficiently riotous and his satire was too transparent. . . . Yet Mr. Moore brought to his work two precious elements—imagination and humor. What he lacked was mastery over these valuable possessions, and the only way to orchestral mastery is experience.”

Smith, Wilson G. “Symphony Concert: Barnum Suite Shows Up Well under Sokoloff; Work of American Composer Cleverly Orchestrated at Symphony Concert.” Cleveland Press, 14 January 1927, sec. 2, p. 27, col. 1. The Cleveland Orchestra concert at which The Pageant of P. T. Barnum was played was given a positive review. The piece was “cleverly orchestrated,” and the second and fourth movements were especially praised.

Stokes, Richard L. “Realm of Music: Barnum Is Set to Music.” New York Evening World, 15 January 1927, p. 4, cols. 3–4. The article announces the performance of The Pageant of P. T. Barnum by the Cleveland Orchestra at Carnegie Hall on 18 January. Moore’s program for the work is quoted in the article.

“Symphony Plays Today, Wednesday: Joseph Szigeti, Hungarian Violinist, Soloist at Orchestra’s Midweek Concert.” Washington Post, 15 December 1940, sec. 6, p. 6, col. 8. The article announces the National Symphony Orchestra concert on 18 December, which includes the “Circus March” from The Pageant of P. T. Barnum.

Thompson, Oscar. “American Novelties Introduced by Cleveland Visitors.” Musical America 45, no. 15 (29 January 1927): 9. The review covers the 18 January appearance of the Cleveland Orchestra under Nikolai Sokoloff at Carnegie Hall, where they played three works by American composers, one of them The Pageant of P. T. Barnum. Each of the five movements of the piece is described, and the reviewer concludes that the piece is a good addition to the American symphonic repertoire, although not an important work.

Tircuit, Heuwell. “Special Karajan Discs among the New Albums: Carpenter Adventures in a Perambulator; Moore: The Pageant of P. T. Barnum . . . Mercury SRI 75095.” San Francisco Examiner and Chronicle, 16 October 1977, sec. This World, p. 47, cols. 4–5. This review recommends the recording but mentions only that Moore’s work was composed in 1924.

Tuckley, William Henry. “Symphony and Young Baritone Delight Auditorium Audience.” Syracuse Post-Standard, 17 February 1939, p. 5, cols. 3–4. The reviewer of the Syracuse Symphony concert of 16 February thinks that The Pageant of P. T. Barnum “has a delightful sense of humor.” It is a piece that “the orchestra men seemed to get as much fun as the audience and while it may not be great music the suite is decidedly clever.”

Warner, A. J. “The Concert Reviewed: Rochester Philharmonic at the Eastman Theater.” Rochester Times-Union, 7 December 1929, p. 14, cols. 4–5. The article is concerned with Eugene Goosens’s performance of The Pageant of P. T. Barnum, a work described here as “moderately amusing and inconsequential.”

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[The Pageant of P. T. Barnum] “Will Come for Orchestra Concert.” Harrisburg Morning Telegraph, 14 November 1933, p. 6, cols. 1–4. Two large portraits of Douglas and Emily Moore appear on the social page with a caption announcing their arrival for the performance of The Pageant of P. T. Barnum with the Harrisburg Symphony.

Will, Mary Ertz. “Rochester Hears American Works: Fifth Anniversary Concert in American Composers’ Series Given.” Musical America 50, no. 9 (10 May 1930): 3. The concert consisted of five symphonic works played at previous American Composers’ Series concerts that were chosen for publication by the Eastman School of Music. This included Moore’s Pageant of P. T. Barnum, a piece that “is full of humor, is rhythmic and not devoid of tunes.”

Williams, Alexander. “Music: Conservatory Orchestra.” Boston Herald, 22 January 1942, p. 23, col. 1. This review of the 21 January concert of the New England Conservatory Orchestra playing The Pageant of P. T. Barnum found the piece “good fun indeed, and [it] never falls below attractive program music with an obvious problem to resolve.” The audience especially liked the Tom Thumb movement, and the student orchestra gave an excellent performance.

Wilson, Frank. “A Look at the ‘Living Presence’ Discs.” Chicago Tribune, 3 October 1993, sec. 13, p. 22, col. 4. The article is a very short review of the Mercury Living Presence series, which includes a recording of The Pageant of P. T. Barnum (434 319-2).

Perhaps to Dream “Choral Music by Americans for Festival: Emanu-El to Present Three Programs Representing Early and New Works.” New York Herald Tribune, 5 March 1939, sec. 6, p. 6, col. 3. The article announces the Fourth Annual Three Choir Festival sponsored by Emanu-El on 31 March. Moore will conduct the Emanu-El choir in Perhaps to Dream.

Piano Works T., H. “Music: Recital on New Keyboard.” New York Times, 26 February 1935, p. 17, col. 2. David Barnett played a recital on his new invention, the enharmonic piano keyboard, on 25 February. A work by Moore was on the concert. The design of the keyboard is intended to make fingering easier and more facile.

Prayer for the United Nations “Allied Prayer Cantata for Grove Today.” San Francisco Chronicle, 25 July 1943, p. 5, col. 2. The article announces the performance of Prayer for the United Nations at the Stern Grove Concert on 25 July.

Fisher, Marjory M. “News Follows ‘Prayer’ Recital.” San Francisco News, 26 July 1943, p. 5, col. 6. The premiere of Prayer for the United Nations was given an excellent performance by soloist Marsden Argall, and the chorus gave its usual clear enunciation. The music “had its exciting moments, but in so far as it is possible to determine through an open air performance the score will never challenge Moore’s ‘Devil and Daniel Webster.’ ” Mussolini’s resignation was announced on the radio during the concert.

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Frankenstein, Alfred. “A Musical ‘Prayer’ Is Answered.” San Francisco Chronicle, 26 July 1943, p. 5, col. 4. The reviewer believes that Prayer for the United Nations may become merely an “occasional” piece. The work is “a feebler piece than a man of Douglas Moore’s capacity ought to write. There is a lack of decision and shape, of punch and sting and climax.” The performance also appeared to be underrehearsed.

Fried, Alexander. “9,000 Hear Cantata: ‘United Nations Prayers’ [sic] Has Premiere Here.” San Francisco Examiner, 26 July 1943, p. 13, col. 8. This reviewer found the premiere of Prayer for the United Nations to be “resolute, clear and honest.” “Moore’s practicality is in a way an advantage, for the cantata . . . is designed to help in War Bond programs.” The performers made every word of the text understandable.

“Prayer for the United Nations.” San Francisco Chronicle, 25 July 1943, sec. This World, p. 25. The article announces the concert featuring this work, conducted by Nicholas Goldschmidt, on 25 July. The entire text of Benét’s poem is given.

Simon, Henry. “Young Talent in a Big Dose.” New York PM Daily, 11 August 1943, p. 26, col. 4. The reviewer is impressed by the talent of young performers in this 10 August concert by the Teachers College Chorus with Carol Brice singing the alto solo in Prayer for the United Nations.

Puss in Boots Boros, Ethel. “Two Operas Have Youth and Grace.” Cleveland Plain Dealer, 4 August 1962, p. 20, col. 4. The article is a review of a Cleveland Institute performance that included Puss in Boots. There is little mention of the piece in the review.

G[lanville]-H[icks], P[eggy]. “Concert for Children Given by Philharmonic.” New York Herald Tribune, 19 November 1950, sec. 1, p. 75, col. 6. This is a review of the 18 November concert of the New York Philharmonic, which featured the premiere of Puss in Boots. During the course of the operetta, the cartoonist Milton Caniff drew cartoons that were projected onto a screen. “Douglas Moore’s music is lively and melodious and, in its context of hilarious nursery adventure terribly chic. It all comes off completely and is a really good number to add to the category of sophisticated children’s music pieces.”

“Pasadena Operetta: ‘Puss in Boots’ Offers Treat for Children.” Los Angeles Times, 19 April 1953, sec. 6 (San Gabriel Valley), p. 2, cols. 2–3. The article announces the performance on 26 April by the Pasadena Civic Music Association with a complete list of the cast.

“ ‘Puss in Boots’ to Be Presented in Pasadena Today.” Los Angeles Times, 26 April 1953, sec. 4, p. 5, col. 7. The article announces the performance on 26 April by the Pasadena Civic Music Association with a complete list of the cast.

Quartet for Strings “Activities among the Musicians.” New York Times, 19 January 1936, sec. 9, p. 7, col. 8. Moore’s String Quartet will be performed at the Library of Congress by the Roth Quartet on 27 January.

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Bacon, Elmore. “String Quartet Recital at Museum Acclaimed.” Cleveland News, 18 November 1937, p. 13, cols. 1–2. Moore’s quartet, as played by the Walden String Quartet on 17 November at the Cleveland Art Museum, is “modern in treatment, it offers a commingling of ingratiating dissonances and catchy folk tunes of southern extraction. The Allegro giusto, with its ingenious pizzicato opening and the reflective andante, were most charming.”

Brown, Ray C. B. “Postlude.” Washington Post, 28 January 1936, sec. 2, p. 14, col. 5. The reviewer clearly liked the performance of the String Quartet in E as played by the Roth String Quartet on 27 January at the Library of Congress. He notices influences of Fauré and Bloch, but “its individuality comes to the fore in the allegro giusto, unmistakably American in connotations.”

“Budapest Quartet Lists Five Concerts.” Washington Post, 19 January 1936, sec. 7, p. 6, col. 6. The Roth String Quartet will perform the String Quartet for the Coolidge Foundation at the Library of Congress.

“Five Dates Posted for Roth Quartet: First Will Be on Saturday in Library of Congress.” Washington Post, 12 January 1936, sec. 7, p. 3, col. 2. The article announces the concerts of the Roth Quartet at the Library of Congress, including the 27 January concert featuring Moore’s String Quartet.

H[arrison], J[ay] S. “Kohon String Quartet Heard.” New York Herald Tribune, 30 March 1959, sec. 1, p. 10, col. 7. This excellent performance of the String Quartet reveals a work that has a “lovely sense of tune, technical expertness, and an easy-going and conservative point of view. The work, which makes no pretense at great power of expression, is everywhere gentle and sweet of nature.”

Lowens, Irving. “Kohon Quartet Offers Contrast.” Washington Evening Star, 18 May 1959, sec. A, p. 11, cols. 1–2. The Kohon String Quartet played the String Quartet at the National Gallery of Art on 17 May. The reviewer says the music is “definitely folksy in style with its hints of hoedowns and square dances, and its dancy rhythms.”

“Music Club Sponsors String Quartet Recital.” Barnard Bulletin, 10 November 1933, p. 5, cols. 4–5. The article announces the performance of the Arion String Quartet at Barnard College on 16 November. The names of the quartet members and information about their careers are noted. The program is listed and includes the premiere of Moore’s String Quartet, which the article claims is atonal.

“Programs of the Week: The Three B’s in Philharmonic Concert; Ensembles and Recitalists.” New York Times, 26 January 1936, sec. 9, p. 6, cols. 1–4. Moore’s String Quartet will be performed by the Roth Quartet on 1 February.

“Quartet by Professor Moore Will Be Played Thursday.” Barnard Bulletin, 14 November 1933, p. 4, col. 3. The String Quartet will be premiered by the Arion String Quartet in the Barnard College Parlor on 16 November.

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“Roth String Quartet Schedules 4 Events: Programs This Week Continue Series in Library.” Washington Post, 26 January 1936, sec. 7, p. 4, col. 6. The article announces the premiere of the String Quartet on 27 January for the Coolidge Foundation of the Library of Congress.

S., M. A. “Gordon Group Plays American Quartets.” New York Times, 22 February 1945, sec. Amusements, p. 30, col. 6. The reviewer finds the Moore Quartet played on 21 February at Times Hall by the Gordon String Quartet to be “the most enjoyable of the three [works]. It contains a good deal of folksy thematic material which is put to effective use.”

Smith, William E. “Beethoven Played to Lantern Slides: Other Local Music Events.” Philadelphia Evening Bulletin, 10 March 1949, p. 23, cols. 2–4. This review of the Curtis String Quartet performance of Moore’s String Quartet on 9 March states that the work “was tuneful and generally effective. The slow movement . . . seemed the most weighty of the lot.”

Thomson, Virgil. “Double-Header.” New York Herald Tribune, 27 January 1947, p. 13, cols. 3–4. This review covers a benefit concert for New Music Edition played by the New Music String Quartet at the New School for Social Research on 26 January. Moore’s String Quartet is compared to Ives’s String Quartet no. 1 in that it “resembles it not a little in spirit, though the latter [i.e., former] makes no direct quotations.” A portrait of Moore accompanies the article.

———. “Music: In the Academic Taste.” New York Herald Tribune, 23 February 1945, p. 17, cols. 1–2. Thomson reviews the Gordon String Quartet concert on 21 February at Times Hall. The reviewer liked the Moore quartet best of all because of “its American Boy ease. It is not a pretentious or laborious piece; it is friendly and gay and rather sweet. And the writing is open; there is air in it.”

Quintet for Clarinet and Strings Berger, Arthur. “Spotlight on Americans.” Saturday Review 36, no. 9 (28 February 1953): 60. The Modern American Music Series of recordings by Columbia Records includes the Clarinet Quintet on ML 4494 as one of its first six discs. This review covers all six recordings, devoting a paragraph to the work by Moore. Berger notes that the work has entered the repertoire in a very short time, which can be accounted for by “its solid musical virtues and sound craftsmanship. . . . It neither demonstrates a theory nor sets out to pave new roads. It observes the musical amenities, but while conforming to protocol, manages to convey contemporary spirit and a life of its own. The second movement is particularly evocative and its untroubled line is beautifully sustained.”

Cassidy, Claudia. “On the Record: Columbia’s Contemporary Project, ‘Goyescas,’ ‘Paris ’90.’ ” Chicago Daily Tribune, 22 February 1953, sec. 7, p. 8, cols. 2–3. Columbia Records issues the Clarinet Quintet (Columbia ML-4494) as one of six albums of contemporary American music.

Cohn, Arthur. “Moore: Quintet for Clarinet and Strings (1946); Bergsma: String Quartet No. 2.” American Record Guide 32, no. 8 (April 1966): 686.

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Cohn’s review of the quintet as reissued on Desto (DST-6425) praises both the music and the performance of the New Music String Quartet. The musical content is reminiscent of folk music, but the themes are all original to Moore, whose “writing is suave, and breathes with a very gentle feeling that is wholesome and exceedingly healthy.”

Frankenstein, Alfred. “Columbia and the Contemporaries.” High Fidelity 3, no. 3 (July–August 1953): 46–47. This review of the Columbia recording series Modern American Music contains a paragraph on the recording of Moore’s Clarinet Quintet (Columbia ML 4494). Although the music is traditional and the work is the least “modern” of the compositions in the series, Moore shows that classical harmonies and forms have not been exhausted.

Gingras, Michèle. “Reviews: American Clarinet.” Clarinet 25, no. 3 (May–June 1998): 78–79. The article reviews the compact disc issued by the clarinetist Raymon Kireilis that includes Moore’s Clarinet Quintet. The author says that the quintet is “an attractive tonal piece in four movements, and it is substantial in length.” The performance by Kireilis and the Da Vinci Quartet brings “a new meaning to the word ‘blending.’ ”

Goldberg, Albert. “The Sounding Board: The American Composer Gets His Chance, but How American Is He?” Los Angeles Times, 15 March 1953, sec. 4, p. 5, cols. 1–2. The column reviews recordings of new American compositions, including the Quintet for Clarinet and Strings on Columbia ML 4494, which “is one of the most agreeable sounding pieces in the lot, conventional but expert.”

Grueninger, Walter F. “Columbia’s First Six Releases.” Consumers’ Research Bulletin 31, no. 4 (April 1953): 35. This paragraph announces the release of the Clarinet Quintet in Columbia’s Modern American Music Series.

Haggin, B. H. “Records.” Nation 176, no. 15 (11 April 1953): 314. This review of Columbia Records’ Modern American Music Series contains a mention of the Clarinet Quintet as recorded on Columbia ML 4494: “In most of these works I hear the ability to fill out time with musical sounds—if only by setting a rhythmic figure going and keeping it rattling along for the number of minutes required by an allegro movement (Copland, Piston, Moore). But I don’t hear anything I would call beautiful (though the second movement of the Moore Quintet is rather pretty), or distinguished, or moving as musical communication, or impressive even as musical construction.”

Hume, Paul. “Record Player: Firm Has Plan to Aid Composer.” Washington Post, 29 March 1953, sec. 6, p. 4, col. 3. Columbia Records plans to issue six recordings annually of music by contemporary American composers. The Clarinet Quintet by Moore (Columbia ML 4494) is one of the works chosen for the first year. The reviewer prefers this work to that of Wallingford Riegger’s Quartet no. 2, which appears on the other side of the disc.

Kupferberg, Herbert. “Both Sides of the Record: 100% American.” New York Herald Tribune, 1 March 1953, sec. 4, p. 5, cols. 6–8. “Moore’s Clarinet Quintet, which has two lyrical and lovely slow movements,” seemed to stand out from other recordings in Columbia’s Modern American Music Series.

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Persichetti, Vincent. “Modern American Music Series, Columbia Masterworks.” Musical Quarterly 40, no. 3 (July 1954): 472, 474. This is a review of the twelve recordings in this series, which includes the Quintet for Clarinet and Strings (Columbia ML 4494) performed by David Oppenheim and the New Music String Quartet. The reviewer finds the quintet lacking in expression and the soloist’s tone lackluster.

Richie, Donald. “Columbia’s American Composer Series.” American Record Guide 19, no. 7 (March 1953): 211–12. In this review of the inaugural release of Columbia Records’ American Composer Series, one sentence is devoted to Moore’s Clarinet Quintet (Columbia ML 4494): “Our more conventional music is shown in Douglas Moore, a musical humanist, whose 1946 Quintet speaks straight from the heart with no intellectual circumlocution though a very tight individuality.”

Schonberg, Harold C. “Records: American; Chamber Music Series Is Started by Columbia.” New York Times, 15 February 1953, sec. 2, p. 9, cols. 3–5. Schonberg reviews the first six recordings of the Modern American Music Series issued by Columbia Records, including Moore’s Clarinet Quintet (ML-4494) performed by David Oppenheim and the New Music String Quartet.

Shupp, Enos E., Jr. “Moore: Quintet for Clarinet and Strings (1946).” New Records 34, no. 1 (March 1966): 5. The reviewer describes Moore’s quintet as expertly written, “probably not distinctive in one sense, yet it is always pleasing and expressive,” in this recording reissued on Desto (D-425 and DST-6425).

Thomson, Virgil. “Music: New Music String Quartet.” New York Herald Tribune, 28 January 1952, p. 10, cols. 5–6. The article is a review of the premiere of the Clarinet Quintet on 26 January. “A neo-Romantic work, songful and flowing, it is full too of an instrumental animation that holds interest for the mind as well as a sweetness that makes one feel good.”

Quintet for Winds Bowles, Paul. “Modern Works Presented in Concert Here: Thomson, Moore and Harris Music Played at League of Composer’s Birthday.” New York Herald Tribune, 28 December 1942, p. 11, col. 3. Moore’s Quintet for Winds, performed on 27 December at the Museum of Modern Art, was a bright spot in an otherwise gloomy mood. The work “had a mind of its own which it sometimes made a point of not making up. The first movement was sprightly, the second hesitant, inconclusive. The third was playful, and in spite of its tongue-in-the-cheek attitude, was the most successful for being the most compact. Nowhere were there tonal ambiguities; the composer had used well tried harmonic recipes.” The article is reprinted in Paul Bowles on Music, ed. Timothy Mangan and Irene Herrmann (Berkeley: University of California Press, 2003), 65–67.

“Composers League Will Offer Its First Concert on Dec. 27.” Chicago Daily Tribune, 6 December 1942, sec. 6, p. 14, col. 3. The League of Composers in New York will sponsor a concert at the Museum of Modern Art that includes Moore’s Quintet for Winds.

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S., R. “League of Composers Marks Anniversary: Six Members Contribute Works Celebrating Organization’s 20th Year.” Musical America 63, no. 1 (10 January 1943): 23. The article is a review of the 27 December concert by the League at the Museum of Modern Art, on which the Quintet for Winds was played. The piece “was a cheerful and harmless work, well performed under the composer’s direction. If not as deep as a well, or wide as a church door, it served to entertain the listener heartily.” There is a photograph accompanying the article of Moore reading a score with three other composers.

Straus, Noel. “Composers Group Has Anniversary: League on Its 20th Birthday Presents Concert of New American Compositions; Premiere for Every One; Reception Follows the Program to Honor Americans Who Have Been with League.” New York Times, 28 December 1942, p. 22, col. 2. This review of the premiere performance of the Quintet for Winds by members of the New York Philharmonic was well received. Moore’s quintet has a “bright, transparent quality of . . . writing for winds.”

A Sad Song Rogers, James H. “Singer, with Trio, Shows Rare Gifts: Chamber Ensemble of New York Gives Pleasing Program at Manor.” Cleveland Plain Dealer, 7 November 1923, p. 11, col. 4. The article is a review of a concert given on 6 November, on which the soprano Louise LlewellynIarecka sang Moore’s A Sad Song. The song “is original, with a lot of sparkle to it, and it is cleverly and ingeniously put together.”

Simon Legree Brown, Ray C. B. “Postlude.” Washington Post, 5 April 1938, p. 4, col. 6. The article reviews the performance of the Princeton University Glee Club performance on 4 April at the Shoreham Hotel, which included Simon Legree. Moore’s music “catches the spirit of the poem, underlines its boisterous and somewhat grim humor, and preserves its folk character.”

“Princeton Chorus Is Here Tomorrow.” Washington Post, 3 April 1938, sec. 6, p. 4, col. 6. The Princeton University Glee Club will perform several works, including Simon Legree, at the Shoreham Hotel on 4 April.

Sonata for Violin “Columbia Musicale Is Surprisingly Effective: Original Student Music Shows Unusual Merit.” Barnard Bulletin, 29 April 1930, p. 5, col. 2. The program of 24 April at Columbia University began with Moore’s Violin Sonata and was followed by student compositions of high quality and interest.

“Concert of Composers: Several Take Part in Program Introduced by Dr. Leon Vallas.” New York Times, 3 March 1930, p. 26, col. 3. One of Moore’s pieces [the Violin Sonata] was performed at the League of Composers concert on 2 March, with the composer at the piano.

“Moore’s New Sonata Feature of Musicale: Herbert Dittler, Violinist, Gives Varied Program.” Barnard Bulletin, 14 January 1930, p. 1, col. 2. The article reviews the concert at Barnard College on 10 January; it included the sonata, which the reviewer describes in detail.

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“Music Notes.” New York Times, 16 March 1936, p. 20, col. 6. A work by Moore (the Violin Sonata) is to be performed on a concert of contemporary American music at the New School for Social Research on 16 March.

Songs Daniel, Oliver. “Take Me to Your Lieder.” Saturday Review 48, no. 44 (30 October 1965): 84. This is a review of the album of songs by American composers reissued on Desto (411–412 mono.; 7411–7412 stereo.) from the earlier St/And label. It mentions the two songs by Moore in this collection, “Come Away, Death,” and “Death, Be Not Proud.” Of the former, Daniel “can think of no work of Douglas Moore’s more compelling than this unaccompanied setting,” while the latter he thinks “is a bit dreary.”

Hughes, Allen. “Carol Neblett, in Local Debut, Excels in Marx and Wolf Songs.” New York Times, 26 April 1971, p. 42, cols. 2–3. The soprano’s debut as a lieder singer in Alice Tully Hall on 25 April includes a song by Moore.

“Mendelssohn Group Sings at Centennial.” New York Times, 17 May 1966, p. 50, col. 3. On 16 May the Mendelssohn Glee Club performed at the Grand Ballroom of the Biltmore Hotel for its one hundredth anniversary. Nadja Witkowska, soprano, also performed a song by Moore at the concert.

Miller, Philip L. “Recorded Music: Mixed Programs: American Composers.” Library Journal 90, no. 11 (1 June 1965): 2538. The article is a review of the Desto recording (DST 6411–6412; 411–412). No specific mention is made of Moore’s songs, but the disc is said to be “the most important collection of American songs yet issued. . . . The singing is mostly of excellent quality.”

———. “Songs by American Composers.” American Record Guide 31, no. 9 (May 1965): 808–9, 812. In this review of the Desto recording (D-411–D-412 or DST-6411–DST-6412) of a large collection of contemporary songs by American composers, the reviewer has only one comment concerning the two songs by Moore, “Come Away, Death” and “Death, Be Not Proud:” “One might note that Douglas Moore has concerned himself with setting metaphysical sonnets (one of them is included here).”

Newlin, Dika. “DESTO (Formerly ST/AND): Songs by American Composers.” Pan Pipes 57, no. 2 (January 1965): 33. In this brief review of a large compilation of songs on Desto (D 411–D 412), Moore’s “Come Away, Death” is singled out for comment as “offering a nice change of sonority.”

Parris, Robert. “Baritone Gephart Heard at Gallery.” Washington Post, 11 January 1960, sec. B, p. 6, cols. 5–7. This is very negative review of a recital by William Gephart at the National Gallery of Art on 10 January. His singing style is “inhi[bi]ted and pale and the emotional range he is capable of projecting seems small.” The reviewer disliked the song by Moore on the program, which probably was “Adam Was My Grandfather.” Of this song he says: “He concluded his recital with . . . a trashy piece by Douglas Moore which I’ll not honor by the mention of its title.”

Simon, Henry. “Columbia’s Gem of Notion.” New York PM Daily, 11 November 1943, p. 16, col. 3.

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Moore and soprano Maria Maximovitch try a new format for song recitals, where a set of songs prepared by the singer is followed by allowing the audience to choose from a list of songs.

Strongin, Theodore. “U.S. Art Songs Reissued.” New York Times, 14 March 1965, sec. 2, p. 22, cols. 3–4. This is a review of Songs by American Composers (Desto 411–412 or DST 6411–6412; reissued from the St/And label). The two-disc set is an anthology of songs by American composers, including some by Moore. Moore is named as one of the composers represented on the album, but there is no discussion of his songs.

Thornton, H. Frank. “Vocal: Songs by American Composers.” New Records 32, no. 12 (February 1965): 10–11. This review of the Desto recording (411–412 or 6411–6412) of Songs by American Composers states that Moore’s song “Death, Be Not Proud” is unaccompanied.

Suite for Piano “Composers Corner.” Musical America 69, no. 1 (1 January 1949): 30. The article is an announcement of the recent premiere of the Suite for Piano performed by Andor Foldes at the University of Minnesota.

Downes, Olin. “WNYC Offers Fete of American Music: Mayor Hails Concerts, Accepts Certificate for City; Many New Works Have Debut.” New York Times, 13 February 1953, p. 17, col. 1. The article is a review of a performance of the Suite for Piano on 12 February. “The themes are in the older folk-style, modest in contour and in the spirit of the countryside. Here an American composer does for some of our simple old dance rhythms what European composers of the seventeenth- and eighteenth-centuries did with their movements based upon various dance forms of the time.”

F., B. “Teater, musik och film: Sverige-Amerika på Fylkingen.” Svenska Dagbladet, March 1954, p. 19, cols. 1–2. The article reviews the concert on 27 March in Sweden on which the Suite for Piano was played by Maxim Schapiro.

Frankenstein, Alfred. “Recital by Maxim Schapiro.” San Francisco Chronicle, 17 December 1952, p. 13, col. 3. The article reviews the 16 December concert by Maxim Schapiro, who played the Suite for Piano. The suite “treated American folk rhythms and modes with smiling, highly polished finesse.”

Fried, Alexander. “Schapiro Piano Recital Pays Tribute to Late Ada Clement.” San Francisco Examiner, 17 December 1952, p. 30, cols. 5–7. The article is a review of the 16 December concert by Maxim Schapiro, who played the Suite for Piano. “It was a credit to Moore that his spirited, appealing work stood up so well in comparison with the bold, expressive mastery of Bartok.”

Thomson, Virgil. “Music: WNYC Music Festival.” New York Herald Tribune, 13 February 1953, p. 12, cols. 4–5. The article includes a review of Moore’s Suite for Piano, which was played by Maxim Schapiro on 12 February. While the piece is “pianistically ingenious, harmonically seasoned with salt (though little pepper), these settings have distinction and charm.”

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Symphony in A Major Ardoin, John. “American Music: Good to Mediocre.” Musical America 80, no. 5 (April 1960): 20. Seven new recordings produced by CRI are reviewed here, including the Symphony in A Major (CRI 133). In general, the records are criticized for having a lot of surface noise, uneven performance quality, and only a few works of enduring worth. The Moore work receives two sentences, which read, in part: “In this present disk [the symphony] receives only a pedestrian performance.”

B., M. “Russians Applaud Symphony.” Denver Rocky Mountain News, 10 February 1960, p. 66, col. 1. The visiting Russian delegation hears Moore’s Symphony in A Major as performed by the Denver Symphony Orchestra on 9 February. The symphony “proba[b]ly was the best offering of the evening.”

Bagar, Robert. “Music: Moore Symphony Isn’t Too Deep.” New York World-Telegram, 20 February 1948, p. 22, cols. 4–6. In this review of the New York Philharmonic performance on 19 February of Symphony in A Major, the author says that Moore “has been content to write a simple piece, to design it well and to give it no more than a touch, if that, ‘je ne sais quoi.’ I don’t think that the Philharmonic-Symphony played it either cleanly or as if it mattered.”

Berger, Arthur V. “Columbia Festival: Recent American Music Is Presented at University.” New York Herald Tribune, 18 May 1947, sec. 1, p. 45, cols. 3–5. The performance of Moore’s symphony on 17 May garners a positive review. “But the latter [Symphony in A Major], however much in the Romantic tradition and evocative of many things from Brahms to a mild version of Prokofieff humor, was enlightened and enterprising in its airy orchestration, its neat dove-tailing, its sense of contrast, its economic proportions.”

Biancolli, Louis. “Music: Native Symphonic Style Marks Music Festival.” New York World Telegram, 18 May 1947, sec. 1, p. 17, cols. 3–4. This review of the 17 May performance of Moore’s Symphony in A Major describes a work “rooted in American backwoods” and “one of the adroitest in point of workmanship.”

Cohn, Arthur. “Moore: Symphony in A; Perry: Stabat Mater.” American Record Guide 27, no. 4 (December 1960): 330. Moore’s symphony is “well rounded and conservatively romantic” in this recording on CRI-133. The composition is as “ebullient” as some of his later works and the orchestration gives the work an “excellence of sonorous texture, minus busybody scoring.” However, the performance of the Japan Philharmonic Symphony Orchestra “needed more orchestral guts and precision.”

“Concert in Tower Hails Yale’s Fete: Ancient Method Used to Herald the University Centennial of Music Instruction.” New York Times, 6 November 1954, p. 15, col. 4. The article mentions that Moore was present for the centennial celebration, at which his Symphony in A Major was played.

Cowell, Henry. “Current Chronicle: United States: New York.” Musical Quarterly 34, no. 3 (July 1948): 412–13. The article is a review of Moore’s Symphony in A Major, which is described as unpretentious. Moore intends to write in a simple style more along the lines of the classical symphony.

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Downes, Olin. “Columbia Concert by NBC Orchestra: Wallenstein Conducts Program in Annual Music Festival—Phillips’ Overture Played.” New York Times, 18 May 1947, p. 26, cols. 5–6. Downes reviews the 17 May concert of American music. “Douglas Moore’s Second Symphony in A was welcome, for its smooth workmanship, its unpretentious style, with pages of gay or humorous intent, and a slow movement simple and poetical in mood. This movement, the outstanding one of the four, was inspired by a poem of James Joyce that sings of the coming of twilight. The finale of the symphony seemed somewhat forced and repetitious. But the symphony shone by its clarity and the directness of the writing.”

———. “Serkin is Soloist for Philharmonic: Pianist Heard in Beethoven’s ‘Emperor’ Concerto; Work by Moore Introduced.” New York Times, 20 February 1948, , p. 10, col. 2. Downes considers Moore’s Symphony in A Major to be the best orchestral performance of the New York Philharmonic at the Carnegie Hall concert on 19 February. Downes’s carefully worded opinion of the piece praises the composer for the “simplicity of his writing and his evident intention to compose without frills a symphony that should have [a] clear melodic line and modern technique but folk feeling. And the symphony does, in fact, as the Greek philosopher would put it, communicate a gentlemanlike joy. Mr. Walter gave of his best to the symphony.”

———. “Stokowski Leads Columbia Concert: Philharmonic Plays Works by University’s Music Greats; Graffman at Piano.” New York Times, 27 October 1954, p. 34, cols. 1–3. The New York Philharmonic played a concert to celebrate the bicentennial of Columbia University that included Moore’s Symphony in A Major, conducted by Leopold Stokowski. The Moore piece was eclipsed by Bartók’s Dance Suite and Edward MacDowell’s Piano Concerto no. 2.

Dresskell, Miles A. “Phoenix Symphony’s Second Concert Termed ‘Varied, Gratifying Program.’ ” Phoenix Gazette, 6 December 1949, p. 25, cols. 1–3. The reviewer enjoyed the concert on 5 December, which included Moore’s Symphony in A Major, a work the writer describes as pastoral.

Hague, Robert. “Musical Roundup: Festival at Columbia; Choral and Orchestral.” New York PM Daily, 19 May 1947, sec. Critical and Amusements, p. 16, cols. 1–4. Hague believes Moore’s Symphony in A Major to be the best work on the 17 May concert of the festival. “Here is music that has something to say, and says it honestly and competently, without concealment or overstatement. Musically, it blazes no new trails and opens up no new vistas. But its speech is contemporary, if fairly conventional; and its ideas and emotions are timeless, if not particularly overwhelming.”

*Harford, Margaret. “Singers Win Acclaim at Philharmonic.” Hollywood Citizen-News, 17 January 1947, p. 7. In Moore’s Symphony in A Major, performed by the Los Angeles Philharmonic on 16 January, “the themes flow along easily without startling harmonic or climatic contrasts and it is certainly pleasant enough. The symphony is short, which suggests that the composer fortunately knows when he has reasonably exhausted a musical idea and the time is ripe to quit.”

Harrison, Jay S. “Concerts and Recitals: Columbia Bicentennial Concert.” New York HeraldTribune, 27 October 1954, p. 21, cols. 1–2. Moore’s Symphony in A Major “darts and chortles, pictures hilly places and country dances and has for itself a bouncing and breezy time.” The performance with Stokowski and the New York Philharmonic on 26 October was not polished and suffered from the conductor’s unusual seating experiments.

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Hickman, C. Sharpless. “Moore’s Second Symphony.” Christian Science Monitor, 25 January 1947, p. 6, cols. 3–4. The reviewer describes each movement of the work as played on 16 and 17 January by the Los Angeles Philharmonic and states that “if importance must mean deep thought, complicated technique, and a confusion of melodic development, then this symphony is not important.”

Holbrook, Earl F. “Symphony Plays Most Brilliant Performance.” Arizona Republic, 6 December 1949, p. 14, cols. 2–3. This reviewer found the Phoenix Symphony’s performance of Moore’s Symphony in A Major on 5 December “a difficult undertaking for the most refined orchestras[; it] was played for the first time in Arizona and one of the few times in the United States. It was flawless, even in the final movement where pandemonium reigned in an orderly fashion.”

Jones, Isabel Morse. “Capacity Crowd Cheers Philharmonic Program.” Los Angeles Times, 17 January 1947, sec. 1, p. 9, cols. 4–5. The Los Angeles Philharmonic under Alfred Wallenstein performed Moore’s Symphony in A Major on 16 January. The work “is full of song and the rhythms are well defined. There is much that is straightforward and American about this music and nothing that is pompous.”

Jones, Ralph E. “Moore: Symphony in A.” New Records 28, no. 4 (June 1960): 3–4. Only two sentences are devoted to Moore’s symphony in this review of the recording on CRI (133). Moore “shows his command of the symphonic form” in this work, which “improves with repeated hearings.”

Kastendieck, Miles. “11 New Works at Festival.” New York Journal-American, 19 May 1947, p. 9, col. 3. The reviewer admires Moore’s Symphony in A Major as played on 17 May at the Columbia Festival. “The work starts out better than it finishes, but the material is always well in hand and acquires personality as it unfolds. The audience relaxed and listened with gratification.”

Kolodin, Irving. “The Music Makers: Moore’s Symphony no. 2 at the Philharmonic.” New York Sun, 20 February 1948, p. 16, cols. 1–2. Moore received two curtain calls following the performance of Moore’s Symphony in A Major by the New York Philharmonic on 19 February. The reviewer found the piece to be “a complete musical expression by a man who is thoroughly willing to be himself,” although the first movement was a “little static.”

———. “Recordings Reports I: Orchestral LPs.” Saturday Review 43, no. 26 (25 June 1960): 48. In the recording of Moore’s Symphony in A Major (CRI 133), “what emerges, though entertaining and genial, has limited scope and domination of the listening attention.”

Miller, Philip L. “Recorded Music: Americana; Recommended.” Library Journal 77, no. 14 (August 1952): 1297. The article is a composite review of recordings of works by American composers, including the Symphony in A Major, recorded on the American Recording Society label (ARS-45). The reviewer reports only that the piece by Randall Thompson “is the more vigorous and rhythmically exciting” piece, while the work by Moore is “more apparently simple and direct.”

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“Moore Premiere in France.” New York Times, 16 April 1946, p. 33, col. 3. The premiere of the Symphony in A Major by the Strasbourg Orchestra at the International Music Festival is announced.

Murphree, Alex. “Denver Symphony: Rabin Excels in Prokofieff.” Denver Post, 10 February 1960, p. 50, cols. 4–6. This review of the 9 February concert of the Denver Symphony includes Moore’s Symphony in A Major. “Orchestrally the highpoint was the performance of Douglas Moore’s A major Symphony, a graceful, melodic and rhythmic work which would make the squarest of concert-going squares concede that worthy writing of music did not end with Debussy.”

———. “Second Contemporary Concert: Fresh Music Introduced.” Denver Post, 20 January 1960, p. 22, cols. 5–7. The article is a review of the Denver Symphony Orchestra at the University of Denver on 19 January playing Moore’s Symphony in A Major. Moore’s music “has invention and a rich background of musical resource. It is shipshape and pleasant.”

“Notes of Music and Musicians.” Chicago Daily Tribune, 20 July 1947, sec. 5, p. 10, col. 5. The National Federation of Music Clubs includes Moore’s Symphony in A Major on its annual listing of recommendations of works for orchestras to perform.

Parmenter, Ross. “Sidelights on World of Music.” New York Times, 3 November 1946, sec. 2, p. 7, col. 5. One paragraph of this article announces that Moore’s Symphony in A Major will be premiered in the 1946–47 season of the Los Angeles Philharmonic Orchestra, conducted by Alfred Wallenstein.

———. “The World of Music: Svanholm to Stay All Season; Premiere.” New York Times, 12 January 1947, sec. 2, p. 7, cols. 3–4. The U.S. premiere of Moore’s Symphony in A Major by the Los Angeles Philharmonic Orchestra, conducted by Alfred Wallenstein, on 16 January is announced. A portrait of Moore accompanies the article.

Perkins, Francis D. “The Philharmonic: Serkin Plays ‘Emperor’ at Carnegie Hall.” New York Herald-Tribune, 20 February 1948, p. 18, cols. 6–7. Moore’s Symphony in A Major was performed on 19 February to an appreciative audience. In the piece “the thematic ideas are appealing, and their use, and the instrumentation of the work, is skillful; the general impression is one of conservatism, but with no little pungency of harmonic color.” The finale of the work does not measure up to the other movements, but the symphony is a good addition to the repertoire.

“Philharmonic to Premiere Moore Opus: Symphony Honoring Stephen Vincent Benet Scheduled in Concert.” Los Angeles Times, 12 January 1947, sec. 3, p. 5, col. 4. Moore’s Symphony in A Major will receive its U.S. premiere by the Los Angeles Philharmonic, with Alfred Wallenstein conducting, on 16 January.

“Rudolph Serkin to Be Philharmonic Soloist.” Chicago Daily Tribune, 22 February 1948, sec. 3, p. 12, col. 6. Moore’s Symphony in A Major will be broadcast on CBS on this New York Philharmonic program on 22 February.

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Salzman, Eric. “Disks: Bluebeard; Bartok’s Only Opera Is a Powerful Allegory of the Human Condition; Two Americans.” New York Times, 9 October 1960, sec. 2, p. 19, col. 4. Moore’s Symphony in A Major as recorded on CRI is described as having a “bright, ‘neo-classic’ flavor combined with a pleasing, easy-going idiom. . . . It is at its best in a brisk first movement that is cleverly worked up with a bits-and-snatches technique. The last three movements are also skillful, but without as much profile and with less in the way of ear-catching musical discourse.”

A Symphony of Autumn Bell, Archie. “Douglas Moore Will Direct Own Symphony Here: Former Art Museum Leader in New Role; Concert Feb. 24 in Severance Hall Will Be One of University Series.” Cleveland News, 12 February 1932, sec. 2, p. 16, cols. 1–2. The article announces the upcoming concert by the Cleveland Orchestra, in which Moore will conduct A Symphony of Autumn. The author surveys Moore’s orchestral pieces that have been played in Cleveland to date and comments on his other recent achievements, such as the Pulitzer Fellowship and studies with D’Indy and Bloch.

———. “Triple Headliners.” Cleveland News, 25 February 1932, sec. 2, p. 2, cols. 2–3. The article announced the performance of the Cleveland Orchestra on 24 February, which will include Moore’s A Symphony of Autumn.

“Douglas Moore to Conduct New Work.” Cleveland Plain Dealer, 23 February 1932, , p. 7, col. 2. The article announces the concert of the Cleveland Orchestra on 24 February, which will include Moore’s A Symphony of Autumn, conducted by the composer. The article recounts his connection with Cleveland and quotes him concerning the possibility of a program for music critics at Columbia University being considered by the School of Journalism and the music department. The article is accompanied by a portrait of Moore.

*Kessler, David. “Noted Musicians Attend Concert at Kilbourn.” [Rochester Journal ?], 3? April 1931. The 2 April performance by the Rochester Philharmonic is reviewed favorably. The program included Moore’s A Symphony of Autumn, in which “the first movement of his symphony was excessively noisy (I am taking it for granted that Dr. Hanson followed the composer’s wishes in playing it in that manner) and ended in a definitely conclusive burst of tone. . . . In sum, the “Autumn” symphony reveals Professor Moore at his musical happiest, a writer of vigor and warmth whose creative genius appears to be growing rapidly.”

Kolodin, Irving. “Palmer Is Soloist in N.Y. Symphony: Walter Leads Repeat of Mahler 2d.” New York Sun, 26 January 1942, p. 13, col. 1. On the 24 January concert the National Orchestral Association played the Symphony of Autumn in Carnegie Hall, conducted by Leon Barzin. “The Moore score is excellently made, atmospheric and communicative.”

“Notes Here and Afield.” New York Times, 17 March 1935, sec. 8, p. 6, cols. 3–4. The Brooklyn Symphony Orchestra conducted by Chalmers Clifton will play A Symphony of Autumn on 20 March.

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Perkins, Francis D. “Suite by James and Symphony of Moore Heard: Works of N.Y. Composers on Program of National Orchestral Association.” New York Herald Tribune, 25 January 1942, sec. 1, p. 29, col. 3. In this review of a 24 January concert featuring A Symphony of Autumn, the reviewer notes that Moore’s piece is program music that relates the moods of fall in the Northeast, but that the listener could be helped by more specific information such as the reference to katydids in the second movement. Nonetheless, “with commu[n]icativeness of mood, the work was [sic] engaging thematic material and does not eschew emotional expressiveness. The scoring is often colorful and effective, but sometimes runs to elaboration; seeking for a variety of instrumental hues gives an occasional sense of experiment and discontinuity. There is sometimes an overabundance of detail, and in the first movement, when dissonant pronouncements punctuated the more characteristic romanticism of the music, the impression was one of duality of style as well as of contrast.”

“Programs of the Week: Gala Performance as Testimonial to Gatti-Casazza; Revival of ‘Tosca.’ ” New York Times, 17 March 1935, sec. 8, p. 6, cols. 1–4. Chalmers Clifton will conduct the Brooklyn Symphony Orchestra on 20 March in a program including a work by Moore.

“Reger’s Last to Be Given.” New York Times, 21 February 1932, sec. 8, p. 9, cols. 5–6. The paragraph announces the Cleveland Orchestra concert in Cleveland on 24 February, with Moore conducting A Symphony of Autumn.

Rogers, Bernard. “Rochester’s American Series.” Modern Music 8, no. 4 (May 1931): 39–42. The reviewer of the 2 April concert of the Rochester Philharmonic conducted by Howard Hanson and including A Symphony of Autumn is complimentary toward the work. The symphony “towered above four companion works. Moore’s score is definitely his best work and I should be inclined to place it, despite its flaws, among the most eloquent American works of recent years. He writes not as a modernist or classicist but without any preoccupations other than those of the spirit. He is less concerned with technique and its showy products than with expression. I imagine that he has not found the latter easy in this score, music troubled by pain and beauty, poetic and brooding. One is made glad by every such evidence of the determination on the part of our composers to hold to what is true and what is their own.”

Rogers, James H. “Douglas Moore’s Symphony Heard: Critic Finds Merit in Work, but Is Disappointed with Some Parts.” Cleveland Plain Dealer, 25 February 1932, p. 9, cols. 5–6. This is a review of the 24 February concert by the Cleveland Orchestra playing A Symphony of Autumn, conducted by Moore. The entire review is devoted to comments on A Symphony of Autumn, with which the reviewer is disappointed. The themes of the first movement are “lacking in any special beauty or significance,” and the orchestration “is neither luminous nor warmly colored.” The second movement conveys the sense of an autumnal afternoon well except for the use of castanets to portray katydids. The last movement is the most successful as “it is spirited, and it has a genuinely exhilarating touch.”

———. “Roumania’s Distinguished Violinist, Georges Enesco, to Appear with Orchestra.” Cleveland Plain Dealer, 21 February 1932, sec. Society, p. 9, cols. 5–7. The article announces the upcoming concert on 24 February by the Cleveland Orchestra, which will include A Symphony of Autumn, conducted by Moore. The article is accompanied by a portrait of Moore.

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Sabin, Stewart B. “Concerts: American Composers’ Concerts.” Rochester Democrat and Chronicle, 3 April 1931, sec. 1, p. 18, cols. 1–3. Moore’s A Symphony of Autumn as played by the Rochester Philharmonic on 2 April is reviewed. “The opening lento enlists the hearer’s attention; then comes a movement that is confusing; the composer’s fancy and technique seem to lead him to overload it with detail; lack of clarity of motive is sensed, too, in the first of the slow movement but this movement later emerges into something dramatic and effective. The last movement is rhythmically a problem to perform; it has plenty of vitality and bespeaks the skill of the score maker. There is good stuff in this symphony, but a lot of detail could be spared in the interest of clarity.”

Three Sonnets of John Donne, see “Death, Be Not Proud” Trio for Piano and Strings P[armenter], R[oss]. “ ’53 Trio by Moore in Premiere Here: Presented by Composers Group; Called Sound in Its Craftsmanship.” New York Times, 22 January 1958, p. 23, cols. 3–4. Moore’s trio was the high point in a concert the Composers Group of New York performed at the Carnegie Recital Hall on 21 January. “It was a piece in traditional style with a pretty slow movement and a finale that suggested an Irish folk song. Its craftsmanship was sound and its spirit innocent. In its unblushing melodiousness it stood out agreeably in an otherwise rather damp evening.”

Vayechulu Johnson, Harriett. “Music . . . : Jewish Liturgical Music Performed at Columbia.” New York Post, 13 May 1949, sec. Home News, p. 58, cols. 1–2. The article reviews the Columbia Music Festival performance on 12 May, on which Vayechulu was performed.

Johnson, Lawrence A. “Reviews: Diamond, M. Gould, Harris, Moore.” Gramophone 82, no. 983 (September 2004): A15. The article reviews a compact disc recording of pieces from the Milken Archive of choral works on Jewish texts. The recording on Naxos 8.559412 includes Moore’s Vayechulu, which shows “operatic influence . . . in its soaring lines, undermined by less than secure soloists.”

Perkins, Francis D. “Concert and Recital: Columbia Festival Concert.” New York Herald Tribune, 13 May 1949, p. 14, col. 4. This review of the 12 May concert of the festival mentions Vayechulu and cites other “impressive” works.

Straus, Noel. “Columbia Opens Music Festival: Jewish Liturgical Works Are Offered on First Program; Helfman Leads Choir.” New York Times, 13 May 1949, p. 28, cols. 5–6. In the Festival of Contemporary American Music at Columbia University on 12 May, Moore’s Vayechulu was performed by the Park Avenue Synagogue Choir. It “had decided power in its opening and closing sections, and an ingratiating solo for the cantor of compelling breadth and vigor.”

Village Music Allen, Doris. “American Music Festival Closes with Ballet.” Rochester Times-Union, 19 April 1943, sec. 1, p. 8, cols. 6–7.

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A concert on 17 April of the Rochester Civic Orchestra, conducted by Howard Hanson, contained a work by Moore that received this negative review. “The weak spot of the program was a group of three dances listed as ‘Village Music’ by Douglas Moore. A fourth in the group entitled ‘Nocturne,’ performed by Ione Whitford, Joy Curtis and Ruth Clark, saved the work from complete lack of original flavor.”

“Concerts and Recitals of the Week: Moore’s ‘Village Music’ to Be Played Here Today.” Washington Post, 24 September 1944, sec. 3, p. 5, cols. 4–6. The article announces a performance by the National Gallery Sinfonietta at the National Gallery of Art, conducted by Richard Bales, on 24 September.

Denio, Ruth Otis. “Ballets Give Apt Finale to Music Series: Capacity Audience Applauds Able Dancing.” Rochester Democrat and Chronicle, 18 April 1943, sec. B, p. 9, col. 2. Howard Hanson conducted this performance of the Rochester Civic Orchestra on 17 April, where “ ‘Village Music’ offered a series of square dances and a procession. Ione Whitford and Joy Curtis, was [sic] outstanding. Beautifully performed in the modern style, it revealed unusual symmetry of line and posture and was one of the best bits of the evening.”

Doerr, Alan. “Gettysburg Remembered: Centennial Sparks Gallery Orchestra.” Washington Post, 19 November 1963, sec. B, p. 9, cols. 4–5. On 18 November the National Gallery Orchestra, conducted by Richard Bales, included Village Music on a program commemorating the Gettysburg Address. According to the reviewer, the tone of the work “is American, but it manages skillfully to avoid the cliches of this kind of writing.”

“Music Festival Ends Tonight.” Rochester Democrat and Chronicle, 17 April 1943, sec. 1, p. 7, col. 7. In the final program of the Eastman School Music Festival, Moore’s Village Music is performed as a ballet, with choreography by Thelma Biracree.

“Music: Marine Band Orchestra Plays Nov. 18: Performance Will Mark First Public Concert of 1942–43 Season.” Washington Post, 8 November 1942, sec. 6, p. 5, col. 5. The orchestra will include Village Music among the works that it plays this season.

“Padua Symphony Concert Tonight.” Los Angeles Times, 2 August 1953, sec. Drama and Arts, p. 5, col. 8. The article announces the concert, which will include Village Music, by the Padua Hills Youth Symphony on 2 August.

“Padua Youths to Play Music of Three Eras.” Los Angeles Times, 26 July 1953, sec. 6 (San Gabriel Valley), p. 11, cols. 1–5. The Padua Hill Youth Symphony includes Village Music on its 2 August concert in Claremont. The article is accompanied by a picture of three of the orchestra’s flutists.

Schonberg, Harold C. “Music: Scherman Brings Back Milhaud: Little Orchestra Plays World War I Ballet Concerto, Lesser Piece, Has Lasted Better.” New York Times, 19 November 1969, p. 47, cols. 1–3. The Little Orchestra Society, conducted by Thomas Scherman, played Village Music at Philharmonic Hall on 18 November in memoriam of Moore. The work had been commissioned and premiered by the orchestra in 1948.

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“Sharps and Flats.” Los Angeles Times, 10 March 1946, sec. 3, p. 5, col. 1. The Pomona College Orchestra will play a concert featuring Village Music on 10 March.

“United Temple Contest Opens.” Washington Post, 10 June 1945, sec. 2, p. 6, col. 3. Moore serves as one of the judges for the Ernest Bloch Award, a composition competition sponsored by the United Temple Chorus of Long Island.

“VE Concert to Be Given by Sinfonietta.” Washington Post, 13 May 1945, sec. 2, p. 6, col. 5. The article announces the concert including Village Music to be played by the National Gallery Sinfonietta at the National Gallery of Art on 13 May.

Weld, Larry. “Festival Concert Fills Hall.” Rochester Times-Union, 27 April 1945, sec. 2, p. 9, col. 1. The reviewer of the 26 April concert of the Eastman School Little Symphony, conducted by Paul White, writes that “Douglas Moore’s suite, ‘Village Music,’ had a refreshing appeal. He enhances such genres as a square dance and jig with his vigorous, sparkling treatments and makes them vibrant. A procession and nocturne, much broader and personalized in form, were even more appealing.”

White Wings Biancolli, Louis. “Freshness Appeals in Opera at Hartford.” New York World-Telegram, 19 February 1949, p. 5, cols. 5–8. The review of the premiere of White Wings at the Hartt School of Music claims that “the tang and vigor of many pages are typical of his most persuasive style, and so are the homespun folk sequences.” However, the reviewer finds that the work is not as good as The Devil and Daniel Webster. Most of the best music is reserved for the choruses and accompaniment. The director and producers are praised for taking a chance on presenting an unknown American work.

Bole, Allen. “Barry’s ‘White Wings’ Has Premiere in Musical Dress.” Hartford Times, 10 February 1949, p. 31, cols. 2–4. In a thorough review of the performance by the Hartt Opera Guild of White Wings, the directors and singers are praised for their professionalism. However, the score “is frankly atmospheric, conventional, in the cheerful eclectic idiom of Broadway though tailored with much more musical intelligence.” The vocal writing does not always allow the text to be understood and is sometimes awkward. The opera loses the satiric intent of the original play, and there is little “dramatic development” of the main character, Mary. A photograph of the producer Richard Aldrich, the conductor Moshe Paranov, and Moore accompanies the article.

———. “New Moore Music Heard in Hartford: ‘White Wings,’ Setting for Barry Play, Is Presented by Hartt School under Paranov.” New York Times, 11 February 1949, p. 28, cols. 3–4. White Wings was premiered on 9 February by a student cast with “professional conviction.” While the opera has an “intelligent score, conventional in content and orchestration, but never dull, rarely tuneful, always good-natured,” it also lacks “wit or seasoning sufficient to sting the audience or absorb it.”

Cowell, Henry. “Current Chronicle: United States; Hartford.” Musical Quarterly 35, no. 3 (July 1949): 448–51. A review of the premiere of White Wings at the Hartt Opera Guild of Hartford, Connecticut, praises the composer’s talent for writing good melodies. The music is unpretentious and caricatures earlier styles of American folk music and opera. The action of the opera is not always easy to follow, since

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Philip Barry’s play uses program notes to set the scene and explain the reasons behind some of the character’s actions.

“News of the Stage.” New York Times, 22 January 1937, p. 24, cols. 1–3. One paragraph of the article announces that Moore has set the play White Wings, by Philip Barry, to music, and that it will be produced in the spring by the Federal Theater Music Project.

P., T. H. “Hartt Guild Premieres ‘White Wings:’ Gaslight Era Opera by Douglas Moore Based on Barry Play.” Hartford Courant, 10 February 1949, p. 17, cols. 3–7. The reviewer gives the impression that the singers, directors, and composer all struggled against a libretto lacking in dramatic intensity. He states: “Philip Barry’s thin and distasteful little play, ‘White Wings’ has been made into a tedious opera.” Nonetheless, the score is “fresh, melodious with a dry bouquet, nicely varied for operatic purposes, singable for soloists.” A picture of Elemér Nagy, stage director; Moshe Paranov, conductor; Bruce Simonds, Yale School of Music; Moore; and Henry Allen Moe, secretary of the Guggenheim Foundation, accompanies the article.

Smith, Cecil. “Douglas Moore’s White Wings Given Premiere at Hartford.” Musical America 69, no. 4 (March 1949): 7. This review of the premiere of White Wings by the Hartt Opera Guild on 9–12 February finds the original play by Philip Barry and the libretto to be lacking in theatrical interest. The music is successful when it uses styles reminiscent of New York songs of the turn of the century. Particularly in regard to the harmony of the melodies, Moore “manifests real wit, preserving an authentic reference to their original idiom, yet giving them an off-color dash of tongue-in-cheek dissonance that keeps them from becoming bromidic.” Other types of songs are less successful. Despite its many shortcomings, the Opera Guild has provided a useful service by performing American works so that native composers can learn their craft.

“ ‘White Wings,’ An American Opera, in Hartford This Week.” New York Times, 6 February 1949, sec. 2, p. 30, col. 6. This photograph of “the revised version of Douglas Moore’s work . . . is rehearsed by Julius Hartt School group for premiere Wednesday.”

“ ‘White Wings’ as Opera Has Debut in Hartford.” New York Herald Tribune, 11 February 1949, p. 14, col. 4. This reviewer found the premiere of the opera “good [for the ear] but the eye and mind found it lacking theater and drama.” The libretto is blamed for not making a good opera despite the dramatic climaxes composed by Moore, and there are too many long stretches.

“White Wings, Douglas Moore’s Opera, Receives World Premiere in Hartford.” Musical Courier 139, no. 6 (no. 3187) (15 March 1949): 20. This review of the premiere of White Wings by the Hartford Opera Guild on 9–12 February gives a brief synopsis of the libretto. The musical writing is considered “genial,” but “parts of the solo vocal lines could be made more forceful and convincing.” The cast excelled in projecting the drama, and the production was good overall. There is a photograph of a scene from the opera.

“WPA Group Plans Chamber Operas: First Presentations Will Be ‘La Serva Padrona’ and ‘The Romance of Robot’; Twin Bill Opens April 12; Offering to Be Given over Period of Three Weeks; ‘Alice in Wonderland’ in Repertoire.” New York Times, 21 March 1937, sec. 2, p. 7, col. 4.

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The WPA Federal Music Project announces the production of chamber operas in English or in English translation at the Theatre of Music in New York. Moore’s White Wings is one of the works listed for production.

White Wings. Overture “Activities of Musicians Here and Afield.” New York Times, 20 October 1935, sec. 10, p. 7, col. 7. The Brooklyn Symphony Orchestra, conducted by Franco Autori, will perform the premiere of the overture to White Wings on 23 October.

“Free Concerts by WPA Today.” New York Times, 27 October 1935, sec. 9, p. 5, cols. 3–4. The Brooklyn Symphony Orchestra, conducted by Franco Autori, will perform the Overture to White Wings on 27 October.

The Wings of the Dove “All but the Score.” Newsweek, 23 October 1961, 64. The title sums up the sentiment of this review of The Wings of the Dove in its premiere by the New York City Opera. The scenery was “a gaudy delight,” the staging “was superbly paced,” the singers “sang well and looked good,” and the libretto “succeeds,” but the music “is a bland flow of chestnut purée.” The article also contains several quotes from Moore defending traditional musical styles, as opposed to valuing an artistic work solely on whether or not it is written in a totally original style.

B., R. “Vier neue amerikanische Opern.” Schweizerische Musikzeitung 102, no. 1 (January– February 1962): 40–41. The article discusses the Ford Foundation grant for the composition and production of four operas by American composers, one of which is Moore’s The Wings of the Dove. The state of opera in the United States is also commented upon. The reviewer finds Moore’s opera to be long-winded, overly sentimental, and bland.

Biancolli, Louis. “Music: Moore Opera at City Center.” New York World-Telegram and Sun, 13 October 1961, p. 16, cols. 5–6. Overall, this is an ecstatic review of the premiere of The Wings of the Dove. The entire production and all the singers were excellent. The score itself comes in for five paragraphs of praise. “But what is startling is the sustained emotional tension of the score, its vibrant response to every shift of feeling and crisis. Mr. Moore obviously lost his heart to Milly. Not that I blame him.”

Coleman, Robert. “ ‘Dove’ Is Opera a la Mood.” New York Mirror, 9 November 1962, pp. 40– 41, cols. 1–5. The reviewer comments on the New York City Opera performance of 8 November: “Douglas Moore has written an evocative score which captures the flavor of the mannered story of bittersweet love in high places.”

“Critics’ Views of Recent Music.” New York Herald Tribune, 15 October 1961, sec. 4, p. 7, col. 8. This very short review of the New York City Opera premiere of The Wings of the Dove says that the opera “seemed destined to become a fixture in the American operatic repertory. Ethan Ayer’s skillful libretto had both fire and insight, and was tailor-made for Mr. Moore.”

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[The Wings of the Dove] Ericson, Raymond. “ ‘Wings of the Dove’ at the City Center.” New York Times, 9 November 1962, p. 30, cols. 1–2. The article is a short review of the final performance of this production by the New York City Opera. It is noted that the original ballet scene was replaced by “a simple, touching scene for two dancers, who act out verses sung by a single madrigalist.” Thus, the narrative is not interrupted by the full ballet scene.

Eyer, Ronald. “ ‘Dove’ Tries Opera Wings.” New York Herald Tribune, 8 October 1961, sec. 4, p. 7, cols. 3–8. The article, announcing the New York City Opera performance on 12 October, retells the plot of the opera and notes that the novel has been adapted for the stage and television. “The new opera is a tight theater piece, more like a musical play. The style is highly dramatic and the harmonies are more acrid than Moore usually employs.”

Frankenstein, Alfred. “America: New York: City Centre and Met Opera.” Opera 12, no. 12 (December 1961): 786–87. The premiere of The Wings of the Dove by the New York City Opera gets a mixed review here. While the opera has moments of lyrical beauty and powerful climaxes, it does not adequately portray the characters of the James novel. The first act is the most effective dramatically, with each scene building to a climax, but the second act does not sustain interest. The end of the opera departs from Moore’s usual diatonic harmony to the use of string harmonics and more chromatic writing. The production was very well done, as were the singing and acting, particularly those of Dorothy Coulter as Milly. A photograph of a scene from the opera accompanies the article.

Haggin, B. H. “Ballet and Music Chronicle.” Hudson Review 14, no. 4 (Winter 1961–62): 595–96. The article is a scathingly negative review of The Wings of the Dove at the New York City Opera. Despite various laudatory reviews, Haggin says: “One heard Moore playing at being a composer by using now this instrument or voice, now that one, to produce now these sounds, now those, and heard him accomplish the fascinating feat of achieving in these sounds unceasing inadequacy or irrelevancy even to the simple changed words and situations that were a falsification of James’s novel.”

———. “Winter 1962.” In 35 Years of Music, 227–28. New York: Horizon Press, 1974. The review (“Ballet and Music Chronicle,” Hudson Review 14, no. 4 (1961–62): 595–96) of the New York City Opera production of The Wings of the Dove is reprinted here.

———. “Winter 1962.” In Music Observed, 227–28. New York: Oxford University Press, 1964. The review (“Ballet and Music Chronicle,” Hudson Review 14, no. 4 (1961–62): 595–96) of the New York City Opera production of The Wings of the Dove is reprinted here.

“Henry James in Song.” Time, 20 October 1961, 93. Following the premiere of The Wings of the Dove, the reviewer concludes that James’s novel is an unsuitable basis for an opera. Although the music is highly melodic and contains the two very beautiful arias, Milly’s “Dove Song” and the duet “He Will, He Must,” there is simply not enough drama in the story to successfully sustain the work on the stage.

Herst, Edith. “New York Music Season Opens with Stimulating New Works.” Music of the West 17, no. 4 (December 1961): 17. The reviewer praises the performance of the premiere of The Wings of the Dove by the New York City Opera.

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[The Wings of the Dove] Johnson, Harriett. “Words and Music: ‘Wings of the Dove’ in Premiere.” New York Post, 13 October 1961, p. 64, cols. 4–5. In reviewing the New York City Opera premiere, the author says that the opera “is . . . skillful in structure, sometimes poignant and telling, seldom boring, and offers singable melodies, though they are in recitative style rather than cast in a conventional ‘tune’ mold.”

Kastendieck, Miles. “More about Moore.” New York Journal-American, 29 October 1961, p. 36-L, cols. 1–3. The article is a positive review that discusses the music of The Wings of the Dove at some length. The author comments that the opera audience may have to get used to opera that is sung speech with few numbers, but “those who feel that Moore stayed on the surface of emotions rather than penetrating them will find that he has broken through in this work.”

———. “ ‘The Wings of the Dove’ in Premiere: Moore’s New Opera Graphically Intense.” Christian Science Monitor, 14 October 1961, p. 6, cols. 1–6. The reviewer comments positively on the performance and on the music, whose only weakness is the ballet scene, where there is a loss of momentum. “Gifted melodically, Mr. Moore sets the dialogue admirably. The score has plenty of modern harmony, but the melodic line harks back to operatic tradition. Thus the opera is quite singable, yet never hesitates to be dissonant where the situation demands it naturally. The blend of the music with the drama therefore brings the contemporary lyric theater into focus.” There is a photograph of a scene from the opera.

———. “ ‘The Wings of the Dove’: Music Drama at Its Best.” New York Journal-American, 13 October 1961, p. 17, cols. 1–4. The music, production, and singing all come in for high praise in this review of the premiere. “This is music drama in the best modern style. Moore has set the dialogue admirably and worked in the ‘arias’ skilfully as dramatic soliloquies. His music expressed graphically the unhappy undercurrents that spin the tragic outcome of the story.”

Kolodin, Irving. “Douglas Moore’s New American Opera.” Saturday Review 44, no. 43 (28 October 1961): 39–41. In this extensive and detailed review of The Wings of the Dove as premiered by the New York City Opera, Kolodin finds many aspects to praise. Best of all is the way in which characters are presented musically by “molding these elements into a musical manner that suggests the gentility of its characters without making the men foppish or the women artificial.” The libretto is a series of six scenes through which the music flows, although the performance interposed an intermission where the location changes from London to Venice. Moore also injects a polka, waltz, and a parlor song reminiscent of the time. Moore’s talent as a composer for the stage continues to mature: “Each new work clearly shows a clearer command of detail, a stronger theatrical touch, a broader feeling for characterization.” Photographs of the composer, librettist, and singers are included.

———. “Endearing Heroine, Endearing Singer.” Bergen County Record, 21 October 1961, p. 8, cols. 2–4. The article informs the reader about Dorothy Coulter, who sang Milly in the premiere of The Wings of the Dove. A photograph of Coulter accompanies the article.

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[The Wings of the Dove] ———. “The Music Box: What Do You Call the New Operas?” Bergen County Record, 21 October 1961, p. 8, cols. 1–4. The author has difficulty classifying The Wings of the Dove as an opera in the traditional sense. Nonetheless, the opera “has the aspects of a healthy success which will be repeated across the country.” There is a picture of John Reardon and Regina Sarfaty in a scene from the opera.

Land. “The Wings of the Dove.” Variety 234 [i.e., 224], no. 8 (18 October 1961): 65. This is a favorable review of the premiere of the opera by the New York City Opera. Yet it predicts a future of “a scattering of performances and a certain respectful attention without marked popularity or permanence in repertory.” He goes on to examine the performances—Dorothy Coulter’s “small but pleasant” voice as Milly, Regina Sarfaty as Kate, and John Reardon as a “strong, intelligent, believable” Miles. The plot of the novel is “skeletonized, since it cannot cope with the introspection of Henry James’ characters and the implied deterioration of character.”

Lang, Paul Henry. “ ‘Dove’: Letter versus Spirit.” New York Herald Tribune, 22 October 1961, sec. 4, p. 6, cols. 1–2. Lang eloquently defends The Wings of the Dove against critics who, after its premiere by the New York City Opera, deride the opera as “old-fashioned” and not “American.” The work was received “with the cordial applause of the public” and “indorsed [sic] with pleasure by most musicians.” However, there were some boos from the audience because it is not written in a contemporary idiom.

———. “Opera First Night: ‘The Wings of the Dove.’ ” New York Herald Tribune, 13 October 1961, p. 15, cols. 1–2. Lang gives a rave review for the premiere by the New York City Opera. He predicts that the work will become a regular part of the repertoire. The libretto “has both force and insight, it has too at times the distinction of real poetic intensity of phrase, and it was tailor-made for Mr. Moore, who has a fine gift for direct musical narrative.” He praises Moore’s text-setting ability and especially his descriptive writing, which goes so far to set a mood. The ending is a particularly powerful dramatic moment in which “there is only a gesture, a soft sound like the beating of a dove’s wing, and a black shadow lying like a pool at night.” There is a strong cast for this excellent production. A photograph of Dorothy Coulter (Milly Theale) accompanies the article.

Merkling, Frank. “Reports: City Center-1.” Opera News, 18 November 1961, 34. The author reviews the premiere of The Wings of the Dove by the New York City Opera in October 1961. The production is described as a “brilliant musical performance,” but the stage direction did not adequately portray the “tragic clash of innocence and experience in the Edwardian era.”

“Moore’s New Opera: World Premiere in N.Y.” San Francisco Chronicle, 13 October 1961, p. 1, cols. 3–4, and p. 7. A brief review of The Wings of the Dove at the New York City Opera praises the work for its “considerable dramatic punch.” It is more a play set to music than an opera, owing to the small number of choruses and arias.

“New Opera by Moore Uses a James Novel.” New York Herald Tribune, 13 December 1959, sec. 4, p. 6, cols. 5–6. The article is an announcement of various musical events leading with news of Moore’s work on The Wings of the Dove, of which he has completed half of the vocal score.

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[The Wings of the Dove] “Opera Premieres: Ford Foundation Project: Moore’s ‘The Wings of the Dove.’ ” Pan Pipes 54, no. 2 (January 1962): [7]. A positive review of the premiere of The Wings of the Dove by the New York City Opera quotes from Irving Kolodin’s comments in the Saturday Review of 28 October.

Parmenter, Ross. “The World of Music: Ford Foundation Is Aiding Moore to Write New Opera for City Center.” New York Times, 13 March 1960, sec. 2, p. 11, cols. 4–6. Moore is writing The Wings of the Dove for the 1961 season of the New York City Opera with the support of a Ford Foundation grant. The grant provides a partial subsidy for the production and funds for Moore to take a sabbatical from Columbia in order to write the opera.

“People Are Talking About. . . .” Vogue, 1 February 1962, 126–27. This one-paragraph article informs the reader about the recent New York City Opera production of The Wings of the Dove. The first page is a captioned photograph of Moore, the librettist Ethan Ayer, and the three principal singers in costume.

Perkins, Francis D. “ ‘Wings of Dove’ Returns to City Opera.” New York Herald Tribune, 25 October 1962, p. 13, col. 3. This review of the New York City Opera performance praises the portrayals of the characters of the drama by Beverly Sills, John Reardon, Norman Kelley, and Jean Kraft. Moore’s music “conveyed the text flexibly and without distortion and again impressed as notable music which mirrors the emotions of the story and also, without loss of individuality, projects the atmosphere of the action set at the turn of the century.”

Repass, Richard. “America: City Centre and Met Opera; New York.” Opera 12 (December 1961): 786–87. This mixed review of the premiere by the New York City Opera on 12 October of The Wings of the Dove credits the score with having “lush and lavish” orchestration, abounding lyricism, “arias and concerted numbers of great beauty,” and “dramatic climaxes of much power.” However, the libretto simply does not bring out the psychological aspects of the James novel, nor does it establish credible characters. The principal roles were acted and sung well by John Reardon as Miles and Dorothy Coulter as Milly. Regina Sarfaty was less convincing as Kate and sang with “variable quality.”

Sabin, Robert. “New Ford-Commissioned Operas Premiered: Scores by Moore and Ward Introduced at City Opera.” Musical America 81, no. 12 (December 1961): 26. Sabin thoroughly pans the premiere of The Wings of the Dove by the New York City Opera on 12 October, calling it a “turkey.” The opera is: “musically dull, pretentious, incredibly old-fashioned in its harmonic treatment and completely lacking in profile. There is not a theme in it which one can take home in memory; and the bland, eclectic score seems embarrassingly inadequate in the tragic climaxes. Seldom have I felt so keenly the sadness of watching a composer hopelessly out of his depth. What ever possessed Mr. Moore to choose Henry James’s complex, subtle, evil-haunted novel as a subject?” The singing and acting of John Reardon, Regina Sarfaty, and Martha Lipton are commended, as is the conducting of Julius Rudel. An illustration from the production accompanies the article.

Sargeant, Winthrop. “Musical Events: Triumph.” New Yorker, 21 October 1961, 166–68. This full-length review of the premiere by the New York City Opera of The Wings of the Dove gives both Moore and the performers high accolades. The James novel is seen as a suitable foundation for an

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[The Wings of the Dove] opera, although it was not a success as a stage play. The opera, “completely devoid of irritating modernistic mannerisms, is a rich fabric of harmonic subtleties woven with a master’s hand. Occasionally it is dominated by the orchestra, occasionally it breaks into a really inspired aria (for example, Milly’s hauntingly lovely song in Scene 2), and everywhere, or almost everywhere, it pushes the drama along toward its tragic conclusion.” The only weak point of the opera is the Masque of Janus ballet scene, which is musically unsatisfying and even includes an atonal passage for chorus. Sargeant believes that this opera should become a permanent part of the operatic repertoire.

Schonberg, Harold C. “Opera: ‘Wings of the Dove’ in Premiere: Douglas Moore’s New Work at City Center.” New York Times, 13 October 1961, p. 31, cols. 1–3. The premiere of The Wings of the Dove by the New York City Opera draws a mixed review from Schonberg. The libretto “cut through James’ meanderings, added a few new elements, simplified the characters considerably and turned out, in the end, not too bad a work for the stage.” The performance by the cast and orchestra “made the premiere all that any composer could demand.” However, the music is simply “bland” and “so extraordinarily eclectic that it ends up devoid of personality.” Moore’s style is closest to Puccini, but without the Italian composer’s melodic passion. Most of the musical emphasis is on the orchestra, even though the vocal parts are there. The performance was warmly applauded, but there were a few boos, which the reviewer attributes to the disappointment of the avant-gardists in the audience. A production photo of John Reardon and Regina Sarfaty accompanies the article.

Schultz, Andrew B. “Moore Expected New Opera to ‘Surprise’ Many People: City Center Group Inaugurates Work; Composer Recalls His Early Career.” Columbia Daily Spectator, 13 October 1961, p. 3, cols. 1–3. Because The Wings of the Dove did not have any of the characteristic “American” aspects of many of his earlier pieces, the audience was surprised by the work. Moore is quoted about this change of idiom, his devotion to American topics, the role of the composer in academia, his love for teaching, and his hope to write another opera after his retirement from Columbia. A portrait of Moore accompanies the article.

Stevens, David. “New York: Moore Premiere.” Music Magazine/Musical Courier 163, no. 12 (November 1961): 28–29. An ambivalent review of the New York City Opera premiere of The Wings of the Dove says that the “vital dramatic situations [the libretto] presented were not equally realized in musical terms.” Despite this criticism, the music is praised for its melody and the musical characterization of the principal female characters. It was well staged, and the libretto was carefully crafted to clarify the meaning of the original novel.

Thomson, Virgil. “Criticism & Comment: Opera; ‘The Crucible’ and ‘The Dove.’ ” Show 2, no. 1 (January 1962): 4–5. In this astute review of The Wings of the Dove and Robert Ward’s The Crucible as performed by the New York City Opera, Thomson writes that the operas “may not represent the highest artistic achievement; they represent in every way, however, solid workmanship and worthy effort.” Moore’s opera “lacks contrapuntal interests and is harmonically note-heavy.” The vocal lines are well suited to the voice and easy to hear, but “as imitations of good English speech, they jump around too much to be believed, and, as dramatic expression, their having jumped around from the beginning . . . makes their subsequent activities unemphatic because they are uniformly overemphatic.” This makes the whole opera overly melodramatic. Thomson perceptively discusses the problems of turning a literary work into an opera.

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[The Wings of the Dove] Trimble, Lester. “Music.” Nation 193, no. 16 (11 November 1961): 384. Trimble writes a full-length review of The Wings of the Dove as performed by the New York City Opera. He notes that Ethan Ayer’s job as librettist was extremely demanding, because James’s prose does not easily translate into a libretto, nor is the story of the novel to be found in the plot. Much of The Wings of the Dove is concerned with subtle psychological nuances that cannot be conveyed by action on the stage. Moore and Ayer have done as well as can be expected, given the source. The music cannot completely overcome the difficulties posed by the libretto. The role of Milly is the most convincing musically. The music for chorus does not match the quality of the music of the rest of the opera, and the music for the masque scene is also not strong enough to justify its interruption of the plot.

Watt, Douglas. “Gobel Perfect in ‘Let It Ride:’ Moore’s New Opera Admirable.” New York Daily News, 13 October 1961, p. 54, cols. 3–5, and p. 55. The Wings of the Dove as premiered by the New York City Opera was performed well. In the music, “Moore has approached his task without the least trace of self-consciousness; he has not tried to write smart, modern music or to adopt any rigid style, other than what is most personal to him so that the whole affair shines with a becoming sincerity. Which is, after all, precisely the way to compose a good opera.”

“The Wings of the Dove.” New York Times, 8 October 1961, sec. 2, p. 13, cols. 2–7. This is a captioned photograph of a scene from The Wings of the Dove, to be premiered by the New York City Opera on 12 October. The picture shows Mary LeSawyer, Norman Kelley, Martha Lipton, John Reardon, and Regina Sarfaty.

“ ‘Wings of the Dove’ in Premiere Tonight.” New York Times, 12 October 1961, p. 41, cols. 2–3. This is an announcement of the premiere of The Wings of the Dove at the New York City Opera on 12 October.

Winship, Frederick M. “American Opera Comes of Age.” Denver Post, 16 October 1961, p. 30, cols. 1–2. The article is a rave review of the premiere of The Wings of the Dove by the New York City Opera. “No vocally difficult intervals in Moore’s melodic line. No harsh dissonances in his multi-colored score, so beautifully dovetailed with the dramatic action. No great arias, duets or quartets either, but in their place a fluid and natural melodic line of conversation that pointed up the underlying psychological values of James’ story.” The entire production and cast get good marks.

———. “Calls ‘Dove’ Best U.S. Opera.” Cleveland Press News, 13 October 1961, sec. C, p. 12, cols. 6–8. This is identical to the 16 October review in the Denver Post.

———. “New Opera in Gotham Gets Rave.” Los Angeles Herald & Express, 13 October 1961, sec. C, p. 4, col. 3. This is identical to the 16 October review in the Denver Post.

———. “Opera Wins Raves at N.Y. Premiere.” San Francisco News-Call Bulletin, 13 October 1961, p. 24, cols. 3–4. This is identical to the 16 October review in the Denver Post.

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Works, Miscellaneous C., E. “Quiet Lyricism Marks Concert.” Hartford Times, 7 February 1951, p. 39, cols. 1–2. A concert of Moore’s works was given by the Institute of Contemporary American Music at the Hartt School of Music on 6 February. The Clarinet Quintet was “seemingly written under the influence of Bartok[;] it came out last night in a fine performance.” The Ballad of William Sycamore “se[e]med to strive for ruggedness and a Paul Bunyan quality that it never really achieved. Part of this might have been due to the poor performance.” In the Down East Suite, “both [John Berkman’s] talent and the manifest abilities of Miss [Irene] Kahn were a bit wasted on music that se[e]med designed mainly for virtuoso display.” The Piano Pieces “required both a technical mastery and a display of feeling that Mr. [Maxim] S[c]hapiro put forth with great ease. I don’t know how much of the smash-bang was S[c]hapiro and how much was Moore, but all of it was highly impressive.”

Eyer, Ronald. “Douglas Moore Honored by Concert at Columbia.” New York Herald Tribune, 18 May 1962, p. 12, cols. 4–6. The review of Moore’s retirement concert at Columbia recalls some of his best-known works and notes “exemplary performances” by Eleanor Steber of the Three Sonnets of John Donne. A portrait of Moore accompanies the article.

Frankenstein, Alfred. “Music Critic at Large in New York.” San Francisco Chronicle, 29 February 1948, sec. This World, p. 24, cols. 3–4. There are only two sentences about Moore. “Two pieces by Douglas Moore, the symphony with which Bruno Walter opened his program and a clarinet quintet, took the week’s prize for sheer delectability. Moore is a kind of American Milhaud in the fluency, ease and suppleness of his ideas, although his harmonic texture, especially in the symphony, is a little tame.”

French, Richard F. “Current Chronicle: United States; New York.” Musical Quarterly 48, no. 3 (July 1962): 392. This short review of a concert of Moore’s works at Columbia University in May 1962 is contrasted with a concert of serial pieces at the New School for Social Research performed earlier the same week. The concert included Moore’s Piano Trio, performed by Matthew Raimondi, David Soyer, and Yehudi Wyner.

Holland, Bernard. “5 Ways with Music and Drama that Share the Bond of Brevity.” New York Times, 13 May 1991, sec. C, p. 11, cols. 4–6. This review covers five different short operas performed in the New York during the weekend of 11 May. Among these was a concert production of Gallantry on 10 May by the New York Chamber Ensemble and a staged performance of The Devil and Daniel Webster by the Bronx Opera. While Gallantry is praised for its “amiable melody,” The Devil and Daniel Webster is criticized because “a little irony and black humor could have given it life, but in their place is either earnest anguish or earnest good cheer. Moore takes the material so seriously that his usual lyric touch abandons him. Or else it was there but hidden behind a production . . . a performance that had more than its share of ensemble confusions.”

“McMillin Concert Thursday to Honor Professor Moore.” Columbia Daily Spectator, 14 May 1962, p. 12, cols. 2–3. The article announces a concert of Moore’s music on 17 May.

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“Music: People and Places: Metropolitan Opera.” New York Times, 16 January 1966, sec. 2, p. 18, cols. 5–8. This article contains a listing for a concert of Moore’s works at Columbia University in the Horace Mann Auditorium consisting of Village Music, Three Songs, the Suite for Piano, and the Prayer for the United Nations on 18 January.

Mylrea, Cornelia. “Moore Works Get Hearing: U. of D. Concert in Honor of American Composer Hailed as Stimulating.” Wilmington Journal-Every Evening, 19 November 1954, p. 26, col. 1. The article is a positive review of a concert of Moore’s works at the University of Delaware on 18 November including Perhaps to Dream, Dedication, Down East Suite, Farm Journal, and the Symphony in A Major.

“Programs of the Week.” New York Times, 23 March 1941, sec. 9, p. 8, cols. 1 and 3. The article is an announcement of the sixth annual Three Choir Festival of New York, in which Moore was one of three conductors and two of his works were performed, A Prayer for England and Dedication. A portrait is also included.

Wood, Liz. “Cutchogue’s Own: 21st Annual Douglas Moore Concert Nears.” Suffolk Times, 10 August 2000, sec. Community, p. 1, cols. 1–3. This is an announcement of the annual Moore concert in Cutchogue. It begins with a thumbnail sketch of the composer and a brief synopsis of The Ballad of Baby Doe. The names of the Moore Memorial Committee are included, and the chairman discloses how the performers and pieces for the concerts are chosen. The 2000 concert includes Village Music and “Always through the Changing,” from The Ballad of Baby Doe, in addition to works by other composers. A photograph of Moore with John Latouche, Emerson Buckley, and Hanya Holm preparing for the premiere of The Ballad of Baby Doe accompanies the article.

Young People’s Records Instrumental Series, see Licorice Stick 3. Librettos Ayer, Ethan. The Wings of the Dove: Opera Based on the Novel by Henry James. Music by Douglas Moore. G. Schirmer’s Collection of Opera Librettos. Publisher’s no.: Ed. 2438; plate no.: 45037c. New York: G. Schirmer, 1961. Benét, Stephen Vincent. The Devil and Daniel Webster: An Opera in One Act. New York: Farrar & Rinehart, 1939. Jayme, William North. Carry Nation: An Opera in Two Acts (Prologue, Seven Scenes, Epilogue). Music by Douglas Moore. New York: Galaxy Music; London: Galliard, 1968. Latouche, John. The Ballad of Baby Doe. Music by Douglas Moore. New York: Program Publishing, 1958. Reprinted in 1966.

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Chronological List of Musical Works

UNKNOWN DATE Andante in D Major (incomplete) for Flute, Clarinet in A, and Piano “The Cruise” “Dear Little Wisp of a Girl” “Down at the North Fork Country Club Cabaret” “Early Song,” early work Etude in Tenths, op. 1, no. 3, early work “Friends, Elis, Countrymen” Gavotte in D  Major (incomplete) “God Rest You Merry, Gentlemen,” before 1932 “He’s Gone Away” (incomplete) “In Springtime” “The Kitty-Cat Bird” (incomplete), after 1950 Later Etruscan Excavations, ca. 1920s Legend (incomplete) “Liane” Minuet in C Minor (incomplete) “My Garden” (incomplete) Prelude for Keyboard in C  Minor (incomplete) Requiem (incomplete), 13 July–August “The Rune,” before 1914 “Rutgers Marching Song” “Sea Chantey,” before 1915 Song from The Land of Heart’s Desire, possible early work Summer Evening, or, Katydids “To Knox Our Alma Mater” (incomplete) Valse Janet, early work 1908 Untitled Waltz for Piano in C Major, first composition, ca. 1908 “Song to Fessenden,” fall 1908

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1909 “Kimogenor,” June “Song ‘The Tale of a Carp,’ ” ca. 1909? MacLeish Songs VIII. “To an April Lady” Then and Now 1910 Fugue for String Quartet in D Major, ca. 1910 Menuetto, ca. 1910 Oh Lord, Our Lord, ca. 1910 “Hotchkiss Day” “Song of a Canoe” “A Song of April” (incomplete), between 1910 and 1914 1911 MacLeish Songs I. “The Reed Player” II. “Dreams” III. “The Brook,” after 1911 IV. “The Evening Wind,” ca. 1911–14 V. “Thine Eyes,” after 1911 VI. “Sweet,” unknown VII. “Gifts,” before 18 January 1914 “Naomi: My Restaurant Queen” 1912 “Parabalou” 1913 “Good Night, Harvard,” fall 1914 Quentin Durward, 23 May King Lear, 16–23 June 1915 Canon at the Seventh in E  Major, 5 February “Unforgotten,” March Fugue for Organ in F Minor, June MacLeish Songs I. “The Reed Player,” rewritten September II. “Dreams,” rewritten

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Oh Lord, Our Lord, rewritten 1915 “Sea Chantey,” rewritten 1915 Thistledown, ca. 1915 Concerto for Mandolins and Piano (lost) Sonata for Piano in D Minor Sonata Pathétique, op. 13, by Ludwig van Beethoven, 1st movement; orchestrated by Moore 1916 Variations on a Theme in G Major for String Quartet, January Sonata for Violin and Piano in B Minor, 25 February–10 May Music for Yale Pageant, May Sonata for Violoncello in D Major, August Five Shakespeare Songs “Come Away, Death,” 1916–28 Twelfth Night “We Must Follow the Leaders” (incomplete), 1916–17 CA. 1917 “Destroyer Life” Fantaisie Polonaise Le doughboy s’en fiche, 1917–19 [War Songs], 1917–19 “Allentown Ambulance” “Ate My Breakfast” (incomplete) “Hanging Johnnie” “Jail Song” “Santy Anna” “Sittin’ in de Cotton” “De Six-Bit Express” “Way Out West” “When I Lays Down” “Willie the Weeper” “Jessie Wilhelmina Glotz,” ca. 1917–19 Jungle Heroes . . . , ca. 1917–19 “Martha,” ca. 1917–19 North Atlantic Suite (incomplete), ca. 1917–19 1918 104th Cavalry Regiment March, November 1918; completed May 1924

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

1919 “Ghosts,” July “The Tower Bells of Tours,” July “April Weather,” August MacLeish Songs I. “The Reed Player,” August “The Road,” August Adventures in the Latin Quarter Waltz Chorale Varié in F Minor, ca. 1919 Prelude and Fugue for Organ in E Minor, 1919–22 “Cleopatra’s Song” (incomplete), after 1919 1920 “ Soldier Song” (incomplete), ca. 1920? Danses pour flute, clarinette, et basson (or 1925–26) Adventures in the Latin Quarter Carillon Sarabande for String Orchestra in E Minor (incomplete) 1921 “Class Song,” in C Major (incomplete), May Fugue pour Orgue, in E Minor Gavotte for Organ in C  minor Sonata for Violin and Piano in D Major (incomplete) Sonata for Violin and Piano in G Major (incomplete) [Untitled—Lent for Piano Four-Hands in A  Major] 1922 “A Sad Song,” 11 July “April Weather” (2nd version), 13 July Four Museum Pieces (organ), July “The Apple Boughs Bend,” July–August “A Nonsense Song,” July–August March for Tambourlaine, March; completed 1926 Sarabande for String Orchestra 1923 Scherzo for Organ in G Major, 11 June Four Museum Pieces (arranged for orchestra)

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CHRONOLOGICAL LIST OF MUSICAL WORKS

1924 Fugue in E Minor (incomplete), 22 July The Pageant of P. T. Barnum 1925 Twelfth Night (revised from 1916) 1926 The Ballad of William Sycamore Danses pour flute, clarinette, et basson (or 1920) The Discouraged Church Bells Fugue pour flute et clarinette Oh, Oh, Tennessee 1927 Moby Dick, 1927–28 Five Shakespeare Songs “Sigh No More, Ladies” Much Ado about Nothing The Road to Rome 1928 Jesse James, 9 July–September “The Cupboard” “Fingers and Toes” Suite from Shakespearean Music (arranged from the incidental music) 1929 Revivalist Prelude (incomplete), August Sonata for Violin and Piano in D Minor 1930 Greek Games (orchestration), January 1930 Devon Folk Songs, settings from Songs of the West (incomplete) A Symphony of Autumn 1931 Overture on an American Tune, 31 September

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

1932 String Quartet, 29 December 1932–August 1933 1934 “Atterboy, Columbia” (incomplete), February White Wings, 17 February 1934–35 White Wings Melodrama and Procession, 1934–35 1935 White Wings Overture, June Tintypes (Three Contemporaries), ca. 1935–40 1936 The Crossing, 13 January Adventures in the Latin Quarter Carillon; revised The Headless Horseman 1937 The Devil and Daniel Webster, 1937–39 Perhaps to Dream Simon Legree 1938 “Adam Was My Grandfather” Dedication The Devil and Daniel Webster “Now May There Be a Blessing,” ca. 1938 Invocation, ca. 1938 Scratch’s Song, ca. 1938 1939 Dirge, September Museum Piece 1940 Youth Gets a Break, September Prayer for England, December The Headless Horseman, revised Power and the Land

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CHRONOLOGICAL LIST OF MUSICAL WORKS

Youth Gets a Break Suite Worst of Farm Disasters 1941 Bip Goes to Town, March–April Village Music, Summer 1942 Three Sonnets of John Donne, April Prayer for the United Nations, for chorus, June “The Token,” June Quintet for Winds, August Prayer for the United Nations, revised for orchestra, November Fall of the City (incomplete) “The Sea That Is My Song” 1943 “Destroyer Song,” August In Memoriam, September March for Piano (incomplete), 29–30 June, 8 July Prayer for the United Nations, revised for orchestra, November Five Shakespeare Songs “Blow, Blow Thou Winter Wind,” December “The Cuckoo,” 31 December “Brown Penny,” 29 December “The Cat Sat” (incomplete) “Not This Alone,” for high voice 1944 Five Shakespeare Songs “O Mistress Mine,” 23 January “Under the Greenwood Tree,” 5 March “The Cat and the Moon” (incomplete), 19 June Down East Suite, Summer 1945 “Potatores exquisiti,” 1 January Down East Suite, revised March Fanfare “Good Night, Harvard,” 2nd version “Not This Alone,” revised for medium voice Symphony in A Major

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

1946 Quintet for Clarinet and Strings, 25 June–22 August “Westren Winde,” 20 September 1947 “Old Song,” 7 June Farm Journal, July–August Young People’s Records. Clarinet and horn examples, December The Emperor’s New Clothes, 1947–June 1948 Vayechulu, 1947–48 1948 Suite for Piano, 13 August–17 September Quintet for Winds, revised Young People’s Records The Old Gray Mare 1949 Puss in Boots, September Giants in the Earth, 1949–50 1951 Concerto for Piano (incomplete), 20 July “I Heard a Bird Sing,” ca. 1951? Machinery, ca. 1951? When the Drive Goes Down 1952 Cotillion Suite, June–July Four Pieces for Piano 1953 The Devil and Daniel Webster Final quartet, revised April “Friends, Elis, Countrymen,” June The Ballad of Baby Doe, June 1953–April 1956 Letter Song Willow Song Trio for Piano and Strings, September Poor Wayfaring Stranger, 21 November

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CHRONOLOGICAL LIST OF MUSICAL WORKS

The Birds’ Courting Song The Mysterious Cat 1956 The Ballad of Baby Doe Augusta’s Aria Farewell Song “Warm as the Autumn Light” The Emperor’s New Clothes, revised 1957 Two Pieces for Piano, 17–18 April Gallantry, 29 June–16 August “Brown Penny,” completed 29 December Eternal God 1958 The People’s Choice!, Summer “Dear Dark Head,” November The Pelican Chorus, November 1959 The Wings of the Dove, 1959–61 1961 The Greenfield Christmas Tree, 1961–62 1962 The Devil and Daniel Webster Now May There Be a Blessing, arranged for soprano and women’s chorus (SSA) 1963 Carry Nation, 12 September 1963–66 Giants in the Earth, revised

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Classified List of Musical Works

DRAMATIC WORKS Operas The Ballad of Baby Doe Carry Nation The Devil and Daniel Webster The Emperor’s New Clothes Fall of the City (incomplete) Gallantry Giants in the Earth The Greenfield Christmas Tree The Headless Horseman Puss in Boots White Wings The Wings of the Dove Ballets Greek Games (Sophomore Ballet), orchestration by Moore for flute, oboe, clarinet, bassoon, timpani, harp Incidental Music King Lear Much Ado about Nothing, voice, flute, harpsichord Quentin Durward, orchestra and TTBB chorus The Road to Rome, 2 trumpets and timpani “The Rune,” alto and piano Twelfth Night, voices and piano Musicals Oh, Oh, Tennessee: A Rural Revue in Three Acts Then and Now Pantomime Jesse James (incomplete) 503

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

ORCHESTRA MUSIC Concertos Concerto for Mandolins and Piano (lost) Concerto for Piano in E  Major (incomplete) Film Music Bip Goes to Town Power and the Land Worst of Farm Disasters Youth Gets a Break, SATB and orchestra Overtures Destroyer Song North Atlantic Suite (incomplete) Overture on an American Tune White Wings. Overture Pieces Fantaisie Polonaise in E Major Good Night, Harvard, arranged for dance orchestra by Paul Weirich Prayer for the United Nations, alto or baritone, chorus (SATB), and piano or orchestra Requiem (incomplete) Sarabande for String Orchestra in E Minor (incomplete; 1920) Sonata Pathétique, op. 13, by Ludwig van Beethoven, 1st movement; orchestrated by Moore White Wings. Melodrama and Procession Suites Cotillion Suite Farm Journal The Pageant of P. T. Barnum Four Museum Pieces, arr. from organ Power and the Land. Suite, drawn from the film score Village Music, chamber or full orchestra Youth Gets a Break. Suite, SATB with orchestra, drawn from the film score Symphonic Poems In Memoriam Moby Dick

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CLASSIFIED LIST OF MUSICAL WORKS

505

Symphonies Symphony in A Major [Symphony no. 2] A Symphony of Autumn [Symphony no. 1] BAND MUSIC Dirge, arranged by Keith Wilson Fanfare, brass ensemble Good Night, Harvard, arranged by Paul Yoder Music for Yale Pageant 104th Cavalry Regiment March, arranged by Joseph C. Painter The People’s Choice! A March for Election Eve Tintypes, arranged by Keith Wilson Village Music, arranged by James Scofield CHORAL MUSIC Pieces The Birds’ Courting Song (arranged by Douglas Moore), soprano, tenor, chorus (SATB), and piano; entire soprano and tenor sections may be used in place of the solo voices The Devil and Daniel Webster. Now May There Be a Blessing, arranged for SSA God Rest You Merry, Gentlemen, SATB Legend, SATB and piano (incomplete) The Mysterious Cat, SSA The Pelican Chorus, 2-part children’s chorus and piano Perhaps to Dream, SSA Poor Wayfaring Stranger, SATB Prayer for England, TTBB or TTBarB and piano Prayer for the United Nations, alto or baritone, chorus (SATB), and piano or orchestra Simon Legree, TTBB and piano Vayechulu (Vai-choo-loo), cantor, SSATTB, and organ Youth Gets a Break. Suite, SATB with orchestra Anthems Oh Lord, Our Lord, TTBB and organ Cantatas The Crossing, ATB solos, 2 combs, violin (open strings), double bass, triangle, cymbal, clarinet, bassoon, and piano

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Hymns Eternal God, SATB with keyboard accompaniment Motets Dear Little Wisp of a Girl, SSATBarB Dedication, SSATBarB SONGS Solo Voice “Come Away, Death,” baritone With Piano “Adam Was My Grandfather,” baritone “The Apple Boughs Bend,” baritone or bass “April Weather,” high voice “Brown Penny,” high voice “The Cat and the Moon” (incomplete), voice “The Cat Sat (Art Song)” = “Katze Sitze (ein Kunstlied)” (incomplete), high voice “Class Song” (incomplete), voice “Cleopatra’s Mother” (incomplete), high voice “The Cruise,” medium voice “The Cupboard,” medium voice “Dear Dark Head,” high voice “Dear Little Wisp of a Girl,” high voice “Down at the North Fork Country Club Cabaret,” voice “Early Song,” high voice “Fingers and Toes,” voice Five Shakespeare Songs, voice “Friends, Elis, Countrymen,” high voice “Ghosts,” high voice “He’s Gone Away,” voice (incomplete) “I Heard a Bird Sing,” high voice “Jessie Wilhelmina Glotz,” medium voice “Kimogenor,” medium voice “The Kitty-Cat Bird,” voice (incomplete) “Liane,” high voice “Machinery,” high voice MacLeish Songs, high and medium voice

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CLASSIFIED LIST OF MUSICAL WORKS

“Martha,” high voice “My Garden,” high voice (incomplete) “Naomi: My Restaurant Queen,” high voice “A Nonsense Song,” high voice “Not This Alone,” high and medium voice “Old Song,” high voice “Potatores exquisiti,” voice Power and the Land. “March,” high voice “The Road,” medium voice “A Sad Song,” high voice “Sea Chantey,” baritone “The Sea That Is My Song,” high voice “Sigh No More, Ladies,” voice “Song from The Land of Heart’s Desire,” soprano and piano “Song of a Canoe,” high voice “A Song of April” (incomplete), high voice “Song ‘The Tale of a Carp,’” high voice “Thistledown,” high voice Three Sonnets of John Donne, high voice “The Token,” high voice “The Tower Bells of Tours,” high voice “Under the Greenwood Tree,” high voice “Unforgotten,” mezzo-soprano “We Must Follow the Leaders” (incomplete), voice “When the Drive Goes Down,” high voice School and College Songs “Atterboy, Columbia” (incomplete), for voice or unison chorus and piano “Good Night, Harvard” “Hotchkiss Day” “Parabalou” “Rutgers Marching Song” “Snake Dance” “Song to Fessenden” “To Knox Our Alma Mater” (incomplete) Folk-Song Settings Devon Folk Songs, settings from Songs of the West, voice and piano (incomplete)

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Military Songs “Destroyer Life,” voice [War Songs], voice With Ensemble The Ballad of William Sycamore, baritone, flute, trombone, piano Five Shakespeare Songs “Come Away, Death,” bass-baritone and string quartet version, incomplete “O Mistress Mine,” C minor version for voice, flute, and harpsichord Naomi: My Restaurant Queen, arranged for voice with flute, clarinet, 2 cornets in A, trombone, drums, piano, and strings A Sad Song, arranged for voice with chamber ensemble (possibly lost) Suite from Shakespearean Music (1928; arranged from the incidental music), alto, flute, and harpsichord With Orchestra The Ballad of William Sycamore (incomplete), baritone Two Voices “Westren Winde,” canon for two voices CHAMBER MUSIC Solo Works Adventures in the Latin Quarter, piano Chorale Varié in F Minor, piano Dirge, organ Le doughboy s’en fiche, piano Etude in Tenths, op. 1, no. 3, in C Major, piano Four Museum Pieces, organ Four Pieces for Piano Fugue for Organ in F Minor (June 1915) Fugue for keyboard in E Minor (incomplete; 22 July 1924) Fugue pour Orgue in E Minor (1921) Gavotte for keyboard in D  Major (incomplete) Gavotte for Organ in C  Minor (1921) In Springtime, piano March for Tambourlaine, organ March for Piano (incomplete; 29–30 June, 8 July 1943)

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CLASSIFIED LIST OF MUSICAL WORKS

509

Minuet for Keyboard (?) in C Minor (incomplete) Museum Piece, piano 104th Cavalry Regiment March, piano Prelude for Keyboard in C  Minor (incomplete) Prelude and Fugue for Organ in E Minor (1919–22) Scherzo for Organ in G Major (1923) Soldier Song, piano (incomplete) Sonata for Piano in D Minor (1915) Suite for Piano (1948) Summer Evening, piano Tintypes, piano Two Pieces for Piano Valse Janet, piano Waltz for Piano (ca. 1908–9) Young People’s Records, horn example Works for Two Instruments Down East Suite, violin and piano Fugue in A Minor, flute and clarinet Jungle Heroes—Tarawa Stampede—Marine Parade March: Grande Fantaisie Marin de Concert ou Salon, piano four-hands Later Etruscan Excavations: A Triangular Romance, piano four-hands Menuetto for Violin and Piano in A Major (1910) Moby Dick, 2-piano version arranged from orchestration The Old Gray Mare, piano and harpsichord Sonata for Violin and Piano in B Minor (1916) (incomplete) Sonata for Violin and Piano in D Major (1921; incomplete) Sonata for Violin and Piano in D Minor (1929) Sonata for Violin and Piano in G Major (1921?; incomplete) Sonata for Violoncello in D Major (1916) Symphony in A Major, arranged for 2 pianos [Untitled—Lent], piano four-hands Trios Andante in D Major for Flute, Clarinet in A, and Piano (incomplete) Danses pour flute, clarinette, et basson The Discouraged Church Bells, flute, clarinet in A, and piano Trio for Piano and Strings (1953) Young People’s Records, clarinet trio example

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Quartets Fugue for String Quartet in D Major (ca. 1910) String Quartet in E  (1933) Variations on a Theme for String Quartet in G Major (1916) Young People’s Records, horn quartet example Quintets Quintet for Clarinet and Strings (1946) Quintet for Winds (1942) Young People’s Records, clarinet and string quartet example Ensembles Concerto for Mandolins and Piano (lost) COMPOSITION EXERCISES Canon at the Seventh in E  Major UNKNOWN INSTRUMENTATION Revivalist Prelude (incomplete; 1929) Variations on Theme of Bingham (incomplete)

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Index

The index contains topics, names, and titles of works alphabetized word-by-word in one alphabetical sequence. Numbers are sorted sequentially before letters. Titles of full-length works such as books and dissertations are entered directly under the title of the work and qualified by the last name of the author, composer, or editor, e.g., Giants in the Earth (Rølvaag) or Notations (Cage, ed.). Additionally, they are also listed under the name of the author. The titles of articles are given under the names of the authors only, except for the titles of anonymous articles, which are indexed by topic only. The titles of books and articles by Douglas Moore are entered solely under the title qualified by “(Moore),” e.g., Listening to Music (Moore), “Music and the Movies” (Moore). The titles of periodicals, newspapers, and monographic series appear without qualification. The titles of musical works by Moore are entered directly under the title qualified by “(Moore),” such as “Gallantry (Moore)” and “Symphony in A (Moore).” Titles of musical works by other composers are entered directly and qualified by the last name of the composer. A second entry also appears under the name of the composer, e.g., “Beethoven, Ludwig van. Egmont. Overture” and “Egmont. Overture (Beethoven).” Generic titles of musical compositions (sonatas, symphonies, concertos, etc.) are entered only under the names of the composers: “Rachmaninoff, Sergei. Symphony No. 2.” Titles of movements, sections, or components of compositions are followed by the title of the larger work, e.g., “Jenny Lind from The Pageant of P.T. Barnum (Moore)” and “ ‘Dreams’ from MacLeish Songs (Moore).” Names of character roles from stage works such as operas and plays are followed by the title of the work to distinguish them from the names of actual people, e.g., “Inch, Archie (character from White Wings)” or “Crane, Icabod (from The Headless Horseman).” This distinction is not possible in the case of historical characters who are also the subjects of stage works (Daniel Webster, the Tabor family, and Carry Nation). These names are not qualified. Names of music publishers and recording company labels are indexed, but book publishers are omitted. Entries for forms and genres of Moore’s musical compositions (concertos, symphonies, operas, trios, etc.) are consolidated under the entry: Moore, Douglas – compositions. 20th Century Music, 374 20th-Century American Composers (Gleeson and Becker), 293 21st Century Music, 348 35 Years of Music (Haggin), 484 104th Cavalry Regiment March (Moore), 12, 140–41, 495, 505, 508 200 Years of American Music, 161 “1951 Pulitzer Prize Work, The” (Moore), 249

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

A Aase, Jon, 193 ABC (radio), 215 ABC (television), 51, 334, 339 Abel, Mrs. (role in Oh, Oh, Tennessee), 138 Abel, Sharon, 192 Abram, Jacques, 180, 201, 203, 214, 222, 225, 241 Abrashkin, Raymond Emperor’s New Clothes, The, 37, 109 librettist, 37–38 Little Fugitive, 37 Puss in Boots, 38, 148 Academic American Encyclopedia, 344 Academy of St. Martin-in-the-Fields Chorus, 169 Ackard, J. L., 234 Ackart, Robert. “News: America: Central City,” 348 Acker, Ellis, 192 Ackerman, Patricia, 209 Acton, Suzanne, 194 Adam, Claus, 150, 231–32, 237 “Adam Was My Grandfather” (Moore), 26, 83, 180, 291, 337, 471, 498, 506 Adams, Dawn, 237 Adams, Jane, 223 Adams, Val. “News of Television: ‘Devils’ ”, 264 Adams, William P., 145–46 Address by Douglas Moore President of the Institute (Moore), 249 Adelbert College, 11, 14 Adelphi Academy, 3 Adelphi College, 219 Adler, Andrew. “Stand-Up Opera Pokes Gentle Fun at Art of Singing,” 348 Adler, Arlene, 96, 202 Adler, Gerald. “Lion about Music,” 446 Advance Recordings, 151 Adventures in a Perambulator (Carpenter), 141, 457, 460, 463 Adventures in the Latin Quarter (Moore), 83–84, 180, 496, 498, 508 “Advice to Bachelors” (Moore), 249 Affelder, Paul. “America’s Music Makers,” 265 African Americans, 7, 25, 329

Agassiz House, 243 Ahearn, Michael, 96, 202 Aiken, Conrad, 263, 295–96, 317 Air Force Symphony Orchestra, 239 Air from Suite for Piano (Moore), 37, 159 Ajanovic-Malinar, Ivona, ed. Muzicka Enciklopedija, 344 Akron, OH, 219 Alamo, 15 “Alas, Alas!” from The Headless Horseman (Moore), 125 Albany, NY, 227, 461 Albany Knickerbocker News, 378 Albany Records, 119, 161, 408, 442, 444–45 Albany Symphony Orchestra, 227, 461 Albany Times-Union, 461 Albert (role in Baby Doe), 85, 87–88, 181–85, 187, 190–96, 198–99 Alberts, Eunice, 188 Albuquerque, NM, 193, 242 Albuquerque Journal, 355 Albuquerque Opera Theatre, 193 Alburger, Mark. Golden Touch to Silver, 348 alcoholism, 61–63, 65 Alden, Donald H., 206 Alden, John, 2 Aldersgate United Methodist Church (New Orleans), 381 Aldrich, Richard Art of Musical Appreciation, The, 265 producer, 25, 204, 481 Aldrich, Robert. “Barnum Piece Scores a Hit,” 456 Alexander, Carlos, 223 Alexander, Diane, 196–97, 390 Alexander, Edward. “Béla Bartók: A Memoir.”, 265 Alexander, Murray, 208 Alfano, Vincent, 191 Algemene muziek encyclopedie (Robijns and Zijlstra, eds), 340 Alhambra High School Auditorium, 191, 388 Alhonte, Michael, 194 Alianza Cultural Uruguay-Estados Unidos, 236 Alice in Wonderland, 482 All City High School Music Festival (New York), 227

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All Music Guide to Classical Music, 336 All That Money Can Buy (movie), 25, 349 Allegro barbaro (Bartók), 265 Allen, David, 178–79 Allen, Doris. “American Music Festival Closes with Ballet,” 479–80 Allen, Gene, 185 Allen, Harvey, 297 Allen, John, 322 Allen, Millard, 207 Allen, Richard, 189 Allen, Ross, 191 “Allentown Ambulance” (Moore), 7, 170, 495 Allgemeine Musikgesellschaft, 237 Allorto, Riccardo, ed. Dizionario di musica, 340 Allton, Donald W., 234 Almstead, Gordon, 207 Along Right Lines from the Beginning, 289 Alpert, Anita, 182 Alter, John, 224–25 Alter, Martha, 16, 224 Altman, George, 205–6 Altman, Millard, 225 Altmann, Wilhelm. Kurzgefasstes TonkünstlerLexikon, 342 Altstock, Bernice, 202, 224–25 Altvater, H. Hugh, 242 “Always through the Changing” from The Ballad of Baby Doe (Moore), 46, 49, 86, 89–90, 199–200, 491 Amarillo Civic Center Auditorium, 196 Amarillo Opera, 196 “America and Opera” (Moore), 281 America Comes of Age (Friedberg), 291 American Academy in Rome, 38, 70, 237 American Academy of Arts and Letters. See also National Institute of Arts and Letters awards, 339 board of directors, 41, 279, 284 election to, 40, 70, 264, 336 induction of members, 253, 264, 322 president, 53, 70, 252, 264–65, 276, 279, 284, 322–23, 338–39 secretary, 290, 311, 323 speeches to the, 249–50, 252, 254

513

American Academy of Arts and Letters, Proceedings, 249, 252–54 American Arias for Soprano, 119 American Art Song and American Poetry (Friedberg), 291 American Authors and Books (Burke and Howe), 341 American Chamber Ensemble, 150, 233 American Chamber Opera Company, 220, 443 American Clarinet (Ramon Kireilis), 150, 468 American Clarinet Treasures, 150 American Classics, 169 American Composers (Ewen), 288 “American Composers” (Moore), 249 American Composers (Posell), 323 American Composers (Reis), 345 American Composers Alliance, 70, 282 American Composers’ Concerts (Eastman), 226, 239, 300, 454, 464, 479 American Composers’ Concerts and Festivals of American Music, 1925–1971, 300 American Composers Forum, 236 “American Composers’ Music” (Moore), 250 American Composers of Our Time (Machlis), 310 American Composers Series (University of California, Los Angeles), 213–14, 225, 237 American Composers Series (Vox Records), 114 American Composers Today (Ewen), 287 American Folk Song Choral Series (T. Presser), 95, 144 American Girl (Helen- Eberley), 88, 367–68, 371, 383, 396 American Guild of Organists, Rochester Chapter, 214 American Hymns Old and New (Albert ChristJaner, ed.), 111 American Laboratory Theatre, 14, 16–18, 114, 116, 166, 224, 241, 323, 328 American Lyric Theatre, 25, 204, 290, 418–19, 421, 423, 425–27, 429, 431–32, 436 American Museum in Britain, 235 American Museum of Natural History (New York), 225, 228, 245 “American Music” (Moore), 250 American Music Center, 70

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

American Music Council, 299 American Music Festival Baltimore, MD, 236 Ditson (Alice M.) Fund, supported by, 33, 251 Eastman School of Music, 224, 242, 266, 452–55, 480–81 New York, 180, 201, 225, 232, 237–38, 328, 474–75 Washington, D.C., 203, 418, 440–41, 462 American Music for Wind Quintet, 151 American Music Since 1910 (Thomson), 346 American Music Symposium, 242 American Musical Theatre (CBS), 286, 353 American National Bibliography Online, 291 American National Biography (Garraty and Carnes, ed.), 291 American Opera (Kirk), 304 American Opera Company (Rochester, NY), 257 American Opera Librettos (Drummond), 286 American Opera Society (National), 206, 332 American Operas on American Themes by American Composers (Penelope Ann Speedie), 332 American Opera-Workshop (Vienna), 220, 442 American Orchestral Society, 18, 320, 335 American pioneers, 38–39, 447 American Popular Music: Classical (Brad Hill), 298 American Record Guide Ballad of Baby Doe, The, 359, 367, 383, 390 Carry Nation, 414 Come Away, Death, 471 Death, Be Not Proud, 471 Devil and Daniel Webster, The, 429–30, 432 In Memoriam, 452 Pageant of P.T. Barnum, The, 457, 460 Quintet for Clarinet and Strings, 468–69 Symphony in A, 473 American Recording Society, 160–61, 282, 475 American Recording Society Orchestra, 160 American Scholar, 253, 275 American Society of Composers, Authors, and Publishers. see ASCAP American Symphony Orchestra League, 251, 256, 265, 279, 322, 339 American Symphony Orchestra League, Newsletter of the, 251, 265 American West, 330

Americana (Moore), 138–39. See also Oh, Oh, Tennessee Americana Annual 1952, The (Smith, ed.), 340 American-Soviet Music Society, 213 America’s Music (Gilbert Chase), 277 Amiens (character in As You Like It), 167 Amiss, Jay, 204 Ammer, Christine Harper Dictionary of Music, The, 340 Harper-Collins Dictionary of Music, The, 340 Amole, Gene. “Baby Doe Was Like a Legend to Little Boy from Denver,” 349 “Among the New Books: The Native Strain” (Moore), 250 “Analysis of the Dramatic Construction of American Operas on American Themes, 1896–1958, An” (Aufdemberge), 268 Anania, Michael, 196–97, 199, 369 Andante (incomplete) for flute, clarinet, and piano (Moore), 84, 493, 509 andante.com, 366 Andersen, Winther, 202, 208 Anderson, David “6,313 at Columbia Receive Degrees,” 266 “Yale Graduates 2,029, Honors 11,” 266 Anderson, Douglas, 220 Anderson, E. Ruth. Contemporary American Composers, 340 Anderson, Evelyn Norton, 190 Anderson, Everett, 180, 201, 203, 214, 221–22, 225 Anderson, Hans Christian, 37, 109 Anderson, Helen, 203, 214, 221–22, 233, 241 Anderson, Henry Hill, 339 Anderson, James Bloomsbury Dictionary of Opera and Operetta, 266 Dictionary of Opera, 266 Dictionary of Opera and Operetta, 266 Harper Dictionary of Opera & Operetta, The, 266 Anderson, John “American Lyric Theatre Displays Its Wares,” 419 “Uplift in Drama Should Begin on Stage, Says Mr. Anderson,” 419 Anderson, Joseph, 332 Anderson, Judy, 189

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INDEX

Anderson, Marian, 189, 316 Anderson, Owen. “New York City Opera,” 406 Anderson, Sylvia, 181 Anderson, W. R. “Review of Prayer for the United Nations”, 266 Anderson Hall (University of Washington), 236 Andrea, Jennie, 87, 182–84 Andreasen, Claudia, 181 Andrew (character in Twelfth Night), 166 Andrew, Thomas, 186, 245 Andrews, James W., 209 Angelés, Higinio, ed. Diccionario de la música Labor, 341 Ankers, Luise. “From Children, Highest Praise,” 439 announcements of concerts, 348–491 announcer (character in Gallantry), 51–52, 119, 217–20, 442, 444 “Annual Music Issue.” Saturday Review of Literature (Lang and Moore, eds), 31, 35, 248–49 Antal, Jenö, 235–36 Anthony, Charles, 219 Anthony, Dean, 194 Anthony, Judith, 190, 200 antique vehicle parade, 50 anti-Semitic controversy, 266, 300 Antonini, Alfredo, 41, 99, 112–13, 203, 216–17, 219, 418 Antoun, Daniel, 203 Apel, Myron, 208 Apinée, Irene, 245 “Apple Boughs Bend, The” (Moore), 10, 84, 496, 506 “April Weather” (Moore), 10, 84, 496, 506 Arana, George, 199 Arco-Arte Sinfonietta, 203 Arcuri, Loredana, 213 Ardévol, José, 232 Ardoin, John. “American Music: Good to Mediocre,” 473 Argall, Marsden, 205–6, 230, 464 Argento, Dominick, 443–44 Argonaut, 432 Arhelger, Joan, 192 “Arias and Arabesques” (CBS), 59, 219, 442, 444–45

515

Arias for Baritone (Larsen, ed.), 92 Arias for Mezzo-Soprano (Larsen, ed.), 89 Arias for Soprano (Larsen, ed.), 91–92 Arion String Quartet, 20, 236, 466 Ariosto, Janet, 202, 412 Arizona Daily Star, 270, 300 Arizona Republic, 363, 475 Arizona State University, 195, 218, 363 Arlen, Walter “Anne Elgar Sings Lead in ‘Baby Doe’ ”, 349 “Carol Neblett Sings Recital at El Camino,” 349 “UCLA Gives Evening of Musical Americana,” 442 Arlington, VA, 213 Armed Forces Master Records, 280 Armes, Mary Beth. “Handel and Three Prima Donnas,” 267 Armstrong, Francis, 236 Armstrong, Karen (soprano), 189, 191 Armstrong, Karen (stage designer), 194 Armstrong, Richard, 211 Armstrong, Will Steven, 202 Arnold, Edward, 26 Arntzenius, L. M. G., Jr., ed. Encyclopedie van de muziek, 341–42 Aronoff, Max, 237 Arons, Helen, 231 Arpino, Gerald, 245 Arrow Music Press, 102 Art and Archaeology, 255 Art Centre (New York), 234, 277 Art of Beverly Sills, The, 91 Art of Eileen di Tullio, The, 90 Arthur, Chester A., 46–47, 50, 85, 87–88, 181–83, 185–99, 299, 402 Arthur, Danielle, 235 Arthur, Donald, 87, 183 Arthur Pryor’s Band, 122 Arts and Science Theater (St. Paul, MN), 188 Arts Magazine, 322 Arundel Opera Theatre, 184, 218, 384, 404 As You Like It (Shakespeare), 32, 113, 167 Asbury, Herbert. Carry Nation, 61 ASCAP, 27, 70, 264, 267, 288, 306, 318–19, 343 ASCAP Biographical Dictionary (Cattell Press, ed.), 343

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

ASCAP Biographical Dictionary (Farnol Group, ed.), 343 ASCAP Biographical Dictionary (McNamara, ed.), 344 ASCAP Symphonic Catalog, 267 ASCAP Today, 319 Ashland, OH, 219 Asiado, Ted. “Douglas Moore Opera Carry Nation”, 268 Aslanian, Arlette, 192 Aspen, CO, 367 Aspinall, Catherine, 205 Association musicale Franco-Américain, 235 Association of American Colleges, Bulletin of the, 312 Åstrand, Hans, ed. Sohlmans musiklexikon, 345 “At the Opera” (Moore), 250 “Ate My Breakfast” (Moore), 7, 170–71, 495 Athenaeum Theater (Chicago), 195 Athens, GA, 209 Athens, Greece, 215 Athens, OH, 219 Atherton, Robert, 182–83 Atkinson, Brooks. “Cheating the Devil to Music,” 419 Atkinson, David, 217 Atlantic Monthly, 378, 385 Atlantique du Nord (Moore), 137. See also North Atlantic Suite “Atterboy, Columbia” (Moore), 85, 498, 507 “Attitudes on Contemporary American Composition . . . ” (Gahimer), 262 Auckland, New Zealand, 219 Auden, W. H., 28 Audubon, NJ, 212 Audubon High School, 212 Aufdemberge, Leon Maurice. “An Analysis of the Dramatic Construction of American Operas on American Themes, 1896–1958,” 268 August, Joan, 96, 187–88, 202 “Augusta! How Can You Turn Away” from The Ballad of Baby Doe (Moore), 44, 49, 88–89, 387, 501 Augustana College, 241 Augustana Trio, 241 “Augusta’s Aria” from The Ballad of Baby Doe (Moore), 44, 49, 88–89, 387, 501

Austin, Charles, 205 Austin, David, 192 Austin, J. Robert, 201 Austin Lyric Opera, 196–97, 354 Autori, Franco, 22, 245, 483 Averill, Timothy, 220 Avery Fisher Hall, 106 “Awake, Snakes” from The Ballad of Baby Doe (Moore), 368 awards. See Moore, Douglas. awards Aycock Auditorium, 242 Ayer, Ethan at performance of Giants in the Earth, 447 Wings of the Dove, The, 53, 175–77, 307, 483, 485, 487, 489, 491 B B., E. “Opera Yesterday and Today,” 419 B., E. S. “Armchair Gossip,” 268 B., H. “Music: Novelties by American Composers Played Here by the Cleveland Orchestra,” 456 B., J. “Punch Opera Gives Moore, Offenbach,” 420 B., M. “Russians Applaud Symphony,” 473 B., R. “Vier neue amerikanische Opern,” 483 Babbitt, George F. (character by Sinclair Lewis), 19, 141, 455 Babbitt, Milton, 69 Babin, Victor, 250 Baby Doe Tabor (Temple), 334–35 babydoe.org essays, 269–70, 302 newsletters, 262 newspaper articles, 303, 314, 357–58, 366, 375, 391–92 newspaper reviews, 362, 383–84 web site, 302–3 webmaster, 389 Bach, Johann Sebastian, 8, 68, 70, 164, 250, 268, 316–17 “Bach Capably Documented” (Moore), 250 Bach Reader, The (review by Moore), 250 Bach to Bartok Series, 164 Bachman, Elizabeth, 195 Backgren, Arthur, 205 Backhausen, Nelly, ed. Musikkens, 344 Backman, Daniel, 236

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Page 517

INDEX

Bacon, Elmore. “String Quartet Recital at Museum Acclaimed,” 466 Bacon, Ernst songs, 114–15 Tree on the Plains, A, 31, 274, 285 Bacon, Peggy, 101, 113, 295 Badings, H. H., ed. Encyclopedie van de muziek, 341–42 Baerwald, Hellmut, 240 Bagar, Robert Concert Companion, The, 268 “Douglas Moore: ‘In Memoriam’ ”, 268 “Music: Moore Symphony Isn’t Too Deep,” 473 Bagnoli, Giorgio. The La Scala Encyclopedia of the Opera, 268 Bailey, Arthur, 205 Bailey, Emily. See Moore, Emily Bailey, Therman, 185 Baird, Edward, 191 Baird, J. Julius, 211 Baisley, Helen, 87, 182–83 Baker, Tomi, 202 Baker’s Biographical Dictionary of Musicians, 269 Baker’s Biographical Dictionary of TwentiethCentury Classical Musicians (Slonimsky), 331 Baker’s Dictionary of Music (Slonimsky), 345 Baker’s Dictionary of Opera (Kuhn), 305 Baker’s Student Encyclopedia of Music (Kuhn, ed.), 269 Bakman, Patrick, 191–93, 220, 401 Bala, Iris, 186 Balaban, Emanuel, 228 Balabán, Péter, 271 Baldassarri, Alfredo, 237 Baldwin, Marcia, 186 Baldwin, Susan, 215 Bales, Richard, 216, 228, 242–44, 440–41, 462, 480 Ball, Frederick, 193 Ball State Teachers’ College, 219, 232 Ballad of Baby Doe, The (Moore) aesthetics of, 302 “Always through the Changing” (Farewell Song), 46, 49, 86, 89–90, 199–200, 491, 501

517

analysis, melodic, 263 analysis and description in dictionaries, 297, 305 in dissertations, 262–63, 268, 332 in encyclopedias, 288–89, 296, 301, 309 in histories, 288, 304, 311–12, 390 in introduction, 46–49 in newspaper articles, 299, 319 in periodicals, 313 in programs, 313 in recording guides, 336 in theses, 262, 387 in web sites, 296 in works list, 85–86 “Augusta’s Aria” (“Augusta, How Can You Turn Away”), 44, 49, 88–89, 387, 501 “Awake, Snakes,” 368 bibliography, 303 Broadway production, 50–51, 277, 334, 350, 358, 368, 375, 402 Carry Nation, compared to, 63, 66, 410, 412, 414–15 characters, 281, 302–3, 315, 330 children’s game scene, 45 classified list, 503 college course, 313 composition, 276, 330 critical reception, 282, 317–18, 323, 350, 359 dictionary entry, 266, 276, 297–98, 315, 321, 332 discography, 269, 303 election scene, 292, 332 encyclopedia entry, 269, 292, 296, 301, 309 “Farewell Song” (“Always Through the Changing”), 46, 49, 86, 89–90, 199–200, 491, 501 fiddle tunes, in, 26 folk music, use of, 261, 332 gambling scene, 45–46, 393 gender analysis, 262 “Gold Is a Fine Thing” (“Silver Aria”), 46, 48, 86, 88, 90–91, 200, 367, 383 “Good People of Leadville,” 87 Hadley (Henry) Award, 58, 284 historical basis of in books, 329 in dissertations, 261, 282

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

[Ballad of Baby Doe, The, continued ] in newspaper articles, 276, 303, 351, 356, 372, 396 in periodical articles, 307–8, 330 in programs, 313–14 in websites, 269 history of in books, 301, 329–30, 333–35, 340, 405 in dictionaries, 332 in dissertations, 282 in encyclopedias, 269 in introduction, 42–45, 49–50 in periodical articles, 296, 355 in theses, 305 “Letter Aria,” 44–45, 47, 66, 86, 90, 332, 363, 379, 382, 500 libretto analysis, 332 in anthologies, 286, 291 based on historical characters, 258, 260–62, 277, 296 in college teaching, 313 gender analysis, 262 history of the, 301, 307–8, 316, 322, 340, 382 published, 491 as related to the music, 262 reviews 1956, 360, 362, 370–71 1957, 368, 387, 395 1958, 352, 377, 379, 395 1959, 388, 394 1960, 356, 391 1962, 365, 391 1963, 395 1966, 376, 380 1967, 365, 378 1976, 381, 403 1984, 358, 363 1987, 360 1988, 361 1996, 354, 372, 384 2001, 383, 398, 402 revision, 334 satire, 311 love story, 269 manuscripts, 293 movie version, 274, 349

newsletter, 262 opera handbook entry, 294, 302, 308, 312, 315, 321, 330–31 operatic repertory, 272, 304 “Out of the Darkness,” 45 performance history, 263 performances 1956 announcements, 305, 348–51, 357, 362, 367–68, 375, 386–87, 391–92, 400–401, 405–6 broadcast, 402 celebrities, 379, 385, 392, 396 costumes, 348, 391, 404 description, 45, 49–50, 282, 329, 340 interviews, 368 photographs, 301, 348–51, 368, 370, 375, 386, 393, 400 publicity events, 353, 357, 361–62, 385–87, 392–93, 396, 404 reviewers, 401 reviews Chicago newspapers, 362, 367–68 Denver newspapers, 359, 382, 397, 405 Los Angeles newspapers, 370 New York, 50, 348, 351, 357, 359–60, 399–400, 404 periodicals, 360, 375, 380, 393, 397 Seattle newspapers, 371, 389 social events, 358, 392, 405 stage design, 355, 404 ticket sales, 387, 400 1957, 306, 360, 367–68, 387, 398, 400 1958 announcements, 306, 349, 373, 385 history of the New York premiere, 52–53, 352–53 libretto for the, 291 photograph, 357, 386 production, 340 reviews Cleveland newspapers, 353, 373 New York newspapers, 352, 354, 372, 376–77, 389, 395, 399, 403 periodicals, 359, 365, 370, 377, 379, 388, 395, 401

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Page 519

INDEX

1959, 296, 302, 306, 366, 393 1960, 349–50, 370, 373–74, 384, 386, 395, 400, 404–5 1961, 58, 306, 355, 376, 384–85, 392, 394–95, 398–400 1962, 59, 306, 376, 391–92 1963, 306, 376–77 1965, 306, 376, 389 1966, 358, 361, 371, 376, 380, 386, 400, 403 1967, 306, 365, 374, 380, 404 1969, 357, 385, 395–96, 403–4 1970, 373, 388, 393 1974, 377 1976, 355, 364, 372, 375, 392, 398, 401, 403 1980, 362 1981, 261, 314, 358, 368–70 1984, 358–59, 363 1986, 373, 379–80, 392, 406 1987, 352, 356–7 1988, 361–63, 369, 378, 382, 388 1989, 381 1991, 379, 400 1992, 366–67, 386 1993, 301, 363 1994, 326, 355, 362, 390, 392, 397, 401–02 1995, 384 1996, 353–4, 358, 369–70, 372, 377, 384, 387, 396, 403–4 1997, 303, 356, 359–60, 363, 374, 382–85, 389, 391–94, 396, 401 1998, 274, 364, 375, 383–84, 391, 397 1999, 358, 380–81, 388, 399–400 2000, 351, 378, 387, 402–3 2001, 360, 368, 383, 390, 398 2006, 353, 378, 389, 396 2009, 362 all years, 314 announcements of, 348–406 Central City, 263, 304 chronology, 181–200 New York City Opera tour, 58, 200 photographs, 349, 356, 382–83 reviews of, 50, 282, 348–406 production, 286, 310, 312

519

[Ballad of Baby Doe, The, continued ] programs, 348 publication, 53, 86–87, 89–92, 306 quotation, use of, 47, 67, 261–62, 366, 393 recordings Deutsche Grammophon, 87–88, 292, 321, 336, 354–55, 359, 381, 387–88, 397–98, 402 excerpts, 88–93, 354, 363–64, 370, 379, 382–83, 396, 398 Heliodor, 87, 292, 361, 371, 374, 378, 383, 385 MGM in discography, 87–88, 90–91 issued in 1959, 53, 306 reissued, 87–88, 90–91, 359, 361, 383 reviews, 372, 374, 383, 388, 394, 402 Newport Classic, 88, 354, 358, 364, 387, 393, 397, 403 unpublished, 358 revision, 51, 332, 368 satire, 311 scenery, 307 school program, 361 score and parts, 391 “Silver Aria” (“Gold Is a Fine Thing”), 46, 48, 86, 88, 90–91, 200, 367, 383 singers for Baby Doe, 52 stage design, 3, 320, 355, 391 synopsis in books, 281–83, 286, 299, 303, 390 in dictionaries, 294, 305, 312, 321, 332 in dissertations, 262, 268, 282, 287, 332 in encyclopedia articles, 262, 268–69, 288 in handbooks, 308, 315, 321, 330 in introduction, 45–46 in newspaper articles, 277, 360, 370, 372, 380, 396, 400 in periodical articles, 304, 348–49, 372, 389, 392, 402, 404, 406 in programs, 348, 373 in websites, 302, 366 televised 1957, 51, 302, 334, 339, 365–66, 377–79, 395, 398–99, 404 1962, 286, 353 1976, 299, 309, 339, 352, 367, 387, 400 1992, 339

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

“Turn Tail and Run Then,” 87 videorecording, 87–88 “Willow Song” analysis, 47 aria, 92, 332 audition by Beverly Sills, 52 in chronology, 500 lyrics by Moore, 44 melismatic text setting, 46 performances, 200, 348–49 recordings, 88, 92–93, 354, 367, 382–83, 391 reviews, 349, 354, 367, 382–83, 391, 404 scores, 86, 92 sung by Baby Doe, 45 Wings of the Dove, compared to, 55 work by Moore, 284, 298, 304, 311, 333 “Ballad of Baby Doe: Historical Accuracy and Gender Ideology . . . , The” (Hoffmann), 262 Ballad of Baby Doe: “I Shall Walk Beside My Love,” The (Smith and Moriarty), 263 Ballad of William Sycamore, The (Moore), 15, 93, 200–201, 323, 406, 490, 497, 508 Ballantyne, Paul, 211 ballets, 480, 484–85 Ballister, James, 110, 215 Ballou, Robert, 170 Balsam, Artur, 214 Balthasar (character in Much Ado About Nothing by Shakespeare), 116, 135 Baltimore, MD, 236 Baltimore Sun, 394 Bamberger, Carl, 227 Bamberger, David “Baby Doe: A Tale of Two Operas,” 269 stage director, 195 Bancroft, Caroline author and historian, 43–44, 78 (n. 143), 301, 313, 334 litigation, 43–44, 301, 340, 405 Silver Queen, 43 Bandel, Betty. “Theatre Play One of Finest,” 270 Banff, Canada, 219 Bannihr, Jean, 244 “Barbara Allen,” 302

Barber, Samuel operas, 353 songs, 90, 92, 114–15, 355 style compared to The Ballad of Baby Doe (Moore), 353 Vanessa, 52, 299, 323 Barber County Index, 300, 413 Barbour, Marcia, 236 Barbourville, KY, 219 Barbusci, Nicola, 182 Bärenreiter (publisher), 271, 275, 310, 328 Bargreen, Melinda. “Castle’s Augusta in ‘Doe’ Is Superb,” 350 Baril (role in Oh, Oh, Tennessee), 138–39 Baril, John, 197 Baring-Gould, S., ed. Songs of the West, 107 Barker, John W., 150 Barkley, Arlene, 189 “Barn Dance” from Suite for Piano (Moore), 37, 159 “Barn Sequence” from Power and the Land (Moore), 94 Barnard and Columbia Singers, 204 Barnard Bulletin articles 1927, 318, 320 1928, 270, 290, 329, 336 1929, 268, 270, 278, 281, 283, 320 1930, 265, 292, 317, 320, 336, 470 1931, 302, 330–31, 335, 462 1932, 264 1933, 324, 466 1951, 448 reviews conducting by Moore, 278 works by Moore, 459, 470 Barnard Bulletin. Literary Supplement, 270 Barnard College Alumnae Day, 265 alumnae lecture, 308, 324 assembly, 318 Barnard Hall, 203, 205, 229, 234 Chamber of Music Society, 277 community singing, 268, 270, 283, 292 credit for performance classes, 281, 283 faculty, 264, 310 Faculty Follies, 24, 270, 289

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Page 521

INDEX

German department, 290, 329 Glee Club, 203–5, 213, 229, 270, 278, 281, 302, 335 Greek Games, 18, 123, 222, 270, 278, 497, 503 head of the music department, appointment, 17 lecture, 315 music appreciation, 289 music department, 265, 270, 283, 312 music library, 283 opera club, 320 performances, 203, 205, 222, 229, 234–36, 466, 470 phonograph concerts, 320 professor, appointment, 15, 70, 266, 277–78 students, 270, 278 teaching, 17, 70 women’s club, 338 Barnett, David, 26, 135, 180, 224, 229, 458, 464 Barnett, Hinda. “Anatomy of Music,” 270 Barnett, John, 208 Barney (role in Baby Doe), 85, 87, 182–83, 186–88, 190–91, 193, 195, 198–99 Barnum, Donald, 195 Barnum, Merrilee, 221 Barnum, P.T, 12–13, 455–64 Baról, Juline, 88, 196 Baron, Sam, 247 Barrett, Art, 193 Barrie, J. M. Little Minister, The, 47 Barrow, Robert, 234 Barry, Edward. “FM Listeners’ Choice,” 350 Barry, Philip, 20, 23, 174–75, 481–82 Bartender or bouncer (role in Baby Doe), 85, 87–88, 181–83, 186–87, 190–96, 198–99 Bartha, Dénes, ed. Zenei lexikon, 343 Bartholomew, Marshall conductor, 123 Songs of Yale, 122–23 Bartók, Béla Allegro barbaro, 265 Bartók: sa vie et son oeuvre, 271 Béla Bartók: Weg und Werk, Schriften und Briefe, 271 Bluebeard, 477

521

composer, 257, 299, 472 Dance Suite, 474 Ditson Fund grant, 28, 250 encomium, 252 influence on Moore, 68 letters, 271 Music for Strings, Percussion, and Celesta, 248 “Serbo-Croatian Folk Songs,” 250 university class with, 265 works, 282 “Bartók at Columbia University” (Moore), 250 Bartók: sa vie et son oeuvre (Szabolcsi, ed.), 271 Barton, Jenneke, 186 Barzin, Leon, 230, 239, 242, 260, 477 Bashaw, Timber, 128 Bass Concert Hall, 196 Basso, Alberto, ed. Dizionario enciclopedico universale della musica e dei musicisti, 272 musica. Dizionario, La, 344 Baster, Deborah, 220 Bath Festival, 235 Baton Rouge, LA, 201 Battelle Fine Arts Center, 200 Batten, Tom, 182 “Batter My Heart” from Three Sonnets of John Donne (Moore), 30, 163 Bauer, Marion Composers Recordings, Inc. (CRI), 100, 112–13, 161 “New Opera by Douglas Moore,” 446 Bauer, Viviane, 121, 221 Bauer, William, 220, 442 Bauman, Mordecai, 213 Baumann, Carl, 208 Baumgartner, Alfred. Musik des 20. Jahrhunderts, 340 Propyläen Welt der Musik die Komponisten, 340 Baustian, Robert, 184, 186–88, 202, 228, 279, 417 Baxter, Elmar, 368 Baxter, Ward, 189 Bay, Howard. “Donald Oenslager, ‘The Ballad of Baby Doe’ (Central City, 1956)” in Stage Design, 351 Bay Cities, 96, 127, 409, 414, 421 Baytown, TX, 219

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

BBC, 49, 210 Beall, Lester, 145 Beard, Charles, 36–37, 295, 332, 335 Beattie, Herbert, 188 Beaumont, TX, 211 Beaumont Civic Opera, 211 Beck, Margaret, 231 Beck, Martin, Mrs., 50, 350, 357 Beck, Peter Dean, 194, 220 Beck (Martin) Theatre, 204, 319, 422, 429 Becker, Barbara, 182–84 Becker, Warren. “Outline IX: Douglas (Stuart) Moore (1893–1969)” in 20th-Century American Composers, 293 Beckett, Henry. “Columbia Honors Music Chairman,” 272 Beckett, Terry, 196 Beckman, Betany, 205 Beckman, Irving, 218, 442 Beckman Shines in “Gallantry,” 442 Beckwith, Arthur, 441 Beebe, Lucius attends premiere of The Ballad of Baby Doe (Moore), 50, 361, 385, 392 “Romantic West in ‘Baby Doe’ ”, 50, 351 “Stage Asides: Steve, Dan’l and the Devil,” 420 “This New York,” 420 Beecher, Henry Ward, 3 Beers, Henry Augustin, 136 Beeson, Jack “Da Ponte, MacDowell, Moore, and Lang,” 272 How Operas Are Created by Composers and Librettists, 272 “In Memoriam: Douglas Moore (1893–1969)”, 272 “Living Legacies,” 272 Lizzie Borden, 410 “Moore, Douglas S(tuart)” in The New Grove Dictionary of American Music, 272 “Moore, Douglas Stuart” in The New Grove Dictionary of Music and Musicians, 272 operas, 294, 384 orchestration advice from, 7, 68 recording program notes, 114–15

Beetham, Michael, 199 “Beethoven” (Moore), 251 Beethoven, Ludwig van book reviews about, 251 composer, 257, 259, 278, 467 Concerto for Violin, 451–53 Concertos for Piano, 290, 458, 474, 476 Egmont. Overture, 278 influence on Moore, 68 Moore’s knowledge of, 4 parodies of, 23, 41, 100, 118 Pathétique Sonata (arr. Moore), 7, 180, 246, 495, 504 performances, 294, 310, 317, 320, 325, 331 string quartet, 255 study of, 8 symphonies, 259 value of the music of, 250 Beethoven, the Man Who Freed Music (Schauffler), 251 Beethoven the Creator (Rolland), 251 Beethoven’s Sketches (Mies), 251 “Behind the Pictures,” 351 “Behind the Scenes,” 449 Behr, Randall, 193, 356 Beistle, Gerald Michael, 212 Beistle, Mike, 212 Bel Air, MD, 219 Bel Canto Opera, 191, 377 Béla Bartók: A Memoir, 265 Béla Bartók Briefe, 271 Béla Bartók: Weg und Werk, Schriften und Briefe, 271 Belgrade, Yugoslavia, 186, 385, 394–95 Belknap Press, 297, 342 Bell, Archie “Barnum Life Set in Tune for Concert,” 456 “Beckwith Gets Big Ovation from Masonic Hall Audience,” 441 “Douglas Moore Will Direct Own Symphony Here,” 477 “Old and New Styles in Music Is [sic] Concert Menu.”, 457 “Shepherd Has ‘Fling’ at Concert,” 272–73 “Triple Headliners,” 477 Bell, Glenn, 181

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INDEX

Bell, Joseph Le Conte, 152 Bellantoni, Paul, 88, 196 Bellingham, WA, 188, 199 Bellingham Herald, 281 Bellini, Brigitte, 88, 196 Bellini, Vincenzo, 324 Bellner, Monica, 88, 196 Bellows, George Kent. “Douglas Moore” in A Short History of Music in America, 299 Belmont, August, Mrs., 326 Belmont Electric Cooperative, 145, 177 Beloit, OH, 218 Beloit Memorial High School, 218 Belsom, Jack. “Opera Around the World: America; New Orleans,” 351 Belton, MO, 61–62, 96 Belvedere Records, 161 Belwin, 104, 116, 147, 308 Belwin-Mills, 108 Ben (character in Carry Nation), 95–96, 201–2 Bender, John. “The Ballad of Baby Doe: Judith Forst (Augusta) in the San Francisco Opera Production.”, 351 Bender, William. “Harlem Kids Love Opera,” 449 Benditzky, Naoum, 236 Benedetti, Victor, 198 Benedick (character in Much Ado about Nothing), 135 Benét, Stephen Vincent author of text “Adam Was My Grandfather” (Moore), 83, 291 Ballad of William Sycamore (Moore), 15, 93, 406 Devil and Daniel Webster, The (Moore) copyrights, 25–26, 53, 264 libretto, 24–25, 31, 104–7, 261, 273, 309, 313, 333, 419–37, 491 motion picture, 25 short story, 24, 273, 309, 313, 426 television production, 53, 264 Headless Horseman, The (Moore), 23, 31, 124–25, 261, 327, 449–50 “Nonsense Song, A” (Moore), 10, 137 Perhaps to Dream (Moore), 24, 143 Power and the Land. March (Moore), 146

523

Prayer for the United Nations (Moore), 465 “Sad Song, A” (Moore), 10, 152 “Daniel Webster and One,” 273 death of, 31, 51 dedication of Symphony in A (Moore), 34, 160, 476 estate, 53, 264 film script by, 27, 31, 144–45, 177 friend of Moore, 6, 8, 20, 290, 420 influence on Moore, 291, 309, 311, 316 interview, 420 opera, views on, 273 photograph, 426, 428 “Words and Music,” 273 Benét, William Rose “Prayer for England,” 147 Reader’s Encyclopedia, The, 340 “Benet Satire Hit[s] Education,” 449 “Benet Theme Planned for New England,” 420 “Benet-Moore Ties Date Back to Yale,” 420 Benét’s Reader’s Encyclopedia, 340 Benét’s Reader’s Encyclopedia of American Literature (Perkins, et al., eds.), 340 Ben-Hur, 378 Beni, Gimi. “Giants in the Earth by Douglas Moore,” 446 Bennard, Bruce G., 205 Bennett, L. Ainsley, 205 Bennington, VT, 38 Benson, Robert L., 186 Benson, Susan, 197–98 Benstock, Seymour, 231 Bentley, Ronald, 88, 96, 190–91, 202 Berberian, Jon, 186 Berezowsky, Nicolai, 224 Berg, Alban Lulu, 398 Wozzeck, 248 Berg, Jean, 232 Bergen, N.J., 338 Bergen County Record, 485–86 Bergen [New Jersey] Evening Record, 302 Berger, Arthur V. “Columbia Festival,” 473 “Spotlight on Americans,” 467 Berger, Brigid, 198

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Bergner, Carl, 201 Bergsma, William, 114–15, 150, 467 Berkeley Opera, 199 Berkman, John, 490 Berkshire, MA, 238 Berkshire Community Symphony Orchestra, 217 Berkshire Eagle, 398 Berkshire Music School, 319 Berl, Paul, 218, 231 Berlin, 58, 186, 217, 336, 355, 376, 392, 394–95 Berlin, Irving, 260, 288 Berlin, Leo, 215 Berlin (West), State Opera of, 186 Berlin (West) Music Festival, 58, 186, 355 Berlin Radio Symphony Orchestra, 217 Berlin Telegraf, 392 Berlioz, Hector as arranger, 302 as composer, 259, 392 Troyens, Les, 379 Berman, Louis, 237 Bermuda, 20, 85, 241 Bermuda Musical and Dramatic Society, 241 Bern, Switzerland, 237 Bernhart, Walter, 295 Bernheimer, Martin “America: From the Prohibition Era,” 407 “Kansas as Opera Wasteland Splintered by ‘Carry Nation’ ”, 407 “L.B. Opera Stages the ‘Ballad of Baby Doe’ ”, 352 “Live Opera via Lincoln Center,” 352 “Long Beach,” 352 “N.Y. City Opera Presents ‘Baby Doe’ at Music Center,” 352 “Opera ‘Carry Nation’ Corn from Kansas,” 407 “S.F. Spring Opera Debut,” 273 “Status of Little League Opera, The,” 407 Bernstein, Leonard songs, 90 style compared to The Ballad of Baby Doe (Moore), 380, 392 Trouble in Tahiti, 442–43 Bernstein, Martin. Introduction to Music, An, 248 Berry, Scott, 220

Berryman, Richard, 209 Bertsche, Samuel, 121, 221, 244 Best, Richard, 186 Bestor, Charles L. “Douglas Moore, Composer of Opera about Dan’l Webster and the Devil, Is Here,” 420 Bethea, Sara Kathryn. “Opera for Children: An Analysis of Selected Works.”, 273 Bethel, CT, 12 Bethesda, MD, 233 Bethpage, NY, 228 Bethpage Community Park, 228 Beveridge, Lowell P. conductor, 229 “Reviewer Commends Concert of Orchestra at M’Millin,” 273 Beverley Sills and Friends, 88 Beverley Sills: The Great Recordings, 90 Bhavan, Azad, 238 Bialosky, Marshall, 207 Biancolli, Louis ‘Baby Doe Gets City Premiere,” 352 “Columbia Sponsors a Dust Bowl Opera,” 274 Concert Companion, The, 268 “Freshness Appeals in Opera at Hartford,” 481 “ ‘Giants in the Earth’ Ranks as Revolt-byConservatism,” 274 “Music: American Opera Advances by a Big Notch,” 446 “Music: Double Bill at City Center Gives U.S. Opera a Boost,” 420 “Music: Heifetz Playing of Concerto by Beethoven Unforgettable,” 451 “Music: Henri Temianka Joins in Topflight Fiddling,” 438 “Music: Home-Grown Talent Boosted,” 451 “Music: Moore Opera at City Center,” 483 “Music: Native Symphonic Style Marks Music Festival,” 473 “Music: Spirit of Grace Moore at Stadium,” 451 Bible, Frances casting, 44, 50 critics’ evaluation, 50 interviews, 303

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INDEX

performances 1956, 181, 375, 393, 405 1958, 182, 394 1959, 183 1960, 183 1961, 185, 398 1962, 186, 392 1965, 187–88 1966, 188, 398 1967, 189, 365, 378 1969, 189–90, 396 1970, 190–91, 373 1976, 191, 352, 372, 375 photographs, 348–49, 356, 368, 370 recordings, 87–88, 362–63, 372, 381, 383, 387 reviews 1956, 349, 375, 393, 405 1962, 392 1966, 398 1967, 365, 378 1969, 396 1970, 373 1976, 352, 372, 375 recording, 362–63, 372, 381, 383, 387 on vocal demands of Augusta character, 47, 303 Bible, The, 37, 61, 169, 413, 419, 438 bibliographies in bibliographies, 286 in biographies, 315 in chronologies, 293 in dictionaries, 272, 287–88, 294, 297, 333 in encyclopedias, 272, 275, 291, 309–10, 328 in handbooks, 337 in journal articles, 294 in theses, 262 in web sites, 284, 296, 303 Biblioteca Artigas-Washington, 236 Biblioteca italiana e opere di consultazione, 340 Bicentennial Parade of American Music, 299 Bielefeld Opera, 193, 373, 379–80, 392, 406 Bierley, Paul E., ed. The Heritage Encyclopedia of Band Music, 344 Bigger Better Babbitts (Moore), 138–39. See also Oh, Oh, Tennessee (Moore)

525

Billboard, 359, 397–98 Billboard’s Top Classical Albums, 397 Billet, Janet, 222 Billings, Jacquelyn, 196 Billings, James, 87, 191, 372 Billy Boy Girls, 119, 218 Billy Boy Wax, 51 Billy Rings the Bell, 247 Biltcliffe, Edwin, 114 Biltmore Hotel (New York), 471 Binder, 220 Bing, Rudolf, 69 Bingham, Seth “Bingham Criticizes Orchestra Concert,” 274 Pioneer America, 324 Bingo Eli Yale, 122–23 Biographical Dictionary of American Music (Claghorn), 341 Biographical Dictionary of Musicians, The (Hughes), 342 Bip Goes to Town (Moore), 27, 94, 146, 178, 313, 331, 499, 504 “Bip Runs Out, Frank in Car” from Bip Goes to Town (Moore), 94 “Bip Walks Away” from Bip Goes to Town (Moore), 94 Biracree, Thelma, 242, 480 Birchard, C.C., 141 Bird, Robert C., 207 “Birds’ Courting Song, The” (Moore), 41, 94–95, 501, 505 Birthday of the Infanta (Carpenter), 266 Bisbee, Dana. “Social Scene: Faithful Doeheads Sing the Praises of Ballad,” 274 Bischoff, John, 199 Bishop, Adelaide, 209–10 Bishop, George, 115 Bishop, Margaret, 119, 220 Bispham (David) Award, 332 Bittner, Jack, 96, 187–88, 190, 202 Bizet, Georges, 92–93, 278 Black, Norman, 203 Blackbeard Teach, 104–5, 204–13 Blackburn, 220 Blackhawk Films Collection, 146 Blaisdell, Torrance, 88, 196

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Blake, Beulah, 204 Blake, William, 211 Blank Performing Arts Center, 195 Blankenchip, John, 185 Blankenship, Joe, 104, 378, 426, 430 Blaustein, Claire. “The Beautiful ‘Ballad of Baby Doe’ ”, 352 Bledsoe, Darrell, 189 Bliss, Sharon, 185, 370, 394 Blitzstein, Marc, 394, 419 Bloch, Ernest, 9–10, 14, 280, 294, 311, 327, 466, 477 Bloch (Ernest) Award, 481 Blocher, Richard, 192 Block, Edward, 121, 221, 231 Blom, Eric, ed. Everyman’s Dictionary of Music, 340 Grove’s Dictionary of Music and Musicians, 293 New Everyman Dictionary of Music, 341 Blomster, Wes. “Opera in Review: Festivals: USA: Central City Opera,” 353 Blooding, Randie Lee. “Douglas Moore’s The Ballad of Baby Doe,” 261 Bloom, Julius, ed. The Year in American Music, 1946–1947, 274, 299 Bloom (Sol) School, 404 Bloomberg, Lloyd, 206 Bloomfield, Arthur. “America: A Cinematic ‘Screw’ ”, 407 Bloomington, IN, 191, 198, 398 Bloomsburg, PA, 212 Bloomsburg State College, 212 Bloomsbury Dictionary of Opera and Operetta (Anderson), 266 Bloomsbury Theatre, 195, 377 “Blow, Blow Thou Winter Wind” from Five Shakespeare Songs (Moore), 32, 113, 201, 499 “Blue Flame, The” from Devon Folk Songs (Moore, ed.), 107 Bluebeard (Bartók), 477 Blum, Margot, 211 Blume, Friedrich, ed. Die Musik in Geschichte und Gegenwart, 275, 310 Blumenfeld, Harold. “The Battle of Baby Doe,” 353 Blumenthal, Ralph. “You’ve Come a Long Way, Baby Doe,” 353

BMG Classics, 106 BMI, 27, 318 Boals, Gregory, ed. Broadway Repertoire for Soprano, 90 Boatwright, Helen, 225, 241 Boatwright, Howard, 210, 238 Boberg, Robert, 209 Boehm, William C, 182 Boelzner, Gordon. Some Twentieth Century American Composers, 286 Bogin, Abba, 215, 238 Bogucki, Philip, 209, 223 Bohachevsky, George, 88, 191 Bohemians (Harvard Club), 236 Bohle, Bruce, ed. The International Cyclopedia of Music and Musicians, 346 Bohlman Hall, 237 Boit, Eleanor, 244 Bole, Allen “Barry’s ‘White Wings’ Has Premiere in Musical Dress,” 481 “New Moore Music Heard in Hartford,” 481 Boleslavsky, Richard, 14 Bollinger, Bernard, 185 Bomarzo (Ginastera), 410, 416 Bomhard, Moritz von, 217, 234 Bomhard Theater, 200 Bone (author). “Strawhat Reviews: The Devil and Daniel Webster.”, 420 Bones, Brom (character in The Headless Horseman), 23–24, 125, 450 Bongers, Benjamin, 105 Bono, Ray, 161 Book of Modern Composers, The (Ewen), 254 Book of World-Famous Libretti, The (Fuld), 291 Bookspan, Martin. “Is There a Great American Opera?”, 421 Boola (Allan M. Hirsh), 122–23 Boone, Daniel, 15 Boor, The (Argento), 443–44 Boosey & Hawkes, 102, 104, 106–7, 116, 147, 271, 308 Boosey Series of Choral Music, 147 Bordas, 342 Bordman, Gerald. The Oxford Companion to American Theatre, 274–75

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Bori, Lucrezia, 457 Boris Gudonov (Mussorgsky), 384 Born, Walter, 244 Borodin, Alexander, 247 Boros, Ethel “Music Beat: Beverly Sills Captivating as Baby Doe,” 353 “Two Operas Have Youth and Grace,” 465 Borsting, Torlef, 199 Boston, MA city, 423 performances Ballad of Baby Doe, The, 58, 185, 197, 375, 383–84, 391, 398, 400 Devil and Daniel Webster, The, 211 In Memoriam, 224 Pageant of P.T. Barnum, The, 226–27 Quintet for Winds, 232 Sonata for Violin and Piano in D Minor, 235 Village Music, 243 White Wings Overture, 245 Boston Arts Festival Ballad of Baby Doe, The, 58, 185, 364, 384, 398, 400 Devil and Daniel Webster, The, 53, 211, 419, 423, 430, 436, 438 Boston Composers Forum, 235 Boston Daily Globe, 364, 419, 423, 458 Boston Globe, 364, 442 Boston Herald, 274, 391, 400, 426, 436, 464 Boston Lyric Opera, 197, 274, 364, 375, 383, 391 Boston Pops Orchestra, 227, 243 Boston Post, 427, 432 Boston Public Garden, 211, 438 Boston Public Library, 235 Boston Symphony Orchestra, 224, 253, 285 Boston University, College of Music. Department of Applied Music, 232 Boston Woodwind Ensemble, 232 Bottcher, Ron, 187, 245 Botticini, Francesco Madonna and Child with Tobias and the Angel Raphael, 10 Madonna of Botticini, A, 10 Bouchard, Albenie, 223

527

Bouchard, Rene, 208 Boughton, Harrison, 181 Boulanger, Nadia, 8, 14–15, 17, 311–12, 323, 330 Boulanger (Nadia) Collection, 101, 108, 118 Boulet, George, 222 Bouncer or bartender (role in Baby Doe), 85, 87–88, 181–83, 186–87, 190–96, 198–99 Bovard Auditorium, 185 Bowdoin College Glee Club, 234 Bowerfind, Edna S., 221 Bowers-Broadbent, Christopher, 169 Bowker, Robert, 219 Bowles, Doug, 213 Bowles, Dr. (character in White Wings), 174, 244 Bowles, Paul Denmark Vesey, 335 “Jascha Heifetz Is Heard in Beethoven Concerto,” 452 “Modern Works Presented in Concert Here,” 469–70 “Music of Today: Contemporary American Works Are Presented in Times Hall,” 438 Paul Bowles on Music, 438 songs, 114–15 Bowman, Allison, 200 Bowman, John S., ed. Cambridge Dictionary of American Biography, The, 341 Bowyer, Brenda, 183 boy (character in Carry Nation), 95–96, 201–2 Boyce, Bryan, 199 Boyd, Richard, 189 “Boyhood at Bethel” from The Pageant of P.T. Barnum (Moore), 12, 141 Boyle, William, 206 Boynton, Wesley, 184 Bozeman, MT, 199 Brabson, John, 193 Brackin, Cal, 194 Braden, John, 191 Bradford, William, 71 Bradley, Jeff “Baby Doe Anniversary Strikes Gold at Central City,” 353 “Baby Doe Opening American Series,” 354 “Central City’s ‘Baby Doe,’ 353–54 “Dana Krueger an Imposing Augusta,” 354

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

“Fans Get Second Chance to Catch ‘Ballad of Baby Doe’ on Radio,” 354 “Home-Grown Opera,” 354 “Memories of Baby Doe,” 354 Bradley, Walda, 202 Bradley University, 219 Braham, John, 209 Brahms, Johannes, 68, 257, 259, 273, 294, 325, 329–30, 473 Bramley, R. Keith, 211 Bramsen, Ludvig Ernst, Jr., ed. Musikkens: Hvem hvad hvor, 344 Brand, Megan, 221 Brand, Robert Gibby, 105 Branscombe, Gena (Tenney), 18 Brant, Henry “Cat Sat (Art Song) = (Katze Sitze) (ein Kunstlied),” The, 32, 97 Lonesome House, The, 247 Miss O’Brady, 335 orchestration advice to Moore, 7, 68 Power and the Land (Moore), orchestration for, 68, 145–46, 331 Bratcher, James, 193 Braun, William R. “Recordings: American Dreamer,” 354 Brautigam, Keith, 195 Brazin, Bernard, 206 Brearley School, 24, 143 Brecher, Carl, 238 Breedlove, Leonard P. “Happy Land,” 12 Breford, Eldon, 181 Breiseth, Frederick Hart Tillman, 482 Breitkopf & Härtel, 248 “Brek-ek-co-ex-co-ex” (Moore), 5, 142, 494, 507 Bremenstuhl, Philip, 212, 434 Brennan, Elizabeth A. Who’s Who of Pulitzer Prize Winners, 340 Brennan, Gerald, 336 Brenner, Engelbert, 232 Brentano, Felix, 121, 221 Brereton, Harold, 208, 424 Brewer, Jim, 185 Briarcliff Manor, N.Y., 165 Brice, Carol, 230, 465

Brico, Antonia, 238 Bride’s Fate, The, 3 Bridge Records, 404 Bridges (Mabel Shaw) Hall (Pomona College), 215, 242 Brigdon, Bruce, 210 Briggs, John “Baby Doe at Center,” 354 “In Review: From Around the World; Austin, Texas,” 354 “Records: Opera: First Disk of a Work by Douglas Moore,” 421 Brigham Young University, 208, 218, 422, 424 Brigham Young University Opera Workshop, 208 Bright, Hermaphus (role in Oh, Oh, Tennessee), 138 Brindel, John Marcus, 198 Brinkerhoff Theatre, 270 Brisk, Barry R., 220, 442 Bristol, Hildegarde, 207, 437 Brita (character in The Greenfield Christmas Tree), 124, 222 Britannica Book of Music (Hadley, ed.), 340 British Broadcasting Corp. (BBC), 49, 210 Brittain, Elmer, 211 Britten, Benjamin letters, 275 Paul Bunyan, 28, 275 Turn of the Screw, The, 52, 323, 398, 407, 445 Broadcast Music, Inc., 27, 318 Broadway Ballad of Baby Doe, The (Moore) compared to Broadway, 332, 359, 362, 369, 374–75, 381, 388, 392 Myerberg production, 50–51, 277, 334, 350, 358, 368, 402 Barry, Philip, 5, 21–22 Carry Nation (Moore), 410 compared to opera, 256–57, 311 Devil and Daniel Webster, The (Moore), 426–27, 432, 436 Kander, John, 5, 71 operettas, 5 songs, 67 stars, 5 Broadway Repertoire for Soprano (Boals, ed.), 90

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Broberg, Wallace, 208 Broder, Nathan. “Moore, Douglas Stuart” in Die Musik in Geschichte und Gegenwart, 275, 310, 328 Brodsky, Jascha, 237 Broekhuizen, Jean, 199 Broekman, David, 221 Broeksz, J. B., ed. Encyclopedie van de muziek, 341–42 Broer, Kathleen, 236 Bromberg, Virginia, 223 Bronston, Levering, 355 Brontë, Emily. Wuthering Heights, 61 Bronx Opera, 193, 212, 360, 490 Bronxville High School, 23, 125, 215, 222, 230, 327, 450–51 Bronxville High School Orchestra, 222 “Brook, The” from MacLeish Songs (Moore), 4, 132, 494 Brooklyn, NY elementary school, 3 Moore family residences, 2, 5, 235, 315, 318 performances Ballad of Baby Doe, The (Moore), 199 Devil and Daniel Webster, The (Moore), 210 “Evening Wind, The” (Moore), 235 Farm Journal (Moore), 216 Gallantry (Moore), 220 “Gifts” (Moore), 235 Overture on an American Tune (Moore), 225 Pageant of P.T. Barnum, The (Moore), 227 Prayer for the United Nations (Moore), 230 “Rune, The” (Moore), 235 “Song of April” (Moore), 235 “Song of the Canoe, The” (Moore), 235 String Quartet (Moore), 237 “To an April Lady” (Moore), 235 Brooklyn Academy of Music, 216, 227, 237 Brooklyn Chamber Music Society, 237 Brooklyn College Chorus, 230 Brooklyn College Hillel, 199 Brooklyn College Opera Theater, 199, 210, 220, 446 Brooklyn Daily Eagle, 315, 318, 457

529

Brooklyn Museum, 224–25, 239, 245 Brooklyn Symphony Orchestra, 22, 239, 245, 477–78, 483 Brooks, Katie, ed. Chambers Dictionary of Music, 341 Brooks, Patricia, 185, 187–88, 190, 201, 373 Brown, Alaina, 213 Brown, Beatrice, 231 Brown, George, 227, 461 Brown, Harriet Villette, 5, 235 Brown, James, 197 Brown, John, 59, 315, 409 Brown, John Mason Jesse James, 18, 128 “Two on the Aisle: An Experiment with the American Lyric Theatre,” 421 Brown, Lucy, 213 Brown, Ray C. B. “Critic Regrets Rampant Hunger for Personalities,” 275 “ ‘More Abundant Life’ Held Need of Music,” 275 “Postlude,” 466, 470 Brown, Raymond, 209 Brown, Rayner, 222 Brown, Zach, 196–97 Brown Music Horizon Series, The, 286 Brown Palace Hotel, 44, 50, 367, 392–93 “Brown Penny” (Moore), 32, 51, 95, 201, 499, 501, 506 Brown University Glee Club, 234 Browne, Gaylord, 191 Browning, Elizabeth Barrett, 305 Brozen, Michael. “Douglas Moore: The Good Life,” 276 Brubeck, Dave, 428 Bruce, Neely, 196 Bruckner, Anton, 377 Brueckner, John, 213 Bruhn, Eva, 290, 329 Brüll, Klára L., 271 Brumley, R. Keith, 195, 212 Brundage, David, 212–13 Brunssen, Karen, 195 Brunsvik, Therese von, 251

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Brunt, Brom van (character in The Headless Horseman), 23–24, 125, 222–23, 450 Brussels Radio, 239 Brustadt, Marilyn, 220 “Bryan, Bryan, Bryan, Bryan” (Vachel Lindsay), 11 Bryan, William Jennings Ballad of Baby Doe, scene in, 46, 49, 86, 320, 379, 387 character, 45–47, 49, 85, 299, 356, 375, 402 performed by Baird, Edward, 191 Barnum, Donald, 195 Barrett, Art, 193 Beattie, Herbert, 188 Bischoff, John, 199 Bledsoe, Darrell, 189 Brindel, Marcus, 198 Cass, Lee, 188 Cottle, Andrew, 194 Dansby, William, 192 Davidson, Lawrence, 50, 181, 351 Davies, John, 198 Davis, J. B., 191 Densen, Irwin, 193 Devlin, Michael, 197 Eckhoff, Herbert, 192 Fiorito, John, 187 Flanagan, Michael, 195 Freiman, Mark, 88 Gallup, Michael, 193 Hale, Robert, 190 Harrower, Peter, 187 Hecht, Joshua, 87, 182–83, 189, 388 Hines, Jerome, 193 Hogan, George, 195 Irving, George S., 188 Johnson, Christopher, 199 Jordis, Eelco von, 193 Julian, Kimm, 196 Kayser, Arthur, 188, 358 Kiichli, Henry, 194 King, Thom, 196 Kirkham, Robert, 185 Kleyla, James, 197 La France, Robert, 195 Langan, Kevin, 194

Lazarus, Roy, 183, 389 LeFebvre, Timothy, 197–98 Lehr, LeRoy, 196, 354 Macurdy, John, 183–86 Malas, Spiro, 195 McKee, Richard, 87, 191 Paul, Thomas, 187 Peavy, Dan, 189 Robertson, Brian, 192 Roy, Will, 190 Schmidt, Paul, 194 Schuler, Donovan, 189 Sherrill, Donald, 194 Smith, Malcolm, 187, 190, 192 Standard, James, 181 Sullivan, Dan, 197 Treigle, Norman, 50, 181, 351, 405 Vennard, William, 185 Voketaitis, Arnold, 195 Wentworth, Richard, 187 Bryant Park, N.Y., 185, 220, 443 Buchan, John, 278 Buchan, Linda, 219 Buck, Dorothy, 207 Buck, Gene, 267, 288 Buck, Heather, 199 Buck, Pearl, 336 Buckles, Fred. “Lively Production: ‘Baby Doe’ Opera Hit at Santa Fe,” 355 Buckley, Emerson Ditson award, 329 performances Ballad of Baby Doe, The (Moore), 44, 181–89, 192, 400, 491 Gallantry (Moore), 52, 217 Pageant of P.T. Barnum, The (Moore), 228 Prayer for the United Nations (Moore), 230–31 Symphony in A Major (Moore), 238–39 Symphony of Autumn (Moore), 239 Wings of the Dove (Moore), 245 photograph, 400 recordings, 87–88, 90–91, 303 Budd, Becky, 88, 196 Budd, Evelyn Courtenay, 197, 200, 359 Buell Hall (Williams Memorial Institute), 223

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Buffalo Evening News, 293 Builder man (charater in Then and Now), 4, 162 Buketoff, Igor, 207, 213, 217, 230–31 Bullard, Robert P., 205–6 Bulldog, 123 Bulling, Burchard, ed. Kurzgefasstes TonkünstlerLexikon, 342 Bundock, Donald, 210 Bunyan, Paul, 490 Burby, John, 205 Burchinal, Frederick, 191, 193, 378 Burchinal, Nichole, 192 Burdic, Dorothy, 189 Burdick, Elizabeth B., ed. “Donald Oenslager: The Ballad of Baby Doe, 1956.”, 355 Burger, Edalyn, 211 Burgess, Mary, 186–87 Burgin, Richard, 224 Burial of Euclid from Music for Yale Pageant (Moore), 136 Burk, Stanley, 181 Burke, John W., 195 Burke, P. E. “Tulsa, Oklahoma: The Ballad of Baby Doe ”, 355 Burke, W. J. American Authors and Books, 341 Burke Hall Theater (Southwestern Louisiana Institute), 218 Burklow, Jennifer “Finer Arts: After Much Ado, Theater Is in Season,” 355 “Finer Arts: Opera Theater Heads for the Wild West,” 355 Burlingham, Jean, 204 Burrell, Terry, 89 Burrett, Alan, 199 Burt, Michael, 192 Burtaine, Margaret, 244 Burton, Amy, 194, 369 Burton, Anthony. “Moore, Douglas S(tuart)” in The Oxford Companion to Music, 276 Bush, Martin W. “Symphony in Fine Fettle for Opening,” 457 Bushnell Auditorium, 196, 222 Bushy (role in Baby Doe), 85, 87, 182–83, 186–88, 190–91, 193, 195, 198–99 Busman, James de, 188

531

Bussell, F. W., ed. Songs of the West, 107 Butcher, Harold. “Nation’s Music: Santa Fe, The,” 355 Butler, Bill, 184, 186, 211 Butler, Nicholas, 278 Butler, Walter (character in The Devil and Daniel Webster), 104–5, 204–13 Butler Library, 22, 278, 299 Butler University, 217 Butterworth, Neil Dictionary of American Classical Composers, 276 Dictionary of American Composers, A, 276 Buys, Earl, 200 Buzin, Walter E.“Review of Listening to Music, Rev. Ed., by Douglas Moore,” 276 Byce, Jason, 191, 377 Bychkov, Semyon, 228 Bye, Antony. “The Ballad of Baby Doe,” 355 Byerly, Holly, 192 Byham Theater, 197 Byler, Kenneth, 243 Byrne, Gaylea, 182 Byrne, Patty, 218 C C., E. “Quiet Lyricism Marks Concert,” 490 C., W. B. “Music in Review: Jose Euchaniz, Cuban Pianist, Reappears,” 457 Caberg, Mary Anne, 236 Cady, Jane, 192 Cage, John, 86, 151 Caine, Charles, 194 “Cake Walk” from Cotillion Suite (Moore), 41, 99, 203 Caldwell, ID, 219 Calgary Herald, 314, 357, 362, 375 Calgary Opera, 199, 362, 375 California Chamber Symphony, 215, 439 California Election News, 146 California State University, Fullerton Opera Workshop, 220 California State University, Los Angeles College Theater, 191 California State University, Los Angeles Opera Workshop, 191, 388

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

California Symphony Orchestra, 161 California Youth Orchestra of Mills College, 205 Callas, Maria, 384 Calloway, Rachel, 198 Calvary Episcopal Church (Pittsburgh, PA), 207 Calvary Methodist Church (Washington, DC), 214, 438 Calvin, Raymond, 206 Cambridge, MA, 200, 222, 232, 243 Cambridge Dictionary of American Biography, The (Bowman, ed.), 341 Cambridge University Press, 341 Campaign for Yale, The, 123 Campbell, Don, 8, 208 Campbell, Joan, 87, 191–92 Campbell, John, 219 Campbell, Patton, 181, 188, 192, 194, 202, 245 “Camptown Races” (Foster), 172 Canadian Music Journal, 402 Canady, Donald, 189 Canari, Kit (character in White Wings), 21, 174, 244 Caniff, Milton, 40, 231, 465 Canning, Margaret, 185 Canon, 397 Canon at the Seventh in E-flat Major (Moore), 95, 494, 510 cantata, 257 Cantrell, Jean, 192 Cantrell, Scott “Baby Doe Is 41 Years Old Now but Still Seems Young,” 356 “Debut of Lyric’s ‘Baby Doe’ Finishes as Hitand-Miss Affair,” 356 “In Review: From Around the World; Kansas City,” 421 “Opera: Baby Doe: Forever Young? . . . ”, 356 “Operatic Death Sentences,” 421 Canyon, TX, 219 Capitol Theatre (Salt Lake City), 198 captain (character in Jesse James), 128 Caraher, James, 195, 198 Caratelli, Sebastian, 200 Careccia, Frank, 219 “Careful Etta” from Tintypes (Moore), 163–64, 240 Carer, Aaron, 207

caretaker (character in Carry Nation), 65, 96, 201–2 Cariaga, Daniel “Baby Doe in Revival by Long Beach Opera,” 356 “Music Review: UCLA Operatic Marathon,” 442 “Carillon” from Adventures in the Latin Quarter (Moore), 83–84, 180, 496, 498 Carillon Records, 123 Carl Fischer Academic String Orchestra Series, 99 Carl Fischer Choral Series for High School Girls’ Glee Clubs S.S.A., 143 Carl Fischer Study Score Series, 150 Carleton College, 209 Carleton Glee Club, 209 Carleton Players, 209 Carlo, Don, 96, 202 Carlson, Alden G., Mrs., 206 Carlton, Joseph R. Carlton’s Complete Reference Book of Music, 341 Carmen (Bizet), 278, 316 Carmer, Carl. “The Problem of Encouraging Creative Art in America,” 325 Carmichael, Ramona, 218 Carnegie Chamber Music Hall (New York), 201–2, 229, 240–41 Carnegie Corp. report on music in liberal arts colleges, 22, 335 Carnegie Hall concert hall, 458 performances Ballad of Baby Doe, The. Excerpts (Moore), 199 “Dear Dark Head” (Moore), 203 Devil and Daniel Webster, The. Excerpts (Moore), 214 Down East Suite (Moore), 32, 214, 438–39 Emperor’s New Clothes, The (Moore), 215, 440 Giants in the Earth, The (Moore), 222, 448 Headless Horseman, The (Moore), 223, 449–50 In Memoriam (Moore), 224, 452–53 Pageant of P.T. Barnum, The (Moore), 16–17, 226–28, 456, 458–61, 463

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INDEX

Selections (various pieces by Moore), 233 String Quartet (Moore), 237 Symphony in A Major (Moore), 238, 474, 476 Symphony of Autumn (Moore), 239, 477 Trio for Piano and Strings (Moore), 240 White Wings (Moore), 244 Carnegie Institute of Technology Department of Music, 230 Carnegie Institute of Technology Student Chorus, 230 Carnegie Institute of Technology Student Orchestra, 230 Carnegie Music Hall (Pittsburgh, PA), 207, 230 Carnegie Recital Hall, 203, 237, 240, 244, 479 Carnes, Mark C., ed. American National Biography, 291 Carousel (Rodgers and Hammerstein), 390 Carpenter, John, 209 Carpenter, John Alden Adventures in a Perambulator, 141–42, 457, 460, 463 American Academy of Arts and Letters Gold Medal, 339 Birthday of the Infanta, 266 composer, 250 songs, 114–15 Carry Nation (Asbury), 61 Carry Nation (Moore) analysis and description, 62–65, 95–96, 262–63, 288, 332, 411 characters, 268 in chronology, 501 in classified list, 503 commission, 59–60, 65, 96, 201, 276, 293, 321–22, 337–38, 411, 413 compared to Baby Doe, 403 composition, 276, 297, 323 dictionary entries, 266, 292, 315 fiddle tunes in, 26 folk music, use of, 332 history of, 59–61 “I Lie Awake and Listen,” 97 libretto, 337–38, 406–13, 415–17, 491 manuscript facsimile, 256 musical example, 64

533

performances, 65, 201–2, 306–7, 337, 406–17 photographs, 256, 337, 407–14, 416 production, 286, 312 protest against, 273 recording, 66, 96, 292, 307, 408–11, 414, 421 reviews, 406–17 score, 276, 307 synopsis, 61–62, 268, 286, 292, 305, 316, 332, 408–12, 414, 416 Carson, Leon. “Giants in the Earth: New Opera by Moore, Bows,” 446–47 Carter, Elliott Composers Theatre executive board member, 279 letter of recommendation, 254 photographs, 289, 436 recordings, 150–51 “What’s New in Music,” 248 Carter, Henry, 8 Carter, Joel, 223, 450 Carter, Sam, 207 cartoons, 40, 255, 465 Casa Italiana (Columbia University), 237 Casals, Pablo, 309 “Case for Atonality, The” (Moore), 251 Casella, Alfred, 441 Cass, Lee, 188 Cassel, Walter Baby Doe final scene, 49 Boston Arts Festival, 211 Central City Opera Baby Doe premiere, 181, 351, 357–58, 370, 400 casting, 44, 49, 400 photographs, 351, 357, 370, 400 recording, 358 reviews, 351, 370 Century Club (New York), 181 Chautauqua Opera, 191 Collegiate School for Boys, 199 compared to other singers, 352, 372, 389 Devil and Daniel Webster, The, 428 Ft. Worth Opera, 191 Houston Grand Opera, 190, 373

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

memorial performance (Indianapolis), 390 Musicarnival, 182, 373 New York City Opera 1958, 52, 87–88, 182, 357, 359, 373, 376, 379, 386 1959, 183, 428 1960, 183 1963, 187, 390 1966, 188, 398 1969, 190 recording, 87–88, 362–63, 381, 387–88 photographs, 370, 373, 376 Cassidy, Claudia “On the Aisle: ‘Ballad of Baby Doe’ Turns a Good Story into a Dull ‘Opera’ ”, 356 “On the Aisle: Operatic Americana in the Spring with ‘Susannah,’ ‘Street Scene’ and ‘Ballad of Baby Doe’ ”, 356 “On the Record: Columbia’s Contemporary Project, ‘Goyescas,’ ‘Paris ’90’ ”, 356, 467 “Public Given Fine Crop of Music Books,” 276 “Records: Folk Lore of a Sort in ‘Mahagonny’ and Daniel Webster’s ‘Devil’ ”, 421 Castellini, John, 229 Castle, Joyce, 193–96, 198–99, 350, 352–53, 360, 366–67, 370, 378, 396 Caston, Saul, 224, 239 Caswell, Barbara Jean, 223, 449 “Cat and the Moon, The” (Moore), 97, 499, 506 “Cat Sat (Art Song) — (Katze Sitze) (ein Kunstlied), The” (Moore), 32, 97, 499, 506 Catalani, Alfredo, 92–93 Catania, Claudia, 191, 377 Catholic University, 262 Catt, Linda, 189 Cattell (Jaques) Press. ASCAP Biographical Dictionary, 343 “Cause of Native Music, The” (Moore), 251, 274, 285, 299 Cavallaro, Nicholas, 211–12 Cavendish, Thomas Hamilton. “Folk Music in Selected Twentieth Century American Operas,” 261 CBS, 103, 203, 219, 242, 264, 418, 476 CBS Radio Orchestra, 41, 99, 203, 418

CBS Symphony Orchestra, 216 CBS television, 51, 53, 59, 286, 339, 353, 398, 444 Cedegreen, John, 211 Celebration of the Old House (Cutchogue, NY), 233 Celtic Legend, 266 Centineo, Santi, 213 Central City, CO Ballad of Baby Doe, The (Moore) location of filming, 274 location of performances, 181, 183, 188, 191–92, 194, 196, 198, 349, 386 guests in, 379 history, 348, 388 horseback riders to, 393 photographs, 348 pony express race to, 50, 353, 357, 361, 385, 387, 396 theatrical festivals, 282 travel narratives, 304, 367, 371 Central City Opera anniversaries, 329, 333–34, 353–54, 358, 362, 368–70 commission history of Baby Doe, 43–45, 263, 282, 301, 317, 322, 333–34, 382, 392, 405 critical reception, 282 festivals, 282 fund-raising, 314 at Leadville, 400 performances of Baby Doe 1956 announcements, 348, 350–51, 357–58, 362, 375, 386–87, 400–402, 404 cast, 181 celebrities, 379, 385, 393, 396 compared to Indiana University performance (1976), 398 costumes, 348 history, 49–50, 301, 340, 405 photographs, 349, 357, 368, 393, 400 production, 304, 348, 350, 375 programs, 348 publicity campaign, 50, 353, 357, 361– 62, 368, 385–87, 392–93, 396

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INDEX

recordings, 88, 358 reviewers, 401 reviews Denver newspapers, 397, 405 Los Angeles newspapers, 370 New York newspapers, 329, 348, 351, 357, 399–400, 404 in periodicals, 349, 360, 375, 380, 393, 397 Seattle newspapers, 371 social events, 358, 379 stage design, 351, 355, 391 tour (1998), 200 tourism, 367–68, 401 1959, 183, 387, 393 1966, 188–89, 371, 380, 403 1981, 192, 368–70 1988, 194, 369, 388 1996, 196, 353–54, 358, 369, 396, 404 2006, 198, 353, 378, 396 photographs, 263, 334, 396, 400 recordings, 88, 91, 364, 387, 397, 404 Central City Opera House, 196, 308, 340, 353, 367–68, 371, 375, 380, 399, 405 Central City Opera House Association, 301, 314, 329, 333–34, 348 Central City Opera: Looking Back over Sixty Years, 1932–1992, 329 Central City Opera Orchestra, 88, 91 Central City Weekly Register-Call, 348 Central Opera Service Bulletin, 342 Central Park (New York), 53, 228–30, 242 Central Washington University, 287 Century Association (New York), 224–25, 232 Century Club (New York), 181, 240 Cerrina, Gladys, 215 Cerullo, Richard, 191 Cervi’s Rocky Mountain Journal, 403 Chabrier, Emmanuel, 247 Chafin, Robert, 194 Chalmers, Cary, 191 Chamber Music Society of Cleveland, 233 Chamber Opera Chicago, 326 Chamberlain, Frank, 204 Chambers, Tom, 211 Chambers Dictionary of Music (Brooks, ed.), 341

535

Chaminade Society, 2 Chanler, Theodore, 10, 114–15 Chapelle, Father, 46–47, 85, 87–88, 181–83, 185–96, 198–99 Chapin Hall (Williams College), 217 Chapman, John “Baby Doe, a Superb Opera, Gets Swift, Touching Premiere in West,” 357 “Last Work by Latouche,” 276–77 “Mining Opera by Latouche Is His Monument,” 277 Chapman, William, 186, 188, 190, 392, 396 Chappell (publisher), 48, 86, 89–92 Chappell Collection of Great Theatre Composers (Snider, ed.), 86 Charlesworth, Hector “Barnum Pageant Suite Prom. Concert Feature,” 457 “Musical Events: Douglas Moore’s Barnum Suite,” 457 Charter, Doris, 209 Chartoff, Melanie, 219 Chartrand, James, 204 Chase, Gilbert America’s Music, 277 “In the American Folk Vein,” 277 “In the American Vein,” 277 Chase, Jennifer, 211 Chassinat, Marcelle, 235 Chatham, VA, 218 Chattanooga, TN, 187, 221, 444 Chattanooga Opera, 187 Chattanooga Times Free Press, 444 Chatter from Around the White Tops . . . 461 Chautauqua, N.Y., 185–86, 191, 196, 204, 206, 236, 291, 370, 403 Chautauqua Chamber Music Society, 236 Chautauqua Opera, 191, 196, 204, 206, 403 Chautauquan Daily, 291, 420, 435 Chauveau, Yvonne, 208 Chazan, Jack, 244 Chelsea Opera, 199 Cheng, Gloria, 215, 439 Chenkin, Victor, 325 Chesterton, G. K. Magic, 10 Chevara, Robert, 195

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Chicago, IL Bispham Award received by Moore in, 332 opera in, 326 performances Ballad of Baby Doe, The (Moore), 184, 195, 326, 350, 355–56, 362, 386, 390, 392, 401–2 Devil and Daniel Webster, The (Moore), 206, 212 Gallantry (Moore), 219–20 Headless Horseman, The (Moore), 223, 451 Pageant of P.T. Barnum, The (Moore), 227 Three Sonnets of John Donne (Moore), 240 Yale Glee, Banjo, and Mandolin Club, 304–5 performers from, 367 radio broadcasts, 350, 419 recording location, 115 speeches by Moore in, 279 Chicago American, 362 Chicago Daily Tribune articles 1934, 332 1938, 281 1939, 418, 429 1941, 321 1942, 419, 470 1943, 302, 418 1944, 332 1947, 476 1948, 476 1951, 280, 291, 451 1953, 468 1956, 277, 368 1957, 404 1958, 421 1959, 264, 386–87 1960, 317, 350, 356, 386 1961, 375, 385 obituary, 341 reviews Ballad of Baby Doe, The (Moore), 356 From Madrigal to Modern Music (Moore), 276 Yale Glee, Banjo, and Mandolin Club, 304–5

Chicago Musical College, 295 Chicago Opera Theater, 195, 326, 355, 362, 390, 392, 401–2 Chicago Park Concerts, 219 Chicago Sun Times, 311, 355, 362, 367, 390 Chicago Symphony Orchestra, 285 Chicago Tribune, 281, 332, 341, 392, 401–2, 414, 416, 464 Chicagov, Igor, 220 Chichester, Norman, 211 child (character in The Emperor’s New Clothes), 109–10, 215 “Childe the Hunter” from Devon Folk Songs (Moore, arr.), 107 children in opera, 23–24 Children’s Record Guild, 110, 149, 178–79, 247 Childs, Linda, 195, 363 Chilters, Mabel (character in An Ideal Husband ), 6, 339 “Chinese Lion and the Unhappy Flutist, A” from Four Museum Pieces (Moore), 10–11 Chism, Olin. “Reports: Foreign; Fort Worth,” 357 Chope, Angela, 204 Chopin, Frederic, 2, 179, 257, 295 Chopin Centennial National Committee, 295 choral leader (role in The Greenfield Christmas Tree), 124, 222 Chorale Varié (Moore), 97, 496, 508 Chotzinoff, Samuel “Words and Music: Opera Given in English Is Taken for Granted,” 422 “Words and Music: Webster Beats the Devil in Benet’s Folk Opera,” 422 Christensen, Catherine, 186 Christensen, Ruth, 195 Christenson, Jane, 213, 245 Christian Science Monitor, 393, 412–13, 438, 475, 485 Christiansen, Robert, 181 Christ-Janer, Albert. American Hymns Old and New, 111 Christmas, 59, 121, 124, 222, 292, 296, 306, 449, 501, 503 Christmas, Donald, 201 Christopher, Richard, 222–23 Chronis, Olga, 209

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INDEX

Chronology of American Musical Theater, A (Norton), 319 Church, Richard C., 216 Church of the Holy Communion (New York), 217, 441 Chute, James. “Trading Avant-Garde for Conventionality,” 357 Ciesinski, Kristine, 192 Ciléa, Francesco, 92–93 Cincinnati, OH, 198, 207, 210, 219, 226, 364, 419, 423, 433, 437 Cincinnati Conservatory of Music, 35, 198 Cincinnati Enquirer, 423, 437 Cincinnati Music Drama Guild, 207, 210, 419, 433–34, 437 Cincinnati Opera, 364 Cincinnati Post, 419 Cincinnati Symphony Orchestra, 253 Cincinnati Times-Star, 433–34 “Circus Parade” from The Pageant of P.T. Barnum (Moore), 13, 141, 227, 459, 463 Citadel Records, 127 Citizen (character in Jesse James), 128 City & Power and the Land, The, 146 city employee (character in White Wings), 174, 244 City Opera Will Perform Carry Nation Debut Here, 408 City Symphony (New York), 228 City University of New York, 305 Ciulli, Bruno, 213 Civic Art Centre and Conservatory (New York), 277 Civil War, 61–64, 128, 136 Claasen, John, 193 Claflin, Avery Fishhouse Punch, 99, 335 Scarlet Letter, The, 335 Claghorn, Charles Eugene. Biographical Dictionary of American Music, 341 Clapp (Willard) Hall, 213 Clarage, Elizabeth C. Who’s Who of Pulitzer Prize Winners, 340 Claremont, CA, 208, 215, 242, 244, 422, 434, 480 Claremont Institute of Music, 422 Claremont Opera Workshop, 208, 434 Clarendon Hotel, 45, 47, 85, 320

537

Clarinet (magazine), 648 clarinet examples for Licorice Stick (Moore), 178, 454, 510 Clark, Arin, 88, 191 Clark, Bob. “Memories of an Original Baby Doe,” 357 Clark, Frances, ed. Contemporary Piano Literature, 117 Clark, Jack, 210 Clark, Keith, 196 Clark, Lawrence, 223 Clark, Lester, 88, 191 Clark, Martin. “Finally, ‘Baby Doe’ Comes to Portland,” 358 Clark, Mary Ann, 207 Clark, Ruth, 480 Clark, Tom C., 337 Clarkson, Rich, 413 “Class Song” (Moore), 98, 496, 506 Clatworthy, Mary Ann, 190 Claverton Manor (England), 235 Clement, Ada, 472 “Clementine,” 47, 67, 261, 373 Clements, David, 189–90 “Cleopatra’s Mother” (Moore), 98, 496, 506 clerk (character in The Devil and Daniel Webster), 104–5, 204–9 Cleveland, OH Moore residence, 9–14 musical life, 255 performances Ballad of Baby Doe, The (Moore), 182, 184, 194, 365 Devil and Daniel Webster, The (Moore), 213 Dirge (Moore), 214 Four Museum Pieces (Moore), 217 Gallantry (Moore), 218 Gavotte in C# Minor (Moore), 221 “Ghosts” (Moore), 221 March for Tambourlaine, A (Moore), 224 Overture on an American Tune (Moore), 225 Pageant of P.T. Barnum, The (Moore), 15–16, 226, 461–63 Prayer for the United Nations (Moore), 230

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Puss in Boots (Moore), 231 “Sad Song, A” (Moore), 233 Scherzo for Organ (Moore), 233 Sonata for Violin and Piano in D Minor (Moore), 235 String Quartet (Moore), 236 Symphony of Autumn (Moore), 239, 477–78 Cleveland Institute of Music, 9, 14, 213, 218, 221, 231, 255, 444, 465 Cleveland Men’s Music Club, 14 Cleveland Museum of Art assistant music director, 11 Four Museum Pieces (Moore), relation to the, 10, 74 (n. 43) lecture, 336 Lindsay, Vachel, meeting with, 11, 285 music department, programs of, 9, 12, 14, 70, 255, 327 music director, 9, 12, 14, 70, 272, 284, 294, 298, 438, 477 performances, 214, 221, 224, 233, 236, 438, 466 Cleveland Museum of Art. Bulletin, 343 Cleveland Music School Settlement, 235, 255 Cleveland News, 272, 353, 441, 456–57, 466, 477 Cleveland Opera, 194, 269, 366–67 Cleveland Orchestra concert reviews, 273, 441, 455–63 founding, 255 performances Four Museum Pieces (Moore), 11, 217, 441 Overture on an American Tune (Moore), 225, 455 Pageant of P.T. Barnum (Moore), 15–16, 226, 294, 456–63 Symphony of Autumn, A (Moore), 239, 477–78 program notes, 456, 461 reading rehearsals, 260 Cleveland Plain Dealer Ballad of Baby Doe, The (Moore), 349, 351, 359, 365–66, 373, 393 Cleveland Museum of Art lecture, 336 Dirge (Moore), 438 Four Museum Pieces (Moore), 441

Gallantry (Moore), 444 Overture on an American Tune (Moore), 455 Pageant of P.T. Barnum, The (Moore), 462 Puss in Boots (Moore), 465 “Sad Song, A” (Moore), 470 Symphony of Autumn (Moore), 477–78 Cleveland Playhouse, 10 Cleveland Press, 350, 373, 441, 463, 489 Clifford, Thomas, 447 Clifton, Chalmers, 18, 53, 225, 239, 320, 323, 477–78 Clinchy, Evans. “Devil and Daniel Webster Opens Engagement at Sturbridge, Mass.”, 422 Close, Elaine, 169 “Close of the Civil War Episode” from Music for Yale Pageant (Moore), 136 Clowes Memorial Hall, 195, 197 Coats, Valerie Jean, 193 Coe, Richard L. “Baby Doe Booked?”, 358 Cohen, Neil, 193 Cohn, Arthur conductor, 226 “Douglas Moore (1893–1969)” in Recorded Classical Music, 277 Literature of Chamber Music, The, 277 “Moore: Quintet for Clarinet and Strings (1946) . . .”, 467–68 “Moore: Symphony in A . . .”, 473 “Ruggles: Organum; Moore: In Memoriam . . .”, 452 Colby, Lara, 213 Cold Spring Harbor, NY, 280 Cole, Cecil, 201 Cole, Deborah, 194 Cole, Orlando, 237 Cole, Wendell, 208 Coleman, Gwendolyn, 88, 196 Coleman, Robert “Dove Is Opera a la Mood,” 483 “Mr. Coleman’s Verdict: Benét-Moore Opera Smartly Presented at Martin Beck,” 422 Colings, Faith, 219 College Music (Randall Thompson), 335 College Music Symposium, 313 College of Emporia, 208, 210 College of Idaho, 219

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INDEX

College of New Jersey Opera Theatre, 198 College of St. Benedict Opera Worksop, 245 College of the City of New York, 224, 240 College of the City of New York. School of Commerce, 240 College of William and Mary Opera Workshop, 216, 439 College of Wooster, 214, 217 Collegiate School for Boys, 199, 223 Collegiate School for Boys Glee Club, 223 Colles, H. C., 326 Collette, Ann. Baby Doe Turns Forty, 358 Collier, Naomi, 182 Collins, Alan C., 217 Collins, Don, 211 Collins, Frederick, 244 Collins, Greg. “Opening Night,” 447 Collins, Mary, 188 Collins, Ned, 221 Collins, Patricia “Smart Set, The,” 358 “Socially Speaking: Society Turns Out at Opera,” 358 “VIP’s Abound: Society Glittering for ‘Baby Doe’ Premiere,” 358 Collins, Richard, 223 Collins, Wilkie. The Woman in White, 53 Collins Encyclopedia of Music (Westrup and Harrison), 346 “Colorado Mountain Theatre” (De Chaine), 282 Colorado Springs, CO, 211 Colorado Springs Opera Association, 211 Colton, Arthur, 136 Columbia, Gem of the Ocean (Moore), 138–39. See also Oh, Oh, Tennessee (Moore) Columbia Alumni News, 284 Columbia Daily Spectator Columbia Symphony Orchestra, 268, 273–74, 294, 310, 316, 320–21, 326, 331, 339 composition of opera, 324 Giants in the Earth, 446 lectures by Moore, 315 retirement concert, 490 retirement of Moore, 324 student concert, 417 Wings of the Dove, The (Moore), 488

539

Columbia Encyclopedia (Legassé, ed.), 341 Columbia Library Columns, 296 Columbia Magazine, 272 Columbia Masterworks, 150, 469 Columbia Records, 122, 150, 467–69 Columbia Spectator, 316, 326, 417 Columbia the Gem of the Ocean (Moore). See Oh, Oh, Tennessee (Moore) Columbia Theatre Associates, 180, 217, 221, 332, 447 Columbia University Bartók, employment of, 250, 271 bicentennial, 41, 44, 86, 238, 299, 301, 305, 317, 418, 474 bicentennial concert, 238, 305, 474 Botanical Gardens, 250 Butler Library, 22, 278, 299 Casa Italiana, 237 Chamber Orchestra, 216 classes, 275 colleagues of Moore, 23, 38, 51, 71 Columbia Theater Associates, 180, 217, 221, 332, 447 Concert Band, 228 concert series, 260, 321 Contemporary Music Festival, 28, 40, 278 Dental School, 278 faculty, 320 Fine Arts Department, 71 Forum on Current Problems (1940), 328 General Studies Music Society, 214 Glee Club, 147, 204–5, 213, 230, 234, 264, 278, 302, 312 Graduate Residents Council, 235 Great Teachers Award, 58, 294, 336 Journalism, School of, 477 lectures, 338 manuscripts, location of 104th Cavalry Regiment March, 140 Adventures in the Latin Quarter. Carillon, 83 Andante (incomplete), 84 “Apple Boughs Bend, The,” 84 “April Weather,” 84 “Atterboy, Columbia,” 85 Ballad of Baby Doe, The, 86

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

[Columbia University, continued ] Ballad of William Sycamore, The, 93 Beethoven, Ludwig van. Sonata Pathétique arr., 180 Bip Goes to Town, 94 “Birds’ Courting Song, The,” 94 “Brook, The,” 132 “Brown Penny,” 95 Carry Nation, 96 “Cat and the Moon, The,” 97 “Cat Sat, The,” 97 Chorale varié, 97–98 “Class Song,” 98 “Cleopatra’s Mother,” 98 Concerto for Piano, 99 Cotillion Suite, 99 Crossing, The, 100 Cruise, The, 100 “Cupboard, The,” 101 Danses pour flute, clarinette, et basson, 101 “Dear Dark Head,” 102 “Dear Little Wisp of a Girl,” 102 Dedication, 102 Destroyer Song, 103 Devil and Daniel Webster, The, 104, 107 Devon Folk Songs, 107 Discouraged Church Bells, The, 108 “doughboy s’en fiche, Le,” 108 “Down at the North Fork Country Club Cabaret,” 109 Down East Suite, 109 “Dreams,” 131 “Early Song,” 109 Emperor’s New Clothes, The, 110 “Etermal God,” 111 Etude in Tenths, 111 Evening Wind, The, 132 Fall of the City, 111 Fanfare, 111 Fantaisie Polonaise, 112 Farm Journal, 112 Five Shakespeare Songs, 113–16 Four Museum Pieces, 117 Four Pieces for Piano, 117 “Friends, Elis, Countrymen,” 117 Fugue in D major, 118 Fugue in E minor (keyboard), 118 Fugue in F minor, 118

Gallantry, 119 Gavotte in C# Minor, 119–20 Gavotte in D-flat Major, 120 “Ghosts,” 120 Giants in the Earth, 121 “Gifts,” 133 Greek Games, 123 Greenfield Christmas Tree, The, 124 “He’s Gone Away,” 126 “I Heard a Bird Sing,” 126 Jesse James, 128 “Jessie Wilhelmina Glotz,” 128–29 Jungle Heroes—Tarawa Stampede, 129 “Kimogenor,” 129 King Lear, 129 “Kitty-Cat Bird, The,” 130 Land of Heart’s Desire, Song from, 157 Later Etruscan Excavations, 130 Legend, 130 Lent in A-flat Major for Piano 4-Hands, 168 “Liane,” 130 “Machinery,” 131 March for Piano, 133 March for Tambourlaine, 133 “Martha,” 134 Menuetto for violin and piano, 134 Minuet in C Minor, 134 Moby Dick, 135 Much Ado about Nothing, 135 Music for Yale Pageant, 136 “My Garden,” 136 “Naomi: My Restaurant Queen,” 137 “Nonsense Song, A,” 137 North Atlantic Suite, 137 “Not This Alone,” 138 Oh, Oh Tennessee, 139–40 “Oh Lord, Our Lord,” 138 “Old Grey Mare, The,” 179 “Old Song,” 140 Overture on an American Tune, 141 Pageant of P.T. Barnum, The, 141 “Parabolou,” 142 Pelican Chorus, The, 142 Perhaps to Dream, 143 Poor Wayfaring Stranger, 144 “Potatores exquisiti,” 144

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Power and the Land, 145, 147 Prayer for England, 147 Prayer for the United Nations, 148 Prelude and Fugue in E Minor, 148 Prelude in C# Minor, 148 Puss in Boots, 148 Quentin Durward, 149 Quintet for Clarinet and Strings, 149 Quintet for Winds, 151 “Reed Player, The,” 131 Requiem, 151 Revivalist Prelude, 151 “Road, The,” 152 Road to Rome, The, 152 “Rune, The,” 152 “Rutgers Marching Song,” 152 “Sad Song, A,” 153 Sarabande, 153 Scherzo in G Major, 153 “Sea Chantey,” 154 “Sea That Is My Song,” 154 Simon Legree, 154 “Snake Dance,” 155 “Soldier Song,” 155 Sonata for Piano in D Minor, 155 Sonata for Violin and Piano in B Minor, 155 Sonata for Violin and Piano in D Major, 155–56 Sonata for Violin and Piano in D Minor, 156 Sonata for Violin and Piano in G Major, 156 Sonata for Violoncello in D Major, 157 “Song of a Canoe,” 157 “Song of April, A,” 157 String Quartet, 158 Summer Evening, 160 “Sweet,” 132 Symphony in A, 160 Symphony of Autumn, A, 161–62 “Tale of a Carp, Song The,” 158 Then and Now, 162 “Thine Eyes,” 132 “Thistledown,” 162 Three Sonnets of John Donne, 163 “To an April Lady,” 133

541

[Columbia University, continued ] “To Knox Our Alma Mater,” 165 “Token, The,” 165 “Tower Bells of Tours, The,” 165 Trio for Piano and Strings, 166 Twelfth Night, 166 “Under the Greenwood Tree,” 167 “Unforgotten,” 167 Valse Janet, 168 Variations on a Theme in G Major, 169 Variations on Theme of Bingham, 169 Waltz for Piano in C Major, 168 war songs, 170–73 “We Must Follow the Leaders,” 173 Westren Winde, 174 “When the Drive Goes Down,” 174 White Wings, 175 Willie the Weeper, 173 Wings of the Dove, 176 Young People’s Records, 178–79 Youth Gets a Break, 179–80 music appreciation classes, 19, 58–59, 70–71, 266, 289, 312, 327 Music Department administration, 28, 70, 312 assistant professor, appointment, 17, 278 full professor, appointment, 27, 272, 279, 291, 294, 298, 315 head of, 9, 16, 27–28, 70, 285, 292, 294, 317, 449, 451 length of service, 16, 59, 70, 284, 314–15, 327, 488 Lincoln Center move, 272 music critics, course for, 477 performances at the, 180, 200, 202, 204, 216, 224–26, 229–30, 417, 446–49 Older Graduates Society, 336 Opera Workshop director of the, 310 establishment of the, 28, 34, 294, 332 performances Devil and Daniel Webster, The (Moore), 206 Gallantry (Moore), 52–53, 306, 443–45 Giants in the Earth (Moore), 40, 221, 284, 446–49 White Wings (Moore), 244

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

productions, 256–57 recordings, 121 Orchestra auditions, 321 course credit for, 18, 265, 281, 283, 321 dedicatee, 170 performances 1926, 280, 290 1927, 311, 316, 320–21 1928, 324, 326 1929, 270, 278, 310, 320, 325, 330, 339 1930, 274, 278, 280, 317 1931, 268, 302, 317, 330–31, 335 1932, 324 1933, 325 1934, 264, 278, 325 1935, 455 Devil and Daniel Webster, The (Moore), 205 Overture on an American Tune (Moore), 226, 455 Village Music (Moore), 242 White Wings. Overture, Melodrama and Procession (Moore), 245 women in the, 18, 265, 278, 335–36 performances of “Adam Was My Grandfather” (Moore), 180 Adventures in the Latin Quarter. Waltz and Carillon (Moore), 180 Cotillion Suite (Moore), 203, 418 Devil and Daniel Webster, The (Moore), 206 Devil and Daniel Webster, The. Excerpts (Moore), 214 Dirge (Moore), 214 Five Shakespeare Songs. “Come Away, Death” (Moore), 202 Five Shakespeare Songs. “Sigh No More, Ladies” (Moore), 233 Four Museum Pieces (Moore), 417 Gallantry (Moore), 53, 306, 443–45 Giants in the Earth (Moore), 221, 446–49 Giants in the Earth. Excerpts (Moore), 221 “God Rest You Merry, Gentlemen (Moore), 222 Much Ado about Nothing (Moore), 417

Museum Piece (Moore), 224 Pageant of P.T. Barnum, The (Moore), 227–28, 460 Paul Bunyan (Britten), 275 Quintet for Clarinet and Strings (Moore), 231–32, 417 Quintet for Winds (Moore), 232 Simon Legree (Moore), 234 Sonata for Violin and Piano in D Minor (Moore), 470 String Quartet (Moore), 236–37 Symphony in A Major (Moore), 238, 474 Symphony of Autumn (Moore), 239 Three Sonnets of John Donne (Moore), 240, 417 Tree on the Plains (Ernst Bacon), 274 Trio for Piano and Strings (Moore), 241, 417 Twelfth Night (Moore), 241, 417 Vayechulu (Moore), 241, 479 Village Music (Moore), 242 White Wings (Moore), 244 White Wings. Overture (Moore), 245 plaque, 318 president, 240 recordings, 121 retirement concert, 272, 417, 490 Schola Cantorum, 280 students, interaction with, 24, 34, 270, 318 Teacher’s College, 244 Teacher’s College Chorus, 230, 465 Woodwind Ensemble, 232 “Columbia University Festivals” (Moore), 251 Columbia University Press, 51, 111, 341 Columbia University Press Music Publication, 93 Columbia University Quarterly, 326–27 Columbia’s American Composer Series, 469 Columbus, OH, 184, 187–88, 219, 386 Columbus Dispatch, 386 “Come Away, Death” from Five Shakespeare Songs (Moore) (See Five Shakespeare Songs. Come Away, Death; Five Shakespeare Songs. “Come Away, Death” (Moore)) from Suite for Shakespearean Music (Moore), 159 from Twelfth Night (Moore), 113–14, 166

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INDEX

Comeaux, Elisabeth, 196–97, 274, 363–64, 375, 382, 384–85, 389, 394, 401 Commanday, Robert “Carry Nation Opens with Sensational Star,” 408 “Saloon Smasher to Folk Heroine,” 408 “Seattle’s ‘Baby Doe’ ”, 358 “World of Music: The Picket Line Aria, The,” 408 Commonweal, 411, 437 Companion to 20th-Century Music, The (Lebrecht), 343 Companion to Twentieth-Century Opera, The (Martin), 312 Complainin’ Annie (Moore). See Tintypes (Moore) Complete Book of 20th Century Music, The (Ewen), 287–88 Composers’ Forum (San Francisco), 205 Composers Group of New York City, 240, 469, 479 Composers in America (Reis), 257, 345 “Composers Luncheon, The” (Moore), 251 Composers of Today (Ewen), 287 Composers Protective Society, 279 Composers Recordings, Inc. (CRI) history of, 282 recordings on Cotillion Suite (Moore), 51, 99–100, 161, 277, 306, 417–18, 454 Farm Journal (Moore), 51, 100, 112–13, 161, 277, 305, 440–41, 454 In Memoriam (Moore), 127, 306, 452–53 Symphony in A Major (Moore), 161, 473, 475–76 Composers since 1900 (Ewen), 288 Composers Theatre, 279, 324 Composers-Authors Guild, 279–80 Comrie, Donald, 203 Comstock, Barbara, 183 Concert Companion, The (Bagar and Biancolli), 268 Concerto for Mandolins and Piano (Moore), 4, 98–99, 495, 504, 510 Concerto for Piano (Moore), 40, 99, 500, 504 Concerto for Piano No. 2 (MacDowell), 474 Concerto for Two Pianos (Poulenc), 317 Concise Baker’s Biographical Dictionary of Musicians, The (Slonimsky), 345

543

Concise Dictionary of Music, A (Watson and Watson), 346 Concise Edition of Baker’s Biographical Dictionary of Musicians, The (Slonimsky), 345 Concise Oxford Dictionary of Music, The (Kennedy), 303 Concise Oxford Dictionary of Music, The (Kennedy and Kennedy), 304 Concise Oxford Dictionary of Music, The (Scholes), 345 Concise Oxford Dictionary of Opera (Warrack and West), 338 Concise Oxford Dictionary of Opera, The (Rosenthal and Warrack), 328 Congregation Emanu-El, 204, 229–30, 234, 464 Conides, Andrew, 185 Conlon, Francis, 220 Conlon, James, 106 Connecticut Opera, 196, 285, 383, 385, 388, 396 Connecticut Yankees, 123 Connell, Janet, 168 Conrad, Ronald, 218 Constantine, Spelios, 244 Constitution Hall, 227 Consumer Bulletin, 371, 426 Consumer Research Bulletin, 468 Consumer Research Magazine, 371 Contemporary American Choral Works, Program of, 204, 229–30 Contemporary American Composers (Anderson), 340 Contemporary American Composers Series, 135 Contemporary Art Songs (G. Schirmer), 176 Contemporary Authors, Permanent Series (Kinsman, ed.), 341 Contemporary Baroque Ensemble, 203 Contemporary Chamber Music Series, 232 Contemporary Masterworks for Organ, 108 Contemporary Organ Series, 27, 108, 295 Contemporary Piano Literature (Goss and Clark, eds.), 117 Contemporary Piano Music by Distinguished Composers, 159, 166–67, 291 Contemporary Songs in English (Taylor, ed.), 140, 167 Contemporary Stage Design, U.S.A. (Burdick, et al.), 355

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Page 544

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Converse College, 220 Cook, Howard. “Opera: “Baby Doe” Captivating U.S. Opera,” 359 Cook, Patricia, 195 Cook, Samuel L., 192 Cooke, Alistair, 379, 395 Cool, the Cowboyish, the Coy, the Combustible, The, 161 Cooley, John, 232 Cooley, Marian, 232 Coolidge Foundation Concert, 236, 466–67 Cooper, Matt. “Moore & LaTouche,” 359 Cooper Union, 221 Cooperstown, NY, 220, 445 Coover, James. “Piston: The Incredible Flutist (Suite). Moore: Pageant of P. T. Barnum,” 460 Copeland, Virginia, 181, 334, 379, 398 Copenhagen, 239 Copland, Aaron “America’s Young Men of Promise,” 281 compared to Moore, 284 composer for American Lyric Theatre, 436 Juilliard, meeting at, 289 letter protesting registration of Soviet agents, 35, 274, 285, 337 New York Music Critics’ Circle Award, 280 Our New Music reviewed, 249 “Our Younger Generation,” 281 recordings, 92, 114–15, 150, 468 Coppola, Anton, 195 Coppola, William, 209 Corder, Paul, 187–88 Cordon Fine Arts Building, 223 Cormier, Geraldine, 218 “Cornelius Van Tassel’s My Name!” from The Headless Horseman (Moore), 23, 125 Cornell A Cappella Chorus, 204 Cornell Club of Rochester, 214 Cornell Daily Sun, 430 Cornell University, 204, 209, 214, 223 Cornish School, 215, 241 Coronado, Francisco Vásquez de, 315 Correspondence of Roger Sessions, The (Olmstead, ed.), 330 Corsaro, Frank, 65, 202 Corte, A. Della. Dizionario di musica, 341

Cosenza, James, 121, 221, 231 Cosí fan tutte (Mozart), 425 Cosindas, Nick, 185 Cosson, Monika, 197 Costa, Mary, 219 Cota, Keith, 209 Cote, Rosaire, 205–6 Cotillion Suite (Moore) analysis, 262–3, 326 “Cake Walk,” 41, 99, 203 in chronology, 500, 504 description, 41, 99, 300, 327 “Gallop,” 41, 99 “Grand March,” 41, 99, 300 performances, 203, 418 “Polka,” 41, 99, 203, 300, 305 publication, 53, 99, 306 “Quickstep,” 99 recording, 51, 99–100, 161, 277, 306, 417–18, 454 “Waltz,” 99 Cottle, Andrew, 194 Couch, Lee, 204 Coulter, Dorothy, 245, 484–87 Counterpoint (Jeppesen), 248 counterpoint textbooks, 248 Country Club News, 323 “Country Farmer’s Son, The” from Devon Folk Songs (Moore, arr.), 107 Courier-Journal, 348 Court, Richard, 205–6 court jesters (characters in Emperor’s New Clothes, The), 109, 215 Courtenay, Francis, III, 197 Courtman, Carol, 219, 443 Cousin Jack (character in Baby Doe), 199 Covais, Giuseppe, 213 cow (character from The Greenfield Christmas Tree), 222 Cowden, Robert, 185 Cowell, Henry Composers Theatre, 150 “Current Chronicle: United States; Hartford,” 481–82 “Current Chronicle: United States: New York,” 473

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Page 545

INDEX

performances, 406 recording committee, 150 songs, 114–15 Symphony No. 5, 127 Cox, Barbara, 193 Cox, Edward, 291 Coyne, John, 197–98, 367 Cradle Will Rock, The (Blitzstein), 257, 419 Craig, Joel, 182 Craig, Mary. “New York Concert and Opera Beat,” 359 Crane, Icabod (character in The Headless Horseman), 23–24, 125, 450 Crane, Lois, 190 Cranford, David, 189 Crawford, Lou Ellen, 211 Crawford, Wilford, 244 Crescent Avenue Presbyterian Church Chancel Choir, 230 performances at, 230 CRI. See Composers Recordings, Inc. CRI American Masters, 100, 113, 161 Crim, Rachael, 198 Crispus Attucks Theatre, 198 Critelli, Christopher, 192 Croan, Robert “ ‘Ballad of Baby Doe’ Has Broadway Elements,” 359 “In Review: From around the World; Pittsburgh,” 359 “Opera: ‘Baby Doe’ Really Sings,” 360 Crook, Miss (character in Then and Now), 240 Crory, Neil. “Opera in Review: New York,” 360 Crosby, Floyd, 145 Cross, Milton “Ballad of Baby Doe by Douglas Moore, The,” 281 More Stories of the Great Operas, 281 New Milton Cross’ More Stories of the Great Operas, 281 “Cross of Gold Speech” (Bryan), 46, 49, 299 Crossing, The (Moore), 23, 71, 100, 498, 505 Crosten, William L. “Current Chronicle: United States; Central City, Colorado,” 360 “New Hall—A New Opera, A,” 360

545

Crouch, John, 235 Crouse Auditorium, 207 Crowder, Marianne, 181 Crowell, Thomas, 232 Crowell’s Handbook of World Opera (Frank Ledlie Moore), 315 Croy, Homer (character in Wings of the Dove), 54–57, 175, 245 Croy, Kate (character in Wings of the Dove), 54–58, 175, 177, 245, 486–87 Crozier, Michael, 199 Crucible, The (Ward), 307, 488 Cruise, The (Moore), 71, 100–101, 493, 506 Crutchfield, Will “Ballad of Baby Doe Returns, with Faith Esham,” 360 “Opera: Moore’s ‘Ballad of Baby Doe’ ”, 360 Csanyi, David, 182 Cubberley Auditorium, 204, 232, 240 Cuccaro, Constanza, 191, 401 Cuccia, Vincenzo, 213 “Cuckoo, The” (Moore), 32, 115, 499 Cue, 422, 428 Cullen, Joseph, 169 Cullen, Reva. “7000 See Central City Premiere Events,” 361 Culver City, CA, 215, 439 Culver City Public Library, 215, 439 Cumming, Richard, 114 Cummings, Claudia, 193 Cummings, David, ed. Hutchinson Encyclopedia of Music, The, 341 New Everyman Dictionary of Music, The, 341 Random House Encyclopedic Dictionary of Classical Music, 341 “Cupboard, The” (Moore), 18, 100, 497, 506 Current Biography, 314–5, 344 Current Biography Yearbook (Moritz, ed.), 344 Current Musicology, 294 Currier, Donald, 241 Curtis, Brandt, 208 Curtis, Joy, 480 Curtis, William D. “Carpenter: Adventures in a Perambulator; Moore: The Pageant of P. T. Barnum,” 457 Curtis Institute of Music, 207

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Page 546

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Curtis String Quartet, 237, 467 Cushing, Edward. “Mr. Sokoloff’s Americans,” 457 Custer’s last stand, 15 Cutchogue, NY birthplace, 1, 275, 301 Cemetery, 66, 282 composition, place of, 127, 141, 150, 161, 165, 170 Free Library of, 303, 307 home, 1, 4, 9 (illus.), 31, 61, 68, 276 house, 71 interview, 81 (n. 217) Moore (Douglas) Memorial Concert, 200, 233, 244, 301, 491 performances at, 200, 228, 233, 235, 240, 244 reception, in honor of Moore, 281 recording location, 103 study at, 60 (illus.), 314, 316 summer at, 2, 18, 31 Village Green, 200, 228, 233, 244, 263, 301 Cutchogue Presbyterian Church, 66, 235, 282, 307 Cutting, Betty, 209 Cutts, Anson B. “Reports: United States; St. Paul,” 361 D Da Capo Opera Manual, The (Martin), 312 Da Ponte, Lorenzo, 272, 318 Da Vinci Quartet, 150, 468 D’Adamo, Eugene, 206 Dagmar (character in Giants in the Earth), 39, 120–21, 221 Dahl, Tracy, 199 Dahlhaus, Carl, ed. Pipers Enzyklopädie des Musiktheaters, 309 Dahlstrom, Robert, 193–95 Daigon Ruth, 209 Daily Kansan, 297, 416 Dakota Student, 448 Dakota Territory, 120 D’Albert, François, 232 Dale, Thomas (character in The Devil and Daniel Webster), 204–5, 208

Dallas, TX, 215, 227, 238 Dallas Symphony, 215, 238 Dalton, Wayne, 191 Daly, Pegge, 88, 191 Dame, Donald, 204–7, 233 Damrosch, Walter, 141, 226–27, 325, 339, 458–59, 462 Dana Hall, principal of (charater in Then and Now), 4, 162 “Dance for a Holiday” from Two Pieces for Piano (Moore), 51, 166, 306 Dance Magazine, 375 Dance Suite (Bartók), 474 Dance-Hall entertainer (character in Baby Doe), 181 “Dancing School” from Suite for Piano (Moore), 37, 159 Dandelion (character in Oh, Oh, Tennessee), 138–39 Daniel, Beverly. “Reasons People Like Opera Given by Composer in Lecture at WWSC,” 281 Daniel, Erno, 228, 244 Daniel, Oliver. “Take Me to Your Lieder,” 471 “Daniel Webster Set to Music” (Gilman and Moore), 293 Daniels, Annette, 194 Daniels, David, 208 Daniels, Sharon, 192, 197, 372, 375, 383–84, 391 Dann, Elias, 228 Dansby, William, 192 Danses pour flute, clarinette, et basson (Moore), 101, 153, 496–97, 509 D’Arcy, Susan, ed. “News in Brief,” 361 Darius, Anthony, 190 Darling, David, 195, 363 Darling, Sandra, 187–88, 190 Dautrich, Helen, 121, 221 Davenport, Mary, 185–86 David Diamond: Ahava—Brotherhood, 169 Davidson, David, 219 Davidson, Lawrence, 50, 181, 351 Davies, John, 198 Davis, Grover Tilden, 3 Davis, Harris, 88, 187–88, 190–91 Davis, J. B., 191 Davis, Jeff, 198 Davis, Leonard, 236

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Page 547

INDEX

Davis, Michael Philip, 105 Davis, Peter G. “Composers Label that Survived, A,” 282 “Listening to Music by Douglas Moore,” 282 “Marylyn Mulvey Bows as Baby Doe,” 361 “Moore: Carrie [sic] Nation,” 408 “Moore: The Ballad of Baby Doe”, 361 “Pure Gold,” 361 Davis, Wynne, 205 Davitt, Dorothy, 189 Dawson, John, 208 Dawson, Julian, 199 Day, Beverly, 2 Daytona Beach, FL, 219 Daytona Plaza Hotel, 219, 443 De Chaine, Faber B. Colorado Mountain Theatre, 282 De Forest, Anthea, 187, 190 De Groat, James, 104 De la Mare, Walter, 101 De la Rosa, Evelyn, 195 De Lancie, John, 232 De Paul University, 219–20 “De Six-Bit Express” (Moore), 7, 172, 495 Dead Man Walking (Heggie), 378, 403 Dean, Winton. “Moore: The Ballad of Baby Doe,” 361 “Dear Dark Head” (Moore), 53, 101–2, 203, 306, 501, 506 “Dear Katrina, Happy Bride” from The Headless Horseman (Moore), 125 “Dear Little Wisp of a Girl” (Moore), 102, 493, 506 “Dearest Mama,” 86, 90. See also Ballad of Baby Doe, The. “Letter Aria” (Moore) “Death, Be Not Proud” from Three Sonnets of John Donne (Moore), 30, 114–15, 163, 203, 277, 418, 471–72 “Death of Theodore Winthrop” from Music for Yale Pageant (Moore), 136 Deaver, Robert. “Ballad of Baby Doe” in Opera Plots Made Easy, 282–83 DeBlasis, James, 191 Debussy, Claude as composer, 476 Iberia, 259 Mer, La, 259

547

Prelude to the Afternoon of a Faun, 258 in recital, 267 recordings, 257 Decca, 143, 370 DeCesaro, Edward, 201 Decker, Geraldine, 193 “Decoration Day” from Four Pieces for Piano (Moore), 41, 117 Dedication (Moore), 26, 102, 203–4, 491, 498, 506 Defauw, Désiré, 285 DeGaetani, Thomas, 218 Degrada, Francesco, ed. Enciclopedia Garzanti della musica, 341 Dehaan Fine Arts Center, 200 Deimler, Kathryn George. “Quartal Harmony,” 283 Del Monte, George, 182–84, 210 Delacoma, Wynne “Chicago Opera Theater Sings for Its Future,” 362 “Spring to Revive City Opera Theater,” 362 Deland, FL, 219 Delatiner, Barbara. “On the Island,” 362 Delavan, Mark, 196–98, 354, 360, 366–68 Delaware Symphonette, 216, 239 DeLeo, Carmine, 231 Delibes, Léo, 92–93 Dello Joio, Norman. Meditations on Ecclesiastes, 127 DeLon, Jack, 87, 182–83, 186, 188, 210 DeLong, Kenneth. “Baby Doe a Triumph,” 362 Delson, Mary Ellen, 215 Delu, Dahl, 188 Demény, János, 271 DeMotte, Warren “Piston: The Incredible Flutist; Moore: Pageant of P. T. Barnum,” 458 “Ruggles: Organum; Moore: In Memoriam,” 452 Dengel, Ronnie, 215 Denio, Ruth Otis. “Ballets Give Apt Finale to Music Series,” 480 Denmark Vesey (Bowles), 335 Dennis, Charles M. Review of From Madrigal to Modern Music, 283 Dennis, Margaret, 205

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Page 548

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Dennison, John, 87, 182–84 Densen, Irwin, 193 Denton, TX, 189 Denton Studios, 207 Denver Ballad of Baby Doe, The Act 2 of, 46, 48 location of scenes in, 46, 85 movie filming location of, 274 premiere of, 304, 391 public relations for premiere of, 44, 50, 392 performances Devil and Daniel Webster, The (Moore), 212 Gallantry (Moore), 219 tourism, 367, 403 Denver Politician (character in Baby Doe), 85, 87–88, 181–83, 185–87, 190–96, 198–99 Denver Post articles 1953, 316 1956, 44, 348, 350–51, 357–59, 374, 385, 392, 400, 404–6 1957, 334, 398 1959, 318 1960, 476 1961, 399, 489 1966, 371, 400 1981, 314, 368–69 1996, 353–54, 369, 404 1999, 354, 369 photographs, 353–54, 368–69, 379, 386, 393, 398, 400, 404–5 Denver Rocky Mountain News Ballad of Baby Doe, The (Moore) announcement of performances, 348, 350, 356–57, 396, 400 costumes, 404 historical background, 396 history of the opera, 382 music critics attending, 401 photographs, 350, 357, 361, 379, 400, 404 publicity events, 353, 357, 361, 379, 387, 393 reviews, 393, 397 society column, 405 sold out, 350, 387 special section, 44

Symphony in A (Moore), 473 Tabor, Baby Doe (Elizabeth), 349 Denver Symphony Orchestra, 239, 473, 476 Derby, Dr. (character in White Wings), 174, 244 DeRose, Bert, 209 Des Moines, IA, 192, 195, 211, 384 Des Moines Metro Opera, 195, 384 Designing and Drawing for the Theatre (Pecktal), 391 Designing and Painting for the Theatre (Pecktal), 391 DeSousa, John, 222 Destination Discovery, 219 Desto Carry Nation (Moore), 96, 408–11, 414 “Come Away, Death” (Moore), 114, 417, 471–72 “Death, Be Not Proud” (Moore), 114, 471–72 Devil and Daniel Webster, The (Moore), 104, 306, 378, 424, 430, 433, 435 Quintet for Clarinet and Strings (Moore), 150, 468–69 “Destroyer Life” (Moore), 7, 31, 102–3, 246 (n. 1), 495, 507 Destroyer Song (Moore), 18, 31, 36, 74 (n. 35), 103, 112, 246 (n. 1), 418, 499, 504 Detmold, 379 Detroit, MI, 184, 194, 218, 223, 287, 362, 381, 385 Detroit News, 385 Detroit Opera Theatre, 218 Dettmer, Roger “Passing in Review: ‘Ballad of Baby Doe’ Marks Central City Silver Jubilee,” 362 “Passing in Review: Opera House in Colorado,” 362 Deuteronomy, TN, 139 Deutsch, Leonhard. A Treasury of the World’s Finest Folk Song, 252 Deutsche Grammophon Art of Beverly Sills, The, 91 Ballad of Baby Doe, The (Moore) CD, 88, 321, 354, 363, 383, 387–88, 397 LP, 87, 309, 359, 361, 368, 371, 381, 398, 402 Beverly Sills and Friends, 88

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Page 549

INDEX

Beverly Sills: Made in America, 93 Beverly Sills: The Great Recordings, 90 Devil (character in The Devil and Daniel Webster), 25–26, 273, 420, 422–24, 428, 436. See also Scratch “Devil and Daniel Webster, The” (Benét), 420–21, 426 Devil and Daniel Webster, The (Moore) analysis and description in chronologies, 319 in dictionaries, 287–88, 304, 328 in dissertations, 263, 295, 332 in encyclopedias, 288 in handbooks, 337 in histories, 299, 304, 311 introduction, 24–26 in recording guides, 336 in theses, 262 in works list, 104–5 Ballad of William Sycamore (Moore), similarity to The, 15 Bispham (David) Award, 332 broadcasts, 49, 419, 426, 431 in chronology, 498 in classified list, 503 compared to Prayer for the United Nations (Moore), 464 compared to The Ballad of Baby Doe (Moore), 433 compared to The Emperor’s New Clothes (Moore), 37 compared to the Symphony no. 7 (Shostakovitch), 290 composition, 38, 432 critical reception, 431 dictionary entry, 266, 292, 296–97, 301–4, 315, 321, 338 final quartet excerpt, 105, 500 folk music in, 261, 332 “He’s Sold His Soul to the Devil,” 213 history, 293, 296 “Invocation,” 105, 419, 498 “I’ve Got a Ram, Goliath,” 15, 23, 26, 104–6, 213–14, 308, 423, 427, 429 legal problems, 264 libretto, 31, 258, 262, 293, 332, 420–22, 424–27, 429–31, 436–37, 491

549

“Mary’s Prayer” aria, 26, 104, 106–7, 419, 423 choral setting, 106–7, 501, 505 in chronology, 498, 501 performances, 213–14 recordings, 426 reviews, 308, 419, 423, 426 scores, 104, 106–7, 308 melodrama in, 22–23, 26, 277, 419 “Nothing Like a Wedding,” 213 operatic repertory, 272 performances, 25, 41, 43–44, 53, 204–13, 302, 305–7, 319, 418–38, 490 photographs, 420–23, 427–30, 433, 436–37 program notes, 287, 291 recordings complete opera all recordings, 277, 292, 336 Desto, 104, 306, 378, 424, 430, 433, 435 Newport, 105, 403, 435 Phoenix, 105, 421, 423, 432 Westminster, 104, 306, 421, 425–29, 432–33 “I’ve Got a Ram, Goliath,” 106 reviews, 313, 403, 418–38, 490 rights to the libretto, 25–26, 53, 264 “Scratch’s Song,” 107, 423, 498 synopsis in anthologies, 286, 299, 303, 308 in dictionaries, 274, 297, 299, 305, 312, 321, 333 in dissertations, 262, 295, 332 in encyclopedias, 292 in histories, 277 introduction, 26 in newspaper articles, 293, 419, 422–23, 427, 429, 435, 437 in periodicals, 378, 423, 431 in production guides, 333 television adaptation, 264 theatrical adaptation, 309 trial scene, 419–21, 423–24, 426–28, 431–32, 438 “We’ll Dance the Night Away, Boys,” 213 work of Moore, 298–99, 311, 314, 333, 372 “Devil and Tom Walker, The” (Irving), 420

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Page 550

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Devine, Michael, 193 Devlin, Michael, 188, 193, 197 Devon Folk Songs (Moore, arr.), 107, 497, 507 Dew, John, 193, 406 Diamond, David, 114–15, 127, 169, 479 Diapason, 259 Diard, William, 245 Dibblee, Sally, 198 Diccionario de la música Labor (Pena, et al. eds.), 341 Diccionario de música (Soler), 345 Dick, David, 209 Dickinson, Edwin, 253 Dickinson, G. S. “Epochs of Music,” 283 Dickinson, Peter “Douglas S. Moore” in The Viking Opera Guide, 283 “Moore, Carry Nation,” 408 Dictionary of American Classical Composers (Butterworth), 276 Dictionary of American Composers, A (Butterworth), 276 Dictionary of Composers and Their Music, The (Gilder), 292 Dictionary of Contemporary Music (Vinton, ed.), 310 Dictionary of Music (Isaacs and Martin), 343 Dictionary of Opera (Anderson), 266 Dictionary of Opera and Operetta (Anderson), 266 Dictionary of the Opera, The (Osborne), 321 Dictionnaire de la musique (Honegger, ed.), 342 Dido and Aeneas (Purcell), 443 Diederich, William Hunt, 36, 266–67, 300 Dielman, E. B., 142 Dieterich, William J., 201 Dieterle, William, 26 Dill, Duane, 193 Dillinger, Al, 145 Dimock, Harold, 205 D’Indy, Vincent, 8, 14, 67, 98, 118, 120, 284–85, 311, 333, 477 Dinkelspiel (Florence Hellman) Memorial Auditorium, 181, 350, 360, 387 Dinneen, William, 201 Dirga, Andrew, 183 Dirge (Moore), 27, 108, 214, 266, 295, 321, 438, 498, 505, 508

discographies, 247, 262, 269, 284, 290, 296, 303, 341 Discouraged Church Bells, The (Moore), 108, 497, 509 Disney (Walt) Studios, 215, 255 dissertations and theses D.F.A., 295 D.M.A., 261–62, 267, 297, 326, 332 M.A., 262 M.M., 170, 262, 287, 305 Ph.D., 261–63, 268, 273, 282–83 Ditsky, John. “Moore: The Devil and Daniel Webster,” 423 Ditson, Oliver, 33 Ditson (Alice M.) Fund administration of, 28, 33, 40, 70, 272, 310 Bartók, Béla, support of, 28, 250, 271 Britten, Benjamin, support of, 28, 275 Columbia American Music Festival support, 33, 251 Columbia Contemporary Music Festival support, 28, 40, 278 Columbia Opera Workshop support, 28, 294, 332 Composers Recordings Inc. (CRI), support, 40 secretary, 28 Ditson (Alice M.) Fund Award, 265, 329 Dittler, Herbert conductor, 22, 27, 71, 170, 216, 226, 242, 455 European trip, 23, 100 Village Music (Moore) dedicated to, 27, 170 violinist, 234–35, 268, 317, 470 Dittler, Mary, 23, 100 Dixon, Dean, 28, 160, 241, 243 Dixon, Jerry, 89 Dizionario di musica (Allorto and Ferrari, eds.), 340–41 Dizionario di musica (Corte and Gatti), 341 Dizionario enciclopedico universale della musica e dei musicisti (Basso, ed.), 272 Dizionario Ricordi della musica e dei musicisti (Sartori, ed.), 341 Doan, Jerry, 189 Docker, Charles T., 205–6 Dodds, David, 183 DoeHEADS, 262, 274, 302, 314, 375, 389

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INDEX

Doenotes (Kanzeg), 262 Doerr, Alan. “Gettysburg Remembered,” 480 Doerr, Jeff, 206 Doerr, Mary Jane, 362 Doerr, Mary Jane. “Roundup: U.S.A.; Detroit; Michigan Opera Theatre,” 362 Doersam, Charles H., 214 Döhring, Sieghart, ed. Pipers Enzyklopädie des Musiktheaters, 309 Dolmetsch, Carl. “World Report: United States; Washington,” 363 Domingo, Plácido, 392 Domingo-Cafritz Young Artist Program, 200, 389 Don Giovanni (Mozart), 374, 378 Donald (character in Gallantry), 51–52, 119, 217–21 Donald R. Peterson Recording Series, 161 Donaldson, Herbert. “Beckman Shines in ‘Gallantry’ ”, 442 Donaldson, Hildegard, 18, 156, 234–35 Donato, Vincent, 208 Doncourt, Bea, 210 Dongen, Halen van, 145 Donham, Judy, 192 Donizetti, Gaetano, 364 Donkey (character from The Greenfield Christmas Tree), 124, 222 Donne, John, 30, 163, 165, 203, 240, 337, 417–18, 490, 499, 507 Donnell Library Center, 200 Donovan, Richard Frank, 227 Donovan, Robert, 207 Dooley, Carolyn, 210 Dooley, Tim, 193 Doorman (charater in Baby Doe), 47, 85, 87–88, 181–83, 185–96, 198–99, 372 Dorchester Classic CD, 92–93 Doren, Mark Van, 41, 311 Dorian, Frederick, 226, 230 doughboy s’en fiche, Le (Moore), 7, 108, 495, 508 Dougherty, Celius, 92, 323 Douglas, Nigel, 104 Douglas, William, 8 “Douglas Moore and His Orchestral Works” (Reagan), 262–63 “Douglas Moore’s The Ballad of Baby Doe” (Blooding), 261

551

Dove, Percy, 149 “Dove Song” from The Wings of the Dove (Moore), 56, 176, 484 Dow Symphony Orchestra, 244 Dowd, Edith, 198–99 Dowden, Ralph, 189 Dowlen, Glenn, 184, 186–87 “Down at the North Fork Country Club Cabaret” (Moore), 71, 108–9, 493, 506 Down East Suite (Moore), 32, 109, 214–15, 277, 337, 438–39, 490–91, 499, 509 Down in the Valley (Weill), 38, 421 Down the Field, 122–23, 235 Downers Grove, IL, 218 Downes, Alton, 207 Downes, Edward, 454 Downes, Edward. “Records: Contemporary Americans,” 454 Downes, Olin “Columbia Concert by NBC Orchestra,” 290, 474 “Cultural Exchange,” 285 “Ernst Bacon Work Is Presented Here,” 31, 285 “Fair Play for Young America,” 458 “Heifetz Is Heard at Carnegie Hall,” 452 “Henry Hadley Gives Four Native Works,” 458 “Music: By Americans; Symphony of Air Plays Works by Americans,” 452 “Music: The Cleveland Orchestra,” 458 “New Moore Opera Is Presented Here,” 40, 447 orchestral composition competition jury, 456 “Our Composers,” 285 “Problems of Native Opera,” 423 “Serkin is Soloist for Philharmonic,” 474 “Stokowski Leads Columbia Concert,” 474 “They Are Played: Contention Is Americans Are Not Neglected,” 285 “WNYC Offers Fete of American Music,” 472 “World Premiere for Benet Opera,” 25, 423 Downey, Roger. “Seattle,” 363 Downs, Barbara, 221 Downs, Winfield Scott, ed. Who’s Who in New York (City and State), 347 Dowty, Robert, 231

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Doyle, Edward, 209 Doyle, Frederick F., 206 Drake, Alfred, 213, 215 Drake, Archie, 194 Drake, Herbert. “Playbill: New Lyric Theater [sic], The,” 423 Drake, Myra. See Moore, Myra Drake University, 211 Drama Book Specialists/Publishers, 351 “Dreams” from MacLeish Songs (Moore), 4, 7, 131, 494 Dreher, Gabriella, 185 Dreiser, Theodore, 353 Dresskell, Miles A. “Phoenix Symphony’s Second Concert Termed ‘Varied, Gratifying Program’ ”, 474 Dressler, Robert, 237 Drew (John) Memorial Theatre, 222 Driscoll, F. Paul, 286, 363 “Opera Watch,” 286 “Recordings: Song Recital; Renée Fleming, ‘I Want Magic’ ”, 363 “Yes, Sir, That’s Our Baby,” 363 Driskill, Kristina, 197 Driver, Donn, 182 Drobatschewsky, Dimitri “American Opera ‘Baby Doe’ Sings Hymn to Loyalty in Relationships”, 363 “ ‘Baby Doe’ Becomes a Darling Opera.”, 363 Drossin, Julius. “Douglas Moore (1893–1969)” in Music of the Twentieth Century, 312 Drucker, Naomi, 150, 233 Drummond, Andrew H. American Opera Librettos, 286 Drummond, David, 195 Dubin, Charles, 181 Dubin, Liane, 104 Ducloux, Denise, 185 Ducloux, Walter, 185, 395 Duesing, Dale, 194 Duey, Philip, 180, 217 Duffin, James, 181 Duffy, Lois, 188, 361 Duffy, Ray, 184 Dufourcq, Norbert, ed. Larousse de la musique, 343 Duke (from As You Like It by Shakespeare), 113

Duluth, MN, 219 Dunbar, Gloria, 189 Duncan, Barbara “Operas Open Festival Night Events,” 423 “Pageant of P. T. Barnum, The,” 286 Duncan, Richard E., 228 Dundee and West Omaha Sun, 380 Dunham (Katherine) Hall (Southern Illinois University, Edwardsville), 221 Dunlap, John, 231 Dunlap, Robert, 214 Dunleavy, Mary, 196, 383–85, 388 Dunn, Cathleen, 195 Dunn, Danny, 37 Dunn, Earl, 206 Dunn, James P., 458, 461 Dunn, Mignon, 195, 390, 392 Dunphy, Robert J. “Notes: Alphabet Soup Stirs Travel Industry,” 364 Dunster, Miles (character in Wings of the Dove), 54–57, 175, 245, 486–87 Durgin, Cyrus W. “Ballad of Baby Doe Good Festival Opener,” 364 “Music: Jordan Hall: N.E. Conservatory Orchestra,” 458 Durham, NH, 211 Durieux, Willem, 237 Dushkin, Samuel, 215 Duxbury, Amy, 189 Duxbury, Virginia, 189 Dwight (Timothy) College, 58, 279, 307 Dwyer, William, 201 Dyer, Richard “Baritone James Maddalena Is Scaling New Heights,” 364 “Central City Opera: Douglas Moore, Ballad of Baby Doe; Newport Classics,” 364 “Donizetti to Open Lyric Season,” 364 “Douglas Moore: Gallantry,” 442 “Encore for ‘Baby Doe,’ An,” 364 “Renee Fleming, James Levine, Metropolitan Opera Orchestra,” 364 “Resonant, Irresistible Ballad of Baby Doe, A,” 364 Dziebowskiej, Elzbiety, ed. Encyklopedia Muzyczna PWM, 345

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INDEX

E Eagleton, Gwen, 195 Earhart, Will. Review of Listening to Music, 286 “Early Song” (Moore), 109, 493, 506 Earnest, Frances, 204 East Hampton, NY, 222 East Jacksonville, FL, 218 East Lansing, MI, 184 East Senior High School (Pawtucket, RI), 243 East Woods School, 136 Eastman School of Music American Music Festival, 224, 242, 266, 452–55, 480–81 concert attendance, 266 dissertations, 262 honorary doctorate, 37 Little Symphony Orchestra, 242, 481 manuscripts, location of Emperor’s New Clothes, The, 110 Pageant of P.T. Barnum, The, 141 Perhaps to Dream, 143 Quintet for Clarinet and Strings, 150 Suite for Piano. “Procession,” 159 Vayechulu, 169 Opera Workshop, 208 Orchestra, 242 orchestra contest, 17, 454, 456, 458, 464 performances, 224–26, 239, 241–43, 431, 452, 454–56, 464, 480–81 Eastman Theatre, 141, 224–26, 238, 242, 463 Eastman-Rochester Symphony Orchestra, 141, 224, 241, 452–53, 460, 462 Eaton, Quaintance “Birth of a Nation,” 409 “Douglas Stuart Moore: The Ballad of Baby Doe”, 286 Opera: A Pictorial Guide, 286 Opera Production: A Handbook, 286 Opera Production II: A Handbook, 286 Eaton, Roy, 206 Eberley, Helen-Kay. American Girl, 88, 367–68, 371, 383, 396 Ebrahim, Omar, 195, 377 Eb-Sko Productions, 88, 367–68, 371, 383, 396 Eby, Karlin, 151 Eckert, Robert, 210 Eckertsen, Dean, 228

553

Eckhoff, Herbert, 192 Edmonds, Richard, 211 Edmunds, John recordings, 114–15 Some Twentieth Century American Composers, 286 Educo, 117, 164 Edwards, Arthur C. Music in the United States, 286 “Nationalistic Composers II: Douglas Moore (1893–).”, 286 Edwards, Cynthia, 212 Edwardsville, IL, 221, 443 Effie (role in Baby Doe), 85, 87, 182–84, 186–88, 190–95, 198–99 Effinger, Cecil, 161, 316 Effron, David, 192, 198 Eggebrecht, Hans Heinz, 345 Egmont. Overture (Beethoven), 278 Ehrenkrantz, William, 236 Ehrhardt, Debrah, 194 Ehrman, Michael, 192, 194, 196–99, 353, 369, 396 Eider, Eldon, 221 Eisenberg, Philip, 202 Eisenberg, Walter, 236 Eisenhower Theater, 196–97 Eisenmayer, Bert, 207 Eitze, James, 202 Ekman, Karl. Jean Sibelius, 259 El Cajon, CA, 219 El Camino College Auditorium, 200, 349 El Cerrito, CA, 219 Elder, Eldon, 186, 202 Elementary Harmony (Mitchell), 249 Elfenbein, Esther, 220 Elgar, Anne, 189–90, 349, 372, 374, 385, 396, 403–4 Elis, 41 Eli’s Restaurant, 4 Elisium Recordings, 150 Elizabeth I, Queen of England, 6 Elizabethan Club, 6, 8, 99 Elkan-Vogel, 127, 327 Elkan-Vogel Orchestra Score Series, 127 Eller, Eldon, 59–60 Elliott, William, 182

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Elliott Carter (Meyer and Shreffler, eds.), 254 Elliott Street School Auditorium, 227 Ellis, Byron, 194 Ellis, Constance, 314 Ellis, Ed, 201 Elmes, Cecily, 223 Elsmith, Berta, 24, 143 Elston, Arnold, 204 Elvins, Peter, 185 Elwell, Herbert “Babbitt Wins a Place in American Music,” 455 “Baby Doe Best in Last Scenes,” 365 “Quimby Pleases in Organ Recital,” 438 Ely, Albert H., Jr., 280 Elyn, Mark, 211 Emanu-El Choir, 204, 229, 464 Emel, Kathlynn J. “Douglas Moore’s The Ballad of Baby Doe”, 287 Emerson Majestic Theatre, 197 Emery, Charles, 192 Emily (character in Baby Doe), 71, 85, 87, 182–84, 186–88, 190–91, 193, 195, 198–99 Emmons, Shirlee, 203, 221, 240, 244, 418 emperor (character in Emperor’s New Clothes, The), 109–10, 215–16 Emperor’s New Clothes, The (Moore), 36–38, 109– 10, 215–16, 273, 297, 305, 439–40, 500– 501, 503 Emporia, KS, 208, 210 Enciclopedia della musica (Sartori, ed), 341 Enciclopedia Garzanti della musica (Santi, et al., eds.), 341 Enclosure Five, 115 Encyclopædia Britannica, 344 Encyclopedia Americana, The, 341 Encyclopedia of American Music, The (Jablonski), 343 Encyclopedia of Concert Music (Ewen), 288 Encyclopedia of Opera, The (Johnson), 301 Encyclopedia of the Opera (Ewen), 288 Encyclopédie de la musique (Michel, et al., eds.), 342 Encyclopedie van de muziek (Arntzenius, et al., eds.), 341–42 Encyklopedia Muzyczna PWM (Dziebowskiej, ed.), 345

Enesco, Georges, 478 Engle, Ronald, 221 English, Carlton, 209 English, Donna, 89 English Touring Opera, 361 Engstrom, Norman, 195 Enid, OK, 218 Enix, Margery, 241 Enjoyment of Music, The (Machlis), 311 Enns, Harold, 202, 211, 437 Enright, William, 209 Enters, Angna, 295 Epler, Bonnie, 189 Ericksson, Erik. “Douglas S. Moore” in All Music Guide to Classical Music, 336 Ericson, Raymond A. “Ballad of Baby Doe,” 365 “Behind Carrie [sic] Nation’s Hatchet,” 409 “City Opera Troupe Offers ‘Baby Doe’ ”, 365 “Composer for Symbols, A,” 409 “Festival of American Opera,” 365 “More Americana from Moore,” 409 “New York City Opera Devotes Season to American Opera,” 365 “On the Move to Detroit: Confusion,” 287 “ ‘Wings of the Dove’ at the City Center,” 484 Erle, Broadus, 150, 231–32, 237 Erskine, John “For Listening Readers,” 287 journalist, 319 “Escalator” (Moore). See Four Pieces for Piano Escondido, CA, 275 Esham, Faith, 194, 360 Essig, Dorothe, 204 “Eternal God” (Moore), 51, 110–11, 501, 506 Etude (periodical), 380 “Etude in Tenths” (Moore), 111, 493, 508 Euchaniz, Jose, 457 Eugene, OR, 204, 234 Eva, Thomas, 104 Evans, Beverly, 185–88, 190 Evans, Cheryl, 198 Evans, Frank, 209 Evans, Mark, 197 Evans, Mary Roberts, 207

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INDEX

Evans, Nell, 190–91, 372 Evanston, IL, 218 “Evening Wind, The” from MacLeish Songs (Moore), 4, 132, 494 Everest, Wesley. “New Opera Cabaret ‘Well Worth Seeing’ ”, 442 Everett, Bridget, 195 Eversman, Alice. “American Music Festival Ends with Large Audience at Gallery,” 440 Everts, Miriam. “Ballad of Baby Doe Given at Lake George,” 365 Everyman’s Dictionary of Music (Blom, ed.), 340 Everyman’s Reference Library, 341 Evett, Robert. “Poor-Man’s Louis XIV, A,” 365–66 Ewen, David American Composers, 288 American Composers Today, 287 Book of Modern Composers, The, 254 Complete Book of 20th Century Music, The, 287–88 Composers of Today, 287 Composers since 1900, 288 Encyclopedia of Concert Music, 288 Encyclopedia of the Opera, 288 Home Book of 20th Century Music, The, 287 Moore’s compositional style quotation, 268 New Encyclopedia of the Opera, The, 288 World of Twentieth-Century Music, The, 288 Year in American Music, The, 288 Ewing, Linda, 193 Ewing, N.J., 198 “Exit of Kansas Settlers” from Music for Yale Pageant (Moore), 136 Exner, Max, 222 Exodus, The (Bernard Rogers), 455 Experiment in International Living, 322 Eyer, Ronald “Ballad of Baby Doe,” 366 “Douglas Moore Honored by Concert at Columbia,” 490 “ ‘Dove’ Tries Opera Wings,” 484 “Loud Guffaws on Cue at Prokofieff Opera,” 366 “Operation Vanguard,” 366 Eyler, William, 211

555

F F., B. “Teater, musik och film: Sverige-Amerika på Fylkingen,” 472 F., W. “City Opera Gives ‘Baby Doe’ Ballad,” 366 Faber, Leslie, 206 Facts on File, 298, 309, 343–44 Fairbank, Janet, 201, 240–41 Falk, Robert, 188 Fall of the City (MacLeish), 30, 32, 111, 320 Fall of the City (Moore), 30, 32, 111, 320, 499, 503 Falla, Manuel de, 443 Falls Village, CT, 236 Falmouth, MA, 212 Fanfare (periodical), 367, 387, 396, 414, 423 Fanfare for brass ensemble (Moore), 111, 499, 505 Fanning, John, 199 Fantaisie Polonaise (Moore), 7, 112, 216, 495, 504 “Farewell, Dear Heart” from Twelfth Night (Moore), 166 “Farewell Song,” 89. See also The Ballad of Baby Doe. “Always through the Changing” (Moore) Farina, Frank, 192 Farkas, István, 271 Farm Journal (Moore) analysis, 262–63 in chronology, 500 in classified list, 504 description, 112–13, 262–63, 288–89, 292 Destroyer Song (Moore), relation to, 36, 74 (n. 35), 103 folk songs in, 67 “Harvest Song,” 32, 36, 74 (n. 35), 103, 112 “Lamplight,” 36, 112 performances, 37, 41, 216–17, 288, 305, 331, 430, 440–41 program notes, 331 publication, 328 recordings, 51, 100, 112–13, 161, 277, 305, 440–41, 454 reviews, 318, 440–41, 454 “Sunday Clothes,” 36, 112 “Up Early,” 36, 112 “Farmhands” from Village Music (Moore), 170. See also Village Music. Square Dance Farnam, Lynnwood, 217, 441

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Farnol (Lynn) Group, ed. ASCAP Biographical Dictionary of Composers, Authors and Publishers, 343 Farone, Dominick, 88, 191 Farr, Naomi, 186 Farrand, Roger, 121, 221 Farrel, Elisabeth, 71 Fath, Rolf Reclams Lexikon der Opernwelt, 289 Reclams Opernlexikon, 342 father (character in Carry Nation), 61–65, 96, 201–2, 408–9, 411–13, 415–16 father (character in The Emperor’s New Clothes), 109 Faulkner, William, 12 Faull, Ellen, 96, 202, 408–10, 412–13 Fauré, Gabriel, 14, 267, 312, 466 Faust, 313, 419, 422, 436 Favorite Songs of Yale, 123 Fawcett, Graham, 268 Fazah, Adib, 191 FCC, 264, 267, 288, 318 Federal Music Theatre, 226–27, 429, 482 Federal Symphony Orchestra, 227 Fédorov, Vladimir, ed. Encyclopédie de la musique, 342 Fee, Constance, 191, 398 Fee, Roger Dexter, 181 Feeney, John, 244 Feist, Leo, 4, 126 Feldman, Harry, 227 Fels, William C., 51 Felsenfeld, Daniel, 366 Fennell, Frederick, 242 Ferguson, Bernard, 207 Ferguson, Charles, 208 Ferguson, Samuel, Sir, 101–2 Ferrante, John, 209 Ferrari, Alberto, ed. Dizionario di musica, 340 Ferrer, José, 302 Ferril, Thomas Hornsby, 316 Fessenden, Frederick, 3, 289 Fessenden, Louise, 3, 289 Fessenden School, 3, 20, 158, 289 Fessenden School Centennial Book Committee. Along Right Lines from the Beginning, 289

Feste (from Twelfth Night by Shakespeare), 113, 166 Festival Films, 145 Festival of American Chamber Music, 236 Festival of American Music, 215, 230, 242 Festival of Contemporary Arts, 204 Festival of Contemporary Music, 28, 234, 479 Festival of Music and Art (Fisk University), 230 fiddler (character in The Devil and Daniel Webster), 104–5, 204–13 “Fiddlin’ Joe” from Tintypes (Moore), 163–64 Fiedler, Arthur, 227 Field, Lorene, 215 Field, William, 187, 190 Film Composers in America (McCarty), 313 film music, 26–27, 31, 36, 94, 144–46, 177–79, 255, 257, 289, 292, 302, 313, 331, 339, 504 Film Preservation Associates, 146 Finan, Charlotte, 182 Findlay, Francis. “Review of Village Music”, 289 Fine, Irving, 114–15 Fine Arts Review, 9, 255 “Fine Ladies Walk, The” from The Ballad of Baby Doe (Moore), 45, 48 Fingers and Toes, 18, 113, 497, 506 Finkel, Chris, 150 Finkel, George, 237 Finn, Huck (Mark Twain character), 372 Finn, Robert “Baby Doe Is an Opera Rich in Americana,” 366 “In Review: From Around the World; Cleveland,” 367 Finscher, Ludwig, ed. Die Musik in Geschichte und Gegenwart, 238 Fiorenza, Cristofaro, 213 Fiorito, John, 187 Fireside at Home, The, 2 First American Opera Festival (radio), 419 First Presbyterian Church (Warren, PA), 217 First Unitarian Church (Cleveland), 217 Fischer (Carl) Concert Hall, 225, 231, 237–38 publisher of Cotillion Suite (Moore), 99 Down East Suite (Moore), 109, 337

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INDEX

Emperor’s New Clothes, The (Moore), 110 Farm Journal (Moore), 112, 302, 318, 328 Giants in the Earth (Moore), 40, 59, 339 “God Rest You Merry, Gentlemen” (Moore), 121 Masters of Our Day Series, 313 “Old Song” (Moore), 140, 304, 329 Pageant of P.T. Barnum, The (Moore), 141 Perhaps to Dream (Moore), 143, 308 Quintet for Clarinet and Strings (Moore), 150 Simon Legree (Moore), 154, 308 Suite for Piano (Moore), 159, 323 Tintypes (Moore), 164 “Under the Greenwood Tree” (Moore), 167, 304, 329 Fischer, Alan, 198–99 Fischer, Martin, 231 Fisher, Marjory M. “Composer Anticipates New American Opera Form,” 290 “ ‘Devil and Daniel Webster’ Proves Exciting Show,” 424 “Gracie Fields Gives Fine Show at Opera House,” 424 “News Follows ‘Prayer’ Recital.”, 464 “Theater Helped Moore Write Good Opera,” 424 Fisher, Robert, 211 Fishhouse Punch (Claflin), 99 Fishman, F. F., 295 Fisk, Marjorie, 208 Fisk Memorial Chapel, 230 Fisk University, 230 Fisk University Chorus, 230 Fiske, Kenneth, 242 Fittle, Marden (role in Oh, Oh, Tennessee), 138–39 Five Shakespeare Songs (Moore) all songs, 506 “Blow, Blow Thou Winter Wind,” 32, 113, 201, 499 “Come Away, Death” in chonology, 495 in classified list, 506, 508 performances, 202–3, 217

557

recordings, 114–15, 277, 417, 471 relation to other Shakespeare settings, 116 in repertory guide, 337 reviews, 417, 471 scores, 113–14, 306 “Cuckoo, The” (“Spring and Winter”), 32, 115, 499 description, 113–16 “O Mistress Mine,” 115–16, 217, 225, 499, 508 “Sigh No More, Ladies,” 116, 217, 233, 497, 507 Flagstaff, AZ, 219 Flanagan, Michael, 195 Flanagan, William “Moore: Carry Nation”, 409 “Moore: The Devil and Daniel Webster”, 424 program notes by, 161 songs, 114–15 Flasch, Christine, 220 Fledermaus, Die (Strauss), 393 Fleetwood, James, 188 Fleischman, Patricia, 199 Fleming, Reneé, 90, 363–64, 370, 382 Fleming, Shirley “New York: Moore Ballad of Baby Doe”, 367 “Notes: ‘Baby Doe’ on TV; Live from the City Opera,” 367 Fleming, Tom, 195 Fletcher, Don, 211 Fletcher, Julia, 187 Fletcher, W. Roscoe, 205–6 Fling, Millie, 183 Flint, Mark D., 194 Flonzaley Quartet, 325 Flood, Reverend (character in The Greenfield Christmas Tree), 59, 124, 222 “Flora, the Lily of the West” from Devon Folk Songs (Moore, arr.), 107 Florentine Opera, 193, 378 Florida International Music Festival, 442–43 Florida State University, 223, 261 Floyd, Carlisle, 90, 356 Flushing, NY, 119, 229 Flying Dutchman, The (Wagner), 317 Fobes (family name), 2

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Foerschler, Matthew, 105 Fogel, Henry. “American Girl,” 367 Fogelsong, James, 208 Foldes, Andor, 37, 159, 237–38, 472 “Folk Music in Selected Twentieth Century American Operas” (Cavendish), 261–62 folk music style, 25, 32, 41, 47, 67, 261, 291, 332 “Folk Song from Many Lands” (Moore), 252 folk songs arrangements of, 41, 94–95, 107, 143 Irish, 479 Moore compositions similar to, 7, 67 publications, 103, 144, 252 quotation of, 67 reviews, 252 use in opera, 261, 332 Yugoslavian, 28, 250, 271 Folketeatret (Oslo), 239 Folmer, Joseph, 50, 181, 183, 404 Foltz, Ted, 207 Football Medley, 123 “For All Blasphemers,” 83. See also “Adam Was My Grandfather” (Moore) “For Shame! For Shame!” from The Headless Horseman (Moore), 125 “For Youth and Beauty We All Adore” from The Headless Horseman (Moore), 125 Forbes, Elizabeth. “Carry Nation,” 409 Ford, Henry, 372 Ford, John Arnold, 205–6, 211 Ford Foundation American opera commissioning grant, 52, 256, 296, 336, 349, 365, 372, 386, 401, 483 grant for Wings of the Dove, 58, 487 touring grant, 256 Forsberg, Charlotte, 208 Forsberg, John, 208 Forschungsinstitut für Musiktheater, 309 Forst, Judith, 197–98, 351, 402 Fort Lauderdale News, 329 Fortier, Francis, 235 Forum, The (Harrisburg, PA), 229 Forum on Current Problems (Columbia, 1940), 27, 328 Forum String Quartet, 236 Forum Theatre (Laguna Beach, CA), 220

Fosdick, Cody, 198 Foss, Gregg Wally, 210 Foster, George Allen, 200 Foster, Nancy, 186, 218, 245 Foster, Stephen “Camptown Races,” 172 “Old Dog Tray,” 13 recordings, 92 songs, 354, 373, 439 Foster (Stephen) Memorial, 226 Foulk, Patsy, 188 Fountain Street Baptist Church (Grand Rapids, MI), 206, 243 Four Museum Pieces (Moore) analysis and history, 10–11, 299, 304 “Chinese Lion and the Unhappy Flutist, A,” 10–11 description, 116–17, 304 “Madonna of Botticini, A,” 10–11, 74 (n. 43), 116, 217, 441 performances, 217, 441 Pulitzer Traveling Scholarship award, 14, 325, 477 “Before a Set of XVI Century Armor,” 10–11, 116, 217 “Statue by Rodin, A,” 10–11, 116 work by Moore, 281, 496, 504, 508 Four Pieces for Piano (Moore), 41, 117, 500, 508 Four Saints in Three Acts (Thomson), 257, 264 “Four Ways to Play the Piano” (Moore ?), 235 Fowler, Kathryne, 192 Fowler, Lee, 185 Fox, Charles Warren. “Symphony in A Major,” 290 “Fox, The” from Devon Folk Songs (Moore, arr.), 107 France, Hal, 194 Frances Clark Library for Piano Students, 117 Francisco, Eldon, 209 Franck, César, 8, 259, 270, 462 as an organist, 259 as composer, 8, 462 Symphony in D minor, 259 Variations symphonique, 270 Frangipani Press, 89–91, 293 Frank, Leah D. “Ambitious Troupe with Talent on Hand, An,” 442

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INDEX

Frank, Paul. Kurzgefasstes Tonkünstler-Lexikon, 342 Franke, William, 221 Frankenstein, Alfred “America: New York: City Centre and Met Opera,” 484 “Columbia and the Contemporaries,” 468 “Douglas Moore: Opera Must Fit Rhythm of U.S. Speech,” 424 “Modern Music in Limbo,” 248 “Music: 2 American Composers Triumph Here,” 424–25 “Music Critic at Large in New York,” 490 “Musical ‘Prayer’ Is Answered, A,” 465 “Needed—A Managerial Revolution,” 284 “Opera at Stanford Tells Story of a ‘Silver King’ ”, 367 “Opera in English: Stanford’s ‘Devil and Dan Webster’ ”, 425 “Piston: The Incredible Flutist: Suite; Moore: Pageant of P. T. Barnum”, 459 “Recital by Maxim Schapiro,” 472 “Ruggles: Organum; Moore; In Memoriam; . . .”, 452 “Wartime Music: Shostakovitch [sic] v. Moore,” 290 “Frankie and Johnny,” 329 Franklin, Bobby, 182 Franklin, James, 196 Franklin, Wade “Some Nuggets Picked Up in Colorado’s Rockies,” 367 “Travel Log: Baby Doe Rides in Central City Again,” 367–68 Franklin and Marshall Glee Club, 234 Franklin (Benjamin) Junior High School (Ridgewood, NJ), 210 Franschke, Janet, 191, 377 Fredonia, N.Y., 187 Fredricks, Richard, 87, 186–88, 191, 193, 202, 245, 352, 392, 411 Free Library of Philadelphia, 237 Freed, Isadore, ed. “Douglas Stuart Moore” in Contemporary Piano Music by Distinguished Composers, 159, 166–67, 291 Masters of Our Day Educational Series, 164

559

Freeland, Elisabeth V., 223 Freeman, John W. “Douglas Moore, 1893–1969: The Ballad of Baby Doe,” 368 “Helen-Kay Eberley,” 368 “In Review: From Around the World; New York,” 368 Metropolitan Opera Stories of the Great Operas, The, 291 “Moore: Carry Nation,” 410 “Moore: The Ballad of Baby Doe,” 368 Freiman, Mark, 88, 196 Freischütz, Der (Weber), 320 French, Richard F. “Current Chronicle: United States; New York,” 490 “Review of In Memoriam”, 453 Fresno, CA, 212, 218 Fresno Pacific College, 212 Fresno State College, 218 Freundlich, Irwin. “Notes on Some Teaching Pieces by Columbia Composers,” 291 Friday Morning Music Club (Bethesda, MD), 233 Fried, Alexander “1 Act American Opera Praised,” 425 “9,000 Hear Cantata,” 465 “Benet’s ‘Devil and Daniel Webster’ ”, 425 “Big Stanford Event,” 368 “Carry Nation’s Legend Carries On in Opera,” 410 “Premiere of ‘Carry Nation,’ The,” 410 “Schapiro Piano Recital Pays Tribute to Late Ada Clement,” 472 “Stanford Folk Operas Held Big Service to Art,” 425 “Stern Grove Opera Pleases Throng,” 425 Fried, Howard, 181–82, 185, 210 Friedberg, Ruth C. “Douglas Moore . . .” in American Art Song and American Poetry, 291 “Moore, Douglas” in American National Biography, 291 Friedman, Milton, 230, 234 Friedman, S. P., 122 “Friends, Elis, Countrymen” (Moore), 41, 71, 117, 493, 500, 506

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Friends and Neighbors of Douglas Moore, The, 307 Frierson, Andrew, 210 Friml, Rudolf, 3 Frisque, Chad, 220 Fritz (Chester) Auditorium (University of North Dakota), 221, 447 Frobisher, Sally, 222 frogs, 19 From Madrigal to Modern Music (Moore), 28–29, 247–48, 276, 283, 287, 301, 338 Frothingham, John, 59, 124 Ft. Hays, KS, 212 Ft. Lauderdale, FL, 228, 231, 239 Ft. Lauderdale Symphony Chorus, 231 Ft. Lauderdale Symphony Orchestra, 228, 231, 239, 329 Ft. Worth, TX, 191, 219 Ft. Worth Opera, 191, 357 Ft. Worth Opera Orchestra, 191 Fuchs, Harry. “New York State Theater; April 2, 1968; Moore’s Carry Nation”, 410 Fugue in A for flute and clarinet (Moore), 118, 497, 509 Fugue in D Major for string quartet (Moore), 4, 118, 494, 509 Fugue in E Minor for keyboard (Moore), 118, 497, 508 Fugue in E Minor for organ (Moore), 118, 496, 508 Fugue in F Minor for organ (Moore), 118, 494, 508 Fulbright fellowship, 53 Fuld, James J. “The Ballad of Baby Doe” in The Book of World-Famous Libretti, 291 Fuller, Donald. “Program Notes” [The Devil and Daniel Webster], 291 Fuller (Alfred C.) Music Center, 316 Fullerton, CA, 220 Fullwood, Joyce, 209 Fulton, William. “Reds Get Cash in Fund Set Up by Guggenheim,” 291 Furman, Evelyn, 330 Futral, Elizabeth, 198, 360, 366–68, 382, 388 Fylkingen Konserthuset, 238, 472

G G. K. Hall Performing Arts Handbooks, 308 G. “New Operetta by Moore for High School Pupils,” 292 G. Schirmer Opera Anthology, 89, 91–92 Gable, Bertram, 204, 229 Gabriele, Leyna at Calgary symposium, 375 casting as Baby Doe, 44, 50, 357–58 interviews, 357–58, 401 performances, 44, 50, 181–82, 348, 357–58, 360, 367, 405 photographs, 348, 360, 368 recordings, 91, 357–58 reviews, 367 Gahimer, Lora. “Attitudes on Contemporary American Composition . . .”, 262 Gaines, Joseph, 198 Gainesville, FL, 212, 239 Gaito, Bill, 210 Galaxy Music, 64, 83, 93, 96–97, 102, 143, 159, 166, 408, 491 Galaxy Music Corporation, Newsletter, 408 Gale, Carol, 195, 362, 390, 401–2 Galioto, Rosolino, 213 Gallagher, Gilbert, 204, 207 Gallantry in chronology, 501 in classified list, 503 composition, 53, 306 description, 51–52, 118–19, 262, 296 libretto, 258, 262, 445–46 “Lola’s Aria,” 52, 119 melodic analysis, 263 performance, 52–53, 217–21, 294, 306, 442–46, 490 photographs, 442, 445 production, 286, 333 publication, 306 recordings, 442, 444–45 reviews, 442–46, 490 synopsis, 333 television performance, 59, 339, 442, 444–46 Galliard (publisher), 96–97, 491 “Gallop” from Cotillion Suite (Moore), 41, 99

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Gallucci, Sandra, 222 Gallup, Michael, 193 Galterio, Lou, 194 Galtier, Lou, 194 Gamberoni, Kathryn, 194 Gambina, Juan, 213 Gammond, Peter. The Illustrated Encyclopedia of Recorded Opera, 292 Garber, Kathryn, 194 Garcia, Madeline, 199 Garcia, Victor M., 193 Garden City, N.Y., 218–19 Gardner, Charlotte, 219 Gardner, Jake, 198, 396 Gardner, James, 193 Garfunkel, Sandor, 206 Gargiulo, Mark, 194 Garland Reference Library of the Humanities, 276 Garraty, John A., ed. American National Biography, 291 Garson, Greer, 356 Garzanti, Aldo, 341 Gatling, William, 216 Gatti, Guido M. Dizionario di musica, 341 musica. Dizionario, La, 344 Gatti-Casazza, Giulio, 478 Gaupp, Charles, 210 Gavotte in C# Minor (Moore), 119–20, 221, 338, 496, 508 Gavotte in D-flat Major (Moore), 120, 493, 508 Gayer, Josepha, 197, 274, 375 Gayle, Sheila, 104 Geddes, William, Mrs., 379 Geer, Alfred, 208 Geiger, Maurice, 212 Geïllustreerd muzieklexicon (Keller and Kruseman, eds.), 342 Gelb, Arthur. “Folk Music Play May Be Done Here,” 368 Gelsenkirchen, 392 Genauer, Emily. “Today with Newsday,” 410 Genco, Kenneth, 193 “General and Mrs. Tom Thumb” from The Pageant of P.T. Barnum (Moore), 13, 141, 456, 461, 464

561

General Assembly Poorly Attended, 292 General Electric Hour, The, 462 “General Music Course for College Students, The” (Moore), 252 General Studies Music Society, 214 Geneseo State University College, 219 Genesis, 37, 169 Gentner, Elizabeth, 199 Geographical Magazine, 304 Gephart, William, 180, 471 Gerber, Joyce, 200 Gerbrandt, Carl. “Douglas Moore: The Greenfield Christmas Tree” in Sacred Music Drama, 292 Germantown Jewish Center, 203 Germany, 186, 193, 217, 237, 330, 406, 423 Gershwin, George, 90, 277, 324, 429 as composer, 324 compositional style compared to Moore, 429 opera, 277 Porgy and Bess, 256–57, 299, 431 recordings, 90 Gershwin, Ira, 429 Gershwin Theater, 220, 446 Gesell, Morris, 218 Gestri, Brandi D., 220 Gettysburg Address, 480 Gezinski, John, 245 Ghormley, Lee, 204 “Ghosts” (Moore), 8, 120, 221, 496, 506 Giannini, Vittorio, 92, 384 Giants in the Earth (Moore) analysis and description, 38–40, 120–21, 263, 288, 295, 332 Carry Nation (Moore), compared to the plot of, 62 in chronology, 501 in classified list, 503 collaboration with Sundgaard, 51 composition, 285 dictionary entry, 298, 302 finale duet, 222 folk music, use of, 332 “Home Founding Song,” 39, 222 libretto, 258, 262, 332, 446–49 manuscript facsimile, 249

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

orchestration, 40 performances, 40, 221–22, 249, 284, 294, 339, 446–49 photographs, 446–48 production, 286 production information, 297 publication, 40 Pulitzer Prize, 40, 249, 274, 276, 280, 284, 295, 305, 327, 336, 339–40 “Quiet, The,” 222 reviews, 446–49 revision, 59, 276, 323, 446–47 scene design, 59 synopsis, 295, 332, 446, 448 Wings of the Dove (Moore), compared to, 55 work by Moore, 277, 333, 500 Giants in the Earth (Rølvaag), 38, 40, 120, 339 Giardino, Jean, 228 Gibb, Kathryn, 245 Gibbons, Joan, 181 Gibson, Gertrude, 204 Gibson, Marjorie, 185 Gibson, Mark, 196–97 Gibson, Mila, 196 Gibson, Pat, 198 Giddings, James, 147, 204–5, 213, 229–30, 234 Giffin, Glenn “Baby Doe as Exciting as It Was at Premiere,” 368 “ ‘Baby Doe’ Comes Back to Central City Opera,” 368–69 “Century of the Arts, A,” 369 “In Review: From Around the World; Central City, CO,” 369 “Music: ‘Ballad of Baby Doe’ Presents Special Challenge to Schifter,” 369 “New Sets Sharpen Drama, Facilitate Flow of ‘Baby Doe’ ”, 369 “Opera: ‘Baby Doe’ Spruces Up for 40,” 369 “Roundup: U.S.A.; Central City Opera,” 369 “Special Festival Reports ’81: Central City,” 369 “There’s Opera and More at Central City Festival,” 369 Gifford, Timothy, 212 Gifford Auditorium, 214–15, 221, 238 “Gifts” from MacLeish Songs (Moore), 4, 133, 494

Gigliotti, Anthony, 232 “Gigue” from Danses pour flute, clarinette, et basson (Moore), 101 Gilbert, Gama. “Douglas Moore,” 425 Gilbert, Noel, 237 Gilbert, W. S. Iolanthe, 333 Ruddigore, 333 style compared to Moore, 23, 50, 311, 327, 333, 351, 450 Gilburt, Jan, 208 Gilday, Edward F. “ ‘Up Early,’ from the Farm Journal: A Musical Story of a Farm in Ohio,” 292 Gilder, Eric. Dictionary of Composers and Their Music, The, 292 Gildersleeve, Virginia, 277 Gill (Robert) Theatre, 198 Gilley, Richard, 208 Gillis, James, 204 Gilman, Lawrence “Barnum in Tones,” 459 “Daniel Webster Set to Music,” 293 “New American Music Presented by Mr. Sokoloff with the Cleveland Orchestra,” 459 “New American Symphony, A,” 18, 290, 292–93 Gilmore, Geraldine, 222 Giltinan, Paul, 207 Ginastera, Alberto, 410 Gindele, Howard, 207 Gingras, Michèle. “Reviews: American Clarinet,” 468 Giordano, Gloria, 213 girl (character in Carry Nation), 95–96, 202 Girty, Simon (character in The Devil and Daniel Webster), 104–5, 204–13 Giuliano (character in Wings of the Dove), 175, 245 Giuseppe, Enrico de, 219, 443 Glackin, William C. “Carry Nation Was a Young Girl in Love Once,” 410–11 Glamour (magazine), 260 Glanville-Hicks, Peggy “Concert for Children Given by Philharmonic,” 465 “Moore, Douglas Stuart” in Grove’s Dictionary of Music and Musicians, 293

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INDEX

Glasow, E. Thomas. “In Review: From Around the World; Chautauqua,” 370 Glassberg, Sol, 236 Glassboro, N.J., 211 Glassboro State College, 211 Gleemen, Eugene, 234 Gleeson, Harold. “Outline IX: Douglas (Stuart) Moore (1893–1969)” in 20th-Century American Composers, 293 Glennon, Jean, 192 Glens Falls, N.Y., 189 Glenwright, Kay, 205 Glimmerglass Opera Theatre, 220, 445 Glor, Paul, 207 “Glory for Yale,” 123 Glotz, Jessie Wilhelmina (character of song by Moore), 7, 71, 128–29, 246 (n. 1), 495, 506 Glover, Robert W., 202, 214 Gloyd, Charles, Dr. (character in Carry Nation), 61–65, 96, 201–2, 407–8, 410, 412, 415 Gluck, Christoph Willibald von, 278, 325 Gluzman, Estelle, 206 Glyndebourne, 250 goat (character from The Greenfield Christmas Tree), 124, 222 Gobel, George, 489 Goberman, Max, 110, 210, 428 “God Be With You” (Tomer), 22 “God of Love, The” from Much Ado About Nothing (Moore), 135 “God Rest You Merry, Gentlemen” (Moore, arr.), 121, 222, 493, 505 Goddard-Riverside Community Center, New York, 189, 404 Goddess of Spring (character in Wings of the Dove), 245 Goddess of Winter (character in Wings of the Dove), 245 Goeke, Leo, 188 Goertz, Harald. “American Opera-Workshop: Perfekte Parodie,” 442 Goetz, Rick, 197 Goff, Lewin, 202, 337 “Gold Is a Fine Thing,” 88, 90–91, 367, 383. See also The Ballad of Baby Doe. “Silver Aria” (Moore) Gold Label Books, 103, 170–73

563

gold standard, 46 Goldberg, Albert “Douglas Moore and Operas by Accident,” 293 photograph, 368 “Record Reviews,” 440 “Record Reviews: ‘Licorice Stick . . .”, 454 “Sounding Board: ‘Ballad of Baby Doe,’ The,” 370 “Sounding Board: New American Opera, ‘The Ballad of Baby Doe,’ . . . , The, 50, 370 “Sounding Board: The American Composer Gets His Chance . . . , The,” 468 Golden Imports, 142, 457 Goldman, Edwin Franko, 53, 143 Goldman, R. H. M. “Reviewer Praises Columbia Orchestra Stressing Remarkable Improvement,” 294 Goldman, Richard Franko, 143, 228–29 Goldman Band, 53, 143, 228–29, 306 Goldovsky, Boris, 210 gold-panning exhibition, 50, 357 Goldscheid, Sherman, 231 Goldschlag, Florence, 206 Goldschmidt, Berthold, 206, 210 Goldschmidt, Nicholas performances as baritone, 180, 201, 225, 233, 235 performances as conductor, 205, 222–23, 230, 449–50, 465 Goldstein, William, 231 Goldthwaite, Scott, 276 Golove, Leonard, 237 Golschmann, Vladimir, 285 Gomez, John, 202 Gooch, Annabelle, 182 “Good Night, Harvard” (Moore), 4–5, 121–23, 235, 344, 494, 499, 504–5, 507 “Good Night, Princeton,” 121. See also “Good Night, Harvard” (Moore) “Good People of Leadville” from The Ballad of Baby Doe (Moore), 87 Good Soldier Schweik, The (Kurka), 323 Goodman, Bernard, 236 Goodman, Margaret, 87, 187, 191 Goodman, Peter. “Baby Doe: Reviving an American Opera,” 370

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Goodwin, Charles, 205–6 Goosens, Eugene, 226, 441, 456, 463 Gordon, Jacques, 227, 236–37 Gordon, Michael, 231 Gordon, Nathan, 236 Gordon String Quartet, 236–37, 467 Gore, Peter, 223 Gore, Richard T., 214 Gorton, Thomas, 59, 217, 316 Goshen, IN, 219 Goss, Louise, ed. Contemporary Piano Literature, 117 Goss, Madeleine. “Douglas Moore” in Modern Music-Makers, 294 Goss, Robert, 221 Goth, Trudy. “Stati Uniti: Una stagione di opera Americana,” 370 Gotshalks, Jury, 245 Götterdämmerung, Die (Wagner), 324 Gould, Edith M., 18, 123 Gould, Jan “Headless Horseman Opera Causes Directorial Tug of War,” 449–50 “Student Cast to Produce ‘Horseman’ Satire at 8:15,” 450 Gould, Morton, 161, 169, 284, 479 Goulding, Phil G. “The Ballad of Baby Doe, 1956 . . .” in Ticket to the Opera, 294 Goulet, Raymond, 221 Governor’s Ball, 46 Goyescas (Granados), 468 Graber, Ann, 202 Graf, Herbert, 34, 43, 257 Graffman, Gary, 474 Graham, Arthur, 187–88, 245 Graham, Colin, 197–98, 402–3 Graham, Howard, 211 Graham, Scott, 221 Graham, Sharon, 196, 383, 385 Grainger, Percy, 294, 325 Gramm, Donald, 114, 417 Gramophone (periodical), 398, 408, 479 Granada Theatre, 228 Granados, Enrique. Goyescas, 468 Grand, Robert Gibby, 212 Grand Forks, N.D., 40, 218, 221, 446–47

Grand Forks Herald, 447 Grand Lake, CO, 393 “Grand March” from Cotillion Suite (Moore), 41, 99, 300 Grand Opera House (Wilmington, DE), 194 Grand Rapids, MI, 206, 243 grandfather (character in The Greenfield Christmas Tree), 59, 124, 222 Grandi, Maria, 202 Grant, Victor, 209 Grant Park (Chicago), 219 Gratale, Franco, 220 Grathwohl, Jim, 301 Gray, H. W., 27, 108, 148, 266, 295, 321 Gray, Matthew, 194 Grayson, Bill, 93 Grealish, Jeanne, 193 great American opera, 299, 305, 313, 352–53, 355, 383, 421 Great American Symphony, The (Tawa), 334 Great Neck North Middle School (Great Neck, NY), 192 Great Performances, 93 Great Teachers Award, 58, 294, 336 Greathouse, Homer, 211 Greek Games (Moore), 18, 123, 222, 270, 278, 497, 503 Greeley, Horace, 3 Green, Ethel, 5, 225 Green, Eugene, 182, 193, 212 Green, Harris. “Un bel di? Music,” 411 Green, Helen, 223 Green, Jonathan, 192 Green, Paul, 43–44, 282, 296, 301, 316, 340, 405 Green, Theodore, 88, 196 “Green Stockings” (Mason), 335 Greenblatt, Harold, 229 Greene, David Mason. Greene’s Biographical Encyclopedia of Composers, 294 Greene, Harriet, 188 Greene’s Biographical Encyclopedia of Composers, 294 Greenfield, Alfred, 234 Greenfield, Edward. “Music: This Week’s Classical CD Releases,” 370 Greenfield, Louise, 244

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INDEX

Greenfield Christmas Tree, The (Moore), 58–59, 124, 222, 292, 296, 306, 449, 501, 503 Greenough, Lindley, 182 Greenough, Nancy, 182 Greenport, N.Y., 66 Greensboro, NC, 199, 242 Greensboro College, 199 Greensboro Opera Theatre, 199 Greensboro Orchestra, 242 Greenspon, Muriel, 185, 187–92, 398, 404 Greenwich Sinfonietta, 227, 260, 460 Greenwich Village Week, 406 Greenwood Press, 294, 311 “Greeting by Douglas Moore, President of the Academy” (Moore), 252 “Gregarious Art, The” (Moore), 252 Gregg, Dr. (character in Gallantry), 51–52, 119, 217–21 Gregg, Michael, 208 Gregoire, M. A., 210 Greissle, Felix, 447 Gribble, Harry Wagstaff. March Hares, 10 Grieg, Edvard, 2 Grieve, Tyrone, 241 “Grievin’ Annie” from Tintypes (Moore), 163–64 Griffel, Margaret Ross “Opera at Columbia,” 294 Operas in English, 294 Griffes, Charles T., 114–15 Griffin, Beverly Cannon, 189 Griffin, James Bradley, 332 Griffin, Ralph, 189, 220 Griffith, David, 87, 191 Griffith, Louis, 209 Griffith, Randolph, 206 Griffiths, Paul Penguin Companion to Classical Music, The, 342 Thames and Hudson Encyclopedia of 20thCentury Music, The, 342 Grijalbo/referencia, 345 Griller, Arnold. Symphony for Eight Celli and Piano, 161 Grissom, Jan, 88, 196, 354, 364, 369, 396 Griswold, Alfred Whitney, 41, 117 Griswold, Mary, 195

565

Groat, James de, 104 Grobe, Arthur, 178 Grogan, Ellen, 192 Grogan, Norman, 186 Grolier Club, 293 Grondahl, Hilmar. “Music, Acting Excellent in Ballad of Baby Doe,” 371 Grosbayne, Benjamin “Notes on Broadcast Music,” 459 “Rise of American Composers,” 294 grosse Musik Führer, Der, 340 Grossman, Herbert, 202, 408 Groth, A. Nicholas. “Moore’s Opera: ‘Carrie [sic] Nation’ on Desto Records,” 411 Groth, Howard. “Significant Trends in Selected American Operas,” 295 Grove Book of Operas, The (Sadie, ed.), 333 Grove Concise Dictionary of Music, The (Sadie, ed.), 345 Grover, Anthony, 220 Grover, Penelope, 220 Grove’s Dictionaries of Music, 272, 332–33 Grove’s Dictionary of Music and Musicians (Blom, ed.), 293 Grove’s Dictionary of Music and Musicians (Colles, ed.), 326 Gruber, Paul, ed. The Metropolitan Opera Guide to Recorded Opera, 388 Gruen, John, 114–15 Grueninger, Walter F. “Columbia’s First Six Releases,” 468 “Phonograph Records,” 371, 426 “Recorded Music in Review,” 371 “Recorded Music in Review: Rodgers and Hart: On Your Toes,” 371 Gruhle, Diane, 208 Grupo Musical Cubano-Americano, 232 Grutzner, Charles “Richter Is Pulitzer Novelist,” 295 “Winners of the 1951 Pulitzer Prizes and Citations in Journalism, Letters and Music,” 295 Guagliardo, Ugo, 213 Guardian, 370, 403 guards (characters in The Emperor’s New Clothes), 109

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Guarrera, Frank, 183, 188 Gudas, Paul, 194 Gueden, Hilde, 352 Guggenheim Fellowship, 20, 291, 295, 332, 482 Guggenheimer, Randolph, Mrs., 233 Guía de los estilos musicales (Moore), 247 Guide to Musical Styles, A (Moore), 247–48 Guide to the Pianist’s Repertoire (Hinson), 298 Guile, Helen, 186–87 Guinn, John, ed. St. James Opera Encyclopedia, 342 Guiterman, Arthur, 113 Gunderson, Margaret S., 221 Gunn, Glenn Dillard. “American Folk Tunes Score in Finale of Gallery Festival,” 440 Gurlitt, Willibald, ed. Riemann Musik Lexikon, 345 Gurney, John, 180, 200, 204–5, 428 Gustern, Josef, 182 Gutknecht, Harry, 245 Guyer, Joyce, 105, 212 Guzzo, Louis R. “Words and Music: New American Opera Staged Beautifully but Lacks Substance,” 371 H H., A. “Baby Doe at City Opera for Last Time This Season,” 371 “New Music: Organ Music: The H. W. Gray Co. (Novello)”, 295 H., C. “Young People Hear New Moore Opera,” 440 Haagensen, Erik, 89 Haagenstad, Jackie, 183 Haan, De, 340 Häberli, Carlos A., 236 Hacker, Kathleen, 200 Haddad, Barbara. “Central City: Vets Enhance ‘Baby Doe’ ”, 371 Haddad, Bob, 182 Hadley, Benjamin, ed. Britannica Book of Music, 340 Hadley, Henry, 458 Hadley, Morris, 339 Hadley (Henry) Medal, 58, 284

Haehl, Chez, 202 Haerle, John, 201 Hagen, Janay, 196 Hagen, Ute, 302 Hagen, Walter, 237 Hagerty, Marilyn. “A Thoroughly Enjoyable Night Describes U Opera Performance,” 447 Hagerup, Sverre, ed. World of Music: An Illustrated Encyclopedia, The, 329 Haggin, B. H. 35 Years of Music, 484 “Ballet and Music Chronicle,” 484 Music Observed, 484 “Records,” 468 “Winter 1962,” 484 Hague, Robert A. “Heifetz Gives a One-Man Show,” 453 “Musical Roundup: Festival at Columbia,” 474 “Some New Music for the Violin,” 439 Hahn, Robert, 189 Haidai, Zoya, 35, 337 “Hail Our Teacher, Hail” from The Headless Horseman (Moore), 125 “Hail to Thee, Fessenden” (Moore), 3, 158, 289, 493, 507 Haithwaite, Morse, 184 Hale, Barbara Jane, 223 Hale, Richard, 200, 204–5, 208, 213, 231, 434 Hale, Robert, 190 Halgrimson, Amanda, 193, 360 Hall, Adam, 220 Hall, Bettina, 204, 436 Hall, Clarence J., 208 Hall, David. “Moore: The Ballad of Baby Doe (Complete Opera)”, 372 Hall, John, 220 Hall, Toxey, 209 Hall (Margaret) School, 223 Hall Theater, 3 Hall-Garcia, Brannon, 200, 202 Halliwell, Michael. Opera and the Novel, 295–96 Halper, Ross, 199 Halvorson, Carl, 119 Hamilton, David, ed. The Metropolitan Opera Encyclopedia, 296 Hamilton, Geraldine, 204

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INDEX

Hamlet (character from Shakespeare), 330 Hammerstein, Oscar, II Carousel, 390 Oklahoma!, 390, 415–16 Showboat, 356 Hammond, Arthur, 208 Hammond, Patricia, 215 Hampson, Thomas, 337 Handel, George Frideric Semele, 378 Xerxes, 455 Xerxes. Largo, 273 handmaidens (character in The Emperor’s New Clothes), 109 “Handsome Dan” from Tintypes (Moore), 163 Handy, W. C., 150 “Hanging Johnnie” from War Songs (Moore), 7, 171, 495 Hanley Junior High School Auditorium, 207 Hanna, Lloyd, 218 Hansa, Anna (character in Giants in the Earth), 120–21, 221 Hansa, Beret (character in Giants in the Earth), 38–40, 59, 120–21, 221, 446, 448–49 Hansa, Ole (character in Giants in the Earth), 38, 120–21, 221 Hansa, Per (character in Giants in the Earth), 38–39, 120–21, 221, 446 Hansen (Wilhelm), 248 Hansen, Loren, 189 Hansen, Mary, 189 Hansen, Peggy C., ed. “Donald Oenslager: The Ballad of Baby Doe, 1956,” 355 Hansen, Robin, 194 Hanson, Bruce, 192 Hanson, Howard American composition, attitudes about, 262 letter protesting registration of Soviet agents, 35, 274, 285, 337 performances In Memoriam (Moore), 224, 451–52 Moby Dick (Moore), 224, 454 Overture on an American Tune (Moore), 225, 455 Pageant of P.T. Barnum, The (Moore), 226, 456

567

Symphony of Autumn, A (Moore), 19, 239, 477–78 Village Music (Moore), 241–43, 480 photograph, 288 recordings, 141–42, 462 retirement, 276 Symphony of Autumn, A (Moore), dedicatee of, 18, 161 Hanson Conducts Moore, Carpenter, Rogers, and Phillips, 142 Hapka, Christopher. “US Opera,” 296 Happy Endings, 119 “Happy Land” (Breedlove), 12 Hardee, Lewis, Jr. “Musical Theatre of Douglas Moore, The,” 71, 73, 262 “Perils of Baby Doe, The,” 296 “Published Songs and Arias of Douglas Moore, The,” 296 Hardyk, Joel M., 221 Hare, Clayton, 218 Harford, Margaret. “Singers Win Acclaim at Philharmonic,” 474 Hargis, Luanne, 194 Harkey, Lem, 210 Harkness, Edward S., 278 Harmon, Robert, 205–6 Harmon, Su, 191 harmony, quartal, 283 harmony textbooks, 249 Harms, Werner, 104 Harned, Shirley, 193 Harper Dictionary of Music, The (Ammer), 340 Harper Dictionary of Opera & Operetta (Anderson), 266 Harper-Collins Dictionary of Music, The (Ammer), 340 Harper’s Magazine, 255 Harris, Marybeth, 236 Harris, Paul A. “Soap Opera Comes to SIUE Stage in ‘Gallantry’ ”, 443 Harris, Roy, 161, 169, 262, 479 Harris, Stan, 212 Harrisburg, PA, 8, 12, 216, 227, 229, 314, 462, 464 Harrisburg Morning Telegraph, 462, 464

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Harrisburg Patriot, 314 Harrisburg Symphony Orchestra, 216, 227, 229, 462, 464 Harrison, F. Ll. Collins Encyclopedia of Music, 346 New College Encyclopedia of Music, The, 346 Harrison, Guy Fraser, 223, 226 Harrison, Jay S. “American Opera Hailed Here,” 372 “Concerts and Recitals: Columbia Bicentennial Concert,” 474 “ ‘Gallantry’ and ‘Boor’ ”, 52, 443 “Kohon String Quartet Heard,” 466 “Opening Week of the City Opera Features Two Scores by Moore,” 296 “Tomorrow, City Opera Will Open Its Second All-American Season,” 296 Harrison, Patrick, 211 Harrold, Jack, 182–83 Harrower, Peter, 187 Harsanyi, Alexander, 324 Hart, Frederic. The Romance of Robot, 482–83 Hart, James D. The Oxford Companion to American Literature, 342 Hart, Lorenz. On Your Toes., 371 Hartford, CT music critics, 319 performances Ballad of Baby Doe, The (Moore), 184, 196, 384–85 Ballad of William Sycamore, The (Moore), 201 Columbia University Glee Clubs, 264 Columbia University Orchestra, 264 Dirge (Moore), 201 Down East Suite (Moore), 215 Gallantry (Moore), 219 Greenfield Christmas Tree, The (Moore), 222 Quintet for Clarinet and Strings (Moore), 231 Selections, multiple works (Moore), 233 Suite for Piano (Moore), 237 White Wings (Moore), 38, 244, 481–83 united music council, 285 Hartford Courant, 316, 339, 383, 388, 449, 482

Hartford Opera Guild, 482 Hartford Symphony Orchestra, 59, 222, 449 Hartford Theater Association (Connecticut), 219 Hartford Theatre Association (Maryland), 219 Hartford Times, 285, 422, 481, 490 Hartline, Carroll W., 230 Hartt (Julius) Musical Foundation, 201, 215, 231, 237, 244 Hartt Opera Guild, 38, 244, 481–82 Hartt (Julius) School of Music, 38, 201, 215, 223, 231, 233, 237, 244, 449–50, 481–82, 490 Hartzell, Eugene, 104 Harvard Biographical Dictionary of Music, The (Randel, ed.), 342 Harvard Club, 236 Harvard Concise Dictionary of Music (Randel, ed.), 297 Harvard Concise Dictionary of Music and Musicians (Randel, ed.), 297 Harvard Night, 243 Harvard Radcliffe Orchestra, 243 Harvard University fight song about, 4–6, 121–23 manuscripts, location of, 101–2, 108, 118, 159 Music Department, 330 Parry (Milman) Collection, 28, 250, 271 performances, 232 Harvard University Press, 297, 342 “Harvest Song” from Farm Journal. Suite (Moore), 32, 36, 74 (n. 35), 103, 112 “Harvest Song” from Power and the Land. Suite (Moore), 32, 36, 74 (n. 35), 103, 112, 147 Harvest Time, 110 Harvey, Cathryn, 204 Harvey, Colin, 202, 205–6 Harvey, J. Bailey, 234 Harvey House, 259, 330 Harvie, Josephine, 189 Harvuot, Clifford, 50, 181–83, 204, 206, 209, 213, 349, 405 Haskell, Harry. “Reports: U.S.; Kansas City,” 372 Haskins, John “Music in Mid-America,” 411 “Opera Reveals a Real Carry,” 411

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INDEX

Hastings, Kyle, 198 Hastings, NE, 226–27 Hastings College, 226–27 Hastings Symphony Orchestra, 226–27 Hasty, Robert, 185 Hatch, Christopher “Moore, Douglas Stuart” in International Dictionary of Opera, 297 “Moore, Douglas Stuart” in St. James Opera Encyclopedia, 342 “The Ballad of Baby Doe” in International Dictionary of Opera, 297 “Hatchet Lady,” 412 Hatfield, Lansing, 204, 420, 428, 436 Hathorne, Justice (character in The Devil and Daniel Webster), 26, 104–5, 204–12, 421 Hattersley, George, 210 Hattiesburg, MS, 219 Hause, Robert, 443 Havana, Cuba, 232 Haverlin, Carl. “Wallingford Riegger: A Tribute,” 297 Hawes, David, 208 Hawes, James, 202, 337 Hawkins, Osie, 183 Hawn, Harold G. “A Survey of 141 Chamber Operas . . . ”, 297 conductor, 216 tenor, 208 Hawthorne, Nathaniel, 353 “Hay Wagons” from Power and the Land. Suite (Moore), 147 Haydn, Franz Joseph, 259, 290, 310, 320, 325, 331 Haydon, Glen. Introduction to Musicology, 248 Hayes, Angela, 199 Hayes, Heidi, 194 Hayes, Helen, 314 Hayes, Malcolm. “Homesteading and Huck Finn with Tunes,” 372 Hayes, Marvin, 201–2 Haynie, Phillip, 221 Hays, Lora, 94, 145–46, 178 Hayward, Carol, 189 Hayward, Linda, 189 Haywood, Frances, 230

569

Hazzard, Sally, 231 “He Will, He Must” from The Wings of the Dove (Moore), 484 Headless Horseman, The (Moore) “Alas, Alas, for the Loving Pair!”, 125 analysis and description, 23–24, 124–25, 292, 332 broadcasts, 449 in chronology, 498 in classified list, 503 dictionary entry, 302 Emperor’s New Clothes, compared to, The, 37 folk elements in, 261–62, 332 “For Shame! For Shame!”, 125 “For Youth and Beauty We All Adore,” 125 Gilbert and Sullivan, compared to, 333 “Hail Our Teacher, Hail,” 125 high school students, suitability for, 327 “Hurrah, Hurrah for Our Leader Brave!”, 125 “I Have a Fearful Tale to Tell,” 24, 125 libretto, 31, 332, 449–50 “Not with a Wistful Suing,” 24, 125 “O Sun, Be Quick to Bow Your Head,” 449 performances, 24, 222–23, 306, 449–51 publication, 292 radio broadcast, 24, 320 reviews, 449–50 scores, 125 synopsis, 332 “Welcome with a Dashing Song!”, 125 “We’re Maidens of Dutch Descent,” 125 “When I Was a Reckless, Roving Youth, 24, 125 work by Moore, 277, 298–99 Heard, Tracy, 218 Hearst Magazines, 2 Heath, Fenno, 122–23 Hecht, Joshua, 87, 182–83, 189, 210, 388 Heck, Lyle, 209 Heckscher Park, 228 Hedgpeth, Sara, 194 Heggie, Jake. Dead Man Walking, 378, 403 Hegierski, Kathleen, 88, 191 Heiden, John, 181 Heidt, Sid, 212 Heifetz, Jascha, 451–53

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Heinrichshofen’s Verlag, 342 Heinsheimer, H. W. “Opera for Americans,” 426 Heiring, George, 189 Hekimian, Christine, 181 Helfman, Max, 241, 479 Heliodor, 87, 361, 371, 374, 378, 383, 385 Heller, Bonnie, 187 Hellwig, Ingrid, 212 Helsinki, 238 Helsinki Philharmonic Orchestra, 238 Hemingway, Ernest, 353 Hempstead, NY, 230 Hempstead Public Schools, 230 Henahan, Donal “City Opera: ‘Baby Doe’ ”, 372 “Second ‘Baby Doe’ Brings New Mama,” 372 Henders, Harriet, 205–6 Henderson, Don, 187–88, 190 Hendl, Walter, 215, 440 Hendricks, Thomas, 201 Henken, John. “Premiere at Chamber Finale,” 439 Henneberger, Matthias, 373 Henry, George, 243 Henschel, Jane, 193, 373, 380 Hensel, Howard, 87, 191 Hentsch, Cheryl. “Wrote ‘Carry Nation’: Composer Desires ‘Fun’ Theatre,” 297 Herbert (character in White Wings), 244 Herbert, Christopher, 198 Herbert, Lila, 96, 187–88, 190, 202 Herbert, Victor, 3, 5 Herbert, Walter, 207 Herchert, Edwin, 207 Here & There (Moore), 342 Here’s to Good Old Yale, 123 Herford, Oliver, 126 Hergesheimer, Joseph. Java Ahead, 53 Herholz, John, 206 Heritage Encyclopedia of Band Music, The (Rehrig), 344 Herman, Stella, 219 Hermann, David, 195 Hermann (Grover M.) Fine Arts Center, 217 Herrera, Maria, 193 Herring, Diana, 189 Herrmann, Bernard, 26, 90

Herrmann, Irene, ed. Paul Bowles on Music, 438, 468 Herron, Tracy, 220 Herst, Edith. “New York Music Season Opens with Stimulating New Works,” 484 Hertelendy, Paul. “Opera Records Life of Carry Nation,” 412 Herzberg, Max J. The Reader’s Encyclopedia of American Literature, 342 “He’s Gone Away” (Moore), 126, 493, 506 “He’s Sold His Soul to the Devil” from The Devil and Daniel Webster (Moore), 213 Hesse, Mary Greenslet, 193 Hessel (John H.) Memorial Hall (Lawrence Woodmere Academy), 229 “Heth, Joice” from The Pageant of P.T. Barnum (Moore), 12, 141, 461 Hetherington, Rolaine, 220 Heuermann, Patricia, 195, 202, 363 Heyman, Arthur, 212 Hi Fi & Music Review, 433 Hi Fi/Stereo Review, 372, 424, 452, 458 Hickey, Kim, 201 Hickman, C. Sharpless. “Moore’s Second Symphony,” 475 Hickman, Cheryl, 198 Hickmann, Ellen, 275, 310 Hicks, Harvey, 219 Hi-Fi Music at Home, 418, 441 Higgins, C. David, 198, 352 Higgins, Henry, Douglas Moore as, 10 Higgins, Marguerite, 327 Higgins, Mrs. (character in Oh, Oh, Tennessee), 138 High Fidelity, 342, 388–89, 417, 426, 433, 452, 459, 468 High Fidelity/Musical America, 361, 385, 395, 403, 408, 415–17 High School of Music and Art (New York), 206, 230, 430 High School of Music and Art (New York). Senior Choral Ensemble, 230 Highley, Joanne, 192, 372 Hiler, Emerson, 223 Hill, Brad. American Popular Music: Classical, 298 Hill, Harold, 232, 240 Hill, Joe, 208

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Page 571

INDEX

Hill, Roy, 207 Hillbilly Boy, 138–39. See also Oh, Oh, Tennessee (Moore) Hillenius, Michael, 199 Hilsberg, Alexander, 215 Himmel, Michele, 190 Hin und zurück (Hindemith), 442, 444 Hindemith, Paul Hin und zurück, 442, 444 operas, 258 as a teacher, 330 Hines, Jerome, 193 Hinshaw Music, 277 Hinson, Maurice. Guide to the Pianist’s Repertoire, 298 Hiram, OH, 207, 210 Hiram College, 207, 210 Hischak, Thomas S. The Oxford Companion to American Theatre, 275 Hisey, Philip, 221, 448 histoire du soldat, L’ (Stravinsky), 333 Hitchcock, H. Wiley editor, 272 “Moore, Douglas S(tuart)” in The New Grove Dictionary of American Music, 272 Hobbs, Nina, 193 Hobin, Giles, 208 Hobson, Ian, 161 Hochschule für Musik (Berlin), 217 Hocking, William Ernest, 253 Hodgson, Hugh, 209 hoedown caller (character in Carry Nation), 202 Hoel, Edson, 87, 182–84, 186–87 Hoerner, George, 209 Hoffmann, Josef, 4 Hoffmann, Kari Ragan. “Ballad of Baby Doe: Historical Accuracy and Gender Ideology . . . ”, 262 Hogan, George, 196 Hoiby, Lee, 427, 432–33, 438 Holbrook, Earl F. “Symphony Plays Most Brilliant Performance,” 475 Holcomb, Philip, 189 “Hold Thy Peace” from Twelfth Night (Moore), 166 Holden, Amanda, ed. The Viking Opera Guide, 283 Holden, Ashley, 194

571

Holden, MO, 61–62, 96 Holden, Robert, 194 Holgate, Ronald, 219 Holiday, 426 Ho-Lim, Joon, 232 Holland, Bernard “5 Ways with Music and Drama that Share the Bond of Brevity,” 490 “Chamber Ensemble vs. Noise,” 443 “Moore’s ‘Carry Nation,’ a Prohibitionists’ Story,” 412 “Opera: Bernstein’s ‘Trouble in Tahiti’ ”, 443 Hollander, Arthur, 215, 438 Hollingsworth, Mary Cole, 222 Holloman, Charlotte, 214 Holloway, David, 202 Holly, Karl, 204 Hollywood, CA, 215, 231, 255, 257 Hollywood, FL, 228 Hollywood Bowl, 219, 227, 458–59 Hollywood Bowl Orchestra, 227 Hollywood Central School (Hollywood, FL), 228 Hollywood Citizen-News, 474 Hollywood’s Attic, 146 Holm, Hanya, 44, 181, 348, 368, 491 Holm, Klaus, 181, 192 Holman, Rhonda. “In Review: From around the World; Wichita,” 443 Holmberg Hall Auditorium (University of Oklahoma), 244 Holmes, Ann. “Reports: U.S.: Houston,” 373 Holmes, Malcolm, 243 Holmes, Richard, 119, 202, 220, 412 Holmes Hall, 208 Holmgren, Herbert, 244 Holtkamp, Rena C. “Baby Doe Production Is Sparkling,” 373 Holy Rollers (characters in Oh, Oh, Tennessee), 138–39 Holyoke Music Club, 226 Holzer, Shirley, 189 Holzman, Jonnie, 194 “Homage to Bela Bartok” (Moore), 252 Home Book of 20th Century Music, The (Ewen), 287 “Home Founding Song” from Giants in the Earth (Moore), 39, 222

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Page 572

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Honan-Carter, Kathryn, 88, 196 Honea, Richard, 189 Honegger, Arthur, 259 Honegger, Marc, ed. Dictionnaire de la musique, 342 Hook, Walter, 192, 372 Hoover, Betsy, 192 Hopewell, Donald (character in Gallantry), 51–52, 119 Hopkins, Harry, 185 Hopkins-Marin, Janet, 194 Horgan, Paul, 285 horn examples for The Hunter’s Horn (Moore), 178, 510 Horowitz, Joseph. “Westchesterites Offer Latin Tenor in ‘Pagliacci’ ”, 443 Horrall, Ruth, 245 horse cart races, 50 Horton, Everett (character in White Wings), 174 Hoskinson, Orva, 205–6, 208 “Hotchkiss Day” (Moore), 4, 126, 494, 507 Hotchkiss School, 3–4, 8, 20, 22, 126 Hotel Biltmore Grand Ballroom (New York), 234, 471 hotel clerk (character in Baby Doe), 47, 85, 87–88, 181–83, 185–96, 198–99 hotel footman (character in Baby Doe), 85, 87–88, 181–87, 190, 192–96, 198–99 Hotel Statler Ballroom, 221 Hotel Taft, 5 Houghton Library, 101–2, 108, 118, 159 Hour with American Music, An (Rosenfeld), 250 Houseman, John, 25, 53, 204, 210, 264, 428, 438 Houston, Lisa, 199 Houston, TX, 190, 195, 199, 218, 373, 403 Houston Chronicle, 403 Houston Grand Opera, 190, 373 Houston Opera Guild, 199 Hovey, Howard, 301 How American Is Opera? (Moore), 315 “How Beautiful with Shoes” (Steele), 53 How Operas Are Created by Composers and Librettists (Beeson), 272 “How Wings of the Dove Became an Opera” (Moore), 253 Howard, George S., 239

Howard, John Tasker “Devil and Daniel Webster, The” in The World’s Great Operas, 298 “Douglas Moore” in A Short History of Music in America, 299 “Douglas Moore” in Our American Music, 298 “Douglas Moore” in Our Contemporary Composers, 299 quotation about Moore, 461 World’s Great Operas, The, 299 Howard Hanson Conducts American Masterworks, 142 Howe, Stuart, 196 Howe, Will D. American Authors and Books, 341 Howell, John Daggett stage director, 185, 373 “The Ballad of Baby Doe,” 398 Howie, Dianne, 333–34 Howland, Alice, 225 Hoyt, Donald, 222 Hoyt, Harlowe R. “Baby Doe at Musicarnival,” 373 “Musicarnival ‘Most,’ A,” 373 “Musicarnival Signs ‘Baby Doe’ for September,” 373 Hronika muzickog zivota, 394 Hruby, Frank. “Musicarnival Scores with ‘Baby Doe’ ”, 373 Hubbell, Ersalene, 381, 388 Hubbell, Phil, 381, 388 Huddleston, Paul, 189, 210 Hudson, William, 207 Hudson Review, 484 Huehn, Julius, 230 Huff, James, 209 Huffman, Cheryl, 189 Hufsmith, Fred, 222 Hufstader, Robert, 246 Hughes, Allen “Carol Neblett, in Local Debut, Excels in Marx and Wolf Songs,” 471 “Mendelssohn Group Sings at Centennial,” 471 “Music Notes: The Visual Delights of Mozart’s Manuscripts . . . ”, 299

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Page 573

INDEX

“Music: Previn Conducts,” 443 “Opera: ‘Baby Doe’ Again,” 374 Hughes, Charles W. American Hymns Old and New, 111 Hughes, Duane, 219 Hughes, Harry, 201 Hughes, Karla, 220 Hughes, Rupert Biographical Dictionary of Musicians, The, 342 Music Lovers’ Encyclopedia, 342 Hugues, Elinor. “The Theater: Sturbridge Amphitheatre,” 426 Hull, Garrison. “A Capitol ‘Baby Doe’ ”, 374 Hull, Robert, 204 Hume, Paul “5th Festival Opens Next Sunday,” 441 “$500 Still Needed for Concert Series,” 440 “Annual Accounting, An,” 299 “Books Can Aid Your Summer Listening,” 299 “CBS Special Tonight Features Musical Premieres,” 444 “Moore’s ‘Ode to Baby Doe’ ”, 299 “Postlude: Big City Culture Coming to Us Hicks,” 374 “Postlude: Capital Gets into the Act in Complete ‘Baby Doe’ ”, 374 “Postlude: Carrie [sic] Nation’s Axe Is Sharpest Element in Operatic Study,” 412 “Postlude: Shirlee Emmons Shows Real Talents As Recitalist,” 418 “Record Player: Firm Has Plan to Aid Composer,” 468 “Record Player: Klemperer Is Outstanding in Mozart’s ‘Don Giovanni,’ The,” 374 “Vibrant ‘Doe,’ A,” 374 Humphrey, Hubert, 290, 338 Humphrey, Jon, 182 Humphrey (Hubert), New York Citizens for, 338 Hungarian Quarterly, 265 Hungary, 28, 252, 271 Hunt, Clarence, 206 Hunt, Karen, 192, 369 Hunt, Lincoln, 205 Hunt, Stephen. “Ballad of the Doe Heads,” 375 Hunt (Harry) Junior High School, 216

573

Hunter College, 193, 206, 220, 305, 445 Hunter College Playhouse, 193, 206, 220, 230 Hunter’s Horn, The (Moore), 36, 178 “Hunting Song” from Quentin Durward (Moore), 149 Huntington, NY, 226, 228 Huntington, WV, 216 Huntington Hartford Foundation, 58–59, 263, 296, 306, 317, 322, 324 Huntington Station, N.Y., 205, 213 Huntington Symphony Orchestra, 216 Hurley, Laurel, 183, 186, 219 “Hurrah, Hurrah for Our Leader Brave!” from The Headless Horseman (Moore), 125 Hurst, Patricia, 218 Hussa, Robert, 192 Hussey, Patricia, 196 Huston, Walter, 26 Hutchinson Concise Dictionary of Music (Jones, ed.), 341, 343 Hutchinson Encyclopedia of Music (Cummings, ed.), 341 Hutchison, Peter, 211 Hyberger, Brett, 221 I “I Have a Fearful Tale to Tell” from The Headless Horseman (Moore), 24, 125 “I Have Followed Lonely Down the Marne” (Moore), 8, 120, 221, 496, 506 “I Heard a Bird Sing” (Moore), 40, 126, 131, 500, 506 “I Lie Awake and Listen” from Carry Nation (Moore), 97 I Want Magic! (Fleming), 90, 363–64, 370, 382 Iacobazzo, Patricia, 202 Iams, Jack. “TV Review: ‘Arias and Arabesques’ ”, 444 Iantosca, Maria. “World Report: United States; Boston,” 375 Ibee. “Plays on Broadway: The Devil and Daniel Webster,” 426 Iberia (Debussy), 259 Ibler, Stanley, 181 Idaho Springs, ID, 50, 353, 361 Ideal Husband, An (Wilde), 339

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Page 574

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

“If Music Be the Food of Love, Play On” from Twelfth Night (Moore), 166 Ikeda, Mary, 215 Illinois Federation of Music Clubs, 223, 451 Illustrated Encyclopedia of Recorded Opera, The (Gammond), 292 Image Entertainment, 146 Imel, Patricia, 188 Imig, Warner, 208 Immaculate Heart College, 219 “Importance of Music in Wartime, The” (Moore), 31, 253 “Imported Virtuosi for America’s Music” (Moore), 22, 253, 275 Impromptu in C major, 111. See also Etude in Tenths Improper Pieces, 83. See also Adventures in the Latin Quarter (Moore) “In a Glass of Water Before Retiring,” 143. See also Perhaps to Dream “In Ancient Times There Was a God” from The Wings of the Dove (Moore), 176–77. See also The Masque of Janus In Memoriam (Moore) analysis, 262–63 broadcasts, 224, 451, 454 in chronology, 499, 504 description, 32, 127, 300 performances, 224, 451–54 recordings, 53, 127, 277, 306, 452–54 reviews (performances), 451–53 reviews (score), 327 In Springtime (Moore), 127–28, 493, 508 “In Washington, D.C.” from Oh, Oh, Tennessee (Moore), 139 Inch, Archie (character from White Wings), 21–22, 174, 244 Inch, Ernest (character from White Wings), 21, 174, 244 Inch, Fanny K. (character from White Wings), 21, 174, 244 Inch, Philip E., Major (character from White Wings), 21, 174, 244 Incredible Flutist, The (Piston), 141, 458–60 Independent (London), 377 Indian Suite (MacDowell), 110

Indiana Daily Student, 352 Indiana University, 191, 198, 297, 352, 398 Indiana University Musical Arts Center, 198 Indiana University Opera Theater, 191, 198, 352, 398 Indiana University Press, 298, 334 Indianapolis, IN, 195, 197, 200, 217, 227, 390, 397 Indianapolis Opera, 195, 197, 390, 397 Indianapolis Star, 397 Indianapolis Symphony Orchestra, 227 Indianola, IA, 195, 384 Induction of Newly Elected Members of the Academy (Moore), 253 Inge, Dorothy. “Grand March, and Polka,” 300 Ingham, Roger, 207 Ingold, Robert, 210 Ingram, John, 209 “Inhospitable Theatre, The” (Moore), 18, 253 Iniciación a la música, 247 Innova, 115 Insight on the News, 391–92 Institute Magazine, 260 Institute of American Music (University of Rochester), 300 Institute of Contemporary Music (Julius Hartt Musical Foundation), 201, 215, 231, 237, 490 Institute of Musical Art. Choral Society, 230 Instrumentalist (periodical), 280 “Insult Game” (Moore), 71, 301 Intercollegiate Music Guild of America Festival, 180, 217 Interlochen, MI, 218–19, 223 Intermountain Opera Association, 199 International American Music Festival, 437 International Cyclopedia of Music and Musicians, The (Thompson), 346 International Dictionary of Opera (Larue, ed.), 297 International Music Festival (France), 476 International Music Festival (Orlando, FL), 442–43 International Music Festival (Prague), 239 International Musician, 253, 388, 449 International Vocal Arts Institute of Israel, 197

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Page 575

INDEX

International Who Is Who in Music, The (Mize, ed.), 343 International Who’s Who, 343 Intersong Music Group, 90 Introduction to Contemporary Music (Machlis), 311 Introduction to Music, An (Bernstein), 248 Introduction to Musicology (Haydon), 248 Invitation to the Dance (Weber, arr. Berlioz), 302 “Invocation” from The Devil and Daniel Webster (Moore), 105, 419, 498 Iolanthe (Gilbert and Sullivan), 333 Iorio, Giuseppe di, 195 Ireland, 53 Irving, George S., 188 Irving, Washington “Devil and Tom Walker, The,” 420 “Legend of Sleepy Hollow, The,” 23, 124 Irwin, Thomas, III, 201 Isaacs, Alan. Dictionary of Music, 343 Isaak, Donald, 88, 367, 383, 396 Isaiah (Bible), 438 isolationism, 332 Italo-American Society (Rome), 240 Italy, 54, 213, 237, 240, 243, 311, 341, 423 Ithaca, N.Y., 204, 209, 214, 223 Ithaca College, 209, 430, 434 Ithaca Journal, 434 Ivan, Paul, 196 “I’ve Got a Ram Goliath” from The Devil and Daniel Webster (Moore), 15, 23, 26, 104–6, 213–14, 308, 423, 427, 429 Ivens, Joris, 27, 94, 145–46, 178, 331 Ives, Charles, 92, 114–15, 287, 459, 467 Ives, Gene, 193 Ives, Ruth, 207 J “Ja, vi elsker ditto Landet” (Nordraak), 39 Jablonski, Edward. Encyclopedia of American Music, The, 343 Jackson, Henry, 191 Jackson, Joseph Henry. “Among the New Books,” 301 Jackson, Paul. “Gold Standard in Central City,” 375 Jackson, Richard. “Moore, Douglas Stuart” in The World Book Encyclopedia, 343

575

Jackson, Sarah. “Moore Concert Honors Its Founder,” 301 Jackson, Thomas William. On a Slow Train through Arkansas, 431 Jackson (Mahalia) Theatre of the Performing Arts, 197 Jacksonville, FL, 219 Jacksonville University College of Music, 164 Jacob (role in Baby Doe), 85, 87, 181–84, 186–88, 190–91, 193, 195, 198–99 Jacobs, Arthur “Giants in the Earth,” 447 “Impressions of New York,” 448 New Dictionary of Music, A, 343 New Penguin Dictionary of Music, The, 343 Penguin Dictionary of Music, The, 343 Jacobson, Elfreda, 185 Jacobson, Robert. “Reports: U.S.: New York,” 375 Jacoby, Peter, 195 Jaffa, Israel, 197 “Jail Song” from War Songs (Moore), 7, 171, 495 Ja-Koh, Soon, 232 Jamerson, Thomas, 87, 191 James, Carolyn, 191, 193 James, Frank (character in Jesse James), 128 James, Henry Washington Square, 53 Wings of the Dove, 53, 175–76, 253, 258, 295–96, 307, 337, 484, 486–87, 491 James, Jaimie, 92 James, Jesse (character), 128 James, Mrs. (character in Jesse James), 128 James, Rev. (character in Jesse James), 128 James Memorial Chapel, 214 Jamieson, Norman, 222 Janácek, Leoš, 360 Janney, Ben, 187 Janus (character in Wings of the Dove), 54, 57, 59, 176, 245 Janzen, Harry, 208 Japan Philharmonic Symphony Orchestra, 127, 161, 473 Jarrett, Stephen, 193 Jarvis, Jan, 195 Jarvis, Sara, 208 Java Ahead (Hergesheimer), 53

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Page 576

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Jayme, William North. Carry Nation, 59–61, 65– 66, 95, 97, 337–38, 409, 413, 415, 417, 491 jazz, 52, 250, 252, 279, 284, 366, 380, 444–45 Jean Sibelius (Ekman), 259 Jefferson (Thomas) Community Theater, 212 Jenkins, Mary Ellen, 188, 361 Jenkins, Mr. (role in Oh, Oh, Tennessee), 138 Jenks, Ruth, 222 Jennings, Constance, 280 “Jenny Lind” from The Pageant of P.T. Barnum (Moore), 13, 141, 456, 460–62 Jensen, Alfred, 218 Jensen, Corinne, 185 Jensen, Donald, 208, 217 Jeppesen, Knud. Counterpoint, 248 Jernick, Ruth “Centennial Fete for Douglas Moore,” 301 “Lighter Side of a Famous Son, The,” 301 Jesse, Dan, 212 Jesse James (Moore), 18, 128, 328, 497, 503 “Jessie Wilhelmina Glotz” (Moore), 7, 71, 128–29, 246 (n. 1), 495, 506 Jesson, Henry, 222 Jewell, Margaret, 223 Jewell (William) College, 211 Jewish Advocate, 384, 411, 430 “Jig” from Twelfth Night (Moore), 166 “Jig” from Village Music (Moore), 28, 170, 481 Jim (character in Jesse James), 128 Jimerson, David, 188 Joffrey, Robert, 210, 245 Johansen, Gunnar, 215 Johansen, Waldemar, 223 John (character in Puss in Boots), 38, 148–49, 231 John, Carol, 245 John (reviewer). “Ballad of Baby Doe,” 375 Johns, William, 186 Johnsen, Kryste, 192 Johnsen, Mary Kay, 193 Johnson, Barry, 194 Johnson, Camellia, 193 Johnson, Charles A. Opera in the Rockies, 301 Johnson, Christopher, 199 Johnson, David. “Moore: The Devil and Daniel Webster”, 426 Johnson, Deb, 198 Johnson, Gary, 198

Johnson, H. Earle “Moore, Douglas (1893–)” in Operas on American Subjects, 302 “Moore” in The Encyclopedia of Opera, 301 “The Ballad of Baby Doe” in The Encyclopedia of Opera, 301 “The Devil and Daniel Webster” in The Encyclopedia of Opera, 301 Johnson, Harriett “Baby Doe Is First-Rate Theater,” 376 “ ‘Baby Doe’ Opens American Opera,” 376 “ ‘Baby Doe’ Sung by NY City Opera,” 376 “Carry Nation’s Temperance Bout,” 412 “Music . . . : Jewish Liturgical Music Performed at Columbia,” 479 “Words and Music: Beethoven Would Love Heifetz,” 453 “Words and Music: ‘Wings of the Dove’ in Premiere,” 485 “Words and Music: Witch and Devil Hold Stage at Center,” 426 Johnson, Henry, 244 Johnson, Huddie, 456 Johnson, Irene, 211 Johnson, Lawrence A. “Reviews: Diamond, M. Gould, Harris, Moore,” 479 Johnson, Lockrem, 215, 241 Johnson, Mildred, 206 Johnson, Norman, 189 Johnson, Reber, 236 Johnson, Rex, 208, 424 Johnson, Robert, 189 Johnson, Roland, 189 Johnson, Roy, 121, 221 Johnson, William, 181, 334, 379, 398 Johnson Theatre (Durham, NH), 211 Johnston, Don, 149 “Joice Heth—141 Year Old Negress” from The Pageant of P.T. Barnum (Moore), 12, 141, 461 Joline Professor of Music, 266, 270 Jomelli, Rene, 161 Jones, Barrie, ed. “Moore, Douglas (Stuart) (1893–1969)” in The Hutchinson Concise Dictionary of Music, 343 Jones, Claire, 181 Jones, Don, 210

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Page 577

INDEX

Jones, George Thaddeus. “Douglas Moore: Farm Journal, Suite for Chamber Orchestra,” 302 Jones, Gwendolyn, 195 Jones, Isabel Morse “Bowl Rehearsals Begin,” 459 “Capacity Crowd Cheers Philharmonic Program,” 475 “Music: American Music Gains Recognition,” 426–27 “Two Music Festivals Due,” 459 Jones, Lauris, 231 Jones, Mason, 232 Jones, Ralph E. “Moore: Symphony in A”, 475 “Ruggles: Organum and Moore: In Memoriam,” 453 Jones, Robert Edmond, 25, 204, 302, 423, 436 Jones, Samuel, 208 Jordan, Gary, 192 Jordan, Glenn, 188 Jordan, Lynda, 87, 183–84, 187 Jordan College of Music, 217 Jordan Hall (New England Conservatory), 227, 245, 458 Jordis, Eelco von, 193 Jorgensen, Jerilyn, 150 Joseph, a horse (character in White Wings), 174, 244 Joslyn Memorial Auditorium (Omaha), 228 Joyce, James, 34, 474 Joyce, Janet, 204 Jubilee Auditorium, 199 Juettner, Mary Helene, Sr., 245 Juilliard Graduate School Orchestra, 230 Juilliard Music Foundation, 264 Juilliard Review, 289, 297 Juilliard School of Music, 35, 149, 230–31, 236, 242, 289 Juilliard String Quartet, 35, 231 Julian, Kimm, 196, 385 Juliana, Princess, 459 “Jungle Heroes—Tarawa Stampede—Marine Parade March” (Moore), 7, 129, 495, 509 Junior Festival List, 1959–62 (Yessin), 164 jury (characters in The Devil and Daniel Webster), 23, 26, 204, 210, 273, 420, 424, 427, 430–32 Justus, William, 192

577

K K., I. “Personality of the Week,” 302 K., S. “Professor Moore’s ‘Pageant of P. T. Barnum’ ”, 459 Kabalin, Fedor, 223 Kaempfer, Walther. “Ballade von Silber und Gold,” 376 Kagen, Sergius, 180 Kahn, Irene, 215, 223, 244, 490 Kahn, William, 232 Kailer, Lucille, 188 Kaine, Alfred. “Moore: The Pageant of P. T. Barnum; Piston: The Incredible Flutist ”, 460 Kaldenberg, Keith, 87, 182–83, 186, 210 Kalman, Lila, 247 Kalmus, Edwin F., 170 Kalmus Orchestra Library, 170 Kander, John, 58, 67, 71, 103 Kane, Connee, 193 Kane, Donald, 189 Kansas, 59, 356, 409, 411, 414, 416 Kansas: A History of the Jayhawk State (Zornow), 316 Kansas City, KS, 202 Kansas City, MO, 65, 192, 197, 202, 211–12, 372, 415, 421 Kansas City Lyric Opera, 105, 197, 211–12, 356, 372, 421 Kansas City Lyric Opera Chorus, 105 Kansas City Star, 315, 356, 411, 421 Kansas City Symphony Orchestra, 105 Kansas State College, 212 “Kansas Volunteers” from Music for Yale Pageant (Moore), 136 Kanzeg, David “Ballad of Baby Doe and the American Spirit, The,” 302 “DoeHEADS, The,” 302–3 DoeHEADs founder, 314, 375, 389 Doenotes, 262 “Ever Young: Douglas Moore and the Persistence of Legend,” 303 “Letters: The Great American Opera,” 305 “Silver Lining and Its Cloud, A,” 303 Karajan, Herbert von, 463 Karidis, Jerome, 209 Karkosh, Clayton, 193

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Page 578

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Kassel, Richard, ed. Baker’s Dictionary of Music, 345 Webster’s New World Dictionary of Music, 345 Kastendieck, Miles “11 New Works at Festival,” 475 “At City Center: A Splendid ‘Baby Doe’ ”, 376 “At City Center: ‘Baby Doe’ Tops,” 376 “At the City Center: Singers Spark American Works,” 427 “City Center at the State Theater,” 376 “ ‘Devil and Daniel Webster, The’ ”, 427 “In Carnegie Hall: Symphony of Air Offers U.S. Works,” 453 “More about Moore,” 485 “New York Opera Premiére [sic]: ‘Carry Nation’ Wins Favor,” 412–13 “Sturbridge Village Spirit Graphically Recreated,” 427 “Tip Your Hat, America, to ‘Baby Doe’ ”, 376 “Welcome Return after 8 Years, A,” 377 “ ‘Wings of the Dove’ in Premiere, The,” 485 “ ‘Wings of the Dove’: Music Drama at Its Best, The,” 485 Kate (character in Baby Doe), 85, 87–88, 181–83, 185–87, 190–96, 198–99 Katims, Milton, 229 katydids, 19, 478 “Katydids,” 160. See also Summer Evening (Moore) Katz, Martin, 200 “Katze Sitze (ein Kunstlied), The” (Moore), 32, 97, 499, 506 Kaufman, Helen L. Stories of 100 Operas, 303 Kaufman, Louis, 215 Kaufman, Philip, 204 Kaufmann, Helen L. Stories of 100 Operas, 303 Kaufmann Concert Hall, 201–2 Kaun, Bernard, 456 Kavan, Patricia, 181–82 Kay, Kent. “Music: The Hatchet Lady of Grand Opera,” 413 Kay, Richard, 237 Kayser, Arthur, 188, 358 Kearny, NE, 218 Keays, James, 151 Kechulis, 220 Keel, Howard, 402

Keenan, Gerald, 243 Keiper, Roger, 220 Keiser, Tucker. “Music in Review: The Devil and Daniel Webster,” 427 Keiter, Hans, 232 Keith-Albee Theatre, 216 Keithly, Kathryn, 189 Kelen, Pierre Paul, 344 Kelleher, Bradley, 32, 33 (illus.), 71 Kelleher, Mary, 8, 9 (illus.), 32, 33 (illus.), 71, 100, 164, 301 Keller, G., ed. Geïllustreerd muzieklexicon, 342 Kelley, Norman, 210, 245, 427–28, 487, 489 Kellogg, William, 183, 189 Kellow, Brian. “On the Beat,” 303 Kelly, Erin, 198 Kelly, Klesie, 245 Kelly, Robert Lee, 188 Kemp, Clifford, 230 Kendall Hall Theater, 198 Kennebunkport, ME, 184, 218, 384, 404–5 Kennedy, John Fitzgerald, 252 Kennedy, Joyce Borne. The Concise Oxford Dictionary of Music, 304 Kennedy, Michael Concise Oxford Dictionary of Music, The, 303–4 Oxford Dictionary of Music, The, 303 Kennedy Center, 196–97, 374, 400 Kent State University, 243 Kent State University Orchestra, 243 Kenting, Jodell, 187–88 Kentucky, 15, 200, 219, 348 Kentucky Center for the Arts (Louisville), 200, 348 Kenyon, Nicholas, 283 Keraus, Janice, 210 Kern, Jerome musical on Baby Doe story, 44, 382 “old songs,” 3, 5, 44, 382 Showboat, 356 stage works by, 5 Kerner, Leighton. “Reports: U.S.: New York,” 377 Kerr, Russell, ed. Biographical Dictionary of Musicians, The, 342 Music Lovers’ Encyclopedia, 342 Kershaw, William, 209 Kerski-Nienow, Claudia, 195

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Page 579

INDEX

Kessler, David. “Noted Musicians Attend Concert at Kilbourn,” 477 Kettering, William, 210 Keys, Ivor. “All That’s Past,” 304 Khan, Zafrulla, 266 Khuner, Jillian, 199 Khuner, Jonathan, 199 Kiel Auditorium, St. Louis, MO, 184 Kiichli, Henry, 194 Kilbourn Hall (Eastman School of Music), 208, 224, 226, 239, 241–42, 431, 454, 477 Killebrew, George, 189 Killian, Joni, 195 Kimberley, Nick editor, 266 “Opera on the Fringe: The Ballad of Baby Doe ”, 377 “Opera: The Ballad of Baby Doe: Bloomsbury Theatre, London,” 377 “Kimogenor” (Moore), 4, 129, 494, 506 Kimogenor Point Club, 240 Kimogenor Stock Company, 240 Kincaid, William, 232 Kindler, Hans, 227 king (character in Puss in Boots), 148–49, 231 King, Beverly S., 122, 240 King, Dick. “Carry Nation: Push for Perfection,” 413 King, Gibner, 202, 233 King, J. Robert, 216, 239 King, Jack, 231 King, Kay. “VIP’s Abound: Society Glittering for ‘Baby Doe’ Premiere,” 358 King, Paul, 213 King, Thom, 196 King, William G. “Music and Musicians: Douglas Moore . . . ”, 427 King Lear (Shakespeare), 6, 129, 494, 503 King Philip (character in The Devil and Daniel Webster), 104–5, 204–13 Kingman, Dan, 88, 96, 191, 202 Kingsly, Eugene, 207 Kinnaird, Muriel, 218 Kinross, Lord “Edinburgh of the West, The,” 304 “European in America, The,” 304

579

Kinscella, Hazel Gertrude. Music on the Air, 304 Kinser, Samuel, 209 Kinsman, Clare D., ed. Contemporary Authors, Permanent Series, 341 Kirchhoff, Judy, 219 Kirchner, George, 236 Kireilis, Kay, 150 Kireilis, Raymon. American Clarinet, 150, 468 Kirk, Elise K. American Opera, 304 “Devil and Daniel Webster and The Medium, The,” 304 “Early Stagings of American Staples, The,” 304 Kirk, Grayson, 240 Kirkendol, Mary Jane, 237 Kirkham, Robert, 185 Kirkham, Sam, 184 Kirkland, Charles, 223 Kirkpatrick, Carol, 202 Kirkpatrick, John, 204 Kirkpatrick Auditorium, 199 Kirkwood, Edith Brown. “Society and Entertainments: Yale Concert Brings Out New Comedy Star,” 304–5 “Kiss Goodbye to Jennie,” 64 “Kitty-Cat Bird, The (Moore),” 130, 493, 506 Kitzinger, Fritz, 203 Kjerulf, Axel, ed. Musikkens, 344 Klabosz, Fernand (pseudonym for Moore), 7, 129 Klass, Rosanne. “Letters: The Great American Opera,” 305 Klebe, Marvin, 202 Kleiber, Carlos, 294 Klein, Howard. “The Return of ‘Baby Doe’ ”, 377 Kleinman, Marlena, 185, 187, 222 Kleinsinger, George, 150 Kleyla, James, 197 Kling, John, 209, 420 Klotz, Glen, 245 Knapp, Merrill, 234 Kneebone, James, 183 Knight, Frances, 223 Knight, Jeremy, 199

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Knight, Katharine, 150 Knight, Tanner, 198 Knox, Jan, 195 Knox School (Briarcliff Manor, NY), 165 Kobart, Ruth as Augusta, 182–84, 187–88, 376, 395, 397 “Ballad of Baby Doe: A Manifestation of Opera in Post–World War II America, The”, 305 Koch, Rainer, 193 Kockritz, Hubert, 207 Koets, Don, 208 Kogan, Boris, 182 Kohn, Arnold, 205 Kohon, Harold, 237 Kohon String Quartet, 237, 466 Kohrs, Karl More Stories of the Great Operas, 281 New Milton Cross More Stories of the Great Operas, 281 “The Ballad of Baby Doe by Douglas Moore,” 281 Kolisch, Lorna, 215 Kolodin, Irving “Douglas Moore’s New American Opera,” 485, 487 “Endearing Heroine, Endearing Singer,” 485 “Music Box: What Do You Call the New Operas?, The,” 486 “Music Makers: Moore’s Symphony no. 2 at the Philharmonic,” The”, 475 “Music Makers: Prof. Moore Cuts a Country Caper, The,” 441 “Music to My Ears: ‘Baby Doe’: ‘Creation’ by Shaw,” 377 “Music to My Ears: Bruckner by Walter; Operas, Live and TV,” 377–78 “Music to My Ears: Father, Dear Father, Come Home to Carry Nation,” 413 “Music to My Ears: More and More of Moore: Hoiby’s ‘Scarf ’ ”, 427 “Palmer Is Soloist in N.Y. Symphony,” 477 “Recordings Reports I: Orchestral LPs,” 475 “Two Operatic Firsts,” 427–28 Kolsby, Marion, 202 Komstedt, William, 189

Kondakjian, Virginia, 104 Koopman, John “Central City,” 378 “Milwaukee,” 378 “Traditionelles und eine neue Spitzenoper,” 378 Kopmar, Israel, 201 Korbich, Eddie, 89 Korea Symphony Orchestra, 243 Korea Woodwind Quintet, 232 Korn, Richard, 222, 224 Kort, Alexander, 199 Kos, Koraljka, ed. Muzicka Enciklopedija, 344 Kosman, Joshua. “Dead Man Heads New Opera Season,” 378 Kostelanetz, Andre, 219 Kostka, Karol, 185 Kotchnig, Christopher, 223 Kotze, Michael, 195 Koundoury, Gerry, 199 Koussevitzky, Natalie, 86 Koussevitzky, Olga, 50, 350, 357, 379, 385 Koussevitzky, Serge, 35, 86, 127, 253, 274, 285, 337 Koussevitzky Music Foundation, 44, 86, 282, 301, 317, 372 Koutzen, George, 240 Koutzen, Nadia, 240 Kovacevic, Krešimir, ed. Muzicka Enciklopedija, 344 Kovach, Julius, 208 Kovacs, Ernest, 222 Kovar, Simon, 232 Kozma, Tibor, 191 Kracauer, S. Orpheus in Paris, 259 Krachmalnick, Samuel, 96, 202, 211, 410 Kraft, Jean, 191, 194, 245, 401, 487 Kramer, A. Walter, 267 Kramer, Clair, 204 Kramer, Richard, 185 Krasne, Darcy, 199 Kratt, Theodore, 234 Krause, Karl Patrick, 190 Krause, Richard, 187–88, 245 Krauss, Clemens, 325

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Page 581

INDEX

Kravitz, David, 194 Krebs, Beatrice, 50, 87, 181–83, 188, 359, 373, 404 Krehbiel, Clayton, 202, 417 Krenek, Ernst. Music Here and Now, 251 Kresh, Paul. “Carpenter: Adventures in a Perambulator; Moore: The Pageant of P. T. Barnum,” 460 Krieger, Gloria, 218 Krieger, R. E. “Frances Bible Superb in ‘Baby Doe’ Opera,” 378 Kriese, Gladys, 186 Krikawa, Andrew, 88, 196, 200 Krinsky, Florence, 206 Kroll, Ronald, 222 Krubitzer, Michael-Paul, 198 Krueger, Dana, 88, 192, 194, 196, 354, 369 Kruger, Rudolf, 191 Kruhm, Betty, 219 Krumpe, Sabina, 222 Kruseman, Philip, ed. Geïllustreerd muzieklexicon, 342 Kryder, Doris, 207 Kubik, Frank, 222 Kuhn, Laura Baker’s Dictionary of Opera, 305 Baker’s Student Encyclopedia of Music, 305 editor, 331 Kulas Hall (Cleveland Institute of Music), 231 Kummer, Klare. Rollo’s Wild Oats, 10 Kunicki, Raymond, 237 Kupferberg, Herbert “Both Sides of the Record: 100% American,” 468 “Slow ‘Don,’ Soaring ‘Tristan’ ”, 378 “They Shall Have Music: British and American Opera,” 378 Kurka, Robert. Good Soldier Schweik, The, 323 Kurzgefasstes Tonkünstler-Lexikon (Frank and Altmann), 342 Kuster, Emma Richardson, 2 Kutner, Michael, 220 KVOD, 354 Kyes, John F. “Play at Sturbridge Top Entertainment,” 428

581

Kyle, Margaret Kelly “AmerAllegro,” 305–6 “Composer: AmerAllegro, The,” 306–7 L La France, Robert, 195 La Guardia, Fiorello, 224, 277 La Guardia Memorial Broadcast, 224 La Rosa, Joseph, 184 La Salle School, 14 La Scala Encyclopedia of the Opera, The (Bagnoli), 268 Lackey, Lionel. “The Battle of Baby Doe,” 353 Lackowski, Henry, 219 Laderman, Ezra. “Boor and Gallantry, The,” 444 Ladies’ Auxiliary, members of the (characters in Carry Nation), 61, 95–96, 202 Ladies’ World, 2, 316 Lafayette, IN, 184 Lafayette, LA, 218 Lago, Woody, 184 Laguna Beach, CA, 211, 220 Laguna Beach Festival of Arts, 220 Laguna Beach Festival of Opera, 211, 428, 437 Lake George Opera Festival, 189, 365, 378 Lakeville, CT, 3 Lamboard, Benjamin, 3 “Lamplight” from Farm Journal (Moore), 36, 112 from Power and the Land (Moore), 28, 36, 112, 170 from Village Music (Moore), 28, 170 Lancaster Gate, 176 Lancaster Opera, 339 Lance, Patricia, 219 Land (reviewer) “Ballad of Baby Doe, The,” 379 “Devil and Daniel Webster, The,” 428 “Wings of the Dove, The,” 486 “Land of Heart’s Desire, Song from” (Moore), 157, 493, 507 Landau, Irving, 455 Landau, Siegfried, 187 Landeen, Jerry, 211 Landis, Barbara, 195

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Page 582

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Landmark of American Music, 318 Landon, Alf, 409 Landress, Laura, 193 Landsman, Dennis, 212 Lane, James W. “For the Music Lover,” 307 Lanegger, Alfred, 207 Lang, Paul Henry “Annual Music Issue.” Saturday Review of Literature, 245 “Background Music for “Mein Kampf,” 248 Columbia University faculty, 272 conductor, 245 “Current Chronicle: United States; New York,” 307 “ ‘Dove’: Letter versus Spirit,” 486 editor for the Saturday Review of Literature, 248–49 “Opera First Night: ‘The Wings of the Dove.’ ”, 319, 486 Langan, Kevin, 194 Langenheim, Hay, 235 Langford, Bruce, 212, 434 Langford, Gerald, 212 Langstaff, John, 180 Lanier, Mary Ann, 200 Lankston, John, 87, 190–91, 198 Lanman, Michael, 105 Lano, Stefan, 197 lantern slides, 467 Larousse de la musique (Dufourcq, et al., eds.), 343 Larsen, Lori, 194 Larsen, Robert L., 89, 91–92, 195 Larson, Orville K. “The Ballad of Baby Doe, 1956” in Scene Design in the American Theatre from 1915 to 1960, 307 Larson, Sandra, 201 Larue, C. Steven, 297 László, Magda, 240 Later Etruscan Excavations (Moore), 130, 493, 509 Latham, Alison, ed. Norton/Grove Concise Encyclopedia of Music, The, 344 Oxford Companion to Music, The, 276 Latouche, John “About the Ballad of Baby Doe,” 307 author, 307–8

death, 51, 276–77, 334 Jayme, Alfred North, compared to, 66 librettist, 85, 89–91, 302–3, 305, 368, 375, 379, 391, 399, 401 librettist, selection as, 329, 340, 405 libretto, writing of, 44, 262, 296, 301–3, 334, 382 libretto of The Ballad of Baby Doe, 491 portrait, 334, 386 recording, 89 reviews, 354, 359–60, 362, 369, 397–98 revision of The Ballad of Baby Doe, 45, 51, 277, 334 Tabor Opera House (Leadville), visit to, 330 television appearance, 353 Laufkotter, Karl, 185 Laurent, Jama, 219 Laurent, Lawrence. “Ballad of Baby Doe Meets Omnibus Standards,” 379 Lauterer, Arch, 181 Lautier, Erik, 88, 196 Lawrence, Ernice, 204 Lawrence, KS, 184, 201, 217, 228, 337–38, 407, 412, 414, 416 Lawrence, Robert, 58, 238 Lawrence Daily Journal-World, 337, 412, 414 “Lay Person Listens to Music, The” (Moore), 338 Lazar, Chad, 220 Lazarus, John. “Douglas Moore” in The Opera Handbook, 308 Lazarus, Roy, 183, 389 Leach, Rowland, 235 Leadville, CO city, 45, 85, 261, 274, 314, 330, 400 mayor (character in The Ballad of Baby Doe), 47, 85, 87–88, 181–87, 190–99 League of Composers Board of Directors, 70 commissions of Moore, 31–32, 103, 127, 324, 418, 452 concerts, 230–32, 234, 236, 241–42, 467, 469–70 conventions, 279 dedication of Quintet for Winds (Moore), 30, 151 National Committee, 279

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Page 583

INDEX

Lear, Edward, 53, 142 Lear, Evelyn, 92 Leary, Timothy, 66 Lebrecht, Norman. The Companion to 20thCentury Music, 343 Leclerq, Henry, 206 lecturer (character in Wings of the Dove), 175, 245 Ledbetter, William, 188, 190, 198 Leddy, Miss (character in Oh, Oh, Tennessee), 138 Lederman, Blanche “Music: Simon Legree for Chorus,” 308 “New Music Issues: Songs from Moore Opera Are Now Made Available,” 308 “Publications of Music Press and a Douglas Moore Novelty,” 308 “Simon Legree: A Vivid Figure in Douglas Moore’s Chorus,” 308 Ledger, Dorothy, 181, 367, 387 Lee, Don, 204 Lee, Gregory M., 221 Lee, Lind, 182 Lee, Madeline, 110, 215 Lee University, 221, 444 LeFebvre, Timothy, 197–98 Lefkowitz, Mischa, 215, 439 LeFrak Concert Hall, 119 Legány, Dezso. “Moore, Douglas Stuart” in Bence Szabolcsi and Aladár Tóth, Zenei lexikon, 343 Legassé, Paul, ed. Columbia Encyclopedia, 341 Legato Classics, 90 Legbandt, Rolf, 232 Legend (Moore), 130, 493, 505 “Legend of Sleepy Hollow, The” (Irving), 124–25, 450 Legree, Simon (character in Uncle Tom’s Cabin (Stowe)), 24 Legters, Phyllis, 211 Lehman College, 193, 212, 360 Lehmberg, Philip, 188 Lehn, Edgar von, 208 Lehr, LeRoy, 196, 354 Leininger, Phillip, ed. Benét’s Reader’s Encyclopedia of American Literature, 340 Leinsdorf, Eric, 238, 248 LeMay, Barbara, 198

583

Lenox Gallery (New York Public Library), 200, 236, 406 Lent in A-flat Major for Piano 4-Hands (Moore), 168, 496, 509 Leonard, Hal, 86–87, 89–92, 119, 163, 176–77 Leonard, Ray, 204 Leonard, William Torbert. “The Devil and Daniel Webster . . . ” in Theatre: Stage to Screen to Television, 309 Leonardo, Manuel, 209 Leoncavallo, Ruggero. I Pagliacci, 428, 443 Leonia, N.J., 338 Lepeska, Karl, 210 Leporelli, Constanza, 54–55, 57 Leporelli, Palace, 54, 57, 175–76 Lerner, Mimi, 197, 359 Lesawyer, Mary, 87, 182–86, 245, 489 Lesenger, Jay, 196–97, 380 Lessard, Beth, 212 Lester, Telete, 204 Lesure, François, ed. Encyclopédie de la musique, 342 Let It Ride, 489 “Letter Aria” from The Ballad of Baby Doe (Moore), 44–45, 47, 66, 86, 90, 332, 363, 379, 382, 500 “Letter from Douglas Moore, A (Moore),” 254 “Letter of Recommendation to Elliott Carter” (Moore), 254 Letters from a Life (Britten), 275 Letters of Composers (Norman and Shrifte, eds.), 319 Levar, Frank, 194 Levermore, Charles, 3 Levin, Neil W., 169 Levin, Sylvan, 181, 216, 226 Levin (Janice and Philip J.) Music Center, 197 Levine (pianist), 240 Levine, James, 90, 189, 364 Levine, Joseph, 189 Levinger, Henry W. “New York Concert and Opera Beat: Two Operas on TV in One Day,” 379 Levitzki, Mischa, 325 Levy, Edwin, 44, 181, 348, 368 Levy, Felice, ed. Obituaries on File, 309

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Page 584

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Lewando, Ralph. “Savoyards Double-Header Program Proves Spotty,” 428 Lewandowski, Hagen, 193 Lewin, Frank. “In Review: From Around the World; Wilmington,” 379 Lewis, Don, 223 Lewis, Emory “Disc Data: Long-Playing ‘Take-Five’ Is Now an LP Record,” 428 “Old Sturbridge Village,” 428 Lewis, John M., 206, 208, 210, 243 Lewis, Richard. “Circus-Inspired,” 460 Lewis, Sinclair, 19 Lewis, Ted, 356 Lewisohn Stadium, 224, 264, 451, 455, 459, 462 Lexington, KY, 219 Lexington, VA, 218 “Liane” (Moore), 130, 493, 506 Liberty, MO, 211 Library Journal, 460, 471, 475 Library of Congress commissions, 86, 317 manuscripts, location of “Adam Was My Grandfather,” 83 Adventures in the Latin Quarter. Waltz, 83 Ballad of Baby Doe, The, 86 Ballad of William Sycamore, The, 93 “Birds’ Courting Song, The,” 94 Cotillion Suite, 99 Dedication, 102 Devil and Daniel Webster, The, 104 Dirge, 108 Down East Suite, 109 Emperor’s New Clothes, The, 110 Four Museum Pieces, 117 Four Pieces for Piano, 117 Fugue in E minor, 118, 338 Gallantry, 119 Gavotte in C# Minor, 120, 338 Under the Greenwood Tree, 167 Headless Horseman, The, 125 In Memoriam, 127 “Mysterious Cat, The,” 137 “Not This Alone,” 138 “Old Song,” 140 Pageant of P.T. Barnum, The, 141, 338 Perhaps to Dream, 143

“Poor Wayfaring Stranger,” 144 Power and the Land, 145–46 Prayer for England, 147 Prayer for the United Nations, 148 Quintet for Clarinet and Strings, 149 Quintet for Winds, 151 Scherzo in G Major, 153 Simon Legree, 154 Sonata for Violin and Piano in D Minor, 156 “Song to Fessenden,” 158 String Quartet, 159 Suite for Piano, 159 Symphony in A, 160 Symphony of Autumn, A, 161 Three Sonnets of John Donne, 163 Tintypes, 164 Trio for Piano and Strings, 166 Two Pieces for Piano, 166 Vayechulu, 169 Village Music, 170 White Wings, 175, 338 Wings of the Dove, 176 Youth Gets a Break, 179 Music Division, 338 performances, 236, 465–67 librettos, adaptation of texts to, 253, 258 Lick, Maxwell, Jr., 205 “Licorice Stick” (Moore), 36, 178, 454 Lieberson, Goddard, 150 Liebscher, Julia. “Douglas Stuart Moore: The Ballad of Baby Doe” in Pipers Enzyklopädie des Musiktheaters, 309 Liepmann, Klaus, 235 Lier, Frank, 222 Life (magazine), 50, 320, 349, 423 Life and Letters Today, 258 Life of Richard Wagner, vol. 2, 1848–1860, The (Newman), 259 Lilly, Eli, 25 Limper, Sarah, 198 Lincer, William, 236 Lincoln, NE, 218 Lincoln Auditorium (Syracuse, NY), 227 Lincoln Center for the Performing Arts, 88, 91, 106, 200, 272, 309, 339, 352, 379, 387, 398 Lind, Allison, 195

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Page 585

INDEX

Lind, Jana, 245 Lind, Jenny, 13, 141, 456, 460–62 Lind, Joanna, 195 Linder, Gerald, 210 Lindsay, James W., 207 Lindsay, Katrina, 195 Lindsay, Vachel author of musical texts “Mysterious Cat, The” (Moore), 41, 136 Simon Legree (Moore), 24, 154 “Bryan, Bryan, Bryan, Bryan,” 11 Cleveland, meeting at, 11–12, 285 influence on Moore, 11–12, 24, 290–91, 309, 311, 316 Yale, meeting at, 6, 285 Lindstrom, Carl E., 319 Lipton, Martha critical response to, 50 performances 1956, 49–50, 52, 181, 351, 357, 370, 375, 379, 393, 400 1957, 181–82 1958, 52, 357, 359, 376, 379 1959, 183, 393 1961, 487, 489 Broadway, 334 photograph, 357, 370, 376, 489 reviews, 351, 359, 375–76, 379, 393, 400, 487 televised performance, 181, 334, 379, 398 Lissfelt, J. Fred. “Savoyards Give New, Old Opera,” 428 “Listen to Us, America” from Youth Gets a Break (Moore), 180. See also Power and the Land. “March” (Moore) Listening to Music (Moore) description, 19, 248 excerpts, 257–59 From Madrigal to Modern Music (Moore), compared to, 28 publication of, 275 reviews 1st ed., 265, 268, 270, 275, 286, 307, 325 rev. ed., 276, 282, 299, 321 translation, 247 Listening to Music Creatively (Stringham), 249 Liszt, Franz, 257, 259, 278

585

Literary Digest, 461 Literature of Chamber Music, The (Cohn), 277 Little Fugitive (Abrashkin), 37 Little Minister, The (Barrie), 47 Little Orchestra Society, 36, 112, 216, 244, 329, 331, 441, 480 Little Symphony (Butler University), 217 Little Symphony (University of Kansas), 217 Littler, William. Heppner CD Engages Listeners, 379 Live from Lincoln Center, 309, 322, 339, 379, 387 Livengood, Victoria, 198 Livingston, Michael, 181 Livingston, N.J., 185 Livingston (Philip) Junior High School, 227 Livingstone, William. “The Opera File: Opera and the Bicentennial,” 309 Lizzie Borden (Jack Beeson), 410 Llewellyn, Cherrie, 195, 363 Llewellyn-Iarecka, Louise, 233, 470 Lloyd, Whitfield, 191 “Local Dignitaries” from Village Music (Moore), 28, 170. See also Procession Lochinvar Soap, 51–52 Lockard, Barbara, 182 Locke, Edwin, 145 Lockhart, Keith, 196–97, 394 Lockspeiser, Nancy Flanders. Mountains of Ore, 314 Lockwood, Norman, 73 Lockwood, Ross, 204 Loeb, Rebecca Jo, 198 Loeffler, Charles Martin, 250 Loft, Abram, 240 Lohmann, Carl, 104 Lola (character in Gallantry), 51–52, 119, 217–21 “Lola’s Aria” from Gallantry (Moore), 52, 119 “Lollipop” from Bip Goes to Town (Moore), 94 Lomas, Russell E., 235 Lombardini, Danilo, 213 Lomo, Cecelia, 181 London, Edwin, 151 London, England, 54, 169, 176, 195, 210, 218, 220, 377, 485 London Financial Times, 355 London Independent, 377, 404 London Records, 90, 363–64, 382

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Page 586

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

London Sunday Telegraph, 372 London Symphony, 443 Lonesome House, The (Brant and Moore), 247 Long Beach, CA, 193, 219, 239, 352, 356–57 Long Beach Convention Center Theater, 193 Long Beach Opera, 193, 352, 356–57 Long Beach State College, 239 Long Island, NY, 1, 280, 442 Long Island Philharmonic, 228, 460 Long Player, 250 Longy School of Music, 200 Loomis, Amy Goodhue, 206 Loomis, Clarence, 436 Loomis, James, 207 Loomis Temple of Music, 122 Lopez, Mallory, 199 Lopez, Nathaniel, 181 Lora, Antonio, 240 Lord Baltimore Hotel Ballroom, 236 Lördagen, Sweden, 238 Lorentz, Pare, 331 Loring, Eugene, 204, 302 Los Angeles, CA opera company, lack of, 407 performances Ballad of Baby Doe, The (Moore), 185, 190–91, 393 Devil and Daniel Webster, The (Moore), 205–6, 210, 213 Dirge (Moore), 214 Down East Suite (Moore), 215 Gallantry (Moore), 218–20, 442, 446 Greenfield Christmas Tree, The (Moore), 222, 449 Museum Piece (Moore), 225 Pageant of P.T. Barnum, The (Moore), 227 String Quartet (Moore), 237 Symphony in A (Moore), 238 Los Angeles City College, 427 Los Angeles City College Opera Studio, 205, 422, 426–27, 433 Los Angeles County Museum, 215 Los Angeles Examiner, 442 Los Angeles Herald & Express, 489 Los Angeles Music Center, 190, 349, 352 Los Angeles Philharmonic, 219, 238, 274, 474–76

Los Angeles Times articles 1915, 326 1931, 458–59 1939, 313 1940, 267 1941, 318 1942, 422, 426, 433 1946, 481 1947, 476 1948, 328 1949, 295, 331 1950, 422 1951, 336, 422 1953, 465, 480 1956, 50 1959, 279, 317 1960, 395 1961, 317 1963, 293, 322, 446 1965, 428, 437 1966, 273, 407 1970, 274, 388 1972, 449 obituaries, 282 reviews Ballad of Baby Doe, The (Moore), 349, 352, 356, 370, 393, 398 Carry Nation (Moore), 407 Devil and Daniel Webster, The (Moore), 434, 439–40 Gallantry (Moore), 442 Licorice Stick (Moore), 454 Quintet for Clarinet and Strings (Moore), 468 Songs My Mother Never Taught Me (Niles and Moore), 295 Symphony in A (Moore), 475 Loskill, Jörg “Honkytonk und Heroenkult,” 379–80 “Millionärsnöte,” 380 Loudis, Anthony J., 205, 215 Louis, John, 207 Louis, Kenny, 199 “Louis Gruenberg, 1884–1964” (Moore), 254 Louisiana, Philharmonic Orchestra, 197

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Page 587

INDEX

Louisiana State University and Agricultural and Mechanical College, 201 Louisville, KY, 200, 261 Louisville Orchestra commissions, 261 Love, Ann, 218 Loveman, Robert, 100 Love’s Labour’s Lost (Shakespeare), 32, 115 Love’s Secret, 114 Lovett, Julia, 191 Low, Seth, 339 Low Memorial Library, 214, 221, 233 Lowder, Maud (character in Wings of the Dove), 54–55, 57–58, 175–76, 245 Lowe, Leonore, 187 Lowell, Eugene, 149 Lowell (Eugene) Chorus, 110 Lowenhaupt, Alice, 193 Lowens, Irving “Kohon Quartet Offers Contrast,” 466 “News of Music: ‘Baby Doe’ Full of Wit, Drama, Good Tunes,” 380 Lowery, Melvin, 88, 191 Lown, Charles, 202 Lubbock, TX, 199 Lucas, James, 189, 192 Luce, Henry, 20 Luck, Lorraine, 183 Ludgin, Chester Central City Opera, 183, 188 Chattanooga Opera, 187 New York City Opera, 87, 182–86, 189, 191, 194, 210, 371, 385, 398, 403–4 recordings, 87 reviews, 371, 385, 398, 403–4, 446 University of North Dakota Opera Company, 221, 446–48 Ludwig, David, 194 Lueck, John, 245 Lueders, Mary Cross, 190 Luening, Otto “American Composers, XX: Douglas Moore,” 309 “Columbia University: 1943 to the Present,” 310 Columbia University Opera Workshop, conductor, 28, 34, 256, 332

587

Composers Recordings, Inc., co-founder, 282 “Moore, Douglas.” in Dictionary of Contemporary Music, 310 “Moore, Douglas Stuart” in Die Musik in Geschichte und Gegenwart, 275, 310, 328 on Moore’s composition teaching, 58 on Moore’s lyricism, 67 Odyssey of an American Composer, 310 performer, 241 program notes, The Devil and Daniel Webster (Moore), 104 recordings, 114–15 Lufin, Dexter, 209 Luisa Miller (Verdi), 402 Luker, Frank H., 229 Lulu (Berg), 398 Lupton, F. M., 2 Lyceum y Lawn Tennis Club, 232 Lynch, Anita, 187 Lynch, Richard Chigley. “Ballad of Baby Doe” in Musicals! ”, 310 Lynchburg, VA, 218 Lynn, George. “The Ballad of Baby Doe: Central City Opera Has Important Premiere,” 380 Lyon, Ben, 211 Lyon, James, 141 Lyon, Robert, 192 Lyons, James. “Reviews and Ratings: Moore: Farm Journal,” 441 Lyric Opera of Chicago, 184, 326, 336, 350, 386 Lyric Opera of Kansas City, 105, 197, 211–12, 356, 421 Lyric Theatre (Kansas City), 197 M M., R. H. “Moore Writes What Public Likes to Hear,” 380 M., W. J. “Campus Critic Reviews Orchestra Recital . . . ,” 310 Macaulay, 103, 170–72 MacBeth (Verdi), 250 MacCluskey, Thomas “Alternate Cast Performs Well in Baby Doe Opera,” 380 “ ‘Baby Doe’ Libretto Moving,” 380 MacDonald, Cameron, 2290

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Page 588

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

MacDonald, Rose. “7,000 at Prom give Thibault Great Ovation,” 460 MacDowell, Edward at Columbia University, 272 as a composer, 2, 6 Indian Suite, 110 Piano Concerto No. 2, 474 songs, 114–15 MacDowell, Marian, 6, 310, 326 MacDowell (Edward A.) Association, 15 MacDowell (Edward A.) Club, 235 MacDowell (Edward A.) Colony anniversary, 25th, 326 board of directors, 15, 70 fellow, 6, 10–12, 17–18, 22, 24, 70, 310 fund-raising for the, 24, 283, 317, 323 open house, 310 performances, 237 relationship to, 6 tea for the, 317 works composed at the, 10–12, 18, 116 MacDowell (Edward A.) Professor of Music, 32, 315 Mace, Louise. “Theater News and Views: BenetMoore Music-Play Opens at Sturbridge,” 429 Machabey, Armand, ed. Larousse de la musique, 343 Machan, Leon, 235 “Machinery” (Moore), 40, 131, 500, 506 Machlis, Joseph “Douglas Moore” in American Composers of Our Time, 310–11 “Douglas Moore” in Introduction to Contemporary Music, 311 “Douglas Moore” in The Enjoyment of Music, 311 Mack, Gilbert, 179 Mack, Wayne, 182 Mackinnon, Douglas A. “New York News,” 444 MacLeish, Ada, 8, 104, 106, 278, 323 MacLeish, Archibald advice from, 4, 8, 21 assistance from, 9 author of musical texts “April Weather” (Moore), 10, 84

“Brook, The” (Moore), 4, 132 Dedication (Moore), 102 “Dreams” (Moore), 4, 7, 131 “Evening Wind, The” (Moore), 4, 132 Fall of the City (Moore), 30, 32, 111, 320 “Ghosts” (Moore), 8, 120 “Gifts” (Moore), 4, 133 “Reed Player, The” (Moore), 4, 7, 131 “Road, The” (Moore), 8, 151 “Song of a Canoe” (Moore), 4, 157 “Sweet” (Moore), 4, 132 “Tale of a Carp, The” (Moore), 4 “Thine Eyes” (Moore), 4, 132 “Thistledown” (Moore), 162 “To an April Lady” (Moore), 4, 133 “Tower Bells of Tours, The” (Moore), 8, 165 friend of Moore, 3–4, 8–9, 21, 290–91 influence on Moore, 309, 311, 316 photograph, 334 poetry reading, 323 MacLeish Songs (Moore), 4–5, 7, 131–33, 494, 496, 506 Macmillan Encyclopedia of Music and Musicians in One Volume (Wier, ed.), 348 MacNaughton, Linda, 188, 371 MacNeil, Anne. The New American Dictionary of Music, 315 MacNeil, Cornell, 223 Macurdy, John, 183–86, 210–11 Macy, Laura, 333 Madalin, Carol, 193 Maddalena, James, 197, 364, 375 Maddox, April, 220 Maddux, Janet, 189 Madeira, Francis, 201, 242–43 Madison, WI, 189, 195, 215–16, 245 Madison, William V. “Lettera da Ronkonkoma,” 311 Madison Avenue Baptist Church, New York, 191, 377 Madison Avenue Presbyterian Church, 217 Madison Civic Opera (Madison, WI), 189 “Mad’moiselle from Armentières,” 295 Madonna and Child (Bottecini), 10

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Page 589

INDEX

Madonna and Child with Tobias and the Angel Raphael (Bottecini), 10 “Madonna of Botticini, A” from Four Museum Pieces (Moore), 10–11, 74 (n. 43), 116, 217, 441 Magg, Fritz, 236 Magic (Chesterton), 10 Maguire, Margaret, 195 Mahagonny (Weill), 421 Mahler, Fritz, 59, 145–46, 222, 226–27, 229, 449 Mahler, Gustav, 477 Mahne, Theodore P. “ ‘Baby Doe’ Makes for a Lovely Evening of Opera,” 380–81 “Bring Up ‘Baby’ ”, 380–81 “Entertainment: Opera Review: “Baby Doe” Makes for a Lovely Evening of Opera,” 381 “Favorite Stars, New Works Top N.O. Opera’s Newest Season.”, 381 “From the Balcony: All About Baby Doe,” 381 “From the Balcony: Opera Offers Student Preview.”, 381 Maier, Gustav, 218 Maiselsen, Joyce, 181 Maiuri, Sylvia, 200 Majdrakoff, Ivan, 206 Major, Sylvester, 23, 71 Majors, Dalienne, 189 Makino, Benjamin, 200 Makris, Cynthia, 193, 373, 380 Malabar, 195 Malas, Spiro, 186, 196 Malek, Bernard, 222 Malloch, P., 174 Malmberg, Helge. “Moore, Douglas Stuart” in Sohlmans musiklexikon, 344 Malno, Kras, 237 Malone, Dale, 181 Maloney, Andrew, 207 Malvin, Arthur, 149 Man at the piano (character in Carry Nation), performed by, 202

589

Manahan, George, 194, 198 Mandel, Marc. “Moore, The Ballad of Baby Doe”, 387 Manderen, Marion, 206 Mangan, Timothy, ed. Paul Bowles on Music, 438, 470 Manhasset Bay Opera Company, 192, 362 Manhattan, KS, 218 Manhattan Beach Recording Studios, 89 Manhattan Center Studios, 90 Manhattan Symphony Orchestra, 19, 225–26, 455, 458–59, 461 Mankato, MN, 187 Mann, Cass, 199 Mann, Theodore, 237 Mannes, Clara, 101, 113 Mannes, David, 101, 113, 325, 455 Mannes, Leopold, 14, 325 Manning, Steven, 210 Manon (Massenet), 357, 410 Mansfield, PA, 218 Manso, Angela, 191 Mansouri, Lotfollah, 218, 378 Mantle, Burns “American Lyric Theater Negotiates a Stirring Debut, The,” 429 “Finds Federal Theater Top-Heavy with Defeatist Drama,” 429 Manuel de la musique (Kelen, ed.), 344 Manwiller, Joanne, 209 March Down the Field, 235 March for N.Y.A. Film, 146, 507. See also Power and the Land. “March” (Moore) March for Piano (Moore), 133, 499, 508 March for Tambourlaine (Moore), 133, 224, 496, 508 “March” from Power and the Land (Moore), 146, 507 March Hares (Gribble), 10 March of Time, The (Moore), 4, 129 Marching, 131. See Machinery (Moore) Marek, Dan, 87, 182–84, 211 Margolin, Michael H., 381 Margules, Danielle, 199 Margules, Marney, 199

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Marietta, OH, 217 Marietta College, 217 Marietta College-Civic Symphonette, 217 Marine Band Orchestra, 480 Marino, Frank, 208 Mark, Lord (character in Wings of the Dove), 54–57, 175, 245 Mark Educational Recordings, 106 Markham, Lola (character in Gallantry), 51–52, 119, 217–21 Markham, Mary Helen, 205–6 Markley, Richard, 195 Marlowe, Sylvia, 179 Marr, Joshua, 198 Marrero, Kyle, 193, 197 Marriage of Figaro, The (Mozart), 278 Marrocco, W. Thomas Music in the United States, 286 “Nationalistic Composers II: Douglas Moore (1893–)”, 286 Marsh, Frederick, 200 Marsh, Robert. “Critic At-Large: American Opera,” 311 marshal (character in Carry Nation), 61, 96, 202 Marshall, Dennis, 235 Marshall, Edward, 204 Marsolais, Kenneth, 201 Marston, Otis R., 205 “Martha” (Moore), 134, 246 (n. 1), 495, 506 Martha’s Vineyard, 8 Marthens, Carolyn, 181 Martin, Charlotte, 164 Martin, Colette, 96, 190, 202 Martin, Elizabeth. Dictionary of Music, 343 Martin, George Companion to Twentieth-Century Opera, The, 312 Opera Companion: A Guide for the Casual Operagoer, The, 312 Opera Companion to Twentieth Century Opera, The, 312 Twentieth Century Opera, 312 Martin, James, 205–6 Martin, Jeff, 194 Martin, Lois, 150 Martin, Margaret, 230

Martin, Nicholas Ivor. The Da Capo Opera Manual, 312 Martin, Philip, Jr., 145 Martin, Sarah, 194 Martin, Thomas, 189 Martin, William R. “Douglas Moore (1893– 1969)” in Music of the Twentieth Century, 312 Martinet, François, 245 Martinez, Frank, 206 Marvin Center Theatre (George Washington University), 220 Marx, Joseph, 471 Mary (role in Baby Doe), 71, 85, 87, 182–84, 186–88, 190–91, 193, 195, 198–99 Mary Jane (role in Oh, Oh, Tennessee), 138–39 Maryland Baptist College, 211 Marymount Theater, 220 “Mary’s Prayer” (“Now May There Be a Blessing”). See Devil and Daniel Webster, The Marysville, TN, 218 Mason, Alfred Edward Woodley. “Green Stockings,” 335 Mason, Christina, 192 Mason, Colin, 271 Mason, Daniel Gregory Cleveland recommendation, 9 Columbia University recommendation, 16, 70, 285 composer, 250, 321 Four Museum Pieces orchestration, 11 “Recent Developments in Music at Columbia and Barnard,” 312 retirement, 27, 70, 292, 315 “The Younger Men. [Section] II” in Music in My Time, 312 Mason, Lawrence, 208 Mason, Marilyn, 214 Mason, Patrick, 169 Masonic Auditorium (Detroit, MI), 184 Masonic Hall (Cleveland), 217, 226, 441 “Masque of Janus, The” from Wings of the Dove (Moore), 54, 57, 177, 307, 488–89 mass, 257 Massapequa, NY, 212 Massapequa Opera Workshop, 212 Massay, Kevin, 202

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Massenet, Jules compared to The Ballad of Baby Doe (Moore), 351, 362 Manon, 357, 410 “Mast Head, The” from Moby Dick (Moore), 17, 134 Mastelle, Helen, 204 Masters of Our Day (Saminsky and Freed, eds.), 313 Masters of Our Day Educational Series, 164, 291, 298, 313 Matchless Mine, 22, 45–46, 49, 86, 330, 349 Mathis, Carl, 186 Matousek, Marianne, 213 Matthews (Brander) Hall, 180, 221, 332 Matthews (Brander) Theater, 217, 244, 443 Mattingly, James, 209, 223 Matulionis, Vytautas, 218, 231 Maud, Edna, 202 Maurits, Evangeline, 206 Maximovitch, Maria dedications to, 30, 154, 163, 165 performances, 202, 225, 233, 235, 240, 472 Maxwell, Frank, 247 Maxwell, George, 198 May, Susan, 220 “May Day Carol” from Devon Folk Songs (Moore, arr.), 107 Maycock, Robert. “Opera: Moore; The Ballad of Baby Doe”, 381 Mayer, Margery, 182, 359 Mayer, Martin “New York,” 382 “Opera Around the World; Washington,” 382 Mayflower, The, 2, 71 Mayland, Marlene, 188 Mayne, Thomas, 208 Mayo, Carol, 189 Mazey, Steven. Citylights: Company Stages Opera for Opera Haters, 444 McArthur, Edwin, 216 McBride, Robert, 99 McCafferty, Ronald, 207 McCaffrey, Donald, 210 McCain, Joseph, 196

591

McCandless, Margaret, 205 McCann, Lori, 221, 443 McCarter Theater (Princeton University), 220 McCarthyism, 291 McCartney, J. F., 189 McCarty, Clifford. Film Composers in America, 313 McClain, Joseph, 197 McClellen, Mark, 193 McClure, 2 McCollum, Jeffrey, 88, 196, 211 McComb, Richard, 206 McCord, Nancy, 204, 420, 428–29, 433, 436 McCormack, Sarah, 198 McCourt, Mama character in The Ballad of Baby Doe, 45–47, 50, 63, 85, 87–88, 181–83, 185–99, 372–73, 385, 398, 404 compared to Carry Nation’s mother, 63 McCourt family members (characters in Baby Doe), 87–88, 181–84, 186–92, 195 McCoy, Anna, 198 McCrae, John, 204, 206 McCrary, Lyman, 214, 438 McCray, Kent, 244 McCready, Dorrance, 206 McDonald, Anita, 220 McDonald, Jocelyn, 200 McGarrahan, Gerald, 200, 224–25, 260 McGarvey, Mary Kay, 200 McGhee, John, 192 McGuire, Bob, 220 McGuire, James, 192 McGuyer, James, 235, 307 McIntire, Dennis, 331 McKee, David “Great American Opera, The,” 313 “You’ve Come a Long Way, Baby Doe,” 305, 313 McKee, Margaret, 205 McKee, Richard, 87, 191 McKeesport, PA, 217 McKenzie, Duncan, 229 McKeon, Florence, 205–6 McKinley, Ann. “New Concept in the Teaching of Opera, A,” 313

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

McKinley, Lyn, 189 McKinney, James, 201 McKnight, Emily, 185, 394 McKusick, Leon, 208 McLaughlin, Mary, 194 McLaurin, Mark, 221 McLellan, Joseph “GWU Performance Corrects Operatic Misconceptions,” 444 “Mmm: A Tasty Revival; ‘Bon Appetit’ Mixes with Dramatic ‘Devil’ ”, 429 “New Releases: Classical: Douglas Moore, Gallantry (A Soap Opera)”, 444 McMahan, Hazel, 223 McMahan, Richard, 189 McMahon, Carol, 185 McMahon, Violet, 185 McMillan, James, 210 McMillin Academic Theatre performances Adventures in the Latin Quarter, 180 Ballad of William Sycamore, 200 Columbia University Orchestra, 273, 302, 331 Cotillion Suite, 203 Dedication, 204 Devil and Daniel Webster, The, 214 Farm Journal, 216 Five Shakespeare Songs “Come Away, Death,” 202 “O Mistress Mine,” 225 Much Ado about Nothing, 224 Museum Piece, 224 Overture on an American Tune, 226 People’s Choice, The, 228 Perhaps to Dream, 229 Prayer for England, A, 230 Quintet for Clarinet and Strings, 231–32 Simon Legree, 234 Sonata for Violin and Piano in D Minor, 234 String Quartet, 236 Symphony in A Major, 238 Symphony of Autumn, 239 Three Sonnets of John Donne, 240 Trio for Piano and Strings, 241 Twelfth Night, 241 Village Music, 242 White Wings. Excerpts, 244 White Wings. Overture, 245

McMurray, Mary, 183, 185–86 McMurray, Peggy Anne, 231 McMyler Memorial Organ, 9, 74 (n. 41) McNamara, Daniel I., ed. The ASCAP Biographical Dictionary of Composers, Authors, and Publishers, 344 McSpadden, Robert, 207 Mecca Concert Auditorium, 226, 458 Mechem, Philip R., 4, 121, 126 Medicine Lodge, KS, 300, 413, 417 Meditations on Ecclesiastes (Dello Joio), 127 Medium, The (Menotti), 28, 304, 310 Meg (character in Baby Doe), 85, 87–88, 181–83, 185–87, 190–94, 196, 198–99 Meier, Gustav, 190 Meistersinger, Die (Wagner), 4, 273, 330 Mellem, Robert, 210 Mellen (Edwin) Press, 272 Mellendick, Edmund, 214, 231 Mellor, Nancy, 210 “Melodic Analysis of Selected Vocal Solos in the Operas of Douglas Moore” (Weitzel), 263 Melrose, Frances. “Baby Doe Ballad Rates Attention in Theater Mag,” 382 Melrose, MA, 227, 461 Melrose Orchestral Association, 227, 461 Melville, Herman, 454 Memmot-Allred, Susan, 198 Memorial Auditorium (Stanford University), 208, 223–24 Memphis, TN, 204, 237 Memphis Little Theatre, 138 “Men behind the Podium, The” (Moore), 254 men in the saloon (characters in Carry Nation), 95–96, 202 M.E.N.C, 228, 252 Mende, W. H., 204 Mendel, Arthur. “Douglas Moore” in Our Contemporary Composers, 299 Mendelssohn, Felix Midsummer Night’s Dream, A. “Nocturne,” 302 recordings, 257 Symphonies, 259 Symphony No. 4, 270 Mendelssohn Glee Club, 471 Mendius, Louise, 193

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Menorah Journal, 169 Menotti, Gian-Carlo compared to The Ballad of Baby Doe (Moore), 360, 362, 371 Medium, The, 28, 304, 310 operas, 256 recordings, 90 Telephone, The, 442, 444 Menuetto for violin and piano in A major (Moore), 4, 134, 494, 509 Mer, La (Debussy), 259 Mercer, Marian, 182 Merchant, Catherine. “Carry Nation: A New American Opera,” 413 Mercury Living Presence, 142, 464 Mercury Records, 141–42, 306, 457–60, 462–64 Mercury Theatre, 25 Meredith, Charles H., 60 Merkling, Frank “Americana at the Center,” 382 “Reports: City Center-1,” 486 “Reports: United States; Boston, Los Angeles, Kansas,” 414 Merlin, Milton. “American Faust Set to Music,” 313 Mermelstein, David “American Arias Find a Groove,” 382 “Vocalism in Her Soul, Drama in Her Blood,” 382 Merriam-Webster’s Biographical Dictionary, 344 Merrill, Douglas, 212 Merrill, Nathaniel, 183 Merriman, Dan, 210 Merritt, Ruth, 204 Merwin, Janice, 240 Mesmer, Shirley, 236 Messy, Frank (character in Oh, Oh, Tennessee), 138–39 Metcalf, Steve. “ ‘Baby Doe’ Is a Great Evening in the Theater,” 383 Metro Summer Festival of Opera (Des Moines, IA), 192 Metropolitan Museum of Art, 32, 71, 281, 308, 316 Metropolitan Opera American operas, lack of productions of, 33, 69, 280, 432 auditions, 303

593

Ford Foundation grant, 336 Lulu production, 398 Moore’s first attendance, 4 opera guides, 291, 296, 388 singers, 348, 358, 400, 404, 412 Wings of the Dove production, 53 Metropolitan Opera Encyclopedia, The (Hamilton, ed.), 296 Metropolitan Opera Guide to Recorded Opera, The (Gruber, ed.), 388 Metropolitan Opera Guild, 291, 296, 388 Metropolitan Opera Orchestra, 90, 106, 364 Metropolitan Opera Stories of the Great Operas, The (Freeman), 291 Metropolitan-Duane, 209 Metts, Calland, 195 Metzger, Maria, 289 Meyer, Felix, ed. Elliott Carter, 254 Meyer, Paul, 201, 241 Meyer, William W., 235 MGM Academy Series, 87 MGM records Baby Doe reissued on other labels, 87–88, 90–91, 359, 361, 374, 383 Ballad of Baby Doe, The, 87, 306, 372, 383, 387–88, 402 compared to Newport recording, 387 reviews, 372, 388 Miano, Joanna, 88, 196 Michael, Adrian, 212 Michel, François, ed. Encyclopédie de la musique, 342 Michigan Opera Theatre, 194, 362, 381 Midgette, Anne. “He Fell for Her Bait, and Then She Fell for Him,” 383 Midland, MI, 244 Midland High School Auditorium (Midland, MI), 244 Midshipmen’s School, Choir of the, 280 Midsummer Night’s Dream, A. “Nocturne” (Mendelssohn), 302 Mies, Paul, 251 Mikulski, Henryk, 5, 235 Milan, Italy, 243 Milburn, Russell, 199 Milhaud, Darius, 68, 258, 279, 480, 490 Milken Archive of American Jewish Music, 169, 479

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Page 594

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Miller, Barbara Ione, 189, 378 Miller, Brenda, 40, 121, 214, 221, 448–49 Miller, Cary, 105, 211–12, 421 Miller, Dorothy, 2–4, 240, 333 Miller, George, 223 Miller, John, 181, 209 Miller, Kellis, 96, 186–88, 202 Miller, Margaret, 150 Miller, Philip L. “American Girl,” 383 “From M-G-M, ‘The Ballad of Baby Doe’ ”, 383 “Moore: ‘The Devil and Daniel Webster’ ”, 429–30 “Moore:The Ballad of Baby Doe”, 383 “New York City Opera Performance of Douglas Moore’s Carry Nation,” 414 “Piston: The Incredible Flutist (Suite). Moore: Pageant of P. T. Barnum,” 460 “Recorded Music: Americana; Recommended,” 475 “Recorded Music: Mixed Programs: American Composers,” 471 “Songs by American Composers,” 471 Miller, Raymond, 189 Miller, Sarah Bryan. “Opera’s Beverly Sills, “Ballad of Baby Doe” Get a Revival on CD,” 383 Miller, Vera R., 205–6 Miller Outdoor Theater, 195 Milligan, Craig, 206 Mills, Derek M. “American Epic, An,” 313–14 “American Opera,” 383–84 “American Tale, An,” 384 “In Review: From Around the World; Indianola, Ia.”, 384 Mills, Erie, 193, 378 Mills, James. “Prints Donated by 2 Colo. Artists to Benefit Summer Music Events,” 314 Mills College, 205 Mills Music, 114 Milnes, Rodney. “Fine Silver with a Hint of Lead,” 384 Milnes, Sherrill, 106 Milstein, Frederic, 104, 186, 245 Milwaukee, WI, 193, 209, 378, 430

Milwaukee Chamber Opera, 209, 430 Milwaukee Journal, 430 Milwaukee Symphony, 378 Mines, Madeline, 192 Mininberg, Ian. “Douglas Moore,” 314 Minkin, Randy, 192 Minneapolis Symphony, 228 Minnocci, Theresa, 203, 214, 240 minstrel (character in Wings of the Dove), 57, 175, 177, 245 Minuet in C Minor (Moore), 134, 493, 508 Miquelle, Georges, 236 Mirageas, Evans, 90 Miranda, William D. “American Operas Open the Boston Art Festival,” 430 “Boston Arts Festival: Dr. Moore at Baby Doe Premier,” 384 “Kennebunkport Opera: Arundel Presents ‘Baby Doe’ ”, 384 Mischakoff, Mischa, 179, 236 Mischakoff String Quartet, 236 Miser Stevens (character in The Devil and Daniel Webster), 104–5, 205–13 Miss O’Brady (Brant), 335 “Mississippi” from Four Pieces for Piano (Moore), 41, 117 Mississippi Southern College, 199 Mitchell, Alice, 240 Mitchell, Donald, 275 Mitchell, Jack, 210 Mitchell, William J. Elementary Harmony, 249 Mitchell Hall (University of Delaware), 205 Mize, J. T. H., ed. The International Who Is Who in Music, 343 Moberg, Carl-Allan, ed. Sohlmans musiklexikon, 344 Mobile, AL, 207 Mobile Opera Guild, 207 Moby Dick (Moore) 2-piano arrangement, 134, 509 “Ahab, Mighty Lord of Leviathans,” 17, 134 analysis and description, 17, 134–35, 262–63, 299 in chronology, 497 in classified list, 504

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INDEX

compared to the Four Museum Pieces (Moore), 10 dictionary entry, 303–4 “Mast Head, The,” 17, 134 performances, 18, 224, 294, 454 reviews, 454 “White Whale, The,” 17, 134–35 Mochel, Joshua, 198 Model, Peter. “Music Review,” 430 Modern American Music Series, 150, 467–69 Modern Canons (Reichenbach, ed.), 174 Modern Library, 299 Modern Music articles about Moore, 281, 309, 335, 338, 478 articles by Moore, 27, 250, 252, 257, 261, 275, 335 Modern Music-Makers (Goss), 294 Modern Series, 148 Modi, Sorab. “In Review: From Around the World: Washington, DC,” 384–85 Moe, Henry Allen, 482 Moldenhauer (Hans) Collection, 102, 159 Molnar, Ferenc, 236 Molyneux, Jaelyn. “6 Questions,” 314 Monet, Michele, 184 Monfried, Walter. “Dan Webster Opera Saluted,” 430 Mongiardo, Johanna, 198, 353, 378, 396 Monheit, Lisa, 192 Monks, Millicent, 185 Monmouth Conservatory of Music, 219 Montaine, John La, 114–15 Montesanti, Joanne, 185 Monteux, Pierre, 285 Montevideo, Uruguay, 236 Montoni, Raymond, 231 Moody, Jacquelynne, 182–83, 199, 223, 354 Moore, A. D., 157 Moore, Arthur, 2, 4, 7, 333 Moore, Dorothy. See Miller, Dorothy Moore, Douglas acting and theater at Barnard College, 270, 289 in childhood, 3–4, 240 at Cleveland Playhouse, 10

595

at Columbia University Opera Workshop, 31, 274, 285 at Composers’ Theater, 324 influence on composition, 67, 69 interest in, 66–67, 71 at Tucson Little Theatre, 30, 270, 300, 324 at Yale University, 6 administrator, 28, 33, 36, 40, 70, 73, 272, 310, 332 advocate for American composers, 249–50, 252–57, 261, 272, 279, 330, 332, 334 Britten, Benjamin, 28 aesthetics, 14–15, 19, 68, 288, 312 American music Ditson Fund used for, 33, 40, 251 as opposed to foreign music, 22–23, 31, 251, 253, 255, 285 performances of, 250–51, 285 romanticism in, 69, 249, 292–93 sentimentality in, 69, 293 American musical style advocate for, 27 attitude about an, 262 in The Ballad of Baby Doe, 47, 333 in The Ballad of William Sycamore, 15 in Carry Nation, 62–63, 408 in Cotillion, 41 in film scores, 27 in opera, 69, 285, 333 origin of the, 12, 284 in Suite for Piano, 37 uniqueness of an, 69 use of an, 67, 261, 291, 293 in Wings of the Dove, 58, 488 American songs, 257–58 articles about, 263–348 author of articles, 249–61, 275, 285, 293, 312 books, 247–49 scripts, 178–79, 247 song lyrics “Atterboy, Columbia,” 85 “Augusta’s Aria from The Ballad of Baby Doe, 44, 89 “Cat Sat, The,” 97

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Page 596

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

[Moore, Douglas, continued ] Crossing, The, 100 “Destroyer Life,” 102 “Down at the North Fork Country Club Cabaret,” 108 “Jessie Wilhelmina Glotz,” 128 “Letter Aria” from The Ballad of Baby Doe, 44, 90 “Martha,” 134 “Naomi: My Restaurant Queen,” 137, 247 Oh, Oh, Tennessee, 138–39 “Parabolou,” 142 “Potatores exquisiti,” 144 “Rutgers Marching Song,” 152 Then and Now, 4, 162 “To Knox Our Alma Mater,” 164 “Willow Song” from The Ballad of Baby Doe, 44, 92 awards Bicentennial Parade of American Music, 299 Bispham (David) Award, 332 Eastman School of Music Orchestra Contest, 17–18 Edward A. MacDowell Professor of Music, 32 Ford Foundation grant, 58 Great Teachers Award, 58, 294, 336 Gugenheim Fellowship, 20, 291, 295, 332 Hadley (Henry) Medal, 58, 284 honorary doctorates Cincinnati Conservatory, 35 Columbia University, 59, 266, 306 University of Rochester, 37, 288, 290 Yale University, 49, 266. 298, 305 Huntington Hartford Foundation, 58–59, 263, 306, 317, 324 Landmark of American Music plaque, 318 list of, 263 National Arts Club (New York). Medal of Honor for Music, 307 National Association for Composers and Conductors, 58, 284, 317, 328 New York Music Critics Circle Awards, 52, 280, 288, 316–18, 323 Pulitzer Traveling Scholarship, 14, 325, 477 Rockefeller Foundation, 59, 322 benefit concert guest, 280

biographies in biographical anthologies, 287–88, 291, 294, 310–11, 323 brief information, 276, 291, 298, 340–48 in catalogs, 291 in dictionaries 1940–1949, 269, 314–15, 326 1950–1959, 269, 293 1960–1969, 269, 328–29 1970–1979, 269, 297, 328 1980, 269, 272, 288, 303, 321 1990–1999, 267–69, 297, 303, 315, 321, 331, 333, 338 2000–2009, 276, 284, 298, 304–5, 328 in encyclopedias 1960–1969, 275, 315, 329 1970–1979, 282, 288, 301, 310 1980–1989, 272, 294 1990–1999, 266, 269, 289, 303 in handbooks, 308, 336–37 in histories, 298, 304 in life and works, 262–63, 287 in newspaper articles, 263–64, 279, 300–301, 420, 427, 459, 461 in opera guides, 291 in periodical articles, 272, 280, 290, 314, 318–19, 326–27, 392 in production guide, 297 in program notes, 268 in web sites, 331, 366 birthday, 1–2, 59, 263, 276, 322–24 books about, 261–63 books published, 19, 28–29 Boulanger, Nadia, studies with, 8, 14–15, 17, 311–12, 323, 330 centennial celebration, 301, 303 childhood, 2–4, 289 chronologies, 293–94, 303, 333 Cleveland, 9–12, 14, 70 Cleveland Museum of Art, director of music, 9, 12, 14, 70, 272, 284, 294, 298, 438, 477 Columbia University, appointment as assistant professor, 17 at Barnard College, 15, 70, 266, 277–78 at Barnard College as Music Department head, 17

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as Edward A. MacDowell Professor of Music, 32 as Music Department head, 27, 70 comedian, 304–5 commissions Ballad of Baby Doe, The, 43–44, 86, 263, 282, 317, 322, 334 Carry Nation, 59–60, 65, 96, 201, 276, 293, 321–22, 337–38, 411, 413 Cotillion Suite, 99 Destroyer Song, 31, 103 Down East Suite, 32, 109 Emperor’s New Clothes, The, 110 “Eternal God,” 111 Farm Journal, 112 Headless Horseman, The, 23, 125, 451 In Memoriam, 32, 127, 452 People’s Choice, The, 53, 143 Power and the Land, 27, 145 Quintet for Clarinet and Strings, 35, 149 Twelfth Night, 14, 166 Vayechulu, 169 Village Music, 27, 170, 480 “Westren Winde,” 174 Worst of Farm Disasters, 177 Young People’s Records, 178–79 Youth Gets a Break, 27, 179 composer, 265, 300, 436 composer-in-residence, 59, 306, 322, 407, 411–12 composition studies, 6–10, 157 compositional method, 39, 66–71, 293, 305 compositional style compared to Cesar Franck, 8 compared to Gilbert and Sullivan, 23 compared to light classics, 3 consistency in, 68 description, 287, 293–94, 310–11 development of, 8, 272 influenced by Vincent d’Indy, 8, 67, 284, 333 lyrical, 67, 309, 329 mature, 39, 41, 62, 66, 68 rural life, evocative of, 27 uncharacteristic, 10, 17 compositions anthems, 4, 138, 505 arias, 89–93, 97, 105–7, 119, 176–77, 263

597

[Moore, Douglas, continued ] arrangements for 2 pianos, 134, 160, 509 mixed chorus, 94, 106, 121, 143–44 orchestra, 116–17, 180, 496 voice and ensemble, 137, 153, 159 voice and piano, 159 ballet, 123, 503 band music, 505 canons, 95, 173–74, 494, 508, 510 cantatas, 23, 100, 505 children’s chorus, 41, 142, 505 children’s music, 36–38, 40–41, 53, 58–59, 101, 109–10, 124–25, 142, 148–49, 162, 178–79, 273, 322, 439–40, 509–10 children’s songs, 18, 142 choruses, 130, 136, 147, 505–6 Christmas carol, 121 concertos, 4, 40, 98–99, 495, 500, 504, 510 cotillions, 254 dances, 101, 509 drinking songs, 144 etudes, piano, 111, 508 fanfare, 111, 505 fantasia, 112, 504 fight songs, 4–5, 85, 121–22, 126, 142, 152, 155, 505 film scores, 27, 31, 36, 94, 112, 144–47, 170, 177–80, 289, 292, 313, 331, 339, 504 folk song settings, 41, 95, 107, 143–44, 497, 507 fugues flute and clarinet, 118, 509 keyboard, 118, 508 organ, 118, 148, 494, 496, 508–9 string quartet, 118, 509 gavottes, 119–20, 221, 338, 493, 496, 508 hymns, 51, 110–11, 506 incidental music, 129, 135–36, 149, 152, 166, 503 marches, 7, 12–13, 41, 52, 99, 108, 122, 129, 133, 135, 140, 142–43, 146, 149, 152, 155, 505 minuets, 4, 134, 493–94, 508–9 motets for mixed chorus, 26, 102, 506

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Page 598

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

[Moore, Douglas, continued ] musicals, 138, 162, 503 operas childrens’, 109–10, 148–49 descriptions all, 276, 290 Ballad of Baby Doe, The, 85–86 Carry Nation, 95–96 Devil and Daniel Webster, The, 104 Fall of the City, 111 Gallantry, 118–19 Giants in the Earth, 38–40, 120–21 White Wings, 21–22, 174–75, 262, 288 Wings of the Dove, 53–58, 175–76 dictionary entries, 294 list of, 283–84, 286, 315, 333, 503 melodic analysis, 263 vocal ranges in, 26, 46–47, 62–63, 66 operettas, 124–25, 148–49 orchestral music, 267, 504 organ music, 7, 10–11, 26–27, 108, 116, 118, 133, 148, 153, 508–9 overtures, 137, 141, 175, 504 pantomime drama, 128, 503 part-songs, 143, 154 piano music, 135, 166, 229, 464, 508–9 pianologues, 5, 235 polonaise, 112, 504 preludes, 148, 151, 159, 166–67, 508–10 private entertainments, 23, 100, 117 program music, 103, 108, 130, 160, 163, 464, 478 requiem, 151, 504 sarabandes, 101, 153, 469, 504 sonatas, 7, 18, 155–57, 234–35, 470–71, 495–97, 509 songs all, 296, 506–8 alto voice, 152 alto voice, flute, and harpsichord, 159, 508 baritone voice, 83–84, 153–54, 159 baritone voice, flute, trombone, and piano, 15, 93, 508 baritone voice and orchestra, 93 bass voice, 84 bass-baritone voice, solo, 113

bass-baritone voice and string quartet, 113–14, 508 mezzo-soprano, 167, 507 soprano, 133, 157, 507 soprano, tenor, mixed chorus (SATB), and piano, 41, 94–95, 505 voice “April Weather,” 84 “Atterboy, Columbia,” 85 “Brook, The,” 132 “Brown Penny,” 95, 506 “Cat and the Moon, The,” 97 “Cat Sat, The,” 97 “Class Song,” 98, 506 “Cleopatra’s Mother,” 98, 506 “Cruise, The,” 100 “Cupboard, The,” 101 “Dear Dark Head,” 101 “Dear Little Wisp of a Girl,” 102, 506 “Destroyer Life,” 102–3, 507 “Devon Folk Songs,” 107, 497, 507 “Down at the North Fork Country Club Cabaret,” 108 “Early Song,” 109 “Evening Wind, The,” 132 “Fingers and Toes,” 113 “Five Shakespeare Songs,” 113–16 “Friends, Elis, Countrymen,” 113–16 “Ghosts,” 120 “I Heard a Bird Sing,” 126 “Jessie Wilhelmina Glotz,” 128–29 “Kimogenor,” 129 “Kitty-Cat Bird, The,” 130 “Liane,” 130 “Martha,” 134 “My Garden,” 136 “Naomi: My Restaurant Queen,” 137 “Nonsense Song, A,” 137 “Not This Alone,” 138 “Old Song,” 140 “Parabolou,” 142 “Potatores exquisiti,” 144 “Reed Player, The,” 131 “Road, The,” 151 “Rutgers Marching Song,” 152

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Page 599

INDEX

“Sad Song, A,” 152–53 “Sea That Is My Song, The,” 154 “Song of a Canoe,” 157 “Song of April, A,” 157 “Song to Fessenden,” 158 “Sweet,” 132 “Tale of a Carp, Song The,” 157–58 “Thine Eyes,” 132 “Thistledown,” 162 “Three Songs of John Donne,” 163 “To an April Lady,” 133 “To Knox Our Alma Mater,” 164 “Token,” 165 “Tower Bells of Tours, The,” 165 “Under the Greenwood Tree,” 167 “We Must Follow the Leaders,” 173, 507 “When the Drive Goes Down,” 174 voice, flute and harpsichord, 115, 135, 503, 508 voice and chamber ensemble, 153 suites alto voice, flute, and harpsichord, 159 band, arranged for, 163, 169–70 chamber orchestra, 112, 169, 504 chorus and orchestra, 179–80 orchestra, 116–17, 137, 141, 147, 169, 504 organ, 116–17, 508 piano, 83–84, 117, 159, 163 violin and piano, 109, 509 voice and piano, 159 symphonic poem, 127, 134, 504 symphonies, 18–19, 34–35, 160–62, 238–39, 505 synagogue music, 169 theme and variations piano, 97–98, 508 piano and harpsichord, 178–79 string quartet, 168, 510 waltzes, 127, 167–68, 509 war songs, 170–73 conductor Beethoven, Piano Sonata, op. 13, 246 Dedication, 204 Fantaisie Polonaise, 216 Four Museum Pieces, 217

599

[Moore, Douglas, continued ] The Hunter’s Horn, 178 Overture on an American Tune, 225–26, 455 Pageant of P.T. Barnum, The, 226 Perhaps to Dream, 229 Prayer for the United Nations, 230 Quintet for Winds, 232 Symphony of Autumn, 239, 477–78 conductor of Columbia University Orchestra 1926, 280, 290 1927, 311, 316, 320–21 1928, 270, 321, 324 1929, 278, 310, 320, 325, 331, 339 1930, 278, 280 1931, 273, 302, 317, 330–31, 335 1932, 324 1933, 325 1934, 22, 264, 278, 325 All Bach concert, 268 appointment as, 16, 70 improvements made as, 18 Overture on an American Tune, 226 correspondence, 20 croquet, 9 (illus.) daughter (Mary), birth of, 8 death, 66, 269, 282, 284, 309, 319, 328, 335, 341–42, 344, 346 dictionary entry, 266, 272 dissonance, use of in Carry Nation, 63–65 for dramatic effect, 24, 67, 380, 485 in Four Museum Pieces, 10–11 in Giants in the Earth, 40 in Moby Dick, 17 in Simon Legree, 24 in Symphony in A, 34 in Symphony of Autumn, 19 in Wings of the Dove, 56–58 editor, 248–49, 255 editorials, 251 examinations, 95 exhibits, 293 experiment in musical taste, 318 family, 1–7, 10, 20, 23, 30, 71, 262–63, 272, 301, 314–15 folk songs, use of, 67, 261, 332 games, parlor, 71, 301

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

[Moore, Douglas, continued ] harmonic language, 19, 67, 283, 310, 332, 399 humor, 249, 258, 319 infant, 2 (illus.) inheritance, 6, 326, 333 intervals, use of, 19, 24, 66–67, 263, 489 interviews in newspapers 1926, 323 1931, 290 1939, 290 1951, 285, 448 1958, 359 1959, 296 1962, 311, 327 1963, 293, 323 1966, 297, 315–16 1967, 380 in periodical articles, 276, 286, 330, 384 television, 444 in theses, 262 jazz, attitudes about, 250 lectures, 281, 290, 308, 315–17, 319, 322–24, 331, 336, 338–39, 427 letter for Elliott Carter, 254 letters from Bartók, Béla, 271 Britten, Benjamin, 275 Mumford, Lewis, 332 Parker, Horatio, 319 Sessions, Roger, 330 Thompson, Randall, 319 Thomson, Virgil, 335 letters to Attorney General, 35, 274, 285, 337 Federal Communications Commission (FCC), 318 Fessenden, Frederic, 3, 289 Gilman, Lawrence, 18, 293 House of Representatives. Speaker, 37, 300 Lindstrom, Carl E., 319 Mason, Daniel Gregory, 312 New York Times, 260 Reis, Claire R., 324 Resnick, Rose, 319 Young Keyboard Jr. (School Edition), 254

librettos, 70, 258, 272, 276, 285, 293, 324, 448, 491 manuscript facsimiles, 86, 170, 289, 296 marriage, 8, 294, 314 melodic invention, 67–69, 332, 406 melodrama, use of, 23–24, 26, 37 memorial performances, 200, 233, 244, 301, 382, 480, 491 meters, use of, 17, 67, 263, 287, 313 Morgan (Rose) Professorship, 65 narrator, 179, 181–82 naval service (1917–1919), 7, 31, 272 obituary, 272, 282, 309, 319, 328, 335, 341–46, 348 opera, orchestral excerpts, 175, 504 opera production, 34 orchestration ability, 6–7, 68, 180, 270 organ study, 8, 14, 259–60 organist, 8–11, 14, 68, 217, 221, 272–73, 300, 327, 417 parties, 71, 301 personality, 71, 73 photographs, 16 (Illus.), 29 (illus.), 41 (illus.), 60 (illus.) photographs in publications, 265 1922, 336 1927, 460 1932, 477–78 1933, 464 1934, 287 1938, 308 1939, 425–27, 436 1940, 260, 288, 292, 315, 327 1942, 300, 339 1943, 470 1946, 318 1947, 257, 339, 467, 476 1948, 315 1949, 287, 481 1951, 285, 295, 447 1952, 279, 284 1953, 431 1954, 291, 319, 322 1955, 297, 452 1956, 308, 370, 386, 400, 404

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Page 601

INDEX

1958, 289, 359, 386 1959, 296, 316 1960, 314, 336, 349 1961, 253, 316, 485, 488 1962, 251, 256, 265, 284, 324, 487, 490 1963, 265, 316, 322, 324, 328 1964, 329, 334 1966, 276, 279, 297, 412–14, 417 1967, 256, 380 1973, 296 1990, 421 1993, 263, 301 2000, 332 2004, 289 2007, 334 pianist, 200, 214, 221, 233–35, 289, 406 piano lessons, 2–3 politics, 264, 290–91 polytonality, use of, 11, 17, 19, 67, 446 popularity, 3–4 program notes, 150, 160 quotation, use of, 12–13, 19, 39, 47, 67, 261–62, 366, 393, 432, 455, 467 radio appearance, 350 recital, 267 retirement announcements, 59, 272, 276, 282, 284, 306, 314, 324, 327, 488, 490 concert, 272, 417, 490 reception, 284 reviewer, 249–52, 254–55, 257–59 reviews acting, 270, 285 performances, 294, 310, 316–17, 319–20, 326, 330–31, 348–491 rights to literary works, lack of, 21, 25, 40, 43–44, 53, 256, 264, 339 sabbaticals, 20, 30, 38, 68, 338, 447, 487 social life, 23, 71, 301 speeches American Academy of Arts and Letters, 249, 252 American Symphony Orchestra League, 251, 256, 279, 322, 339 Barnard College Music Department, 265

601

Forum on Current Problems, 27, 328 Fuller (Alfred C.) Music Center, 316 Music Education Week, 24, 298 National Federation of Music Clubs, 300 piano teacher symposium, 317 teaching 1931, 19 1934, 22 1941, 28 Barnard College, 15–17, 19, 70 career, 272, 327, 488 Columbia University, 15–16, 70 composition, 58, 71 Hadley (Henry) Award, 58, 284 music appreciation, 16, 19, 58–59, 70–71, 247–48, 266, 287, 289, 312, 327 music in colleges, 265 television appearance, 353 text setting, 62, 64, 66, 424 translator, 258 usher for wedding, 280 views on American music, 9, 12, 22, 69–70, 249– 51, 259, 275, 285 arts as opposed to business, 279–80 audiences, 322 funding for the arts, 322 government support for the arts, 261, 337 incidental music, 254 music, 252–53 music education, 324 opera, 69–70, 250–51, 256–58, 279–81, 297, 311, 319, 323–24, 327, 336, 339, 417, 448 Willys, 72 (illus.) works, 276, 284, 286–87, 305, 309, 322, 330 works, on film, 339 works list, 287–88, 292–94, 296, 300, 310, 331, 340–41, 346 Moore, Douglas (cellist), 287 Moore, Dudley, 457 Moore, Eliot, 2, 240, 333 Moore, Emily conference attendance, 309 croquet, 9 (illus.)

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Page 602

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

daughter (Mary), birth of, 8 dedicatee, 104–6, 154 family home, 12 family life, 71 illness, chronic, 272 MacDowell Colony celebration, 326 marriage, 8, 294, 314 meeting with Moore, first, 3 photograph, 413, 464 tea (University of South Florida), 322 visit to home of Carry Nation, 300 Moore, Frank Ledlie. Crowell’s Handbook of World Opera, 315 Moore, Grace, 451 Moore, Helen Clarke, 230 Moore, Joseph Hull, 1 Moore, Mary, 8, 9 (illus.), 32, 33 (illus.), 71, 100, 164, 301 Moore, Mary K., 208 Moore, Myra, 1–2, 4, 20, 129, 158, 282, 289, 316, 318, 326 Moore, Rev. (character in Carry Nation), 61–65 Moore, Richard C., 232 Moore, Sarah, 33 (illus.), 39, 53, 66, 71, 83, 164 Moore, Stuart Hull, 1–2, 4, 6, 315, 326 Moore, Thomas, 1 Moore (Grace) Memorial Concert, 451 Moore Theatre (Seattle), 238 Moore-Martin, Helen, 210 Moran, Robert, 408 More Opera Scenes for Class and Stage (Wallace and Wallace), 337 More Stories of the Great Operas (Cross and Kohrs), 281 Morehead, Philip D. The New American Dictionary of Music, 315 Moreland, William, 218 Morelock, David, 381 Morgan, Lois Waag, 206 Morgan, Ray. “Carry Nation Opera Echoes Overtones of a Tragic Life,” 315 Morgan, Russell V., 230 Morgan, Wayne, 210 Morgan (Julia) Center for the Arts, 199 Morgan (Rose) House, 64 Morgan (Rose) Professorship, 65 Morgantown, WV, 211

Moriarty, John Ballad of Baby Doe: “I Shall Walk Beside My Love.” The, 263 chorus master, 186 conductor, 88, 192, 194, 196, 199, 353–54, 369 Morin, Gösta, ed. Sohlmans musiklexikon, 344 Morin, Raymond. “Devil and Daniel Webster Delights Festival Audience,” 430 Moritz, Charles, ed. Current Biography Yearbook 1969, 344 “Morning Chores” from Power and the Land. Suite (Moore), 147 Morris, James, 197, 351, 402–3 Morris, Kenneth, 198 Morris, Wendy, 186, 188 Morrison, Ray, 88, 191 Morrow (William), 257–59 Morrow, Dick, 210 Morse, Coline, 185 Morton, Anthony, 188 Morton, David, 220 Morton, Thomas (character in The Devil and Daniel Webster), 204–5, 208 Moser, Karlos, 195, 245 Moses, Grandma, 365 Moskowitz, Roy M. Z. “Critic Praises Orchestra Concert,” 316 Moss, Robert, 209 Mossman, Josef. “Baby Doe Opera Hits High Note,” 385 mother (character in Carry Nation), 95–96, 201–2, 409, 412–13 Mother Goose Suite (Ravel), 317 Mother of Us All, The (Thomson), 28, 310, 326 “Mother on Porch” from Bip Goes to Town (Moore), 94 Mother’s Recompense, The (Wharton), 53 Mott, Gilbert. “In Review: From Around the World; Hartford,” 385 Mouk, Richard, 207 Moulton, Warren, 195 Mount Holyoke, MA, 226 Mount Holyoke College, 226 Mountains of Ore (Lockspeiser), 314 Movshon, George. “New York City Opera: The Ballad of Baby Doe (March 7)”, 385

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Page 603

INDEX

Mozart, Wolfgang Amadeus composer, 68, 267, 317, 425, 443, 462 Cosí fan tutte, 425 Don Giovanni, 374, 378 manuscripts, 299 nozze di Figaro, Le, 278 Quintet for Clarinet and Strings, 178 recordings, 92–93, 257 symphonies, 259, 302 “Mr. Taubman Looks at the Score” (Moore), 254 MTNA, 215 Much Ado About Nothing (Shakespeare), 17, 116, 135, 224, 417, 497, 503 Mueller, Harold, 217 Mulvaney, Elizabeth (character in Then and Now), 4, 162, 240 Mulvany, Mrs. (character in Then and Now), 240 Mulvany, Silas (character in Then and Now), 240 Mulvey, Marilyn, 190, 361, 395 Mumford, Lewis, 36–37, 295, 332 Muncie, IN, 219, 232 Munger, Robert, 136 Munich, Germany, 237 Municipal Art Committee (New York), 277 Munn, Thomas J., 197 Munson, George, 208 Munzer, Cynthia, 193–94, 362–63, 378, 381 Munzer, Kay. “Douglas Moore’s Opera Runs Through Sat. at B. Matthews,” 448 Murdock Maryann, 208 Murphree, Alex “Central Citians Stage 5-Hour Whing-Ding before Big Premiere,” 385 “Central City Choices Arousing Comment,” 316 “Denver Symphony: Rabin Excels in Prokofieff,” 476 “Second Contemporary Concert,” 476 Murphy, Edward A., 207 Murphy, Mary Ellen. “Douglas Moore,” 316 Murphy Hall, 201 Murphy High School Auditorium (Mobile, AL), 207 Murray, Bain. “Singing Good in Spoof of Soap Operas,” 444 Murray, Bonnie, 217 Murray, Paul, 193

603

Murray, Robert J., 185 Musetti, Francisco José, 236 museum guard (character in Wings of the Dove), 175 Museum of Modern Art (New York), 232, 236, 469–70 Museum of Television and Radio, 286, 353 Museum Piece (Moore), 26, 135, 224–25, 291, 298, 498, 508 Museum Work, 255 museums, music in, 255 music, twentieth-century, 258–59 Music & Artists, 346, 410 Music & Dance, 404 Music & Letters, 304 Music & Musicians, 355 “Music and Civilization” (Moore), 254 “Music and Museums” (Moore), 9, 255 “Music and the Movies” (Moore), 255, 339 Music and the Theater (Pauly), 390 Music and Words (New York Times panel), 265, 268, 297, 319, 324 music appreciation lectures, 9, 14 in music education, 252, 289, 312 teaching Barnard College, 16, 70, 289 Columbia University, 19, 58–59, 70–71, 327 textbooks description, 19, 28, 30, 70, 247–48, 259, 275 reviews, 265, 276, 282, 287, 289, 321, 338 Music Clubs Magazine, 290, 300, 322, 330, 335 Music Director’s Guide to Musical Literature, The (Swan), 249 music education, 252, 261, 335 Music Education Week (New York), 298 Music Educators’ Journal, 283, 289 Music Educators National Conference (MENC), 228, 252 Music for Shakespeare’s Romeo & Juliet, 127 Music for Yale Pageant (Moore), 7, 136, 495, 505, 507 Music Here and Now (Krenek), 251 music history textbooks, 249

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Page 604

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Music in American Life, 304 “Music in Cleveland” (Moore), 255 Music in My Time (Mason), 312 Music in Our Time: 1900–1950 (concert program), 201–2 Music in Our Time: 1900–1950 (Salazar), 258 Music in the Modern World (Myers), 254 Music in the United States (Edwards and Marrocco), 286 Music Journal, 248, 250–51, 257, 282, 318, 329, 402, 406 Music Library Recordings, 161 Music Literature Outlines, 293 Music Lovers’ Encyclopedia (Hugues), 342 Music Lover’s Handbook, The (Siegmeister, ed.), 257–59 Music Magazine, 276 Music Magazine and Musical Courier, 276, 336, 488 Music Mountain, 236 Music Observed (Haggin), 484 Music of the Twentieth Century (Martin and Drossin), 312 Music of the West Magazine, 394, 484 Music of Three Seasons (Porter), 392 “Music of Today,” 231 Music on My Beat (Taubman), 254 Music on the Air (Kinscella), 259, 304 Music Press, 27, 170, 174, 308 Music Press Contemporary Series, 170 Music Publishers Journal, 257 Music Supervisors’ Journal, 268, 286 “Music Supplement.” Saturday Review of Literature (Moore, ed.), 255 Music Teachers’ National Association (MTNA), 215 Musica Contemporanea Norteamericana y Cuana para Conjuntos Instrumentales de Viento, 232 musica. Dizionario, La (Gatti and Basso, ed.), 344 Musica d’oggi, 370 Musical America. See also High Fidelity/Musical America 1922, 327 1925, 325 1927, 463

1929, 454 1930, 464 1932, 325 1937, 450 1938, 292, 308, 328 1939, 436 1942, 308 1943, 470 1949, 472, 482 1951, 284, 328, 447 1953, 284, 430 1956, 393 1958, 365, 444 1959, 366, 393, 433 1960, 366, 460, 473 1961, 275, 487 1962, 392 1963, 276, 324 Musical Arts Theater (Pasadena), 231 Musical Chronicle (Rosenfeld), 255 Musical Courier, 285, 294, 318, 336, 355, 359, 379, 446–47, 482 “Musical Essays” (Moore), 255 Musical Leader, 248, 321, 418, 446 Musical Quarterly, 307, 360, 447, 453, 469, 473, 481, 490 “Musical Story” (Moore), 281 musical taste experiment (Barnard College), 270, 336 “Musical Theatre of Douglas Moore, The” (Hardee), 262 Musical Times, 266, 344–45, 361 Musical Times and Singing-Class Circular, 295 Musicals!: A Directory of Musical Properties Available for Production (Lynch), 310 Musicarnival, 182, 350–51, 353, 359, 373 Musician (periodical), 318–19 Musicians’ Club of Women (Chicago), 219 musicology, 248 “Music’s Place in the Art Museum” (Moore), 255 Musik des 20. Jahrhunderts (Baumgartner), 340 Musik in Geschichte und Gegenwart, Die (Blume, edl), 275, 310 Musik in Geschichte und Gegenwart, Die (Finscher, ed.), 328

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Page 605

INDEX

Musikkens (Backhausen and Kjerulf, ed.), 344 Musikkens (Bramsen, ed.), 344 Mussolini, Benito, 464 Mussorgsky, Modest Boris Gudonov, 384 composer, 68 Mutual Radio Network, 419 Muzicka Enciklopedija (Kovacevic´, et al., eds.), 344 My Darling Clementine, 67, 261, 373 “My Garden” (Moore), 136, 493, 506 Myerberg, Michael, 50, 277, 334, 350, 358, 368 Myering, Joseph, 194 Myers, Beverly, 220 Myers, Michael, 192 Myers, Rollo H. Music in the Modern World, 254 Mylrea, Cornelia. “Moore Works Get Hearing,” 491 “Mysterious Cat, The” (Moore), 41, 136–37, 501, 505 N N.A.B. (National Association of Broadcasters), 264, 267, 318 Nagid, David, 189 Nagy, Elemér, 38, 50, 209, 223, 244, 392, 482 Nahr, William, 210 Nairn, Norman “Hanson Presents 3 New Works at Festival,” 453 “Opera Repetition Again Draws Capacity Kilbourn Audience,” 431 Nance, Chris, 185 Nance, James, 189 Nantz, Fowler, 207 “Naomi: My Restaurant Queen” (Moore), 4–5, 137, 225, 247, 494, 507–8 “Naomi: My Restaurant Queen” (Phillips), 247 Naples, Italy, 243 Naros, Jack, 209 narrator (character in Emperor’s New Clothes, The), 109–10, 215–16 narrator (character in Puss in Boots), 148, 231 Nashville, TN, 230 Nassau-Suffolk W.P.A. Orchestra, 226

605

Natchez, MS, 220 Natchez City Auditorium, 220 Natchez on the Hill (John Powell), 317, 331 Natchez Opera Festival, 220 Nathan, George Jean. “Theater Week: The Eagle Lays Two Eggs,” 431 Nathan, Regina, 195, 377 Nation (magazine), 401, 468, 489 Nation, Carry A. biography, 315–16, 336–38, 412–13, 415–16 character, 59, 61–65, 95–96, 201–2, 407–16 descendents, 409 home, 300, 411, 413, 417 Museum, 300 photograph, 413–14 Smashers Mail, The, 316 National and Inter-American Music Week, 431 National Arts Club (New York), 307 National Association for American Composers and Conductors, 58, 215, 231, 284, 317, 328 National Association of Broadcasters (NAB), 264, 267, 318 National Association of Teachers of Singing (NATS). Bulletin, 296 National Book Fair (New York Times), 265, 268, 297, 319, 324 National Broadcasting Orchestra, 226 National Citizens for Humphrey, 290 National Cyclopaedia of American Biography, The, 315 National Federation of Music Clubs, 164, 200, 236, 300, 476 National Gallery (London), 54, 56, 175–76 National Gallery of Art (Washington, D.C.), 203, 216, 228, 242–44, 418, 440–41, 461–62, 466, 471, 480–81 National Gallery of Art Orchestra, 216, 228, 243–44, 440–41, 461–62, 480 National Gallery Sinfonietta, 242, 480–81 National Geographic, 348 National Institute of Arts and Letters. See also American Academy of Arts and Letters anti-Semitic incident, 36, 266–67, 300 Award for Distinguished Achievement, 339 election to the, 28, 70, 249, 291

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Page 606

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

gold medal presented to Charles Beard, 36–37, 295, 332, 335 House Un-American Activities Committee letter, 37, 267, 300 speech to the, 249, 252–54 vice president, election as, 32 National Institute of Arts and Letters, Proceedings, 249, 252–54 National Music Camp (Interlochen, MI), 219, 223 National Observer, 265 National Orchestral Association, 230, 239, 242, 260, 477–78 National Recreation Association, 335 National Symphony Orchestra, 227, 459, 463 National Theatre (South Korea), 232 National Theatre Conference (New York), 309 National Youth Administration, 27, 179 National Youth Administration Symphony Orchestra, 28, 241 NATS. Bulletin, 296 Nattress, Judy, 185 Nature Conservancy. North Fork Committee, 282 Nauert, Christine, 197 Naughton, James, 208 Navatta, Vicenta A., 236 Naxos Records, 169, 341, 479 naxos.com, 341 Naylor, Marcus, 217 NBC, 53, 216, 226, 238, 242–43, 264, 288, 379 NBC Symphony Orchestra, 33, 229, 238, 251, 474 NBC television, 53, 379 Neal, David, 192, 212 Neblett, Carol, 200, 349, 471 Nee, Thomas, 211 Negrini, Gualdiero, 193 Negro Overture (Dunn), 458 Neill, Thomas, 193 Neilson, Bruce, 188, 361 Nelman, Rod, 194 Nelson, Barbara, 223 Nelson, Beverly, 208 Nelson, Richard, 88, 191 Nelson, Ron. Savannah River Holiday, 141, 457, 460 Nelson, Wally, 353

Nelson Lee, Katherine L., 221 Neue Zeitschrift für Musik, 392 “Never Ask the End,” 84. See also “The Apple Boughs Bend” (Moore) Nevin, Ethelbert, 2 New American Dictionary of Music, The (Moorehead and MacNeil), 315 New Art Wind Quintet, 232 New Brunswick, N.J., 180, 217 New College Encyclopedia of Music (Westrup and Harrison), 346 New Deal, 145 New Deal Documentaries, The (Ivens), 146 New Delhi, India, 238 New Dictionary of Music, A (Jacobs), 343 New Encyclopædia Britannica, The, 344 New Encyclopedia of the Opera, The (Ewen), 288 New England Conservatory, 227, 464 New England Conservatory Orchestra, 227, 458 New Everyman Dictionary of Music, The (Cummings, ed.), 341 New Frontier, The, 146 New Grove Book of Opera, The (Sadie, ed.), 333 New Grove Dictionary of American Music, The (Hitchcock and Sadie, eds.), 272, 332 New Grove Dictionary of Music and Musicians, The (Sadie, ed.), 272, 333 New Grove Dictionary of Opera, The (Sadie, ed.), 332–33 New Hampshire, 437 New Hampshire Festival, 211 New Hampshire Festival Chorus, 211 New Hampshire Festival Orchestra, 211 New Haven, CT, 5, 149, 210, 214, 216, 225, 227, 231, 234, 238, 246 New Haven Symphony Orchestra, 216, 227, 246 New Jersey College for Women, 180, 217, 229 New Jersey College for Women, Chorus of the, 229 New Jersey W.P.A. Symphony Orchestra, 227, 456 New London, CT, 223 New London Civic Orchestra, 223 New Mexico, 320 New Milton Cross’ More Stories of the Great Operas, The (Cross and Kohrs), 281 New Moon, The (Romberg), 353

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Page 607

INDEX

New Music Edition, 467 New Music Lover’s Handbook, The (Siegmeister, ed.), 259, 330 New Music String Quartet, 150, 231–32, 237, 467–69 New Opera Company, 250 New Orleans Opera Association, 197, 351, 358, 380–81, 388, 399–400 New Orleans Opera Guild Home, 381 New Orleans Opera Women’s Guild, 381 New Orleans Times-Picayune, 358, 380–81, 388, 399–400, 406 New Penguin Dictionary of Music, The (Jacobs), 343 New Records, 355, 432, 453, 469, 472, 475 New Republic, 365 New Richmond, OH, 212 New Richmond High School, 212 New Rochelle, NY, 451 New School for Social Research, 235, 237, 467, 471, 490 New Songs for New Voices (Wier, ed.), 18, 101, 113 New Synthony Orchestra, 92 New Wartime Concerts, 230 New York (magazine), 361 New York Chamber Ensemble, 119, 220, 233, 443, 470, 490 New York City Center Theatre, 210 New York City Opera Ballad of Baby Doe, The (Moore) 1956, 348 1958 announcement, 306, 349, 382, 385 cast lists, 182–83 libretto, 291 performance history, 52–53, 301, 313, 349 photographs, 386 program, 373 reviews in newspapers, 352–54, 372–73, 376–77, 389, 395, 399, 403 in periodicals, 359, 365, 370, 377, 379, 388, 401 1959, 52–53, 58, 183, 296, 366, 394 1960, 58, 183–85, 350, 356, 365–66, 371, 374, 380, 385–86, 400

607

1961, 363–64, 398, 400 1962, 59–60, 186, 365, 376, 391–92 1963, 187, 366, 376–77, 390, 395 1965, 187–88, 376, 389, 397 1966, 188, 376, 386, 398 1967, 374 1969 announcements, 357, 382, 393 cast list, 189–90 reviews, 349, 352–53, 361, 372, 374, 385, 395–96, 403–4 1976, 191, 372, 375, 379, 381, 392, 400–401 1984, 194 1988, 360–61, 370, 382 2001, 198, 360, 367–68, 382–83, 389, 398 auditions, 303 photographs, 312, 379, 382–83 recordings, 361–63, 368, 371–72, 374, 383, 385, 388, 394 Carry Nation (Moore), 66, 96, 202, 406–17 Devil and Daniel Webster, The (Moore), 53, 210, 309, 420, 426–28, 432, 435, 437 funding, 256, 336 recordings Deutsche Grammophon, 87–88, 90–91, 361–63, 368, 371, 381, 388, 397–98 Heliodor, 87, 361, 371, 374, 378, 383, 385 MGM, 87, 306, 372, 383, 387–88, 402 video, 87–88, 339 singers from the, 447–48 touring grant, 256, 366 Wings of the Dove, The (Moore), 53, 58–59, 245, 306, 483–89 New York City Opera Chorus, 87–88 New York City Opera Orchestra, 87–88, 90–91, 96 New York Civic Orchestra, 225–26 New York Daily Mirror Pay-Off Ed., 422 New York Daily News, 357, 403, 413–14, 416, 429, 437, 448, 489 New York. Department of Parks, 230 New York Evening Post, 456 New York Evening Post Literary Review, 255 New York Evening World, 463

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Page 608

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

New York Herald Tribune articles 1927, 459 1931, 268, 292, 299 1932, 461 1934, 322 1936, 265, 338 1937, 450–51 1939, 293, 418, 420, 423, 425, 429, 436, 464 1940, 328, 335 1948, 267, 335 1949, 440 1951, 336 1952, 284 1954, 322 1956, 351 1957, 399 1958, 349 1959, 296, 323, 338, 486 1960, 296 1962, 391 1963, 449 1964, 281 book reviews, 287, 331 letter about the Symphony of Autumn, 18, 293 photographs, 386, 433 reviews Ballad of Baby Doe, The (Moore), 50, 366, 371–72, 391, 397 Devil and Daniel Webster, The (Moore), 432, 437–38 Down East Suite (Moore), 438–39 Gallantry (Moore), 443–44 Giants in the Earth (Moore), 448 In Memoriam (Moore), 452 Overture on an American Theme (Moore), 455 Pageant of P.T. Barnum, The (Moore), 459 Puss in Boots (Moore), 465 Quintet for Clarinet and Strings (Moore), 469 Quintet for Winds (Moore), 467 retirement concert, 490 String Quartet (Moore), 466–67 Suite for Piano (Moore), 472

Symphony in A (Moore), 473–74, 476, 478 Vayechulu (Moore), 479 White Wings (Moore), 482 Wings of the Dove, The (Moore), 483–84, 486–87 New York Journal-American, 376–77, 396, 419, 427, 453, 475, 485 New York Mirror, 483 New York Music Critics’ Circle Award, 52, 280, 288, 316–18, 323 New York News, 444 New York Orchestra, 227, 457, 460–61 New York Philharmonic concert attendance, 5 conductors, 285 finances, 253 performances benefit concert, 280 Destroyer Song (Moore), 31, 103, 418 Devil and Daniel Webster. Excerpt (Moore), 213 Emperor’s New Clothes, The (Moore), 38, 215, 440 In Memoriam (Moore), 224, 451–53 Pageant of P.T. Barnum, The (Moore), 227, 455, 457, 461 Puss in Boots (Moore), 40, 231, 465 Quintet for Winds (Moore), 469 Symphony in A (Moore), 37, 238, 473–76 program notes, 268 rehearsals, 260 tour, 325 New York PM, 300, 439, 453, 465, 471, 474 New York Post, 272, 376, 410, 412, 414, 421–22, 446, 453, 479, 485 New York Public Library, 200, 236, 406, 436 New York State Theater, 88, 91, 194, 198, 202, 410 New York Sun, 292, 300, 307, 427, 436–37, 441, 453, 475, 477 New York Times articles 1914, 283 1915, 339 1916, 333, 339 1917, 335 1923, 441

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Page 609

INDEX

1926, 280, 290 1927, 278, 280–81, 311, 456, 461 1928, 308, 316, 324 1929, 290, 325 1930, 280, 294, 317, 335, 454, 459, 470 1931, 317 1932, 264, 275, 289, 308, 324, 326, 406, 455–57, 478 1933, 279, 309, 316–17, 321, 325, 338, 455, 460–61, 466 1934, 264, 278, 295, 317, 325, 338, 457 1935, 22, 313, 455, 460–61, 464, 477–78, 483 1936, 260, 268, 277, 297, 317, 319, 324, 326, 465–66, 471 1937, 270, 289, 298, 317, 323, 325, 449–51, 482 1938, 284, 432 1939, 273, 423, 431 1940, 288, 315, 406 1941, 279 1942, 320 1943, 285 1945, 260, 280 1946, 285, 318, 337, 430, 476 1947, 274, 280, 285, 339, 476 1948, 295, 300, 332, 335 1949, 440 1950, 268 1951, 264, 278, 295, 448 1953, 311, 317, 322–23, 431 1954, 290, 418, 473 1956, 260, 329, 368, 386, 402 1957, 267, 336 1958, 354 1959, 256, 264, 316, 322, 435 1960, 266, 284, 336, 487 1961, 309, 489 1962, 279, 314, 321, 327, 417 1963, 323–24, 450 1964, 307 1965, 409 1966, 325, 386, 409, 471 1967, 334, 404, 408, 443 1968, 290, 338, 409, 437 1969, 357, 372, 382, 393, 454, 480 1971, 471

609

1972, 446 1973, 287 1976, 293, 299, 400, 445 1979, 282 1980, 362, 460 1997, 396 2000, 388 2001, 353, 382 National Book Fair, 265, 268, 297, 319, 324 obituaries, 282, 284, 293, 341, 344 photographs, 407, 428, 442, 482, 489 reviews Ballad of Baby Doe, The (Moore), 50, 360– 61, 364–65, 372, 374, 376, 382–83, 387, 389–90, 394–96, 398–401 Carry Nation (Moore), 409–10, 412, 415–16 “Come Away, Death” (Moore), 472 “Death, Be Not Proud” (Moore), 472 Devil and Daniel Webster, The (Moore), 419–21, 423, 434–36, 490 Down East Suite (Moore), 439 Emperor’s New Clothes, The (Moore), 440 Gallantry (Moore), 443, 445, 490 Giants in the Earth (Moore), 447 Listening to Music (Moore), 265 In Memoriam (Moore), 452, 454 Moore as actor, 31, 285 Overture on an American Tune (Moore), 455 Pageant of P.T. Barnum, The (Moore), 458, 462 Quintet for Clarinet and Strings (Moore), 469 Quintet for Winds (Moore), 469 recordings, 382, 435, 440 String Quartet (Moore), 458, 462, 467 Suite for Piano (Moore), 472 Symphony in A (Moore), 474, 477 Trio for Piano and Strings (Moore), 479 Vayechulu (Moore), 479 White Wings (Moore), 481–82, 484 Wings of the Dove, The (Moore), 488 New York Times Long Island Weekly, 442 New York Tribune, 294 New York University, 202, 216, 229, 234, 263, 283, 412

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

New York World Journal Tribune Magazine, 378 New York World-Telegram Ballad of Baby Doe, The (Moore), 352 Devil and Daniel Webster, The (Moore), 420, 433–34 Down East Suite (Moore), 438 Giants in the Earth (Moore), 274, 446 National Institute of Arts and Letters antiSemitic incident, 267 Pageant of P.T. Barnum, The (Moore), 462 Symphony in A (Moore), 473 White Wings (Moore), 481 Wings of the Dove, The (Moore), 483 New York W.P.A. Symphony Orchestra, 226, 228, 239 New Yorker, 392, 395, 415, 435, 445, 449, 455, 462, 487–88 New Zealand Opera Company, 219 Newark, DE, 204–5, 215–16, 229, 239 Newark, NJ, 227, 241, 456 Newark Evening News, 408, 456 Newark Museum (Newark, NJ), 241 Newlin, Dika. “DESTO (Formerly ST/AND),” 471 Newman, Arthur, 87, 182–83, 210 Newman, Ernest. The Life of Richard Wagner, vol. 2, 1848–1860, 259 Newport, RI, 242–43 Newport Classic, 88, 105, 354, 358, 364, 387, 393, 397, 403, 435 newsboy (character in Baby Doe), 88, 192, 194–96, 199 Newsday, 370, 410 Newsweek, 279, 346, 412, 431, 448, 483 Newton, Harold, 237 Niagara Falls, 60 Niccoli, Alessandro, 235 Nice, France, 243 Nicely, Susan, 195, 198 Nichols, Charles, 210 Nichols, Dorothy “Audience Is Delighted with Stanford Opera Starring Ichabod Crane,” 450 “Dinkelspiel Auditorium Opens,” 387 “Douglas Moore at Stanford,” 319 Nicholson, Joan, 218 Nickerson, William, 209–10

Nienow, Mark, 195 Night Song (Richardson), 302 Nightingale-Bamford School, 223 Nightingale-Bamford School Glee Club, 223 Niles, John Edward, 213 Niles, John Jacob, 7, 18, 92, 103, 170–73, 246 (n. 1), 329 recordings, 92 Singing Soldiers, 7, 18, 103, 246 (n. 1) Songs My Mother Never Taught Me, 18, 103, 170–73, 246 (n. 1), 329 Nilsson, Margaret, 198 Nimbus, 92 Nissim, Rudolf. “Homage to Douglas Moore,” 319 Noble, Harry, 35, 231 Noble, Timothy, 194, 197, 363, 390 “Nobody Knows de Trouble I Seen,” 12 “Nocturne” from Village Music (Moore), 28, 170, 239, 308, 480–81 Nocturnes (Debussy), 259 Noetzel, Florian, ed. Kurzgefasstes TonkünstlerLexikon, 342 Noggle, Anna, 198 Nolen, Timothy, 196–97 Nonesuch, 92, 354, 382, 391, 404 “Nonsense Song, A” (Moore), 10, 137, 496, 507 Noonan, Stanley, 181, 360, 367 Nordine, Nancy, 191 Nordli, Douglas, 201 Nordraak, Rikard. “Ja, vi elsker ditto Landet,” 39 Norfolk, CT, 218 Norfolk, VA, 198, 216, 218–19 Norman, Daniel, 195 Norman, Gertrude, ed. Letters of Composers:, 319 Norman, OK, 232, 244 North, James H. “Baby Doe,” 387 “Moore, The Ballad of Baby Doe”, 387 “Moore: Carry Nation,” 414 North American Free Trade Agreement, 403 North Atlantic Suite (Moore), 137, 495, 504 North Central College, 313 North Dakota, 38–40, 120, 221, 446–48 North Newark Artists’ Concerts, 227 North Park College Theological Seminary, 212 North Texas State University, 189, 267

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INDEX

Northeastern University Press, 330 Northern Arizona University, 219 Northern Illinois University, 170 Northfield, MN, 208–9 Northrup, Eunice, 204 Northwest Junior High School (Reading, PA), 230 Northwestern University, 86, 268, 326 Norton, Richard C. “The Devil and Daniel Webster” in A Chronology of American Musical Theater, 319 Norton Library, 247–48 Norton Memorial Hall, 196, 204, 206, 236 Norton/Grove Concise Encyclopedia of Music, The (Sadie and Latham, eds.), 344–45 Norwalk, CT, 214–15, 221, 238 Norwegian immigrants, 38 Norwegian national anthem, 39 “Not This Alone” (Moore), 32, 138, 225, 499, 507 “Not with a Wistful Sueing” from The Headless Horseman (Moore), 24, 125 Notations (Cage, ed.), 86 Notes (Music Library Association), 302, 323, 327, 329, 337 “Nothing Like a Wedding” from The Devil and Daniel Webster (Moore), 213 Novak, Kim, 50, 353, 361, 385, 392–93 Novakova, Isabel. “Prague Has Colorful Musical Fare,” 319 Novello, 148, 295 “Now May There Be a Blessing.” See Devil and Daniel Webster, The. “Mary’s Song” Nowell, Jean. “Audience, Performers Rollick through Headless Horseman,” 450 Noyes, Alfred, 6 Noyes, Frank, 226–27 Noyes (Ida) Library, 240 nozze di Figaro, Le (Mozart), 278 Nussbaum, Irving, 231 Nutt, Paul, 189 Nystrom, Maurice, 231 O “O Mistress Mine” from Five Shakespeare Songs (Moore), 115–16, 217, 225, 499, 508 “O Mistress Mine” from Much Ado About Nothing (Moore), 135

611

“O Mistress Mine” from Suite from Shakepearean Music (Moore), 116, 159 “O Mistress Mine” from Twelfth Night (Moore), 32, 115–16, 166 Oakland Tribune, 412 Ober, Eugene, 211 Oberlin, OH, 212 Oberlin College, 212, 335 Oberlin Gilbert and Sullivan Players, 212 obituaries, 282, 284, 293, 309, 316, 319, 328, 335, 341–46, 348 Obituaries on File (Levy, ed.), 309 O’Brien, Ray, 208 O’Brien, Robert, 205 Occidental College, 210 Oceana Films, 274 O’Connor, Flannery, 12 O’Connor, John J. “TV: ‘La Traviata’ and ‘Baby Doe’ ”, 387 “Ode to Joy” (Beethoven), 23, 100 O’Dell, Martha, 183 Odyssey of an American Composer, The (Luening), 310 Oechsli, Joseph, 194 Oenslager, Donald Ballad of Baby Doe, The (Moore) recommends Moore as composer of, 43, 308, 322, 382 stage design photograph, 391 stage design sketch, 307, 355, 391 stage designer, 44, 181–84, 186–87, 189, 191–95, 374 friend of Moore, 3 Theatre of Donald Oenslager, The, 307, 320 Wings of the Dove, The (Moore), 245 Oestreich, James R. “Annotated List, The,” 388 Oettingen, Anneliese von, 207 Offenbach, Jacques biography, 259 as composer, 420 style compared to The Ballad of Baby Doe (Moore), 362, 417 vie parisienne, La, 250 Oglebay Park, 210 Oh, Oh, Tennessee (Moore), 15, 138–39, 323, 333, 497, 503

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Oh Lord, Our Lord (Moore), 4, 138, 494–95, 505 “Oh Sun Be Quick to Bow Your Head” from The Headless Horseman (Moore), 125, 449 O’Hara (character in Giants in the Earth ), 39, 120–21, 221 Ohio, 27, 36, 94, 146, 178, 188, 195, 219, 292, 331, 350, 373 Ohio Chamber Orchestra, 195 Ohio State University, 188, 219, 261, 332 Oklahoma! (Rodgers and Hammerstein), 390, 415–16 Oklahoma City University, 199 “Old Adam the Poacher” from Devon Folk Songs (Moore, arr.), 107 Old Bethpage Village Brass, 233 Old Conservatory Concert Hall (Paris), 238 “Old Dog Tray” (Foster), 13 Old Dominion College, 216 “Old Gray Mare, The” (Moore, arr.), 36, 178–79, 500, 509 old man (character in The Devil and Daniel Webster), 104, 204–6, 209–11 “Old Man Can’t Help His Wife at Home, The” from Devon Folk Songs (Moore, arr.), 107 “Old Song” (Moore), 36, 140, 225, 291, 304, 318, 329, 337, 500, 507 Old Songs, The, 3, 7, 15, 68 Old Stone Church (Cleveland), 230 Old Stone Church Octet, 230 Old Sturbridge Festival, 41, 44, 209, 216, 420, 422, 426–35 Old Sturbridge Village, 41, 44, 209, 216, 420, 422, 426–35 old woman (character in The Devil and Daniel Webster), 104, 204–6, 210–11 Olds, Curtis, 88, 196 Olga (role in Oh, Oh, Tennessee), 138 Olinda, Edgar S. Van “1,200 Applaud Symphony for New Program,” 461 Oliver, Daniel, 471 Oliver, Helen, 204 Oliver, Sharyl, 188 Olmstead, Andrea, ed. The Correspondence of Roger Sessions, 330 Olsa, Hans (character in Giants in the Earth), 39, 120–21, 221–22

Olsa, Sorrine (character in Giants in the Earth), 39, 120–21, 221–22 Olsen, Ann, 210 Olsen, Carl, 231 Olympian Series, 141 Omaha, NE, 189, 228, 380, 456–57 Omaha Civic Opera, 189, 380 Omaha Morning World-Herald, 456–57 Omaha Symphony Orchestra, 228, 456–57 Ommerle, Jeanne, 220, 443 Omnibus, 51, 181, 302, 334, 339, 365, 377–79, 395, 398–99, 404 On a Slow Train through Arkansas (Jackson), 431 Oostenbrug, Lloyd, 208 Oper und Konzert, 406 Opera (magazine) Ballad of Baby Doe, The (Moore), 348, 351–52, 363, 373, 377–78, 381–82, 388–89, 398, 402–4 Carry Nation (Moore), 407, 409, 416 Giants in the Earth, The (Moore), 448 Wings of the Dove, The (Moore), 484, 487 opera, history, 305 opera, translated into English, 256, 258, 279–80, 290, 339, 422–23, 425 Opera: A Pictorial Guide (Eaton), 286 Opera American Style (Walters, ed.), 86 Opera and Concert, 435 “Opera and Symphony Orchestras” (Moore), 256 Opera and the Novel (Halliwell), 295–96 “Opera as Theatre” (Moore), 256 Opera Breva, 444 “Opera by American Composers of Today” (Moore), 256 Opera Cabaret (Daytona Beach, FL), 219, 442–43 Opera Canada, 351, 360, 362–63, 369, 375 Opera Cleveland, 284 Opera Companion: A Guide for the Casual Operagoer, The (Martin), 312 Opera Companion to Twentieth Century Opera, The (Martin), 312 Opera Delaware, 194, 379 “Opera for Children: An Analysis of Selected Works” (Bethea), 273 Opera Handbook, The (Lazarus), 308 Opera Illinois, 198

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INDEX

Opera in Central City (Young), 340, 405 “Opera in English” (Moore), 256 Opera in the Rockies (Johnson), 301 Opera Journal, 413, 446 Opera Kansas, 220, 443 Opera Lover’s Companion (Osborne), 321 Opera News 1945, 256 1956, 375 1958, 382, 444 1961, 258, 486 1962, 282 1966, 314, 361 1968, 409, 417 1969, 328, 353, 410 1970, 373 1971, 357 1974, 377 1976, 368, 372, 375, 401 1978, 445 1981, 369, 445 1984, 368 1991, 379 1992, 344, 367 1994, 397 1995, 384 1996, 358, 369–70, 421, 435 1997, 305, 313, 354, 359, 384–85, 397, 443 1998, 321, 354, 363 1999, 303, 363 2001, 286, 368, 390 2002, 311 2006, 396 Opera Now, 353, 384, 402 Opera on Screen (Wlaschin), 339 Opera Plots Made Easy (Deaver), 282–83 Opera Production (Eaton), 286 Opera Production II (Eaton), 286 “Opera Productions at Columbia University:” (Moore), 256 Opera Scenes for Class and Stage (Wallace and Wallace), 337 Opera Theater of Pittsburgh, 197, 359–60 Opera Theatre of Northern Virginia, 212, 429 opera workshops, 27, 51, 256–57, 279, 442 operas, chamber, 297

613

operas, children’s, 273 Operas in English (Griffel), 294 Operas in One Act (Summers), 333 Operas on American Subjects (Johnson), 302 Opernwelt, 378, 380, 403 Oppenattem, Gus (role in Oh, Oh, Tennessee), 138 Oppenheim, David, 150, 231–32, 469 Opperman Music Hall (Florida State University), 223 Opsvig, Virginia, 208 Oran, George, 218 Orange County Register, 357 oratorio, 257 “Oratorio, Cantata, and Mass” (Moore), 257 Orbison, James, 205–6 Orchester, 379 Orchestra “Alessandro Scarlatti,” 243 Orchestra da camera “Kandinskij” di Palermo, 213 Orchestra Hall (Chicago), 304–5 Orchestra of America, 222, 224, 448 Orchestra of St. Luke’s, 92 orchestras, university, 260 Orchestre National de France, 228 Orchestre philharmonique de Strasbourg, 239, 476 Orcutt, David, 192 orderly (character in Gallantry), 218 Oregon Daily Journal, 358 Oregonian, 371 Orell, Barbara. “D. S. Moore Opera to Premiere,” 449 Orenstein, Martin, 201 Orfeo ed Euridice (Gluck), 278 Organum (Ruggles), 127, 452–53 Original Cast Records, 89 Orlando, Valeria, 87, 191 Orlando Sentinel, 442 Ormandy, Eugene, 285 Ornitz, Arthur, 145 Orpheus (Franz Liszt), 278 Orpheus in Paris (Kracauer), 259 Orquesta de Camera de la Havana, members of the, 232 Orrey, Leslie, ed. The Encylopedia of Opera, 301 Orsino (character in Twelfth Night), 166 Orth, Robert, 195, 199, 378, 396 Oryx Press, 340

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Osborne, Charles “Central City, Colorado: Local History,” 388 Dictionary of the Opera, The, 321 “Douglas S. Moore: The Ballad of Baby Doe” in The Opera Lover’s Companion, 321 Osborne, Conrad L. “Douglas Moore: The Ballad of Baby Doe (1956)” in The Metropolitan Opera Guide to Recorded Opera, 388 “Moore: The Ballad of Baby Doe”, 388 “Spring Comes to City Center,” 389 Osborne, Maurice, 222 Osborne, Robert, 220 Osgood, Henry O. So This Is Jazz, 250 Oslo, 239 Oslo Philharmonic Orchestra, 99, 112–13 Österreichische Musikzeitschrift, 442 Otis, Harry, 189 Otis, Ralph (character in White Wings), 174, 244 Ottawa Citizen, 391, 444 Otterbein College Opera Theatre, 200, 386 Otto, David, 204–6 Our American Music (Howard), 298 Our Boys, 335 Our Contemporary Composers (Howard and Mendel), 299 Our Daily Bread, 146 “Our Lyric Theatre” (Moore), 257, 275, 335 “Our Music as Performed” (Moore), 257 Our Musical Heritage (Sachs), 249 Our New Music (Copland), 249 Our Town (Wilder), 32 Ours (Robertson), 6 “Out of the Darkness” from The Ballad of Baby Doe (Moore), 45 Overture on an American Tune (Moore), 19, 141, 225, 262–63, 299, 304, 455, 461, 497, 504 Oviatt, Edwin, 136 Owen, Donna, 96, 202 Owen, Hanna, 186, 190 Owen, Susan, 194 Owen, W. C., 209 Owens, Chris, 195, 197, 359, 362, 390, 401–2 Owens, Lloyd, 211 Owens, Melvin C., 233 Owens, Ronald, 218 Owre, Alfred, 278

Oxberry, Cindy C., 220 Oxenberry, 220 Oxford, England, 211 Oxford Companion to American Literature, The (Hart), 342 Oxford Companion to American Theatre, The (Bordman), 274–75 Oxford Companion to American Theatre, The (Bordman and Hischak), 275 Oxford Companion to Music, The (Latham), 276 Oxford Companion to Music, The (Scholes), 345 Oxford Dictionary of Music, The (Kennedy), 303 Oxford Dictionary of Opera, The (Warrack and West), 338 P P., H., Jr. “Moore: The Devil and Daniel Webster.”, 432 P., H. M. “Review of Listening to Music, Rev. Ed.”, 321 P., T. H. “Hartt Guild Premieres ‘White Wings’ ”, 482 Pacific Coast Musician, 433 Pacific Palisades, CA, 58, 263, 317 Packard, Honk (character in Then and Now), 240 Padua Hills Bowl, 244 Padua Hills Youth Symphony, 244, 480 Paganini Quartet, 231 Page, Bryan, 212 Page, Tim “ ‘Baby Doe’ Returns, Still Girlish at 50,” 389 “Mini Reviews: New This Week: The Ballad of Baby Doe,” 389 “Opera: Washington Aria: A Charming ‘Baby Doe.’ ”, 389 Selected Letters of Virgil Thomson (ed.), 335 Page, Vanessa Weeks. Selected Letters of Virgil Thomson (ed.), 335 Pageant of P.T. Barnum, The (Moore) analysis and history, 12–14, 66, 141, 262–63, 287–88, 299 “Boyhood at Bethel,” 12, 141 broadcast, 462 “Circus Parade,” 13, 141, 227, 459, 463 compared to Charles Ives, 459 compared to Moby Dick (Moore), 17–18 compared to Simon Legree (Moore), 24

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Page 615

INDEX

description, 304, 461–62 “General and Mrs. Tom Thumb,” 13, 141, 456, 461, 464 “Jenny Lind,” 13, 141, 456, 460–62 “Joice Heth—141 Year Old Negress,” 12, 141, 461 orchestration, 68, 262–63, 456, 458, 463 performance, 15–16, 226–28, 294, 455–64 program notes, 286–87, 459, 461 recordings, 53, 277, 306, 457–60, 462–64 rehearsals, 260 reviews, 456–64 work by Moore, 279, 281, 497, 504 Pageant Theatre, 237 Pagelsen, Carol, 220 Pagliacci, I (Leoncavallo), 428, 443 Pahlen, Kurt. “Douglas Moore, 1893–1969” in Pahlen Opern Lexikon, 321 Pahlen Opern Lexikon, 321 Pahud, George, 232 Paige, Frances, 121, 149, 221, 231 Painter, Joseph C., 12, 140, 505 Pakenham, Compton. “Newly Recorded Music,” 321 Palace Leporelli, 54, 57 Palangi, Carl, 208 Palermo, Italy, 213 Paller, Rebecca “I Can’t Live Without . . . ‘Baby Doe’ ”, 389 “Whatever Happened to Baby Doe ?”, 321 Palmer, George, 207 Palmer, John. “Douglas S. Moore” in All Music Guide to Classical Music, 336 Palmer, Thomas, 188 Palmeri, Marco, 213 Palo Alto Times, 280, 319, 350, 387, 401, 450 Pan Pipes, 249, 256, 305–7, 341, 471, 487 Pancella, Phyllis, 196–97, 363, 382, 384–85, 389, 401 Paolucci, Robert, 200 “Parabalou” (Moore), 5, 142, 494, 507 Paramus, N.J., 210 Paramus High School, 210 Paranov, Moshe, 38, 209, 216, 223, 244, 316, 481–82 Paravia, G. B., 341 Parcher, William D., 192–94

615

Parichy, Dennis, 196 Paris Benét, Stephen Vincent, meeting with, 31, 420 composition, place of, 83, 93, 118, 120, 153, 168 musical studies 1919–1921, 7–9, 14, 68, 272, 291, 294, 319 1925–1926, 9, 14–15, 272, 291, 294, 323, 325 performances, location of, 228, 235, 238 Paris, Myrna, 88, 196–98 Paris Broadcasting Orchestra, 238 Paris Conservatory, 14, 238 Parish, Cheryl, 194, 196–97, 351 Parish, Thomas, 185 Parisot, Aldo, 240 Park, Richard, 188, 190, 209 Park Avenue Synagogue, 37, 169, 241, 479 Park Avenue Synagogue Choir, 241, 479 Parker, Dale M, 235 Parker, Horatio, 6–7, 26–27, 95, 108, 295, 311, 319 Parker, James, 209 Parkinson, William, 145, 177 Parkinson family, 27, 36, 145–46, 177, 331 Parks, Julia, 119, 220 Parks, Melissa, 196–97 Parks, Mr. (organist), 217 Parmenter, Ross “’53 Trio by Moore in Premiere Here,” 479 “In Review: From Around the World: Indianapolis,” 390 “Lazarus in New Role,” 389–90 “Music World: Moore’s Seventh,” 321–22 “Musician Prefers ‘Boos’ to Apathy,” 322 “Opera: A Lively ‘Ballad of Baby Doe’ Is Presented,” 390 “Orchestra of America at Carnegie Hall,” 448 “Sidelights on World of Music,” 476 “World of Music: Ford Foundation Is Aiding Moore to Write New Opera for City Center, The,” 487 “World of Music: Story of ‘Baby Doe’ Tabor, Wife of Silver Miner, to Be Made into Colorado Opera, The,” 322

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

“World of Music: Svanholm to Stay All Season; Premiere, The,” 476 Parnassos Hall, 215 Parris, Robert “Baritone Gephart Heard at Gallery,” 471 “But Not to Critic,” 461 Parrish, Cheryl, 194, 196–97, 351, 354, 356, 358, 362–63, 381 Parry (Milman) Collection, 28, 250, 271 Parsifal (Richard Wagner), 274, 280, 325 Parsons, Charles H. “Moore: The Devil and Daniel Webster”, 432 “Opera Everywhere,” 390 Parton, Margaret. “Sherwood Sees Threat to Intellectual Liberty,” 322 Pasadena, CA, 2, 6, 20, 231, 316, 326, 465 Pasadena Civic Auditorium, 231 Pasadena Civic Chorus, 231 Pasadena Civic Music Association, 231, 465 Pasadena Civic Symphony, 231 Pascale, Elizabeth (Betty), 182, 222, 390 Passacaglia for Organ (Moore), 108, 266. See also Dirge (Moore) Passon, Beverly, 191 “Pasture” (from Power and the Land. Suite), 147 Pateras Pescara de Castelluccio, Raúl, 280 Patner, Andrew. “Classical Music: COT’s ‘Doe’ an Affair to Remember,” 390 Patorzhinsky, Ivan, 35, 337 Patrick, Julian, 96, 202, 219, 410, 412, 415, 443 Patterson, Frank, 285 Patterson, Russell, 105, 192–93, 197, 211–12, 356, 435 Patti, Adelina, 361 Pattison, Lee, 204, 426 Pätzke, Henning, 271 Paul, Gloria. “Women in the News: High Tea with the Allens,” 322 Paul, Jane, 104 Paul, Robert, 88, 189, 191, 200 Paul, Thomas, 187 Paul Bowles on Music (Mangan and Hermann, ed.), 438, 470 Paul Bunyan (Britten), 28, 275 Paul Bunyan (legendary character), 490 Paul Sacher Foundation, 254

Paulee, Mona, 191 Pauly, Reinhard G. “Douglas Moore, The Ballad of Baby Doe . . .” in Music and the Theater, 390 Pawtucket, RI, 243 Payonk, John, 195 Pazdera, Vashek, 222–23 Peabody Conservatory, 58 Peake, Marie Rogndahl, 188, 371 Pearson, Barbara, 222 Pearson, Homer, 58, 203 Pearson, Irving, 181, 186 Pearson, Jeffrey, 210 Pease, James, 213 Peavy, Dan, 189 Pecktal, Lynn Designing and Drawing for the Theatre, 391 Designing and Painting for the Theatre, 391 “Stage Design by Donald Oenslager: The Ballad of Baby Doe,” 391 “Stage Designs by Donald Oenslager,” 391 Peconic Bay, 1 Peconic Bay Shopper, 263 Peden, 220 Pedicini, Richard, 206 Peerce, Jan, 444 Peet, J. C., 149 Peeters, Flor, ed. Encyclopedie van de muziek, 341 Pelham Opera Guild, 451 Pelican Chorus, The (Moore), 53, 142, 501, 505 Pellettieri, Louis, 223, 244 Pena, Joaquín, ed. Diccionario de la música Labor, 341 Penguin Companion to Classical Music, The (Griffiths), 342 Penguin Dictionary of Music, The (Jacobs), 343 Penguin Reference Books, 343 Peninsula Opera Theatre, 218 Pennino, John. “Flashbacks: Opera News Marks the Anniversaries of Some Opera Greats: Douglas Moore, Composer,” 344 Pennsylvania State Education Building, 216 penseur, Le (The Thinker) (Rodin), 10 People’s Choice, The (Moore), 52–53, 142–43, 228–29, 306, 344, 501, 505 People’s Symphony, 226 People’s World, 415

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INDEX

Peoria, IL, 198, 219 “Percy Pie” (Moore ?), 235 Performing Arts Society of Westchester, 443, 445 Pergolesi, Giovanni Battista. La serva padrona, 437, 482 Perhaps to Dream (Moore), 24, 143, 229, 308, 464, 491, 498, 505 Perkins, Alexander, 185 Perkins, Barbara, ed. Benét’s Reader’s Encyclopedia of American Literature, 340 Perkins, Francis D. “City Opera Puts on ‘The Ballad of Baby Doe’ ”, 391 “Concert and Recital: Columbia Festival Concert,” 479 “‘Devil and Daniel Webster’ and ‘The Scarf ’ Presented,” 432 “Lyric Theater [sic] Ends First Series, The,” 432 “Philharmonic: Serkin Plays ‘Emperor’ at Carnegie Hall, The,” 476 “Suite by James and Symphony of Moore Heard,” 478 “ ‘Wings of Dove’ Returns to City Opera,” 487 Perkins, George, ed. Benét’s Reader’s Encyclopedia of American Literature, 340 Perrault, Charles, 38, 148 Perry, Julia. Stabat Mater, 161, 473 Perry, Lawrence, 230 Perry, Richard. “Music: The Glory of Dawn,” 391 Persché, Gerhard, 378 Persichetti, Vincent “Modern American Music Series, Columbia Masterworks,” 469 songs, 114–15 Perspective Records, 257 Perspectives of New Music, 272 Peterborough, N.H., 141, 237, 246 (n. 1), 310 Petersen, Donna, 202 Peterson, Claudette, 194, 381 Peterson, Curt, 194 Peterson, Donald R., 161 Peterson, Doris, 188, 202 Peterson, Harold, 222 Peterson, Ken, 192

617

Petro, Virginia Craig, 192 Petrouchka (Stravinsky), 69, 458 Pettet, Edwin Burr, 209 Pettis, Ashley. “Music: ‘The Devil and Daniel Webster’ ”, 432 Pettitt, Stephen J., 288 Pfeifer, Ellen “Opera Review: Directors Deliver a Poignant ‘Ballad of Baby Doe,” 391 “Whatever Happened to Score of ‘Baby Doe?’ ”, 391 Pfeiffer, Paul, 201 Pfisterer, David, 245 Phi Mu Alpha Sinfonia, Beta Omega Chapter, 201 Philadelphia, performances, 188, 203, 207, 212, 215, 224, 226, 232, 237 Philadelphia Evening Bulletin, 467 Philadelphia Inquirer, 403, 445 Philadelphia Orchestra, 215, 224, 253, 285, 455 Philadelphia Woodwind Quintet, 232 Philadelphia W.P.A. Orchestra, 226 Philharmonic Auditorium (Los Angeles), 238 Philharmonic Hall (New York), 244, 480 Philharmonic-Symphony Society of New York. See New York Philharmonic Philip, King (character in The Devil and Daniel Webster), 104–5, 204–13 Philipp, Ann, 189 Philips, Michael, 193 Philips Memorial Auditorium (West Chester State Teachers College), 243 Phillips, Barbara, 185 Phillips, Burrill “Douglas Moore: Suite for Piano,” 323 Tom Paine, 474 Phillips, H. L. “Naomi (My Restaurant Queen)”, 247 Phillips, Mary, 212 Phipps, Ray, 182 Phoenix, AZ, 238, 474–75 Phoenix Gazette, 474 Phoenix Records, 105, 421, 423, 432 Phoenix Symphony Orchestra, 238, 474–75 Phœnician. “The Phoenix Nest,” 461 Piano, Ann, 199 piano, enharmonic, 464

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

piano, history of the, 257 Piano from Mozart to Bartók, The (Moore, jacket notes), 257 Piano Quarterly Newsletter, 291 Piano Trio in the Twentieth Century, The (PingRobbins), 323 Piazza, Gabriel di, 209 Picard, Thomas, 184 Picasso, Pablo, 68 Piccolo, Maurizio Lo, 213 Pickhardt, Roger, 223 Pierce, John, 203, 229 Pierson, Edward, 96, 202 Pierson, Lolita, 204 Pierson College, 210 Pilgrim, Neva, 218 Pillet, Roger, 207 Pillsbury, Ralph (character in White Wings), 174 Pilz, Gottfried, 193 Ping-Robbins, Nancy R. The Piano Trio in the Twentieth Century, 323 Pinkerton, 128 Pinkham, Daniel, 114 Pintavalle, John, 208 Pioneer America (Bingham), 324 Pipers Enzyklopädie des Musiktheaters (Dahlhaus and Döhring), 309 Pipi, Francesca, 213 Pique dame (Tchaikovsky), 250 Pisano, Juanita, 192 Pisk, Paul, 235 Piston, Walter compared to Moore, 453 Composers Theatre executive board member, 279 Incredible Flutist, 141, 458–60, 468 New York Music Critics’ Circle award, 316, 323 photograph, 289 as a teacher, 330 Pitman, Frank. “Miner’s “Baby Doe” Is Heroine of New Folk Opera Production,” 391 Pittsburgh, PA, 197, 207, 226, 230, 359–60, 428, 435 Pittsburgh Post-Gazette, 359–60, 435 Pittsburgh Press, 428

Pittsburgh Savoyards, 207, 428, 435 Pittsburgh Sun-Telegraph, 428 Pittsburgh W.P.A. Symphony Orchestra, 226 Pittsfield, MA, 182, 398 Pizzetti, Ildebrando, 325 Plainfield, NJ, 230 Playbill, 373 Playhouse (48th St., New York), 233 Pleyel, Ignace, 267 Plourde, Jason Richard, 396 Plow That Broke the Plains, The, 145–46 Poe, Kelcey Jay, 199 Poholek, Zachary, 198 Polah, Andre, 227, 429 Polaha, Lindarae, 88, 196 Polish Radio, 161 Polissar, Dale, 232 Politikens handbøgen, 344 Politikens Musikleksikon, 344 “Polka” from Cotillion Suite (Moore), 41, 99, 203, 300, 305 Polka-Dot Playhouse, 210 Pollock, Michael, 190 Polskie Wydawnictwo Muzyczne (PWM), 345 Polyphonic Poetry Society of New York, The, 24, 289 Pomona College, 215, 242, 481 Pomona College Symphony Orchestra, 242, 481 Pompano Beach High School (Florida), 228 Pomplun, Karen, 188 Ponce, Eva Marie, 220 Ponick, T. L. “This Cloud Had a Silver Lining,” 391 Pons, Lily, 50, 350, 357, 361, 379, 385, 392–93 Pony Express race, 50, 353, 357, 361, 385, 387, 396 Pool, Ethel. “Paris as Clevelanders Are Seeing It in Early Winter,” 323 Pool, Walter, 194 “Poor Wayfaring Stranger” (Moore), 41, 143–44, 500, 505 Popper, Jan, 218, 220, 425 Poppino, Marilyn, 181 Porgy and Bess (Gershwin), 256–57, 299, 431 Port, June G. Dictionary of Composers and Their Music, The, 292

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Portales, NM, 185 Porter, Andrew “Earthbound,” 392 Music of Three Seasons, 392 Porter, Carol, 194 Porter, Cole, 4–6 Porter, David, 211 Porter, Lois, 240 Porter, Quincy, 8, 10, 127, 227, 235, 458 Portland, ME, 2 Portland, OR, 188, 210, 218, 243, 358, 371 Portland State College, 188, 210, 358, 371 Portland Symphony (Oregon), 243 Porto Alegre, Brazil, 238 Portsmouth, VA, 216 Posell, Elsa Z. American Composers, 323 Posnak, Charles, 235 “Potatores exquisiti” (Moore), 144, 499, 507 Potter, Larry, 185 Potter, Leonard, 208 Potter, Thomas, 195 Potterton, W. J., ed. Who’s Who in Music and Musicians’ International Directory, 347 Poughkeepsie, N.Y., 203, 229, 234–35, 243, 245 Poulenc, Francis, 317 Pounds, Edward, 195 Povia, Charlotte, 186–88 Powell, Elsie K., 223 Powell, John, 317, 331 Power and the Land “Barn sequence,” 94 in chronology, 498 in classified list, 498, 504 description, 27–28, 144–46, 313 Destroyer Song (Moore), relation to, 31, 36, 74 (n. 35), 103 Farm Journal (Moore), relation to, 36, 103, 112, 292, 331 film score, 27, 31, 36, 94, 112, 144–47, 170, 178, 292, 313, 331, 339, 504 “Lamplight,” 28, 36, 112, 170 lecture, 339 “March,” 146, 507 orchestration, 68, 145–46, 331 script, 31 Suite, 147, 229–30, 504

619

Power and the Land. Suite. See also movements: “Sunrise,” “Morning Chores,” “Pasture,” “Hay Wagons,” “Schoolhouse,” “Recess,” “Harvest Song,” “Return of the Wagons,” and “Sunset” Power for the Parkinsons, 331 Prague, 239, 394 Prasser, Carol, 185 Pratnicki, Marion, 195 Pratt, David, 236 Pratt, Hortense (role in Oh, Oh, Tennessee), 138 Prayer for England (Moore), 147, 230, 491, 498, 505 Prayer for the United Nations (Moore), 30, 147– 48, 230–31, 266, 464–65, 491, 499, 504–5 preacher (character in Carry Nation), 96, 201–2 preacher (character in Giants in the Earth), 120–21, 221 Precht, Donna, 187–88 Prelude (from Two Pieces for Piano), 166–67, 283, 291, 306 Prelude and Fugue in E Minor, 148, 496, 509 “Prelude” from Suite for Piano (Moore), 37, 159 Prelude in C# Minor (Moore), 148, 493, 508 Prelude in C# Minor (Rachmaninoff ), 4 Prelude to the Afternoon of a Faun (Debussy), 258 Prentice, Wynn, 206 Prentice-Hall Music Series, 248–49 Preodor, Edward, 241 Presser (Theodore), 95, 144, 159, 166–67, 291 Preston, Stuart. “Douglas Moore Will Be 70 Today,” 323 Previn, André, 90, 443 Price, Dolph, 207 Price, Leontyne, 364 prime minister (character in Emperor’s New Clothes, The), 109–10, 215 Prince, Benjamin, Mrs., 116, 317 princess (character in Puss in Boots), 38, 148–49, 231 “Princess and the Pea, The” from Four Pieces for Piano (Moore), 41, 117 Princeton, N.J., 203, 220, 234–35 Princeton Cannon Song March, The, 123 Princeton Club of New York, 234 Princeton Opera Association, 220, 445

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Princeton University, 121–23, 203, 220, 234–35, 470 Princeton University Glee Club, 203, 234, 470 Principal of Dana Hall (character in Then and Now), 4, 162, 240 Pritchard, Robert, 207 Privette, Jeanne, 210 “Problem of Encouraging Creative Art in America, The” (Moore and Carmer), 24, 325 Problems of Opera Production (Volbach), 337 “Procession” from Suite for Piano (Moore), 37, 159 “Procession” from Village Music (Moore), 28, 170, 308, 480–81 “Program Making for the American Scene” (Moore), 257–58 program notes, 258 Prohibition, 65, 415 Prohibition: The Era of Excess (Sinclair), 316 Prokofiev, Sergey, 255, 366, 473, 476 Propyläen Welt der Musik die Komponisten (Baumgartner), 340 Providence, RI, 201, 243 Providence Art Club, 201 Providence Chamber Music Society, 201 Providence Journal, 391, 435 Provincetown Playhouse, 406 Provo, UT, 208, 218, 422, 424 Provo Daily Herald, 424 Prudence (character in The Greenfield Christmas Tree), 124, 222 Public Music Hall (Cleveland, OH), 184 Puccini, Giacomo arias, 92–93 Madama Butterfly, 4 style compared to Moore, 304, 333, 351, 360, 362, 380, 401, 488 Tosca, La, 348, 393, 478 Turandot, 378 Puentes, Aimee, 197 Pulaski, Thomas, 209 Pulitzer Prize for Fiction, 280 Pulitzer Prize for Music American Music Festival concerts, 33, 249 announcement, 305, 453 award dinner, 325

award winner, 413 Giants in the Earth (Moore), 40, 249, 274, 276, 280, 284, 295, 327, 336, 339–40 Pulitzer Traveling Scholarship, 14, 325, 477 Pullan, Archie, 205 Pullano, Frank, 106 Punch, 304 Punch and the Judy (McBride), 99 Punch Opera, 209, 420 Purbaugh, Loraine, 205 Purcell, Henry, 280, 443 Puss (character in Puss in Boots), 148–49, 231 Puss in Boots (Moore), 38, 40, 148–49, 231, 465, 500, 503 Putnam, Thomas. “Representative of the Series,” 441 Putnam’s (G. P.) Sons, 288 Putterman, David J., 37, 169, 241 PWM, 345 Pygmalion (Shaw), 10 Q Q. “Listening to Music and Other Books,” 325 Quale, Signe, 185 Quandt, Stephen, 202 Quantrill, William Clarke, 413 “Quartal Harmony” (Deimler), 283 Quarterly Journal of the Library of Congress, 338 Quawksnest, 1 “Queen of the Movies” (Moore ?), 235 Queen of the Night (Ward), 92–93 Queens College Choir, 229 Faculty Quartet, 237 Music Department, 229 recordings at, 119 Quentin Durward (Moore), 6, 149, 231, 333, 494, 503 Quereau, Quentin W. “Moore, Douglas Stuart” in Academic American Encyclopedia”, 344 Querol, Miguel, ed. Diccionario de la música Labor, 341 “Quickstep” from Cotillion Suite (Moore), 41, 99 “Quiet, The” from Giants in the Earth (Moore), 222 Quimby, Arthur W., 9, 11, 153, 214, 224, 233, 438

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Quincy, IL, 201, 406 Quincy Art Center, 201 Quincy Chamber Music Ensemble, 201, 406 Quincy Herald-Whig, 406 Quintet for Clarinet and Strings (Moore) analysis and description, 35–36, 149–50, 277, 325–26 performances, 35–36, 149–50, 231–32, 417, 467–69, 490 recordings, 150, 277, 305, 467–69 reviews, 467–69, 490 work by Moore, 322, 500, 510 Quintet for Clarinet and Strings (Mozart), 178 Quintet for Winds (Moore), 30–31, 150–51, 232, 277, 469–70, 499–500, 510 R Rabb, Bernard P. “The Ballad of Baby Doe,” 392 Rabin, Michael, 476 Raccoli, Susan, 200 Rachlis, Benjamin, 206 Rachmaninoff, Sergei, 4, 329, 452 Racz, Teresa, 186 Radamsky, Sergei, 208 Radcliffe, Stephen Rodgers, 119, 220, 443 Radcliffe College, 243 Radio France, 228 Rael, Eduardo, 225 Ragle, Richard, 222 Rahn, Muriel, 233 Raimondi, Matthew, 150, 232, 237, 241, 490 Raines, Ronald, 220 Rake’s Progress, The (Stravinsky), 333 Rameau, Jean-Philippe. Suite in E Minor. Tambourin, 179 Ramsay, Bob, 211 Ramsay, M. L., 145 Rand, Kenneth, 153 Randall, Charles H., 209 Randazzo, Maria, 88, 191 Randel, Don Michael, ed. Harvard Biographical Dictionary of Music, The, 342 Harvard Concise Dictionary of Music, 297 Harvard Concise Dictionary of Music and Musicians, The, 297

621

Random House, 298, 341 Random House Encyclopedic Dictionary of Classical Music (Cummings, ed.), 341 Rapfogel, Mortimer, 232 Rapid City, SD, 220 Rapid Hill Chamber Music Society, 220 Rasely, George, 110, 204–5, 215, 420, 428, 433, 436 Rashid, Béla, 195 Raskin, Judith, 183–84 Ratliff, Richard, 200 Ratner, Carl Joseph “Chicago Opera Theater,” 326 conductor, 195 Ratner, Miriam, 181 Raudenbush, George King, 227, 229 Raugel, Félix, ed. Larousse de la musique, 343 Ravel, Maurice as composer, 69, 259, 312, 430 Mother Goose Suite, 317 Raven, Jessie, 88, 196 Rayburn, Janet, 241 Rayner, Hansel, 185 RCA Red Seal, 106 Reader’s Encyclopedia, The (W.R. Benét), 340 Reader’s Encyclopedia of American Literature, The (Herzberg, et al.), 342 Reading, Carrie, 198 Reading, PA, 230 Reading Choral Society, 230 Reagan, Donald Joseph. “Douglas Moore and His Orchestral Works,” 262–63 Reams, Edward, 181 Reardon, John, 191, 201, 245, 279, 401, 407, 412, 486–88, 489 Reber, William, 195 “Recent Developments in Music at Columbia and Barnard” (Mason and Moore), 312 Receptions game (Moore), 71, 301 “Recess” from Power and the Land. Suite (Moore), 147 Reclams Lexikon der Opernwelt (Fath), 289 Reclams Opernlexikon (Fath), 342 Recorded Classical Music (Cohn), 277 Records and Recording, 381 Red Bank, NJ, 219

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Page 622

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Red Rocks Amphitheatre, 367 Redlands, CA, 151, 209, 235, 422 Reed, David, 210 Reed, Jerome, 207, 437 Reed, Judith, 218 Reed, Vincent, 207 “Reed Player, The” from MacLeish Songs (Moore), 4, 131, 494, 496 “Reel” from Suite for Piano (Moore), 37, 159 Rees, Rosalind, 218 Reese, Gustav. “Moore, Douglas Stuart” in Grove’s Dictionary of Music and Musicians, 326 Reese, Henry, 206 Reese, Jackie, 206 Reeves, J. R., 220 Reger, Max, 478 Regina (Marc Blitzstein), 394 Rehberg, Karl. “Ballade von Baby Doe,” 392 Rehfeldt, Phillip, 151 Rehm, Norma Jean, 214 Rehrig, William H. The Heritage Encyclopedia of Band Music, 344 Reichenbach, Herman, ed. Modern Canons, 174 Reid-Smith, Randall, 194 Reifsnyder, Harley, 215 Reilly, Barbara, 200 Reilly, Kenneth Dixon, 213 Reim, Bob, 182 Reimann Opera Theater, 202 Reims, Clifford, 185 Reiner, Fritz, 25, 204, 427, 429, 436 Reininghaus, Frieder. “Blind und unbelehrbar,” 392 Reinthaler, Joan. “Fine Finale,” 462 Reis, Claire R. Composers in America, 257, 345 “Douglas Stuart Moore” in American Composers, 345 letter from Moore, 324 Rejto, Gabor, 237 Rekow, Richard, 211 Remo, Ken, 193, 211 Renaissance music, 8 Renan, Emile, 210 Renbarger, Cory, 198 Rennebohm (Carol) Auditorium, 195

Renoir, Jean. “The Starting Point,” 258 Repass, Richard. “America: City Centre and Met Opera,” 487 Repp, Ellen, 183, 202, 225 Requiem (Moore), 151, 493, 504 Reserve Weekly, 325 Resnick, Rose, 319 Response: in Worship, Music, the Arts, 248, 276 “Return of the Wagons” from Power and the Land. Suite (Moore), 147 Review of Recorded Music, 256, 439 reviews of books written by Moore Listening to Music, 268, 270–71, 276, 282, 286, 299, 321, 325 From Madrigal to Modern Music, 283, 287, 301, 338 Songs My Mother Never Taught Me, 275, 295, 329, 331 of concerts conducted by Moore, 268, 274, 278, 294, 310, 316–17, 320, 326, 330–31 of works by Moore, 348–491 of plays with Moore as an actor, 270, 274, 285 of recordings of Moore’s compositions, 348– 491 of scores by Moore, 289, 295, 302, 304, 308, 318–19, 323, 327, 329, 337 written by Moore, 248–52, 254–55, 257–59, 307 Revivalist Prelude (Moore), 151, 497, 510 Reykjavik, 239 Reynolds, Charles, 218 Reynolds, Myrna, 88, 191 Reynolds, Stephanie, 183 Rhapsodie Nègre (Powell), 331 Rhein, John von. “New Season: Chicago Opera to Premiere Berlioz Work Featuring Kristine Jepson,” 392 Rhode Island Philharmonic Orchestra, 242–43 Rhode Island School of Design, 243 Rhodes, Gretchen, 208 Rhodes, Willard author, 326–27 “Columbia Composer Follows the American Way in Music, The,” 326–27

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commission of The Headless Horseman (Moore), 23, 125, 451 conductor for Dedication (Moore), 203 Devil and Daniel Webster, The (Moore), 208, 422 Giants in the Earth (Moore), 40, 121, 221, 447 Headless Horseman, The (Moore), 222, 450–51 Simon Legree (Moore), 234 White Wings. Excerpts (Moore), 244 faculty for Columbia Opera Workshop, 34, 257 “Headless Horseman: An Experiment in American School Music, The ”, 327 Rice, Marianne, 223 Rich, Alan “Busily Inactive,” 327 “Dr. Moore’s Carry Nation,” 415 “Moore: The Devil and Daniel Webster,” 433 “Songs by American Composers,” 417 Richards, D. W., Jr., 338 Richards, Richard L., 195 Richardson, Diane, 235 Richardson, Howard D., 302 Richie, Donald. “Columbia’s American Composer Series,” 469 Richter, Alexander conductor, 206 “Cotillion Suite,” 327 Richter, Conrad, 280, 295, 327 Ricketson, Frank, 43–44, 301, 334 Ricordi (G.), 341 “Ride Home, The” from Bip Goes to Town (Moore), 94 Rideout, Vale, 88, 196 Ridgewood, NJ, 210 Riegger, Wallingford, 150, 289, 297, 468 Riemann Musik Lexikon (Gurlitt, ed.), 345 Riggins, Norman, 185 Riggs, Colleen, 208 Rigoletto (Verdi), 353, 393 Riley, Michael, 202 Rimes, Thomas, 200 Rimsky-Korsakov, Nikolai. Tsar’s Bride, 378 Rittenhouse Opera Society, 212

623

River, The, 145–46 River Forest, IL, 218 Riverhead, NY, 226 Riverhead High School Auditorium, 226 Riverhead Woman’s Club, 226 Riverside, CA, 212, 434 Riverside Municipal Auditorium, 212 Riverside Opera Association, 212, 434 Rizzoli, Ricordi, Enciclopedia della musica (Solmi, ed.), 345 “Road, The” (Moore), 8, 151–52, 496, 507 Road to Rome, The (Moore), 17, 152, 233, 254, 497, 503 Robb, John Donald, 242 robbery, bank (from Jesse James), 128 robbery, train (from Jesse James), 128 Robbs, Mary, 199 Roberts, Elizabeth Andrews, 200, 389 Roberts, Paul, 204 Roberts, Robert, 189 Roberts, Russell, 205–6 Robertson, Brian, 192 Robertson, Tom. Ours, 6, 335 Robeson, Gladys, 330 Robey, Roland, 206 Robijns, J., ed. Algemene muziek encyclopedie, 340 Robinson, Edmund G., 349 Robinson, Edwin Arlington, 310 Robinson, Gail, 192, 362 Robinson, Monica, 192 Robinson, Mr., 235 Rochester, NY American Music Festival, 224, 242, 266, 452, 455, 458, 479 American Opera Company, 257 performances Ballad of Baby Doe, The (Moore), 184 Devil and Daniel Webster, The (Moore), 208 Dirge (Moore), 214 In Memoriam (Moore), 224, 452 Moby Dick (Moore), 454 Overture on an American Tune (Moore), 225, 455 Pageant of P.T. Barnum, The (Moore), 226, 458, 464

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Symphony in A (Moore), 238 Symphony of Autumn (Moore), 239 Village Music (Moore), 241–43 Rochester Civic Orchestra, 242, 480 Rochester Democrat and Chronicle, 431, 453–54, 462, 479–80 Rochester Journal, 477 Rochester Philharmonic Orchestra, 18–19, 224–26, 238–39, 286, 290, 294, 454–56, 458, 462–63, 477–79 Rochester Philharmonic Orchestra Program Notes, 286 Rochester Times-Union, 454, 463, 479–81 rock-drilling contest, 50, 357, 385, 387 Rockefeller, John D., Jr., 272 Rockefeller Foundation, 59, 322 Rocket to the Moon, 247 Rockwell, Barbara T., 223 Rockwell, John. “Music Review: ‘Baby Doe’ at Cal State L.A.”, 393 Rockwell, Norman, 365 Rodenberg, Jo, 195 Rodgers, Ed, 211 Rodgers, Helen, 196 Rodgers, Lou, 87, 182–85 Rodgers, Richard Carousel, 390 composer, 355 Oklahoma!, 390, 415–16 On Your Toes, 371 Rodin, Auguste. Le penseur (The Thinker), 10 Rodzinski, Artur, 31, 103, 224, 260, 285, 418, 451–53 Roethke, Theodore, 36, 130, 140, 291, 304, 318 Rogers, Bernard Bloch composition class, 10 “Cleveland’s Museum Develops Appreciation of Music,” 327 “Douglas Moore: In Memoriam”, 327 Exodus, The, 455 recording, 142 “Rochester’s American Series,” 478 Rogers, Earl, 110, 215 Rogers, Emmy Brady “Baby Doe and Fledermaus Highlight Central City Opera,” 393

“Moore Opera Has Premiere at Central City,” 393 Rogers, Harold. “Ballad of Baby Doe in Colorado,” 393 Rogers, James H. “Douglas Moore’s Symphony Heard,” 478 “Modern Music Again Well Done,” 462 “Moore’s ‘Barnum’ Gets Good Laugh,” 462 “Orchestra Brings Out Home Talent,” 441 “Roumania’s Distinguished Violinist, Georges Enesco, to Appear with Orchestra,” 478–79 “Singer, with Trio, Shows Rare Gifts,” 470 Rogers High School Auditorium (Newport, RI), 242–43 Rognoni, Luigi, ed. Enciclopedia Garzanti della musica, 341 Roitman, Eugene, 232 Rolandi, Gianna, 191 Rolland, Romain, 251 Rollins, Leighton, 322 Rollins College Magazine of the Air, 326 Rollins Studio of Acting, 222 Rollins Studio Players, 222 Rollo’s Wild Oats (Kummer), 10 Rølvaag, O. E. Giants in the Earth, 38, 40, 120, 339 Rom, Erhard, 196–97 Romaguera, Joaquin, 190 Romance of Robot, The (Hart), 482–83 Romano, Valerio, 213 Romantic American Art Songs (Walters, ed.), 163 Romberg, Sigmund. The New Moon, 353 Rome, 38, 70, 237, 240 Rome Prize, 38 Roncone, Edward, 207 Rondelli, Barbara, 183 Ronis, David, 197 Roosevelt, Eleanor, 459 Roosevelt, Franklin, 27, 30, 148, 251, 264 Rorem, Ned, 114 Rosary College, 218 Rose, Edwin, 212 Rose, Norman, 110, 149, 215 Rose, Tyger, 199 Rosekrans, Charles, 190

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INDEX

Rosen, Charlotte, 236 Rosen, Kensley, 215, 241 Rosenberg, Donald. “Unburied Treasures,” 393 Rosenfeld, Paul Hour with American Music, An, 250 Musical Chronicle, 255 Rosenthal, Harold. The Concise Oxford Dictionary of Opera, 328 Rosing, Vladimir, 182–84, 186 Rosko, Cary Ann, 199 Rösner, Helmut, ed. Kurzgefasstes TonkünstlerLexikon, 342 Ross, Buck, 195 Ross, Robert, 244 Ross, Stuart, 202, 233 Rossheim, Mr. (role in Oh, Oh, Tennessee), 138 Rossini, Gioacchino, 267 Rössner, Klaus, 92 Rostel, Leo, 236 Rostwo-Suski, Piotr. “Moore, Douglas” in Encyklopedia Muzyczna PWM, 345 Roswell, NM, 219 Rotarians (characters in Oh, Oh, Tennessee), 138–39 Roth, Feri, 236 Roth Quartet, 20, 158, 236, 465–67 Rothe, Anna, 314–15 Rothgeb, John R., 337 Röthlisberger, Max, 191 Rousseau, Olga, 206 Roussin, Richard, 209 Rovinelli, Richard, 209 Row, Genevieve, 205 Row, Terry, 151 Rowell, Wesley, 195 Roy, Christina, 201 Roy, Klaus George. “Moore: The Devil and Daniel Webster (Complete Opera)”, 433 Roy, Will, 190 Royal Conservatory (Toronto), 218 Royce, Edward, 456 Royce Hall Auditorium, 213–14, 225, 237 Rubin, Nathan, 231 Rubinstein, Anton, 2, 392 Rubinstein, Hope, 206 Rucker, Miles, 221 Ruddigore (Gilbert and Sullivan), 333

625

Ruddy, Robert, 182 Rudel, Julius “Bold Experiment in Opera,” 386 conductor, 185, 245, 398, 487 “Douglas Moore” (obituary), 328 New York City Opera artistic director, 53, 69, 256 program notes, 88 Ruggles, Carl. Organum, 127, 452–53 Ruhe, Pierre. “Music Review: ‘The Ballad of Baby Doe’ Is Both Boom and Bust,” 394 Ruiter, Albert de, 203 Ruiz, Brunhilda, 245 “Rune, The” (Moore), 5, 152, 235, 493, 503 Rural Electrification Administration, 94, 145–46, 177–78, 331 Rural Electrification Film Music. See Power and the Land (Moore) Rural Electrification in Ohio, 94, 146, 178 rural electrification program, 27 Rural Electrification Suite. See Power and the Land. Suite (Moore) Rusk, David, 193 Rusk, Dean, 266 Russell, Don, 208 Russell, Smith, Jr., 208 Russell, Smith. “Ballad of Baby Doe Enjoyable,” 394 Russia, cultural exchange with U.S, 264, 430 “Russian Spy” game (Moore), 71, 301 “Rutgers Marching Song” (Moore), 152, 493, 507 Rutgers Presbyterian Church, 214 Rutland Daily Herald, 365 Ryan, Byron Dean, 190, 202 Ryan, Courtney, 196 Ryan, Patricia, 223 Ryan, Thomas, 222 Rychak, Jeanne, 231 Rye, NY, 451 S S., D. “Hronika muzickog zivota,” 394 S., M. A. “Gordon Group Plays American Quartets,” 467 S., R. “League of Composers Marks Anniversary,” 470

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Sabin, Robert “Contemporary Works for Orchestra Issued,” 328 editor, 346 “New Ford-Commissioned Operas Premiered,” 487 “Scarf; The Devil and Daniel Webster, The,” 433 Sabin, Stewart B. “American Composers’ Concerts,” 454 “Concerts: American Composers’ Concerts,” 479 orchestral composition competition jury, 456 “Rochester Philharmonic Orchestra.”, 462 Sachs, Curt. Our Musical Heritage:, 249 Sackson, David, 236 Sacramento Bee, 410–11 Sacred Music Drama (Gerbrandt), 292 “Sad Song, A” (Moore), 10, 152–53, 233, 470, 496, 507–8 Sadie, Stanley, ed. Grove Book of Operas, The, 333 Grove Concise Dictionary of Music, The, 345 New Grove Dictionary of American Music, The, 272 New Grove Dictionary of Music and Musicians, The, 272 New Grove Dictionary of Opera, The, 332–33 Norton/Grove Concise Encyclopedia of Music, The, 344–45 Saffer, Lisa, 195 Saffir, Kurt, 183–84, 187, 200 Saffle, Michael. “Moore, Douglas Stuart” in Die Musik in Geschichte und Gegenwart, 328 Safina, Anthony, 188 Sage Chapel (Cornell University), 214 Sagmaster, Joseph. “Superb Performance by Music Drama Guild, 433–34 “Said the Piano to the Harpsichord” (Moore), 36, 178–79 Saint Joseph, MN, 245 Sainte Clotilde, 259 Saint-Saëns, Camille, 273, 330 Saks, Evelyn, 187 Sala del Conservatorio (Naples), 243

Salazar, Alfredo. Music in Our Time, 258 Salem, AR, 218 Salem, OR, 211 Salem witch trials, 26 Salgo, Sandor, 181, 208, 224 Salle Chopin Pleyel, 235 Salon de Actos, 236 saloon boy (character in Carry Nation), 96, 201–2 Salt Lake City Desert News, 422 Salt Meadow, 1, 1 (illus.), 4, 72 (illus.), 103 Salute to American Music, 106 Salzman, Eric “Baby Doe and Regina,” 394 “ ‘Baby Doe’ Sung at City Center,” 394 “Disks: Bluebeard; Bartok’s Only Opera . . .”, 477 “Records: A Pair of New Symphonies,” 462 “The World of Music: Santa Fe Opera Played Belgrade Not Poland,” 394–95 Sam (character in The Ballad of Baby Doe), 85, 87, 182–83, 186–91, 193, 195, 198–99 Samantha (character in Baby Doe), 85, 87–88, 181–87, 190–96, 198, 390 Saminsky, Lazare, ed. Masters of Our Day, 164 Samuel (character in The Greenfield Christmas Tree), 124, 222 Samuels, Dr. (character in Jesse James), 128 San Antonio, 218 San Diego, 218–19 San Francisco, CA, 65, 197, 202, 206, 230, 237, 424 San Francisco Chronicle articles, 290, 360, 378, 408, 413, 424, 464–65 book reviews, 301 performance reviews, 367, 408, 424–25, 465, 472, 486, 490 San Francisco Examiner, 368, 401, 410, 425, 465, 472 San Francisco Examiner & Chronicle, 358, 368, 401, 410, 463 San Francisco Municipal Chorus, 230 San Francisco Museum of Art, 237 San Francisco News, 290, 424, 464 San Francisco News-Call Bulletin, 489

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San Francisco Opera Ballad of Baby Doe, The (Moore), 197, 313, 348, 351, 378, 402–3 Carry Nation (Moore), 65, 202, 273, 351, 407–13, 416 Wings of the Dove, The (Moore), 336–37 San Francisco Opera Magazine, 313 San Francisco Recreation Commission, 230 San Francisco Symphony Orchestra, 206, 227, 230, 285 Sanborn, Pitts “Devil Webster Opera Has World Premiere,” 434 “Pageant at Stadium,” 462 Sandeen, Darrell, 182 Sanders, Forrest. “Music: ‘An Evening of Opera’ ”, 434 Sanders, Margaret, 223 Sanders Theater (Princeton, NJ), 234 Sanderson, Austin K., 202 Sandridge, Justin B., 235 Sandved, Kjell B., ed. World of Music: An Illustrated Encyclopedia, The, 329 Sanford, Luis Harold, 229 Sanson, Kenneth. “Music Review: Violinist Mischa Lefkowitz in Recital,” 439 Santa Barbara, CA, 228, 244, 282 Santa Barbara Symphony Orchestra, 228 Santa Fe Opera, 58, 185–86, 355, 375–76, 385, 392, 394–95, 399 Santelmann, William H., 122 Santi, Piero, ed. Enciclopedia Garzanti della musica, 341 Santy Anna from War Songs (Moore), 7, 171, 495 Sarabande for string orchestra (Moore), 153, 496, 504 “Sarabande” from Danse pour flute clarinette, et basson (Moore), 101 Sarah (role in Baby Doe), 71, 85, 87, 182–88, 190–91, 193, 195, 198–99 Saratoga Springs, NY, 213, 235 Sarfaty, Regina, 183, 245, 486–89 Sargeant, Winthrop “Musical Events: A Glimpse Ahead,” 52, 445 “Musical Events: Bonanza,” 395 “Musical Events: Hatchet Girl,” 415

627

“Musical Events: Survival of the Fittest,” 395 “Musical Events: Triumph,” 487–88 Saroyan, William. The Time of Your Life, 30, 270, 300 Sartori, Claudio, ed. Dizionario Ricordi della musica e dei musicisti, 341 Enciclopedia della musica, 341 Sato, Eriko, 150 Saturday Evening Post, 25, 420 Saturday Evening Review, 31, 35 Saturday Night, 457 Saturday Review, 283, 377–78, 413, 427–28, 467, 471, 475, 485, 487 Saturday Review of Literature, 248–55, 258, 265, 273–74, 279, 329, 431, 461 Satz, Arthur. “New York City Opera: The Ballad of Baby Doe (April 5)”, 395 Sauerwein, Earl, 210 Savage, Cynthia, 194–95 Savannah River Holiday (Nelson), 141, 457, 460 Saverine, Nicholas, 193 Savery, Catherine Viscardi, 199 Savitch, Dorothy, 200, 244 Saxon, William, 87 Saylor, Richard, 212 Scarborough, Dorothy. “Rollicking Soldier Songs,” 329 Scarf, The (Lee Hoiby), 427, 432–33, 438 Scarlatti, Domenico, 270, 320–21, 331 Scarlet Letter, The (Claflin), 335 Scatchard, William, Mrs., 223 Scene Design in the American Theatre from 1915 to 1960 (Larson), 307 Schablone, Simon. “Music: Pain and Pleasure of Opera in English,” 415 Schaefer, Theodore. “Douglas Moore: 1. Under the Greenwood Tree; 2. Old Song.”, 329 Schallenberg, E. W., ed. Encyclopedie van de muziek, 341 Schanzer, Wolfgang, 191 Schapiro, Maxim, 237–38, 472, 490 Schauffler, Robert Haven, 251 Schauler, Eileen, 221, 446–48 Scheib, Curt, 192 Schelin, Margaret, 222

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Schelling, Ernest, 227, 462 Schenkman, Edgar, 226 Scherman, Thomas conductor, 36, 216, 244, 441, 480 “Douglas Moore: The Optimistic Conservative,” 329 Scherzo for Organ in G major (Moore), 11, 153, 233, 496, 509 Scheunemann, Trevor, 200, 389 Schiff, Eileen, 237 Schifter, Peter Mark, 192–93, 369 Schirmer (E. C.), 125, 292 Schirmer (G.), publisher of Ballad of Baby Doe, The (Moore), 86–87, 89, 91–92 books, 269 “Dear Little Wisp of a Girl (Moore),” 102 Gallantry (Moore), 119 Greenfield Christmas Tree (Moore), 124 Quintet for Winds (Moore), 151 Songs of Yale (Good Night, Harvard) (Moore), 122 Symphony in A (Moore), 160 Three Sonnets of John Donne (Moore), 163 Wings of the Dove (Moore), 177 Schirmer American Aria Anthology, 86, 89, 119, 177 Schlaefer, Ellen Douglas, 196 Schmidt, Elizabeth, 196 Schmidt, Harold, 181, 204, 208 Schmidt, Hildred, 210 Schmidt, Mary Helen, 241 Schmidt, Paul, 194 Schmidt, Roger, 208 Schmit-Lobis, Deborah, 200 Schmitt, Homer, 236 Schmol, Harrison, 207 Schmorr, Robert, 187 Schneer, Byron, 232 Schneider, Charles, 220 Schoch, Rosemary, 231 Schocker, Gary, 150 Schoenbach, Sol, 232 Schoenberg, Arnold, 252, 282, 339 Schoenberg Hall (University of California, Los Angeles), 218–20 Schoepper, Albert, 244 Schola Cantorum, 8, 14, 67, 118, 120

Scholes, Percy as an author, 303 Concise Oxford Dictionary of Music, The, 345 Oxford Companion to Music, The, 345 Scholz, Janos, 236 Schonberg, Harold C. “Moore’s Opera, “Gallantry,” in Premiere,” 52, 445 “Music: Scherman Brings Back Milhaud . . . ”, 480 “New Opera by Moore,” 448 “Opera: The Folk Heritage of a Young Carry Nation in Missouri,” 415 “Opera: ‘Wings of the Dove’ in Premiere,” 488 “Pie and Opera Open New England Fete,” 434 “Records: American; Chamber Music Series Is Started by Columbia,” 469 “Ruth Kobart in Debut,” 395 “Suite by Moore Heard,” 418 School of Fine Arts (Banff ), 219 “Schoolhouse” from Power and the Land. Suite (Moore), 147 schoolteacher (character in The Devil and Daniel Webster), 204 Schott’s (B.) Söhne, 345 Schroeder, Charles, 207 Schrott, Allen, 336 Schubert, Franz, 67–68, 257, 259, 267, 278, 290, 329, 331 Schubert Club, 188 Schüching, Mirza von, 271 Schuh, Joy, 212, 434 Schuler, Donovan, 189 Schuller, Gunther, 353 Schulman, Julius, 235 Schultz, Andrew B. “Moore Expected New Opera to ‘Surprise’ Many People,” 488 Schuman, William, 150, 289 Schumann, Robert, 41, 118, 257, 259 Schumann, Robert (bass), 207 Schwandt, Michael, 198 Schwarm, Betsy. “The Ballad of Baby Doe” in Central City Opera, 329 Schwartz, Lee, 220 Schwartz, William Carroll. “Reports: U.S.; New York,” 445 Schweizerische Musikzeitung, 483

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Page 629

INDEX

Schwering, Jane, 186 Scofield, James, 169–70, 505 Scott, Cyril, 255 Scott, Norman, 207 Scott, Walter, 6 Scown, Kim, 192 Scratch (character in The Devil and Daniel Webster), 26, 104–5, 107, 204–13, 421, 427–28, 433–35 “Scratch’s Song” from The Devil and Daniel Webster (Moore), 107, 423, 498 Scroll and Key, 339 Scrooge, Ebenezer, 402 “Sea Chantey” (Moore), 153–54, 493, 495, 507 Sea Cliff, NY, 220 “Sea That Is My Song, The,” (Moore), 30, 154, 233, 499, 507 Sears, Robert Russell. “Ft. Lauderdale Symphony Leader Gets Top American Music Honor,” 329 Seattle, WA, performances, 185, 193–94, 203, 207, 215, 219, 236, 238, 241 Seattle Opera, 193–94, 211, 350, 358, 363, 400 Seattle Opera House, 194 Seattle Post-Intelligencer, 389, 402 Seattle Symphony Orchestra, 238 Seattle Times, 350, 371, 386, 400 Sec., The. “Round About Harrisburg and Pennsylvania,” 462 See, Allan, 209 Seeberger, Russelle, 210 Seeley, Robert, 189 Segal, Lewis. “Opera Review: “Devil” Plays in Riverside,” 434 Segal, Roberta, 207 Segal, Rubin, 215 Segar, Kathleen, 196 Seibel, Paula, 191 Seidel, Toscha, 325 Seidl, Margaret, 209 Seifert, John, 207 Sekaer, Peter, 145 Selcer, Ben, 236 Selstad, Briana, 196 Semele (Handel), 378 Senturia, Emily, 199 Seoul, South Korea, 232, 243 Serbo-Croatian Folk Songs (Bartók), 250 Sergei, James, 88

629

Sergi, James, 191 Serkin, Rudolf, 474, 476 Serrano, Carlos, 192 serva padrona, La (Pergolesi), 483 servant (character in Baby Doe), 181 Service, Robert W. The Spell of the Yukon, 167 Sessions, Roger on American composers, 249 classmate of Moore, 6, 10 Correspondence of Roger Sessions, The, 330 operas, 353 photograph, 289 Seven Descents of Myrtle, The (Williams), 410 Severance Hall, 225, 239, 477 Sevitsky, Fabien, 227, 245 Sevitsky (Fabien) Ensembles, 245 Sewickley, PA, 218 Seymour, CT, 222 Seymour Senior High School (Seymour, CT), 222 Shady Hill School, 222 Shafer, Jack, 205 Shafer, Kermit, 188 Shainman, Irwin, 217 Shakespeare, William as author, 127, 159, 201–2, 217, 225, 233, 304, 318,499, 506, 508 King Lear, 6, 129, 494, 503 Much Ado About Nothing, 17, 116, 135, 224, 417, 497, 503 Twelfth Night, 7, 14, 93, 114–16, 166, 241, 254, 323, 417, 495, 497, 503 As You Like It, 32, 113, 167 Shamonsey, Anne, 231 Shanbaum, Elinor, 191 Shanet, Howard, 216, 238, 240 Shank, John Beck, 208 Shanley, John P. “Part of ‘Ballad of Baby Doe’ on ‘Omnibus’ ”, 395 “TV: Soap-Opera Satire on Channel 2: Martha Wright Excels in Work by Moore.”, 445 Shannon Four, 122 Shapiro, Bernstein & Co., 122 Sharp, Cecil J., ed. Songs of the West, 107 Sharp, Norma, 188, 202 Sharp, Raymond, 121, 221 Sharp, Wendy, 219

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Page 630

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Shaulis, Jane, 87, 191 Shaw, George Bernard as author, 377 Pygmalion, 10 Shaw, John, 210 Shaw, Nina, 185 Shaw, Peter, 193 sheep (character from The Greenfield Christmas Tree), 124, 222 Shengold, David. “In Review: From Around the World; North America; Central City, CO,” 396 Sheppard, Cindy, 192 Sheppard, H. Fleetwood, ed. Songs of the West, 107 Sherburne, Ruth. “Music: Columbia University Orchestra,” 330 Sherman, Robert Ballad of Baby Doe Renews Its Welcome, 396 “Music: An American Epic of Love and Loss,” 396 Sherman, Thomas B. “New Kansas Opera, ‘Carry Nation’ ”, 415–16 Sherrill, Donald, 194 Sherrill, Scott, 181 Sherwood, Robert E., 17, 152 Shiff, Fannie, 204 Shoreham Hotel (Princeton, N.J.), 470 Short, Don. “Travel and Resorts: Opera Season in the Rockies,” 396 Short History of Music in America, The (Howard and Bellows), 299 Short Symphony of Autumn, A. See Symphony of Autumn, A Shostakovich, Dmitri, 290 Show, 488 Showboat (Kern and Hammerstein), 356 Showcase, 256 Shreffler, Anne C., ed. Elliott Carter, 254 Shrier, Julie, 189 Shrifte, Miriam Lubell, eds. Letters of Composers:, 319 Shubert Theatre, 358 Shulgold, Marc “Cover Story: In the Real Story, Melodrama’s Built In,” 396 “Return of a Colorado Classic,” 396 Shull, Leslie, 194 Shuman, Davis, 201

Shupp, Enos E., Jr. “Moore: Quintet for Clarinet and Strings (1946)”, 469 Sibelius, Jean, 258–59, 294, 325 Sicilia, Alexander, 223, 244 Siegle, Lawrence, 204 Siegmeister, Elie, ed. American Folk Song Choral Series, 95 Music Lover’s Handbook, The, 257–59 New Music Lover’s Handbook, The, 259, 330 Siegmeister, Hannah. “Other Americans: Douglas Moore,” 330 Siena, Jerold, 87, 191 “Sigh No More, Ladies” from Five Shakespeare Songs (Moore), 116, 217, 233, 497, 507 Sigh No More, Ladies from Much Ado About Nothing, 116, 135, 224 “Sigh No More, Ladies” from Suite from Shakespearean Music (Moore), 159 “Significant Trends in Selected American Operas: 1900–1954.” (Groth), 295 Sik, Lim Won, 243 Silipigni, Salvatore, 232 Sills, Beverly Ballad of Baby Doe, The (Moore) audition, 52, 353–54, 364, 383 casting, 52, 349 compared to other singers, 349, 352, 363–64, 372, 382, 387, 398 final scene, 49 movie version, 274 performances 1958, 182, 301, 313, 350–51, 353, 357, 359, 362, 373, 379 1959, 183 1960, 183, 356, 400 1962, 186, 286, 353, 365, 392 1963, 187, 390 1965, 187–88 1966, 188, 398 1969, 190 photograph, 313, 350–51, 354, 357, 364, 373, 383, 386, 398, 400 recordings Deutsche Grammophon CD, 88, 90–91, 354, 363–64, 383, 387, 397 DVD, 93

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Page 631

INDEX

LP, 87–88, 355, 359, 361–62, 371, 381, 383, 388, 402 Heliodor, 87, 383 MGM, 87–88, 313, 383, 387–88 reviews 1958, 353, 359, 365, 379 1960, 356 1962, 365, 392 1963, 390 1966, 398 recordings, 355, 359, 361–63, 371, 381, 383, 387–88 television, 286, 353 Beverley Sills: The Great Recordings, 90 Beverly Sills and Friends, 88 Wings of the Dove, The (Moore), 245, 286, 487 silver, 48–49 “Silver Aria” (“Gold Is a Fine Thing”) from The Ballad of Baby Doe (Moore), 46, 48, 86, 88, 90–91, 200, 367, 383 Silver miner (character in The Ballad of Baby Doe), 45, 47, 85, 87–88, 181–83, 185–96, 198–99 silver mining, 43 Silver Queen: The Fabulous Story of Baby Doe Tabor (Bancroft), 43 Silvermine Guild of Artists, 214–15, 221, 238 Silverthorne, Alice, 218 Silvestri, Anna Maria, 196, 385 Simboli, Emerick, 207 Simmelkiaer, Frederica, 5, 235 Simmerman, James, 189 Simmons, David, ed. Who’s Who in Music and Musicians’ International Directory, 347 Simmons, James C. “Tabor Opera House Recalls Heyday of Silver and Baby Doe,” 330 Simmons, Walter, 396 Simon, Henry W. “Columbia’s Gem of Notion,” 471–72 “The Ballad of Baby Doe” in The Victor Book of the Opera, 330 “Young Talent in a Big Dose,” 465 Simon, Robert A. “Musical Events: Barnum in Tone,” 462–63 “Musical Events: Speaking of the Devil,” 435 “Musical Events: Two Tristans, New English Singers, ‘Xerxes’ Uptown, and ‘Babbitt’ ”, 455

631

Simon Legree (Moore), 24, 154, 234, 308, 470, 498, 505 Simonds, Bruce, 8, 224, 240, 290, 320, 331, 482 “Simple Ploughboy, The” from Devon Folk Songs (Moore, arr.), 107 Simpson, Li, 210 Simpson, Thelma, 208 Simpson, William, 182 Sims, Clyde, III (character in White Wings), 174 Sinaguia, Lena, 223 Sinclair, Andrew. Prohibition: The Era of Excess, 316 Sinfonia Varsovia, 161 Singer’s Guide to the American Art Song, A (Villamil), 337 Singer’s Joy, A, 200 Singer’s Music Shelf, The, 101 Singing Soldiers (Niles), 18, 103, 246 (n. 1) Singing Tree Press, 103 Sioux Falls, SD, 241 Sipe, Leopold, 188 “Sittin’ in de Cotton.” See War Songs (Moore) Six, Les, 255 Six Nineteenth Century Dances, 203 Six Pieces for Piano. See Suite for Piano (Moore) “Sixteenth-Century Armor” from Four Museum Pieces (Moore), 10–11, 116, 217 Skiba, Scott, 198 Skinner, Ernest, 9 Skinner, Otis, 330 Skinner Memorial Chapel, 209 Skinner Recital Hall, 203, 229, 235, 243, 245 Skoray, Matt, Mrs., 368 Skull and Bones, 339 Slafter, Celicia, 201 Slater, Marguerite. “Music on the Peninsula: Stanford Operas,” 435 Sleder, Jayne, 194 Sleepy Hollow, 125 Slenczynska, Ruth, 238 Slidell, LA, 201 Slidell Municipal Auditorium, 201 Slidell Musical Arts Association, 201, 406 Sliker, Peter, 87, 182–83 Slonimsky, Nicolas Baker’s Biographical Dictionary of Musicians, 269

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Page 632

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Baker’s Biographical Dictionary of TwentiethCentury Classical Musicians, 331 Baker’s Dictionary of Music, 345 Concise Baker’s Biographical Dictionary of Musicians, The, 345 Concise Edition of Baker’s Biographical Dictionary of Musicians, The, 345 editor, 346 “Seventh Program: . . . Douglas Moore: Farm Journal,” 331 Webster’s New World Dictionary of Music, 345 Small, Neva, 187 Small Company in America, 220 Smallens, Alexander, 224 Smashers Mail, The (Nation), 316 Smeet, John (character in The Devil and Daniel Webster), 204, 208 Smith, Alan, 50, 181 Smith, Carlton Sprague, 200, 436 Smith, Carlton Sprague. American Hymns Old and New, 111 Smith, Cecil “Douglas Moore’s White Wings Given Premiere at Hartford,” 482 pianist, 240 Smith, Charles F., 5, 137, 142 Smith, David, 145, 187, 245 Smith, David Stanley, 5–6 Smith, Don, 194 Smith, Douglas, 206 Smith, Duane A. The Ballad of Baby Doe: “I Shall Walk Beside My Love,” 263 Smith, Ephraim K. “Making of Power and the Land, The ”, 331 Smith, Jane, 222 Smith, Jeffrey C. “In Review: From Around the World; Indianapolis,” 397 Smith, John, 186 Smith, John J., 3d. The Americana Annual 1952, 340 Smith, Joseph, 285 Smith, Karen, 187 Smith, Ken. “Voices from the Past Make Their Presence Felt: Baby Doe’s Success,” 397 Smith, Kenneth, 201–2, 411

Smith, Lorraine. “Music: Columbia Orchestra,” 331 Smith, Lyneer, 208 Smith, Malcolm, 188, 190, 192 Smith, Marvin, 189 Smith, Milton, 34, 256, 332 Smith, Norman. “New Operatic Venture,” 397 Smith, Patrick J. “Moore: The Devil and Daniel Webster,” 435 “New York City Opera: Carry Nation (April 2)”, 416 “Recordings: Moore: ‘The Ballad of Baby Doe’ ”, 397 Smith, Rev. Cyril, Douglas Moore as, 10 Smith, Robert “Baby Doe Proves to Be Rich Strike,” 397 “ ‘Ballad of Baby Doe’ Is Smash Hit,” 397 Smith, Roy, 210 Smith, Stephane, 212 Smith, William (baritone), 218 Smith, William E. “Beethoven Played to Lantern Slides,” 467 Smith, Wilson G. “Symphony Concert,” 441 “Symphony Concert: Barnum Suite Shows Up Well under Sokoloff,” 463 Smith College Club of New York, 234 Smith College Day School, 223 Smugglers, The, 420 “Snake Dance” from Music for Yale Pageant (Moore), 7, 136, 155, 507 Sneath, Brother (role in Oh, Oh, Tennessee), 138 Snelling, Julianne, 223 Snickersnee, Prince (character in Puss in Boots), 148–49, 231 Snider, Lee, ed. The Chappell Collection of Great Theatre Composers, 86 Snohomish High School, 211 Snohomish High School Chorus, 211 Snook, Lee, 198 Snow, Lady, 307 Snyder, Clifford, 208 Snyder, Louis. “Weekend Concert Roundup: Miss Kobart Saves the Day,” 397 Snyder, Mervin, 209 So This Is Jazz (Osgood), 250

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Page 633

INDEX

soap opera, 51, 118, 407, 442–45 Society for the Publication of American Music (S.P.A.M.), 151, 159, 236–37, 281, 284, 318, 328 Society of Older Graduates, 58, 294, 336 Soffer, Sheldon. “Record Reviews and Ratings,” 418 Sohlmans musiklexikon (Åstrand), 345 Sohlmans musiklexikon (Morin, et al., eds.), 344 Sokoloff, Nikolai, 15, 141, 226–27, 260, 272, 457, 459–63 Sol Bloom School, 189, 404 “Soldier Song” (Moore), 155, 496, 509 Soler, Josep. Diccionario de música, 345 Solmi, Angelo, ed. Rizzoli, Ricordi, Enciclopedia della musica., 345 Solum, Henry (character in Giants in the Earth), 39, 120–21, 221 Some Twentieth Century American Composers (Edmunds and Boelzner, eds.), 286 Somersole, Father (role in Oh, Oh, Tennessee), 138–39 “Something about Librettos” (Moore), 258 Something Else Press, 86 Somogi, Judith, 88, 191, 355, 401 son (character in Emperor’s New Clothes, The), 109 Sonata for Piano in D minor (Moore), 155, 495, 509 Sonata for Violin and Piano in B minor (Moore), 155, 495, 509 Sonata for Violin and Piano in D Major (Moore), 155–56, 496, 509 Sonata for Violin and Piano in D Minor (Moore), 18–19, 156, 234–35, 470–71, 497, 509 Sonata for Violin and Piano in G Major (Moore), 156, 496, 509 Sonata for Violoncello in D Major (Moore), 156–57, 495, 509 Sondheim, Stephen, 388 Song for Old Yale, A, 123 “Song of a Canoe” (Moore), 4–5, 157, 494, 507 Song of a Gambolier, 170 “Song of April, A” (Moore), 5, 157, 235, 494, 507 “Song The Tale of a Carp” (Moore), 4, 157–58, 494, 507

633

“Song to Fessenden” (Moore), 3, 158, 289, 493, 507 Songs by Moore, recitals of, 235–36 Songs My Mother Never Taught Me (Niles and Moore), 18, 103, 170–73, 246 (n. 1), 275, 295, 329, 331 Songs of American Composers, 114 Songs of Gambling and the Sea, 92 Songs of the West (Baring-Gould, et al., eds.), 107, 497, 507 Songs of Yale (Bartholomew, ed.), 122–23 Songs to Sing to Children (Wier, ed.), 101 sonnambula, La (Bellini), 324 Sonneck Society, 339 Sonneck Society Newsletter, 339 Sonnenberg, Melanie, 196–97, 351, 354, 381, 390 Sonntag, Stanley, 203, 214, 240 Sopher, Joseph, 217 Sorell, Walter. “Keeping Step: U.S. Opera Composers’ Season,” 435 Sorenson, Merlin, 208 Soria, Dorle J. “Artist Life: Douglas Moore and the Demon Rum,” 416 Soto, Marc, 192 Sound of the Goldman Band, 143 Sound Symphony, 200, 233, 244 Soung-Lee, Han, 232 South Bend, IN, 184 South Huntington High School, 205, 213 South Mountain Association, Pittsfield, MA, 182, 398 South Mountain First, 398 Southern Illinois University, Edwardsville, 221, 443 Southern Illinois University Press, 337 Southold, N.Y., 1, 221, 301 Southold Universalist Church, 221 Southport, CT, 219 Southwestern Chamber Music Society, 237 Southwestern Louisiana Institute, 218 Southwestern Singers, 204 Southwestern String Quartet, 237 Southwestern University (Georgetown, TX), 218 Souvenir of Historic Central City Colorado, 350 Soviet Union, 264, 274, 337 Soxman, David, 105

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Soyer, David, 232, 241, 490 Soyka, Dan, 209 S.P.A.M., 151, 159, 236–37, 281, 284, 318, 328 Spanaugle, Harlie. “Columbia University, the Columbia Opera Workshop and the Efflorescence . . . ”, 332 Spangler, Viola, 230 Spartanburg, SC, 220, 225 Spartanburg Festival, 225 Spear, Harold, 208 Speedie, Penelope Ann. “American Operas on American Themes by American Composers,” 332 Spell of the Yukon, The (Service), 167 Spellman, Bob, 210 Spence, Wilma, 213 Spencer, Ellen, 121, 221 Spiegel, Elly, 194 Spierman, Michael, 193, 212 Spinola, Luis, 236 Spitalny, Phil, 222 Sponberg, Viola, 222 Sprague, James, 207 Sprague Hall (Yale University), 234 “Spring and Winter,” 115. See also Five Shakespeare Songs. “The Cuckoo” (Moore) Springfield, Jeannie, 189 Springfield, OH, 218 Springfield Union, 429 “Square Dance” from Village Music (Moore), 28, 170, 242, 480–81 Squibb, David. “Obituary,” 345 St. Augustine, FL, 212, 229, 239, 437 St. Augustine Amphitheatre, 212, 239, 437 St. Augustine Arts and Crafts Festival, 437 St. Bartholomew’s Episcopal Church (New York), 214 St. Catherine School (Detroit, MI), 223 St. Clairsville, Ohio, 27, 145–46, 177 St. James Opera Encyclopedia (Guinn and Stone, eds.), 342 St. Joseph College, 223 St. Louis, MO, 184, 285 St. Louis Grand Opera Guild, 207 St. Louis Post-Dispatch, 339, 383, 415–16, 443 St. Louis Symphony Orchestra, 285 St. Olaf College, 208

St. Paul Civic Opera, 188, 361 St. Paul Philharmonic Society, 188 St. Paul’s Chapel (Columbia University), 222 St. Paul’s Church (London), 169 St. Paul’s Episcopal Church (Rochester, NY), 214 St. Peter’s Church (New York), 199 Stabat Mater (Perry), 161, 473 Staff, Lee, 194 Stage, 425 Stage Design (Bay), 351 Stage doorman (role in Baby Doe), 85 Stammer, Donald, 121, 221 Stamos, James, 216 St/And Records, 114, 472 Standard, James, 181 Standish, Miles, 2 Stand-Up Opera, 200, 348 Stanford Daily, 449–50 Stanford Players, 223 Stanford University Chorale, 204 performances Ballad of Baby Doe, The (Moore), 181, 306, 350, 360, 367–68, 387, 401 Dedication (Moore), 204 Devil and Daniel Webster, The (Moore), 208, 424–25, 435 Headless Horseman, The (Moore), 223, 449 In Memoriam (Moore), 224 Quintet for Clarinet and Strings (Moore), 232 selections (various pieces), 233 Trio for Piano and Strings (Moore), 240 Symphony Orchestra, 224 Starling, Lynn, 183 State Theatre (Cleveland), 194 State University of New York, Stony Brook, 219 “Statue by Rodin, A” from Four Museum Pieces (Moore), 10–11, 116 Stavanger, Norway, 239 Steane, John B. “Moore, The Ballad of Baby Doe,” 398 Steber, Eleanor, 114, 240, 364, 490 Steele, Brian, 88, 105, 194, 196–97, 211–12, 354, 356, 369, 421, 435 Steele, Karina, 192 Steele, Philip, 87, 191

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Page 635

INDEX

Steele, Wilbur D. “How Beautiful with Shoes,” 53 Steen, Daniel, 245 Steffens (character in Wings of the Dove), 175, 245 Steffi Nossen School, 215 Stehn, John, 188, 210 Steinberger, Alan, 92 Steinfirst, Donald. “Savoyards Try Short Opera Successfully,” 435 Steinmetz, John, 151 Steinway Company, 257 Steinway Concert Hall, 257, 317 Stenborg, Rodney, 186 Stenkvist, Lennart. “Moore, Douglas” in Sohlmans musiklexikon, 345 Stensen, Jo, 181 Stephens, John, 105, 212 Stereo Review, 309, 409, 460 Sterling House, 210, 218 Stern, Maurice, 183, 186, 206, 245 Stern, Robert. “Letters: The Great American Opera,” 305 Stern (Sigmund) Recreation Grove, 206, 230, 425, 464 Stetson University, 219 Stevens, Austin. Mumford Quits Institute of Arts over Award to ‘Isolationist’ Beard, 332 Stevens, David. “New York: Moore Premiere,” 488 Stevens, Miser (character in The Devil and Daniel Webster), 104–5, 205–13 Stevens, Patti Jo, 197 Stevens, Susanne Faulkner, 379 Steward, Thomas, 92 Stewart, Alan, 204 Stewart, Fred, 204 Stewart, John, 96, 202 Stewart, Ralph, 209 Stewart-Kellog, Cal, 196–98 Steyskal, Irene. “29,000 Women Will Canvass for War Fund,” 332 Stich-Randall, Teresa, 240 Stiglenski, Sandy, 212 Still, William Grant, 295 Stiller, Andrew “Ballad of Baby Doe, The” in The Grove Book of Operas, 333 “Ballad of Baby Doe, The” in The New Grove Book of Opera, 333

635

“Ballad of Baby Doe, The” in The New Grove Dictionary of Opera, 332 “Devil and Daniel Webster, The” in The New Grove Dictionary of Opera, 333 “Moore, Douglas S(tuart)” in The New Grove Dictionary of Opera, 333 Stilwell, Richard, 194, 196–97, 363, 382, 385, 389, 401 Stocker, David, 221 Stockholm, 215, 243 Stockton, David, 196 Stoddard, Dianne, 223 Stoeckel Hall (Yale University), 218 Stoessel, Albert, 205–6, 430 Stoessel, Theodore, 223 Stokes, Leonard, 110, 215 Stokes, Richard L. “Realm of Music: Barnum Is Set to Music,” 463 Stokowski, Leopold, 203, 238, 253, 474 Stone, Jabez (character in The Devil and Daniel Webster), 26, 104–5, 204–14, 273, 419, 423, 426, 428–30, 434, 437 Stone, Jamie, 212 Stone, Les, ed. St. James Opera Encyclopedia, 342 Stone, Mary (character in The Devil and Daniel Webster), 26, 104–5, 204–14, 273, 420–21, 423, 426, 428–29, 433–34, 436–37 Stories of 100 Operas (Kaufmann), 303 Stormwind, Ellen, 232 Storrer, William Allin “Bloomington,” 398 “World Reports: ‘The Turn of the Screw’ in Boston,” 398 Storrs, Richard, 181 Storti, Herman, 201 Stotsbery, Larry, 213 Stout, Ruth, 316, 416 Stowe, Harriet Beecher. Uncle Tom’s Cabin, 24 Straight (Willard) Memorial Room (Cornell University), 204 Strasbourg Orchestra, 476 Strasfogel, Ian, 188 Stratas, Teresa, 384 Stratemeyer, Karen, 189 Stratford, CT, 210, 218 Strathmore Hall Arts Center (Bethesda, MD), 233

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Page 636

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Stratton, Charles S., 13 Straus, Noel “Columbia Opens Music Festival,” 479 “Composers Group Has Anniversary,” 469 “Temianka Heard in Carnegie Hall,” 439 Strauss, Johann, Jr. Die Fledermaus, 393 Strauss, Melvin, 241 Strauss, Richard, 259, 267, 360, 427, 443 Stravinsky, Igor compared to The Devil and Daniel Webster (Moore), 333 compared to The Pageant of P.T. Barnum (Moore), 456, 458 histoire du soldat, L’, 333 influence on Nadia Boulanger, 14 in Listening to Music (Moore), 282 Moore’s opinion of, 68–69, 252, 255, 312 performances, 395, 462 Petrouchka, 69, 458 recordings, 90 Strawbridge, Jack, 209 Street Scene (Weill), 356, 371 Streich, Leona Zottman, 221 Strelitzer, Hugo, 206, 427, 433 Strength of the Unfettered Mind, The, 336 Stresemann, Wolfgang, 216 Strickland, F. Cowles, 223, 449 Strickland, William, 27, 127, 161, 214 “Strictly Personal: Concerning Program Notes” (Moore), 258 “Strictly Personal: Duet on a Bus” (Moore), 258 String Quartet (Moore) analysis and history, 20 in chronology, 498 in classified list, 509 compared to String Quartet No. 1 (Charles Ives), 467 critical acceptance, 280 description, 20, 158–59, 277, 287–88 performances, 236–37, 406, 465–67 publication, 281, 284, 318, 328 reviews, 466–67 String Quartet No. 2 (Wallingford Riegger), 469 String Quartet No. 2 (William Bergsma), 468 Stringham, Edwin J. Listening to Music Creatively, 249

Stringham, Susan (character in Wings of the Dove), 54, 175, 245 Strong, Dale, 183 Strongin, Theodore “City Opera Moves Doe North,” 398 “Dan Webster vs. Scratch,” 435 “Opera by Moore Bows in Kansas,” 416 “U.S. Art Songs Reissued,” 472 Stuckey, Andrew, 105 Studio in der Josefgasse, 220 Studness, Ann, 184 “Study in Logic, A” (Moore), 258 Stull, Robert, 207, 437 Sturge, Tom, 197 Styles, Earl, 222 Stylianou, Callia, 199 Suck-Yoon, Yong, 232 Suffolk Times, 301, 491 Suite for Piano (Moore), 37, 159, 237–38, 291, 298, 323, 472, 491, 500, 509 Suite from Shakespearean Music (Moore), 114, 116, 159, 497, 508 Sullivan (character in Giants in the Earth), 39, 120–21, 221 Sullivan, Arthur compositional style, 23, 311, 327, 333, 351, 450 Iolanthe, 333 Ruddigore, 333 Sullivan, Dan, 197 Sullivan, Joan, 193, 196 Sullivan, Mark. “Reviews & Previews: On Stage: The Ballad of Baby Doe,” 398 Sullivan, Roger, 220 Summer Evening (Moore), 160, 493, 509 Summers, W. Franklin. Operas in One Act, 333 Summit Records, 93 Summy, 117 Summy-Birchard, 137 “Sunday Clothes” from Farm Journal (Moore), 36, 112 Sunderland, James, 209 Sundgaard, Arnold, 38, 51, 53, 58–59, 71, 119–20, 124, 444, 447 Sundström, Einar, ed. Sohlmans musiklexikon, 344 Sunny Hill Farm, 226

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“Sunrise” from Power and the Land. Suite (Moore), 147 “Sunset” from Power and the Land. Suite (Moore), 147 Surdyka, Jayne, 222 Surette, Thomas Whitney, 327 “Survey of 141 Chamber Operas . . .” (Hawn), 297 Susan (character in The Greenfield Christmas Tree), 124, 222 Susanna, Don’t You Cry, 419 Susannah (Carlisle Floyd), 356 Sutherland, Paul, 245 Sutter, Ross, 193 Svanholm, Set, 476 Svenska Dagbladet, 472 Swan, Adria, 199 Swan, Alfred J. Music Director’s Guide to Musical Literature, The, 249 Swarthmore Symphony Orchestra, 205 Swarthout Recital Hall, 217 Sweany, Pat, 219 Swed, Mark. “Five Sopranos Singing,” 398 Sweeney, Mr. (role in Oh, Oh, Tennessee), 138 Sweet, Margaret E., 206 Sweet Adeline, 19, 455 “Sweet” from MacLeish Songs (Moore), 4, 132, 494 Swenson, Robert, 236 Swenson, Ruth Ann, 193, 197, 351–52, 402–3 Swensson, Evelyn, 194 Swett, Orison (role in Oh, Oh, Tennessee), 138 Sycamore, William, 15 Sykes, Nelson, 199, 210 symphonic poem, 258–59 “Symphonic Poem and the Symphonic Suite, The” (Moore), 258–59 symphonic poems, 259 symphonic suite, 258–59 symphony, 259 “Symphony, The” (Moore), 259 Symphony for Eight Celli and Piano (Griller), 161 Symphony Hall (Boston), 243 Symphony in A Major (Moore) 2-piano arrangement, 509 analysis and description, 34–35, 160–61, 262–63, 287–88, 334

637

award, 280 broadcast, 476 in chronology, 499 orchestral music, 505 performances, 37, 238–39, 274, 305, 307, 473–77, 490–91 program notes, 287, 290, 334 publication, 288 recordings, 100, 113, 277, 473, 475, 477 reviews, 473–77, 490 Symphony no. 1. See A Symphony of Autumn (Moore) Symphony no. 2. See Symphony in A Symphony of Autumn, A (Moore) analysis and history, 18–19, 262–63, 292–93, 299 in chronology, 497 description, 18–19, 161–62, 262, 293, 299, 304, 334 orchestral work, 505 performances, 239, 477–79 reviews, 477–79 Symphony of the Air, 224, 228, 451–53 Syracuse, N.Y., 184, 207, 227, 437, 463 Syracuse Herald-Journal, 437 Syracuse Post-Standard, 463 Syracuse Symphony Orchestra, 227, 463 Syracuse University College of Fine Arts Opera Workshop, 207, 437 Szabolcsi, Bence editor, 271 Zenei lexikon, 343 Székács, Erzsébet, 271 Szigeti, Joseph, 463 Szilard, Eva, 218 T T., H. “Manhattan Symphony Heard,” 455 “Music: Recital on New Keyboard,” 464 T., L. “Omnibus Shows Moore Opera,” 399 Tabor, Augusta Augusta’s Aria, 44, 49, 88–89, 387, 501 character in Baby Doe description, 297 in divorce scene, 369, 379

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Page 638

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

friends of, 181–83, 185, 188–89, 192, 194, 196–98, 365 gender analysis, 262 in list of roles, 85, 89 meeting with Baby Doe, 354 musical aspects, 47, 49–50, 303, 371, 374 relation to the historical person, 260–61, 263 in synopsis, 45–46 characterization, 305, 361, 365, 370–71, 387, 390, 397, 399, 401 performed by Alberts, Eunice, 188 Bible, Frances 1956, 181, 375, 393, 405 1958, 182 1959, 183, 394 1960, 183 1961, 185, 398 1962, 186, 392 1965, 187–88 1966, 188, 398 1967, 189, 365, 378 1969, 189–90, 396 1970, 190–91, 373 1976, 191, 352, 372, 375 casting, 44, 50 critics’ evaluation, 50 interviews, 303 photographs, 348–49, 356 recordings, 87–88, 362–63, 372, 381, 383, 387 reviews 1956, 348, 375, 393, 405 1959, 394 1962, 392 1966, 398 1967, 365, 378, 392 1969, 396 1970, 373 1976, 362, 372, 375 recording, 362–63, 372, 381, 383, 387 Bliss, Sharon, 185, 370, 394 Bowman, Allison, 200 Cantania, Claudia, 191, 377

Castle, Joyce, 193–96, 198–99, 350, 352–53, 360, 366–67, 370, 378, 396 Childs, Linda, 195, 363 Christensen, Ruth, 195 Davitt, Dorothy, 189 Duffy, Lois, 188, 361 Dunn, Mignon, 195, 390, 392 Evans, Nell, 372 Fee, Constance, 191, 398 Forst, Judith, 197–98, 351, 402 Gayer, Josepha, 197, 274, 375 Graham, Sharon, 196, 383, 385 Grealish, Jeanne, 193 Greenspon, Muriel, 190–92, 404 Harned, Shirley, 193 Henschel, Jane, 193, 373, 380 Highley, Joanne, 192, 372 Houston, Lisa, 199 Huffman, Cheryl, 189 James, Carolyn, 193 Jones, Gwendolyn, 195 Kobart, Ruth, 182–84, 187–88, 376, 395, 397 Kraft, Jean, 191, 401 Kriese, Gladys, 186 Krueger, Dana, 88, 192, 194, 196, 354, 369 Ledger, Dorothy, 181, 367, 387 Lerner, Mimi, 197, 359 Lipton, Martha 1956, 49–50, 52, 181, 351, 357, 370, 375, 379, 393, 400 1957, 181–82 1958, 52, 357, 359, 376, 379 1959, 183, 393 Broadway, 334 photographs, 357, 370, 376 reviews, 351, 359, 375–76, 379, 393 television, 181, 334, 379, 398 Lomo, Cecelia, 181 MacNaughton, Linda, 188, 371 Mayer, Margery, 182 Mayo, Carol, 189 McCoy, Anna, 198 McMurray, Mary, 183, 185–86 Monet, Michele, 184

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INDEX

Munzer, Cynthia, 193–94, 362–63, 378, 381 Nilsson, Margaret, 198 Pancella, Phyllis, 196–97, 363, 382, 384–85, 389, 401 Passon, Beverly, 191 Poppino, Marilyn, 181 Reilly, Barbara, 200 Saks, Evelyn, 187 Sonnenberg, Melanie, 196–97, 351, 354, 381, 390 Stevens, Patti Jo, 197 Taylor, Rose, 196–97, 356 Turner, Claramae, 187, 397 Uleman, Klara, 195, 377, 384 Vandever, Joy, 194 Volkowitz, Judy, 181 Wor, Magdalena, 200, 389 Yauger, Margaret, 192 portrait, 304, 314, 349, 369 Tabor, Baby Doe (Elizabeth) biography of, 43, 78 (n. 143), 334–35, 349 character in opera final scene, 369, 392 gender analysis, 262 in list of roles, 85, 87, 90–92 musical aspects, 46–49, 313, 361, 393 relation to the historical person, 43, 260–61, 263, 307, 313–14, 319, 334–35, 349, 356 satire, 311 in synopsis, 45–46 characterization, 50, 52, 270, 297, 353, 377, 382, 387 death of, 22, 43, 293, 296, 313, 322, 349, 382 performed by Alexander, Diane, 196–97, 390 Armstrong, Karen, 189, 191 Brooks, Patricia, 185, 187–88, 190, 373 Buck, Heather, 199 Budd, Evelyn Courtenay, 197, 200, 359 Burton, Amy, 194, 369 Comeaux, Elisabeth, 196–97, 274, 363–64, 375, 382, 384–85, 389, 394, 401

639

Copeland, Virginia, 181, 334, 379, 398 Cuccaro, Constanza, 191, 401 Cummings, Claudia, 193 Daniels, Sharon, 192, 372 De la Rosa, Evelyn, 195 Di Tullio, Eileen, 90 Dibblee, Sally, 198 Dunleavy, Mary, 196, 383–85, 388 Duxbury, Virginia, 189 Elgar, Anne, 189–90, 349, 374, 385, 396, 403–4 Esham, Faith, 194, 360 Fleischman, Patricia, 199 Fleming, Renée, 90, 363–64, 370 Franschke, Janet, 191, 377 Futral, Elizabeth, 198, 360, 366–68, 382, 388 Gabriele, Leyna, 44, 50, 91, 181–82, 348, 360, 367–68, 401, 405 Gale, Carol, 195, 362, 390, 401–2 Gamberoni, Kathryn, 194 Grissom, Jan, 88, 196, 354, 364, 369, 396 Halgrimson, Amanda, 193, 360 Harmon, Su, 191 Herring, Diana, 189 Hunt, Karen, 192, 369 Hurley, Laurel, 183, 186 Jenkins, Mary Ellen, 188, 361 Johnson, Deb, 198 Kailer, Lucille, 188 Kelly, Erin, 198 Khuner, Jillian, 199 Killian, Joni, 195 Llewellyn, Cherrie, 195, 363 Lovett, Julia, 191 Makris, Cynthia, 193, 373, 380 McGarvey, Mary Kay, 200 McKnight, Emily, 185, 394 Mendius, Louise, 193 Miller, Barbara Ione, 189, 378 Mills, Erie, 193, 378 Mongiardo, Johanna, 198, 353, 378, 396 Moody, Jacquelynne, 182–83, 199, 354 Mulvey, Marilyn, 190, 361, 395 Nathan, Regina, 195, 377 Neblett, Carol, 200, 349

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Page 640

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Parrish, Cheryl, 194, 196–97, 351, 354, 356, 358, 362–63, 381 Peake, Marie Rogndahl, 188, 371 Peterson, Claudette, 194, 381 Raskin, Judith, 183–84 Robbs, Mary, 199 Roberts, Elizabeth Andrews, 200, 389 Robinson, Gail, 192, 362 Rolandi, Gianna, 191 Saffer, Lisa, 195 Seibel, Paula, 191 Sills, Beverly 1958 Cleveland, 182, 350–51, 353, 373 New York, 52, 182, 301, 313, 353–54, 357, 359, 364–65, 379, 386 1959, 183 1960, 183, 356, 400 1962, 186, 286, 353, 365, 392 1963, 187, 390 1965, 187–88 1966, 188, 398 1969, 190 critical evaluation, 389 photograph, 357, 398, 400 recordings Deutsche Grammophon, 87–88, 90–91, 93, 354–53, 359, 361– 64, 371, 381–83, 387, 397, 402 Heliodor, 87, 383 MGM, 87–88, 313, 383, 387–88 Stratemeyer, Karen, 189 Studness, Ann, 184 Swenson, Ruth Ann, 193, 197, 351–52, 402–3 Thames, Jeanine, 196 Upshaw, Dawn, 92, 354, 364, 379, 382, 391, 398, 404 Vannerette, Edith, 191, 398 Vincent, Shelagh, 200 Walker, Diana, 193 Ward, B. J., 92–93, 200, 348 Welting, Ruth, 87, 191, 352, 392 Wilson, Dolores, 49, 181, 348–49, 351, 357–58, 362, 370, 400

Windle, Erin, 194 Witkowska, Nadja, 188 Woods, Sheryl, 194, 367 Yarick, Doris, 185–86, 355, 398 Yeaman, Diana Smith, 185 Zaneteas, Bettina, 200, 397 portrait, 304, 314, 330, 349, 354, 356, 369 theme, 47–48 Tabor, Elizabeth (daughter), 85, 88, 181–83, 185–96, 198–99, 296 Tabor, Horace character in Baby Doe in divorce scene, 369, 379 in final scene, 366, 369, 377, 387 in list of roles, 85, 91 musical aspects, 47–50, 393 relation to the historical person, 43, 261, 263, 307, 313, 316, 349, 356, 364 in synopsis, 45–46 characterization, 297, 374, 390, 397 friends of, 181–83, 185, 188–89, 192, 194, 196–98, 261 husband of Baby Doe, 22, 47, 349, 363, 373 performed by Allen, Richard, 189 Benedetti, Victor, 198 Bollinger, Bernard, 185 Borsting, Torlef, 199 Boynton, Wesley, 184 Burchinal, Frederick, 191, 193, 378 Byce, Jason, 191, 377 Cassel, Walter 1956, 44, 49, 52, 181, 351, 357, 370, 400 1957, 181 1958, 52, 182–83, 357, 359, 373, 376, 379 1959, 183 1960, 183, 199 1963, 187, 390 1965, 187 1966, 188, 398 1969, 190 1970, 190–91, 373 1976, 191 Baby Doe, final scene, 49

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critical evaluation, 389 photograph, 357, 370, 373, 376, 400 recordings, 87–88, 362–63, 381, 388 Chapman, William, 186, 188, 190, 396 Dalton, Wayne, 191 Darling, David, 195, 363 Delavan, Mark, 195–98, 354, 360, 366–68 Devlin, Michael, 193 Doan, Jerry, 189 Duesing, Dale, 194 Ebrahim, Omar, 195, 377 Fazah, Adib, 191 Fredricks, Richard, 87, 187–88, 191, 193, 352, 392 Gardner, Jake, 198, 396 Griffin, Ralph, 189 Guarrera, Frank, 183, 188 Hall-Garcia, Brannon, 200 Harvuot, Clifford, 50, 181–83, 349, 405 Hook, Walter, 192, 372 Ives, Gene, 193 Jimerson, David, 188 Johnson, William, 181, 334, 379, 398 Julian, Kimm, 196, 385 Justus, William, 192 Kellogg, William, 189 Krikawa, Andrew, 200 Ludgin, Chester, 184–89, 191, 194, 371, 385, 398, 403–4 Maddalena, James, 197, 364, 375 Miller, John, 181 Morris, James, 197, 351, 402–3 Neilson, Bruce, 188, 361 Noble, Timothy, 194, 197, 363, 390 Nolen, Timothy, 196–97 Noonan, Stanley, 181, 360, 367 Orth, Robert, 195, 199, 378, 396 Owens, Chris, 195, 197, 359, 362, 390, 401–2 Parcher, William, 193–94 Paul, Robert, 189 Plourde, Jason Richard, 396 Reams, Edward, 181 Reardon, John, 191, 401 Richards, Richard L., 195 Scheunemann, Trevor, 200, 389

641

Skiba, Scott, 198 Smith, Alan, 181 Snook, Lee, 198 Steele, Brian, 88, 194, 196–97, 354, 356, 369 Steward, Thomas, 92 Stilwell, Richard, 194, 196–97, 363, 382, 385, 389, 401 Storrs, Richard, 181 Tiziani, Aldo, 193, 373, 380 Toews, Theodore, 181 Toro, Nicholas di, 191, 398 Trehy, Robert, 185–87, 355 Wagner, Alan, 194 Webster, Neil, 181 West, Stephen, 194 White, Orville, 185, 394 Zeller, Richard, 197, 351, 381 portrait, 304, 314, 330, 349 senator, 46, 303 Tabor, Silver Dollar character, 49, 85, 87–88, 181–96, 199, 349 photograph, 349 Tabor Grand Opera House (Denver), 46, 86, 369 Tabor Opera House (Leadville), 85, 261, 330, 355, 391 Tack, Dean, 231 Taconic School, 3 Tagesspiegel, Der, 376 Tague, Joseph, 209 tailors (characters in Emperor’s New Clothes, The), 109–10, 215–16 Taite, Alexander, 199 Tajiri, Larry “The Spectator: ‘Baby Doe’ at Santa Fe,” 399 “The Spectator: ‘Baby Doe’ to Go Abroad,” 399 “The Spectator: Second Death Strikes ‘Ballad of Baby Doe’ ”, 334 Take Five (Brubeck), 428 Taking a Chance on Love, 89 “Tale of a Carp, The” (Moore), 4, 157–58, 494, 507 Tallahassee, FL, 223, 339 Tampa, FL, 59, 180, 201, 203, 214, 222, 225, 233, 241, 322, 334

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Page 642

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Tampa Tribune, 322, 334 Tams-Witmark Music Library, 86 Tanglewood, 238 Tanglewood Student Orchestra, 238 Tansman, Alexandre, 455 “Taps” from Music for Yale Pageant (Moore), 136 Tapscott, Jo, 209 Tarnish, Jessica, 198 Tassel, Cornelius van (character in The Headless Horseman), 23–24, 125, 222–23 Tassel, Katrina van (character in The Headless Horseman), 23–24, 125, 222–23 Taubman, Howard “ ‘Baby Doe’ Out West,” 399 “Music: ‘Baby Doe’ Back,” 399 Music on My Beat, review of (Moore), 254 “Opera: ‘Baby Doe’ Here,” 399 “Opera: Rooted in West,” 50, 329, 400 “Opera: Two One-Acters,” 436 “Records: New Opera for Children,” 440 “Small Purse, Big Job,” 334 Taubmann, Leo, 199 Taussig, Lynn, 182–84 Taussig, Walter, 181–83 Tawa, Nicholas E. “Conservatorial Symphony, The,” 334 Great American Symphony, The, 334 Taylor, Annie Edson, 60 Taylor, Bernard, ed. Contemporary Songs in English, 140, 167 Taylor, Deems, 268, 284 Taylor, Deems, ed. Biographical Dictionary of Musicians, The, 342 Music Lovers’ Encyclopedia, 342 Taylor, Evelyn, 212 Taylor, James, 88, 196 Taylor, Lawrence, 232 Taylor, Robert “Ballad of Baby Doe: Festival Opener Gaudy, Exhilarating,” 400 “The Opera: Public Garden; Festival Operas,” 436 Taylor, Rose, 196–97, 356 Taylor, Steven, 192 Taylor, Ted, 195 Tchaikovsky, Peter Ilich, 2, 68, 178, 250, 258–59, 362, 392

as composer, 2, 68, 259, 362, 392 Pique dame, 250 Symphony No. 5, 178 Symphony No. 6, 258 Teach, Blackbeard (character in The Devil and Daniel Webster), 104–5, 204–13 Teacher’s College Chorus, 230, 465 Teacher’s College Music Students and Faculty, 204 Teatro Massimo, 213 Tebbenkamp, Sharon, 185 Telephone, The (Menotti), 442, 444 Teller House (Central City), 367–68 Temianka, Henri, 32, 109, 214–15, 438–39 Tempe, AZ, 195, 218 temperance, 59, 62–63, 413, 415–16 Temple, Judy Nolte “Baby Doe as Singing Gold Digger,” 334–35 Baby Doe Tabor, 334–35 Temple Emanu-El (New York), 204, 229–30, 234 Tenney, Gena, 18, 123 Ter-Arutunian, Rouben, 210 Terleckyj, Roman, 196–97 Terre Haute, IN, 219 Terrel, Stephen, 194 Terry, Warren Lee, 205 Texas Tech University, 199 Texas Wesleyan College, 219 Thames, Jeanine, 196 Thames and Hudson Encyclopedia of 20th-Century Music, The (Griffiths), 342 Thayer, Alexander Wheelock, 251, 259 Thayer, B. A., Mrs., 226 Thayer, Marion, 240 Theale, Milly (character in Wings of the Dove), 54–57, 175–76, 245, 483–89 Theard, Harry, 210 Theater des Westens (Berlin), 376 Theatre Arts Monthly, 253, 307 Theatre Craft, 379 Theatre Intime (Princeton, NJ), 235 Theatre of Donald Oenslager, The, 307, 320 Theatre of Dreams (Venino), 333–34 Theatre of Music (New York), 483 Theatre: Stage to Screen to Television (Leonard), 309 Thekla Club, 243 Then and Now (Moore), 4, 162, 240, 503 Theses. See dissertations and theses

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Page 643

INDEX

“They Get Out of Car” from Bip Goes to Town, 94 Thias, Valerie, 181 Thibault, Conrad, 460 Thiedemann, Donald, 205 Thierry, Heribert, 271 “Thine Eyes” from MacLeish Songs (Moore), 4, 132, 494 “This New Music” (Moore), 259 “Thistledown” (Moore), 162, 495, 507 Thomas, Anthony, 185 Thomas, Benjamin, 209, 223, 244 Thomas, Dick. “Baby Doe Company Visits True Locale,” 400 Thomas, J. Parnell, 37 Thomas, Rudolph, 227 Thompson, Andrew, 201 Thompson, Arthur, 223 Thompson, Fletcher, 207 Thompson, Hugh, 204–6, 213 Thompson, Leslie, 185 Thompson, Marian, 203 Thompson, Oscar “American Novelties Introduced by Cleveland Visitors,” 463 “Devil and Daniel Webster Has Premiere, The,” 436 “Devil and the Composer, The,” 436 “Heifetz Soloist of Philharmonic, 453 International Cyclopedia of Music and Musicians, The, 346 “New American Opera, A,” 436–37 Thompson, Randall College Music, 22, 335 letters to Moore, 319 recordings, 475 Symphony No. 2, 161 Thomson, Virgil American Music Since 1910, 346 biography of Moore, 346 compared to Moore, 284, 424 composer, 469 “Criticism & Comment: Opera; ‘The Crucible’ and ‘The Dove’ ”, 488 “Double-Header,” 467 Four Saints in Three Acts, 257, 264 letter to Moore, 335 “ ‘Modern Music’: A Quarterly,” 335

643

Mother of Us All, The, 28, 310, 326 “Music: ‘Giants in the Earth’ ”, 335, 448 “Music: In the Academic Taste,” 467 “Music: New Music String Quartet,” 469 “Music: WNYC Music Festival,” 472 recordings, 114–15, 150 Selected Letters of Virgil Thomson, 335 Thornburg, Phyllis, 237 Thorne (Francis) Fund, 334 Thornton, H. Frank. “Vocal: Songs by American Composers,” 472 Thorpe, Day. “News of Opera,” 400 Thorpe, Steve, 213 Thorsen, Dave, 209 “Thou Hast Made Me” from Three Sonnets of John Donne (Moore), 30, 163, 240 Three Choir Festival, 204, 229–30, 234, 464, 491 Three Classic Documentaries about the Land, 145 “Three Composers” (Moore), 259 “Three Contemporaries” (Moore), 22, 163–64, 240, 291, 498, 505, 509 Three Sonnets of John Donne (Moore) in chronology, 499 in classified list, 507 composition, 30 description, 163, 337 performances complete cycle, 240, 417, 490 “Death, Be Not Proud,” 203, 418 “Thou Hast Made Me,” 240 recordings (“Death, Be Not Proud”), 114, 277, 471 Thumb, Tom, 13, 141, 456, 461, 464 Thumb, Tom, Mrs., 13, 141, 461 Tibbs, Delloyd, 231 Ticket to the Opera (Goulding), 294 Tiede, Bernhardt, 207 Tilney, Colin, 235 Tilzer, Harry von, 3 Timberlake, Craig, 183, 185 Time (magazine), 50, 284, 344, 349, 431, 445, 447, 460, 484 Time of Your Life, The (Saroyan), 30, 270, 300 Times (London), 361, 384 Times Hall, 180, 213, 215, 231, 233–34, 237, 438, 467 Timm, Everett, 201

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Page 644

DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Tin Pan Alley, 7, 68, 332 Tintypes (Moore), 22, 163–64, 240, 291, 498, 505, 509 Tippett, Michael, 271 Tircuit, Heuwell. “Special Karajan Discs among the New Albums,” 463 Tiziani, Aldo, 193, 373, 380 “To an April Lady” from MacLeish Songs (Moore), 4, 133, 494 “To Knox Our Alma Mater” (Moore), 164–65, 493, 507 “Toast” from Quentin Durward (Moore), 149 toaster (character in Carry Nation), 96, 202 Tobin, Alice, 204 Toby (character in The Greenfield Christmas Tree), 124, 222 Toby (character in Twelfth Night), 166 Todd, Charlie (character in White Wings), 21, 174, 244 Todd, Geraldine. “Leyna Gabriele: ‘Baby Doe’ Star Feels Opera Will Broaden Music Scope,” 401 Todd, Mary (character in White Wings), 21–22, 174, 244, 481 Toews, Theodore, 181 Tofteland, Curt, 221 “Token, The” (Moore), 30, 165, 499, 507 Toledo, OH, 216 Toledo Museum of Art, 216 Toledo Orchestra, 216 Tollefson, Carl H., 237 Tom Paine (Phillips), 474 Tomanec, Joyce, 87, 191 Tommasini, Anthony. “A Smorgasbord of Styles (Even Puccini’s)”, 401 Toms, John. “Reports: U.S.: Tulsa,” 401 Toney, Martha, 192 Tönseten, Kjersti (character in Giants in the Earth), 39, 120–21, 221 Tönseten, Syvert (character in Giants in the Earth), 120–21, 221 Topeka, KS, 61, 96, 198, 421 Topeka, Opera Society and Concert Association, 198 Topeka Capitol-Journal, 413–14 Tornabene, Frank, 183 Toro, Nicholas di, 191, 398

Toro, Puli, 87, 191 Toronto, Canada, 198, 218, 226, 228, 457, 460 Toronto Evening Telegram, 460 Toronto Globe and Mail, 457 Toronto Philharmonic Orchestra, 228, 457, 460 Toronto Star, 379 Torrance, CA, 200 Torrup, Ingeborg, 222–23 Tosca, La (Puccini), 348, 393, 478 Toscanini, Arturo, 23, 253, 275, 294, 325 Totenberg, Roman, 215 Tóth, Aladár. Zenei lexikon, 343 Toth, Linda, 231 Touchdown, 235 Tournemire, Charles, 8, 67, 259–60 “Tournemire, Composer, Improviser” (Moore), 259–60 “Tower Bells of Tours, The” (Moore), 8, 165, 496, 507 Town, The (Richter), 280 “Town and Gown Riot” from Music for Yale Pageant (Moore), 136 town crier (character in Puss in Boots), 231 Town Crier (Timothy Dwight College), 307 Town Hall Honors Day, 230 Music Round Table (1937), 325 performances “Adam Was My Grandfather” (Moore), 180 Ballad of Baby Doe, The. Excerpts (Moore), 199 Dedication (Moore), 204 Devil and Daniel Webster, The. Excerpts (Moore), 213–14 Farm Journal (Moore), 216 Five Shakespeare Songs. “Come Away, Death” (Moore), 202 Five Shakespeare Songs. “Sigh No More, Ladies” (Moore), 233 “Not This Alone” (Moore), 225 Perhaps to Dream (Moore), 229 Prayer for the United Nations, 230 Puss in Boots (Moore), 231 Simon Legree (Moore), 234 Suite for Piano (Moore), 237

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Three Sonnets of John Donne (Moore), 240 Three Sonnets of John Donne. Death, Be Not Proud (Moore), 203 Townsend, Bettina, 222 Townsend, Peter, ed. Who’s Who in Music and Musicians’ International Directory, 347 Toy, 220 Tracy, Ann, 223 Trampler, Hilary, 192 Trampler, Walter, 150, 232, 237 Traubel, Helen, 437 traviata, La (Verdi), 387 Treash, Leonard, 208 Treasury of the World’s Finest Folk Song, The (Deutsch), 252 Tree on the Plains, The (Bacon), 31, 274, 285 Treggor, Philip, 201, 244 Trehy, Robert, 185–87, 355 Treigle, Norman, 50, 181, 351, 405 “Trends in Music” (Moore), 317, 338 Triana, José María Martín, 247 “Tribute to Gerald McGarrahan” (Moore), 260 Trimble, Lester. “Music,” 401, 489 Trinity College (Hartford, CT), 27, 214 Trinity College Chapel, 27, 214 Trinity Parish (Southport, CT), 219 Trio for Piano, Violin, and Cello (Moore) in chronology, 500 in classified listing, 509 composition, 41, 305 description, 41, 165–66, 277, 323 performances, 240–41, 417, 479, 490 reviews, 479, 490 scores, 166, 306 Triple Cheer, The, 123 Tristan und Isolde (Wagner), 313, 323, 353, 378, 455 Trobbe, Sonia, 205–6 Troemel, Alfred, 237 Trolio, Nicholas, 208 Trondheim, Norway, 239 Trotter, Thomas, 196 Trouble in Tahiti (Bernstein), 442–43 Troupin, Edward, 212, 239 trovatore, Il (Verdi), 378 Troy, OH, 219

645

Troy High School, 220 Troy Records, 161, 444–45 Troyens, Les (Berlioz), 379 “Truck Comes into Town and Crosses RR Tracks” from Bip Goes to Town (Moore), 94 “Trucks” from Bip Goes to Town (Moore), 94 “True Tale of West: Story of Baby Doe Tabor Turned into an Opera” (Moore), 260 Truman, Harry, 280, 337 “Try This on Your Victrola” (Moore ?), 235 Tryout Theater, 215, 241 Tsar’s Bride (Rimsky-Korsakov), 378 Tucker, Dan “Jealousy, Politics,” 401–2 “Tale of Ruin, A,” 401–2 Tucker (Richard) Music Foundation, 106 Tuckley, William Henry. “Symphony and Young Baritone Delight Auditorium Audience,” 463 Tucson, AZ, 30, 163, 219, 244, 270, 324 Tucson Little Theatre, 30, 300 Tullio, Aldo di, 90 Tullio, Eileen di, 90 Tully (Alice) Hall, 471 Tulsa, OK, 187, 191, 219–20, 355, 401 Turandot (Puccini), 378 Turekian, Ruthann, 192 Turn of the Screw, The (Britten), 52, 273, 323, 398, 407, 445 “Turn Tail and Run Then” from The Ballad of Baby Doe (Moore), 87 Turner, Claramae, 187, 397 Turner, Clyde, 50, 353, 361 Turner, Joseph, 208 Turner, Robert. “Five American Operas,” 402 Turok, Paul. “Buried Treasure,” 402 Tusler, Robert, 214, 222 Tuthil, Arthur, 222 Tuthill, Burnet, 204 Tuthill, Ruth Wood, 237 Tuttle, Day, 217 TV Opera Repertory Group, 218 Twain, Mark, 425 Tweedy, Henry Hallam, 51, 110–11 Twelfth Night (Moore) in classified list, 503 “Come Away, Death,” 113–16, 166

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

“Farewell, Dear Heart,” 166 “Hold Thy Peace,” 166 “If Music Be the Food of Love, Play On,” 166 incidental music for, 7, 14, 93, 114–16, 166, 241, 254, 323, 417, 495, 497, 503 “Jig,” 166 “O Mistress Mine,” 32, 115–16, 166 “When that I Was and a Tiny Little Boy,” 166 Twelve-tone music, 68, 251 Twentieth Century Concert Hall, 203, 418 Twentieth Century Opera (Martin), 312 Twentieth-Century Composers, 346 Twenty Pieces from Master of Our Day Series, 164 “Two Opinions under Postage: Early Reading Rehearsals” (Moore), 260 Two Pieces for Piano (Moore), 51, 166–67, 291, 306, 501, 509 Tyranny, Blue Gene. “Douglas S. Moore” in All Music Guide to Classical Music, 336 U Ukena, Paul, 245 Ukrainian Society for Cultural Relations with Foreign Countries, 35, 337 Uleman, Klara, 195, 377, 384 Ullom, Cecil, 208 Ullring, George, 222 Ulmer, Margaret, 200 Ulrich, Allan. “Opera Around the World: America Brave but Muddled; San Francisco,” 402 Ulrich, Edward E., 205–6 Ulrich, John, 207 Uncle Tom’s Cabin (Stowe), 24 Under the Greenwood Tree (Moore), 32, 167, 241, 304, 318, 329, 337, 499, 507 Underwood, Ian, 408 Underwood, Kathy, 191 Underwood, Pierson, 22, 32, 138, 296 “Unforgotten” (Moore), 167, 494, 507 Union Theological Seminary, 214 Unitarian Universalist Church (Indianapolis), 200 United Airlines, 44, 367 United Nations Flag Day, 30, 148 United Service Organizations (U.S.O.), 205 United States Armed Forces, 219, 280 Army, 18, 32, 64, 329

Attorney General, 35, 274, 285, 337 bicentennial, 299, 309, 318, 352 Department of Agriculture, 94, 145–46, 178 Department of Commerce, 244 Department of Justice, 285, 337 Department of State, 35, 274 Federal Communications Commission (FCC), 264, 267, 288, 318 House of Representatives inquiry, 267 Speaker, 37, 300 Un-American Activities Committee, 37, 300 Information Service, 215 Marine Band, 122 Marine Band Symphony Orchestra, 244, 480 Navy, 7, 31, 103, 272 President, 13, 35, 46, 148, 252, 274, 280, 290, 337 Secretary of State, 274 Senate, 26 Treasury, 148 United Temple Chorus of Long Island, 481 Unity Club (Cleveland), 217 Universal Library, 319 Universität Bayreuth, 309 University City, MO, 207 University College Opera (London), 195, 355, 377, 384 University Little Symphony (Butler University), 217 University of Arizona, 219, 244 University of Arizona Orchestra, 244 University of Arkansas Press, 307 University of California Berkeley Chorus, 205 Los Angeles Committee on Fine Arts Productions, 218 Department of Music, 218 lecture, 331 Opera Workshop, 218–20, 442, 446 performances, 213–14, 218–20, 225, 237, 407 Press, 275, 438, 470 Santa Barbara Symphony Orchestra, 244 University of Chicago, Department of Music, 240 University of Cincinnati, 219

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INDEX

University of Delaware A Cappella Chorus, 204 performances, 204–5, 215–16, 229, 239, 491 Women Singers, 229 University of Denver, 212, 239, 476 University of Florida Gator Band, 229 Opera Workshop, 212 Symphony Orchestra, 239 University of Georgia, 209 University of Hartford, 316 University of Houston, 195, 403 University of Illinois, 38 University of Indianapolis, 200 University of Kansas Centennial Celebration, 201, 276, 337–38, 414 chancellors, 413 Chorus, 202 commission, 59–60, 65, 96, 201, 276, 293, 321–22, 337–38, 411, 413 composer-in-residence, 59, 306, 322, 407, 411–12 dedication, 96 disserations, 273 Orchestra, 202, 228 performances, 217 premiere of Carry Nation (Moore), 65, 201–2, 337, 407–17 School of Fine Arts, 59, 217, 228 Theatre, 184, 201 University of Kentucky, 219 University of Minnesota, 37, 196, 219, 237, 278, 282, 472 University of Minnesota, Duluth, 219 University of Nebraska, 218 University of New Mexico, 28, 242, 275 University of New Mexico Symphony Orchestra, 242 University of North Carolina, Chapel Hill, 262 University of North Carolina, Greensboro, 199 University of North Dakota, 40, 221, 446–48 University of Oklahoma, 232, 244, 334 University of Oklahoma Symphony Orchestra, 244 University of Oregon School of Music, 204, 234 University of Portland Opera Workshop, 218 University of Redlands, 151, 209, 235, 422

647

University of Redlands Faculty Wind Quintet, 151 University of Rochester, 37, 141, 238, 288, 290, 300 University of South Florida composer-in-residence, 59, 322 performances, 180, 201, 203, 214, 222, 225, 233, 241 president, tea with, 322, 334 University of Southern California (USC), 185, 370, 394–95, 407 University of Southern California Opera Theater, 185, 370, 394–95 University of Texas, 196–97 University of Toronto, 198 University of Toronto Arena, 228 University of Tulsa, 187, 220 University of Washington dissertations, 246 performances, 185, 203, 207, 215, 219, 236, 241 University of Wisconsin, 195, 215–16, 245 University of Wisconsin, Madison Opera, 195, 245 University of Wisconsin Summer Symphony Orchestra, 216 “University Symphony Orchestra, A” (Moore), 260 University Women’s Chorus of New York, 229 Untermeyer, Louis, 101, 113 “Up Early” from Farm Journal (Moore), 36, 112, 292 Upjohn, Everard, 71 Upshaw, Dawn, 92, 354, 364, 379, 382, 391, 398, 404 Urban, Bela, 231 Urbana, IL, 219 US Operaweb, 332 USC, 185, 370, 394–95, 407 U.S.O., 205 Utah Opera, 198 Utley, William, 209 Utterback, Lois, 209 V VAI Audio, 92 Vai-choo-loo (Moore), 36–37, 169, 241, 288, 479, 500, 505

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Valenti, Afredo, 205–7 Valentine, May, 204 Validzich, Joseph, 205 Vallas, Leon, 470 Vallée, Rudy, 5, 123 Valley Opera Company, 210 Valse Janet (Moore), 168, 493, 509 “Value of Integration in Music Education, The” (Moore), 24, 298 Van Arsdale, Mark, 198 Van Bodegraven, Paul, 216 Van Brunt, Brom (character in The Headless Horseman), 23–24, 125, 222–23, 450 Van de Graaff, Peter, 195 Van Doren, Mark, 41, 311 Van Kirk, Harold A., 222 Van Sant, J. A. “USA: In Review; San Francisco Opera; . . . The Ballad of Baby Doe, Moore,” 402 Van Tassel, Cornelius (character in The Headless Horseman), 23–24, 125, 222–23 Van Tassel, Katrina (character in The Headless Horseman), 23–24, 125, 222–23 Van Vorst, Elizabeth, 232 Vandall, Clinton, 211 Vanderhoof, Jessica, 198 Vandever, Joy, 194 Vanessa (Barber), 52, 299, 323 Vanity Fair, 249 Vannerette, Edith, 191, 398 Vanni, Joey, 186 Varga, Joe, 195 Variations on a Theme in G Major (Moore), 168, 495, 510 Variations on Theme of Bingham (Moore), 169, 510 Variations symphonique (Franck), 270 Variety, 344, 375, 379, 420, 426, 428, 486 Vassar College, 58, 203, 229, 234–35, 243, 245 Vassar Glee Club, 229 Vassar Orchestra, 243 vaudeville, 5, 7 Vayechulu (Moore), 36–37, 169, 241, 288, 479, 500, 505 Vazeh, Mirza Shafi, 154 Veguilla, Steven, 88, 196

Vejar, Rudolph, 185, 219 Vellucci, Luigi, 209 Venice, 54, 57, 175–76 Venino (Suzanne) Editorial Services. “The Ballad of Baby Doe” in Theatre of Dreams, 333 Venn, Tamsin, 185 Vennard, William, 185 Venora, Lee, 211 Verdi, Giuseppe Luisa Miller, 402 MacBeth, 250 operas compared to The Ballad of Baby Doe (Moore), 333, 360 recordings, 92–93 Rigoletto, 353, 393 traviata, La, 387 trovatore, Il, 378 Vermont, 38, 47, 313 Vernon, Grenville. “The Stage and Screen: The Devil and Daniel Webster,” 437 Versailles, KY, 223 Vertesi, Campbell, 198 Veterans’ Auditorium (San Francisco), 205, 424–25, 432 Vial, Gloria, 232, 240 Victor Book of the Opera, The (Simon, ed.), 330 Victor Records, 122–23 vie parisienne, La (Offenbach), 250 Vienna, Austria, 220, 371, 442 Vike, Peter, 209 Viking Opera Guide, The (Holden, ed.), 283 Village Music (Moore) analysis, 262–63 ballet, 480 band arrangement, 505 in chronology, 499, 504 description, 27–28, 169–70, 262–63, 289 “Jig,” 28, 170, 481 “Nocturne” (“Lamplight”), 28, 170, 239, 308, 480–81 performances, 241–42, 479–81 “Procession” (“Local Dignitaries”), 28, 170, 308, 480–81 reviews, 289, 308, 479–81 “Square Dance” (“Farmhands”), 28, 170, 242, 480–81

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Page 649

INDEX

Villager, 327 Villamil, Victoria Etnier. “Douglas Moore” in A Singer’s Guide to the American Art Song, 1870–1980, 337 Villanueva, Luis, 221 Villas, Muriel von, 220 Vince, George, 209 Vincent, Shelagh, 200 Vinton, John, ed. Dictionary of Contemporary Music, 310 violin examples from The Wonderful Violin (Moore), 179 Virgil, Freed. “Douglas Moore, Composer of Opera about Dan’l Webster and the Devil, Is Here,” 420 Virgilio, Nicholas di, 185 Virginia Governor’s School for the Arts, 198 Virginia Grass Roots Opera, 218 Virginian-Pilot and the Portsmouth Star, 439 Vizioli, Stefano, 213 Vocal Masterworks, 106 Voelker, Norman, 235 Vogan, Charles, 216 Vogue, 487 Voice of America, 50, 181, 402 Voketaitis, Arnold, 96, 183, 195, 202, 210, 409– 10, 412–13, 415–16 Volbach, Walther R. “Carry Nation by Douglas Moore” in Problems of Opera Production, 337 Volkowitz, Judy, 181 Von Tilzer, Harry, 3 Voohees, John, 402 Voorhees, John. “Look and Listen: Stars Shine Big, Bright, Deep in Heart of Colo,” 402 Vosburgh, David, 220 Vox Box, 114 Voyage of the Mayflower, The (White), 454 Vrionodes, Christos, 226 W W., C. E. “St. Augustine Dons Its Easter Bonnet,” 437 W., E. V. “The Opera: Modern Dress for ‘The Devil and Daniel Webster’ ”, 437 WAAB, 227 WABC, 234

649

Wachs, Miller, 210 Wade Park Manor (Cleveland), 233 Wadsworth, Dennis, 189 Wadsworth Auditorium, 215 Waesberghe, Jos. Smits van, ed. Encyclopedie van de muziek, 341 Waggoner, John, 211 Wagner, Alan, 194 Wagner, David, 211 Wagner, Joseph Frederick, 243 Wagner, Rainer. “Panorama: San Francisco,” 403 Wagner, Richard composer, 41, 68, 118, 307, 333, 360, 427, 437 Flying Dutchman, The, 317 Götterdämmerung, Die, 324 Meistersinger, Die, 4, 273, 330 Parsifal, 274, 280, 325 Tristan und Isolde, 313, 323, 353, 378, 455 Wagner (Richard) Society, 277, 323 Waid, Guy, 186 waiter (character in Baby Doe), 192 “Wake Snakes” from The Ballad of Baby Doe (Moore), 45, 368 Wakefield, Robert, 207 Walden String Quartet, 236, 466 Waldman, Krista, 192 Waldorf-Astoria Hotel, 225, 335, 339 Waldron, Elinor, 204 Walker, Charles R., 145 Walker, Diana, 193 Walker, John, 223 Walker, Sandra, 87, 191 Walkersville, MD, 211 Wallace, Corinne, 198 Wallace, Janet, 189 Wallace, Mary Elaine. More Opera Scenes for Class and Stage, 337 Opera Scenes for Class and Stage, 337 Wallace, Robert conductor, 202 More Opera Scenes for Class and Stage, 337 Opera Scenes for Class and Stage, 337 Wallenstein, Alfred, 34, 205, 238, 419, 426, 474– 76 Wallgren, A. A. “Wally,” 103, 170–73

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Wallis, Dave. “Giants in the Earth,” 448 Walsh, Katie, 199 Walsh, Mike. “Debuts & Reappearances: Chautauqua,” 403 Walsh, Stephen, 283 Walter, Bruno, 238, 377, 455, 474, 477, 490 Walters, Richard, ed. G. Schirmer American Aria Anthology, 86, 89, 119, 177 Opera American Style, 86 Romantic American Art Songs, 163 “Waltz” (from Cotillion Suite), 41, 99 “Waltz for Piano in C Major” (Moore), 3, 167–68, 493, 509 “Waltz” from Adventures in the Latin Quarter (Moore), 83, 180, 496 Wamser, Robert, 207 Wan-Bong, Ju, 232 War Memorial Auditorium (Butler University), 217 War Memorial Auditorium (Ft. Lauderdale, FL), 228 War Memorial Opera House, 197, 202, 402, 408 War Songs (Moore), 7, 170–73, 246 (n. 1–2), 495, 507 Ward, B. J., 92–93, 200, 348 Ward, Cecilia, 217 Ward, Charles. “UH Does Good Job with ‘Baby Doe’ ”, 403 Ward, David. “48 Hours in . . . the Rockies,” 403 Ward, John Owen, ed. Concise Oxford Dictionary of Music, The, 345 Oxford Companion to Music, 345 Ward, Robert Crucible, The, 307, 487–88 “Douglas Moore: Down East Suite for Violin and Piano (or Orchestra)”, 337 songs, 114–15 Symphony No. 2, 127, 452 Ward Senior High School (Westerly, RI), 243 Wardell, Aaron, 198 Warden, Marian. “Centennial Opera the Result,” 337–38 Wareham, Geoffrey, Douglas Moore as, 10 “Warm as the Autumn Light” from The Ballad of Baby Doe (Moore), 45, 47, 87–88, 91–92, 501 Warner, A. J. “Concert Reviewed: Rochester Philharmonic at the Eastman Theater, The,” 463

Warner, Byron, 209 Warner, Charles, 208 Warner, Elizabeth, 201, 223, 244 Warp, Richard, 199 Warrack, John Concise Oxford Dictionary of Opera, The, 328, 338 Oxford Dictionary of Opera, The, 338 Warren, Douglass, 207 Warren, James A., 185 Warren, Lavinia, 13 Warren, Michael, 189 Warren, PA, 217 Warrensburg, NY, 219 Warrensville Heights Theater (Cleveland), 182 Warriner, Anne. “Arts in Denver: The Ballad of Baby Buck, The,” 403 Warsaw, 385, 394 Warshaw, L. A., 206 Washington, D.C. Ballad of Baby Doe, The (Moore) filming location, 274 scene in, 46, 85, 299, 303, 389 Moore family trip, 3 performances Ballad of Baby Doe, The (Moore), 184, 196–97, 200, 384, 389 Dirge (Moore), 214 Farm Journal (Moore), 216 Gallantry (Moore), 220 Pageant of P.T. Barnum, The (Moore), 228 Pageant of P.T. Barnum, The. “Circus Parade” (Moore), 227 String Quartet (Moore), 236–37 Symphony of Autumn (Moore), 239 Three Sonnets of John Donne. “Death, Be Not Proud” (Moore), 203 Village Music (Moore), 242–44 radio broadcast, 431 song in Oh, Oh, Tennessee (Moore), 139 Washington, George, 12–13 Washington, Ned, 267 Washington dandies (characters in Baby Doe), 48, 85, 87–88, 181–96, 198–99 Washington Evening Star, 400, 440, 466 Washington High School (Kansas City, KS), 202

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Page 651

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Washington (George) High School Chorus (San Francisco), 205 Washington National Opera performance articles, 303, 313–14, 391–92 performance listings, 196–97, 200 reviews, 363, 374, 382, 384–85, 389, 394, 401 Washington Post articles 1936, 275, 466–67 1937, 310, 320 1938, 318 1939, 420 1940, 264, 275, 459, 463 1941, 438 1942, 431 1944, 480 1945, 481 1946, 264 1948, 267, 441 1951, 327 1953, 420 1957, 418 1960, 374, 461 1962, 444 1976, 299, 462 1997, 303 1998, 429 1999, 444 2006, 389 book reviews, 299 recording reviews, 374, 444 reviews, 374, 389, 412, 438, 440, 466, 469–71 Washington Post and Times Herald, 358, 379 Washington Square (James), 53 Washington Star, 380 Washington Times-Herald, 440 Washington (George) University, 220, 444 Wasylenki, Caroline, 193 Wasylenki, Laura, 193 “Watch Out, Spy Out” from Oh, Oh, Tennessee (Moore), 139–40 Waterman, Andy, 92 Waters, Edward N. “Variations on a Theme: Recent Acquisitions of the Music Division,” 338 Waters, Kenneth, 210 Waters, Willie Anthony, 196 Watkins, Morris, 229

651

Watkins, Ron, 195 Watson, Corinne. A Concise Dictionary of Music, 346 Watson, Jack M. A Concise Dictionary of Music, 346 Watson, Jean, 204 Watson, Justin, 213 Watson, Lee, 210 Watt, Donald, 322 Watt, Douglas “Baby Doe Fine American Opera,” 403 “Devil Has Two Faces in Opera Double Bill,” 437 “ ‘Giants in the Earth’ Makes Pygmies of Dakota Settlers,” 448–49 “Gobel Perfect in ‘Let It Ride:’ Moore’s New Opera Admirable,” 489 “Musical Events: Spring Show,” 449 “Show Business: Musical ‘Carry Nation’ Makes Its Bow Here,” 416 Wattelet, Desiree, 198 Watts, Richard, Jr. “Richard Watts, Jr., Contemplates Lyric Drama with mixed Emotions,” 437–38 “Theater: A Folk Tale Is Told, The,” 437–38 “Theaters: The Devil and Daniel Webster, The,” 438 Way, Jill, 182 “Way Out West” from War Songs (Moore), 7, 172, 495 WCBS, 216, 353 “We Must Follow the Leaders” (Moore), 173, 495, 507 We Want Humphrey, 338 WEAF, 326 Weathervane Community Playhouse, 219 Webb, Chris, 212, 434 Weber, Ben, 114 Weber, Carl Maria von as composer, 310, 331 Freischütz, Der, 320 Invitation to the Dance (arr. Berlioz), 302 Weber, David, 231–32 Webster, Beveridge, 237, 257 Webster, Daniel character, 25–26, 104–6, 204–14, 420–24, 427–29, 432, 434–37 speech to the jury, 23, 26, 273

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Webster, Daniel (reviewer) “New Recordings: Classical,” 403 “New Recordings: Classical: Douglas Moore,” 445 Webster, Neil, 181 Webster’s Biographical Dictionary (Slonimsky), 346 Webster’s New World Dictionary of Music (Slonimsky), 345 “Webster’s Song” from The Devil and Daniel Webster (Moore), 15, 23, 26, 104–6, 213–14, 308, 423, 427, 429 wedding guests (characters in The Devil and Daniel Webster), 204 Weed, Janet, 193 Weeden, Louise Fessenden, 3, 289 Weekly People, 275 Wegman, Ann, 205 Weidner, Frederick, 104 Weill, Kurt compared to The Ballad of Baby Doe, 392 Down in the Valley, 38, 421 Mahagonny, 421 Street Scene, 356, 371 White Wings, interest in, 20 Weill Recital Hall, 233 Weinstock, Herbert “America: ‘Bomarzo’ Fails to Shock,” 416 “America: New York: ‘A Genuine Hit’ ”, 403–4 Weirick, Paul, 122 Weisbrod, John H., 207 Weiss, Anne, 341 Weiss, Irving, 341 Weiss, Larry, 191 Weiss, Samuel, 236 Weitzel, Harold. “A Melodic Analysis of Selected Vocal Solos in the Operas of Douglas Moore,” 263 Welch, Roy. “Further Initiation Rites,” 338 Welcher, Dan, 150 “Welcome with a Dashing Song” from The Headless Horseman (Moore), 125 Weld, Larry. “Festival Concert Fills Hall,” 481 “We’ll Dance the Night Away, Boys” from The Devil and Daniel Webster (Moore), 213

Welles, Orson, 25 Wells, Elizabeth, 199 Welting, Ruth, 87, 191, 352, 392 Wendelken-Wilson, Charles, 193 Wentworth, Richard, 181, 187 Werch, Shifra, 195 Werdern, Peter, 232 “We’re Maidens of Dutch Descent” from The Headless Horseman (Moore), 125 Wermine, Bette, 230 Werner, M.R, 12 Werth, Benjamin, 198 Wesleyan University Press, 320, 355 Wesner, Don, 219 Wessler, Dan, 204 West, Christopher, 245 West, Elisabeth, 271 West, Ewan Concise Oxford Dictionary of Opera, The, 338 Oxford Dictionary of Opera, The, 338 West, Maria, 96, 188, 190, 202 West, Stephen, 194 West, William D. “Reports: U.S.: Cooperstown,” 445 West Chester, PA, 218, 243 West Chester State Teachers College Sinfonietta, 243 West Hartford, CT, 223 West High School (Wichita, KS), 202 West Newton, Mass., 3, 158, 289 West Texas State University, 219 West Virginia University, 211 Westchester County Children’s Association, 451 Westerly, RI, 243 Western Electric, 145 Western Reserve University, 11, 14 Western Washington State College, 188, 281 Western Washington State University, 199 Westerville, OH, 200 Westminster Chapel (Westminster Choir College), 235 Westminster Choir, 26, 102 Westminster Choir College, 203, 235 Westminster Records, 104, 306, 421, 423, 425–29, 432–33 Weston, CT, 226, 457

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Westren Winde (Moore), 173–74, 500, 508 Westrup, Jack Collins Encyclopedia of Music, 346 editor, 340 New College Encyclopedia of Music, The, 346 Wetson, Julianne, 195 “We’ve Always Known Each Other” from Wings of the Dove (Moore), 177 WFMT, 350 Wharton, Edith. Mother’s Recompense, The, 53 Wheeler, Hope, 189 Wheeler, John, 182 Wheeler, Josh, 121, 209, 221 Wheeling, WV, 210 “When I Lays Down” from War Songs (Moore), 7, 172–73, 495 “When I Was a Reckless, Roving Youth” from The Headless Horseman (Moore), 24, 125 “When that I Was and a Tiny Little Boy” from Twelfth Night (Moore), 166 “When the Drive Goes Down” (Moore), 40, 131, 174, 500, 507 Whitaker, John M., 208 Whitchurch, Norma, 223 White, Andrew, 207 White, Arthur, 216 White, Dorothy, 87, 183–84, 211 White, Kenneth, 180 White, Lou, 207 White, Michael. “Critics: Records; Classical, The,” 404 White, Orville, 185, 394 White, Paul conductor, 242, 481 Voyage of the Mayflower, The, 454 White, S., 220 White House, 309 White Wings (Moore) analysis, 22, 262–63, 332 in chronology, 498 in classified list, 503 compared to The Devil and Daniel Webster (Moore), 481 description, 174–75, 262, 277, 288, 332 dictionary entry, 302 libretto of, 21, 258, 262, 332, 482

653

“Melodrama and Procession,” 175, 245, 498, 504 overture to, 22, 175, 245, 483, 498, 504 performances, 38, 244, 481–83 photographs, 482 play by Philip Barry, 20–21 plot synopsis, 21–22, 332, 482 production, 286 production problems, 21 reviews, 481–83 revisions, 482 work by Moore, 299 Whitfield, Philip, 204 Whitford, Ione, 480 Who Was Who in America, 348 Whoop It Up, 122–23 Who’s Who in America, 346–7 Who’s Who in America with World Notables, 347 Who’s Who in Music and Musicians’ International Directory (Potterton, ed.), 347 Who’s Who in Music and Musicians’ International Directory (Townsend and Simmons, eds.), 347 Who’s Who in New York (City and State) (Downs, ed.), 347 Who’s Who in the East [and Eastern Canada], 347 Who’s Who of Pulitzer Prize Winners (Brennan and Clarage), 340 Wichita, KS, 65, 202, 220, 416 Wichita Eagle, 279 Wichita Eagle and Beacon Magazine, 416 Wichita River Festival, 220 Wichita State University, 279 Wichita Sunday Eagle and the Wichita Beacon, 276, 417 Wier, Albert E., ed. Macmillan Encyclopedia of Music and Musicians in One Volume, The, 348 Songs to Sing to Children, 101 Wikipedia, 269, 284, 289, 300, 325–26, 334 Wilberscheid, Elizabeth, 245 Wilcox, Carol, 188 Wilcox, Janis, 181 Wilde, Oscar Ideal Husband, An, 6, 339 at the Tabor Opera House (Leadville), 330

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Wilder, Rex, 209 Wilder, Thornton friend of Moore, 6, 18 Our Town, 32 reading by, 310 Wildes, Rose, 87, 191 Wilhelm, Howard, 205 Wilhelm, Kurt, 193–97 Wilhouski, Peter, 242 Wilkes, Jocelyn, 192 Wilkins, Ernest H., 335 Wilkins, Fred, 247 Wilkins, Terry, 189 Will, Mary Ertz “Rochester Hears American Novelties,” 454 “Rochester Hears American Works,” 464 Willamette University, 211 Willard Hotel, 46, 85, 200, 299, 303, 389 Willauer, Marguerite, 211 Williams, Alex (clarinetist), 232 Williams, Alexander. “Music: Conservatory Orchestra,” 464 Williams, Bob. “On the Air,” 446 Williams, David, 231 Williams, David McK., 214 Williams, Emma, 5, 235 Williams, George, 368 Williams, Grant, 87, 182–83, 210 Williams, Juliette, 193 Williams, Lee, 189 Williams, Tennessee characters compared to mother role in Carry Nation, 413 Seven Descents of Myrtle, The, 410 Williams College, 209, 217, 335 Williams College Glee Club, 234 Williams Collins Sons (publisher), 346 Williams Memorial Institute, 223 Williamson, John Finley, 102 Williamson, Margaret Thorniley, 103 Williamson, Marjorie, 204 Williamstown, MA, 209, 217 “Willie the Weeper” from War Songs (Moore), 7, 173, 495 “Willow Song.” See Ballad of Baby Doe, The (Moore) Willys, 72 (illus.), 263, 301

Wilshire Presbyterian Church (Los Angeles), 222, 449 Wilson, Alexander F., 339 Wilson, Asher, 188 Wilson, Conrad, 346 Wilson, Dolores, 49, 181, 348–49, 351, 357–58, 362, 370, 400 Wilson, Frank. “A Look at the ‘Living Presence’ Discs,” 464 Wilson, Harry R., 204 Wilson, Illinois, 231 Wilson, James, 186 Wilson, Joemy, 190 Wilson, Joseph, 192 Wilson, Keith L., 108, 123, 163–64, 214, 505 Wilson, LeMarr, 231 Wilson, Mary Pat, 209 Wilson, Muriel, 222 Wilson Auditorium, 207 Winburn, Janet, 190 Winden, William, 208 Windle, Erin, 194 Windsor Hotel, 85, 404 Winell, Roger, 201 Wings of the Dove (Moore) analysis and description, 55–58, 175, 262–63, 288, 295–96, 307, 332, 337 ballet, 484–85, 488 characters, 55 in classified list, 503 completion, 58 dictionary entry, 302, 305 “Dove Song,” 56, 176, 484 Ford Foundation grant, 58, 336–37 “He Will, He Must,” 484 history of composition, 53 “In Ancient Times There Was a God,” 176–77 libretto, 176, 253, 258, 295–96, 307, 332, 483, 485–89, 491 “Masque of Janus, The,” 54, 57, 176–77, 307, 488–89 motive, recurring, 55–56, 56 (ex. 2) orchestration of, 68, 487 performances, 59, 245, 306–7, 483–89 photographs, 485, 487–88 production, 286, 312 publication, 306

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INDEX

reviews, 319, 483–89 synopsis, 54–55, 286, 295–96, 332, 484 text setting, 55 vocal ranges in, 55 “We’ve Always Known Each Other,” 177 in works listing, 269 Winkler, Norbert, 208 Winn, John, 183 Winne, Lvere, 207 Winona State College (Winona, MN), 219 Winship, Frederick M. “American Opera Comes of Age,” 489 “Calls “Dove” Best U.S. Opera,” 489 “New Opera in Gotham Gets Rave,” 489 “Opera Wins Raves at N.Y. Premiere,” 489 Winslow, Margaret E., 136 Winter, Eric, 274 Winter-Atlas Productions, 274 Winters, Konrad, 198 Winters, Lawrence, 104, 378, 421, 432 Winters, Marilyn, 181 Wintner, Lee, 206 Wisconsin Festival, 202 Wise, Edward, 209 Wiseman, Samuel, 206 Wisnofsky, Anne Marie, 188, 190 Wist, Abby, 199 Witkowska, Nadja, 188, 471 Wittenburg, Michael Shane, 221 WJZ, 24, 222, 224, 449 Wlaschin, Ken. Opera on Screen:, 339 WMAL (Washington, D.C.), 320 WNET, 93, 400 WNYC Festival of American Music, 180, 200–201, 221, 225, 232–33, 238–39, 241, 472 performances of “Adam Was My Grandfather” (Moore), 180 Ballad of Baby Doe. Excerpts (Moore), 200 “Brown Penny” (Moore), 201 Devil and Daniel Webster, The (Moore), 210, 213 Down East Suite (Moore), 215 Farm Journal (Moore), 216 Five Shakespeare Songs. “Sigh No More, Ladies” (Moore), 233

655

Giants in the Earth. Excerpts (Moore), 221 “I’ve Got a Ram Goliath” from The Devil and Daniel Webster (Moore), 213 In Memoriam (Moore), 224 “Not This Alone” (Moore), 225 Power and the Land. Suite (Moore), 229 “Sea That Is My Song, The” (Moore), 233 Sonata for Violin and Piano in D Minor (Moore), 235 Songs (Moore), 235 String Quartet (Moore), 237 Suite for Piano (Moore), 237–38 Symphony in A (Moore), 238–39 Three Sonnets of John Donne (Moore), 240 Trio for Piano and Strings (Moore), 240 “Under the Greenwood Tree” (Moore), 241 Youth Gets a Break (Moore), 245 Wockenfuss, Mr., 200 Wohl, Grete, 235 WOL, 431 Wold, Donovan, 181 Wolf, Esther, 225 Wolf, Hans, 211 Wolf, Hugo, 267, 471 Wolf, Sally, 194 Wolf, T. B. “ The Stroller, 339 Wolfe, Craig, 193 Wolfe, Dan, 219 Wolfes, Felix, 180, 200, 213 Wolff, Barbara, 215 Wolff, Beverly, 96, 201–2, 407–17 Wolff, Ernst Victor, 225 Wolff, Greta, 87, 182–83 Wolffers, Jules. “Opera Twin Bill Opens Arts Festival,” 438 Wolf’s Head Society, 5, 8, 41, 283, 339 Wolmut, John T., 208–9 Wolter, Edward, 222 Wolters, Larry. “Where to Dial Today,” 404 Woman in White, The (Collins), 53 Woman’s Athletic Club (Chicago), 206, 332 Women’s Clubs, 339 “Wonderful Violin, The” Young People’s Records (Moore), 36, 179 Wong, Deborah, 150 Wong, Wayne, 199

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Wood, Audrey, 20 Wood, Gardiner W., 157 Wood, Liz. “Cutchogue’s Own,” 491 Woodberry Forest School (Woodberry Forest, VA), 223 Woodbury, Ward, 208 Woodmansee, Anne, 189 Woodmere (Lawrence) Academy (Woodmere, NY), 229 Woodmere Chorale, 229 Woods, Darren Keith, 105, 211–12, 421 Woods, Sheryl, 194, 367 Woodsfield, OH, 292 Woodside, Robert, 208 Woodstra, Chris, 336 Woodward, Enid, 209 Woolsey Hall (Yale University), 216, 227, 238, 246 Woonsocket, RI, 243 Wooster, OH, 214, 217 Wooten, W. Chapman, 208 WOR, 205, 213, 216, 226, 238, 459 Wor, Magdalena, 200, 389 WOR Symphony, 226 Worcester Evening Gazette, 428 Worcester Festival Opera Chorus, Dance Group and Orchestra, 206 Worcester Music Festival (Worcester, MA), 205–6, 430 Worcester Telegram, 430, 435 Word and Music Studies, 295 “Words and Music” (New York Times panel), 265, 268, 297, 319, 324 “Words and Music by Irving Berlin” (Moore), 260 Works Progress Administration (WPA), 21, 200, 226–28, 236, 239, 245, 325, 406, 456, 482–83 Works Progress Administration Composers ForumLaboratory, 200, 236, 406 Worland, Tommy. “Summer Theatre Presents Brilliant ‘Baby’ ”, 404 World Book Encyclopedia, The, 343, 348 World of Music: An Illustrated Encyclopedia (Sandved and Hagerup, eds.), 329, 348 World of Twentieth-Century Music, The (Ewen), 288 World So Wide, The (Upshaw), 92, 354, 379, 382, 391, 398, 404

World War I, 7, 18, 31, 253, 255, 272, 329, 480 World War II, 25, 250, 253, 261, 305, 328, 452, 481 World’s Fair (New York, 1939), 25, 435 World’s Great Operas, The (Howard), 298–99 Worst of Farm Disasters, 94, 146, 177–78, 331, 499, 504 Worthington, Don, 210 Wozzeck (Berg), 248 WPA, 21, 200, 226–28, 236, 239, 245, 325, 406, 456, 482–83 WPA Composers Forum-Laboratory, 200, 236, 406 WPTZ, 232 WQXR, 38, 210, 213, 229, 232, 238, 240, 242, 400, 454 Wright, Martha, 219, 444–45 WTAM, 226 Wustman, John, 106, 203 Wuthering Heights (Brontë), 61 Wuthrich, Terry, 194 Wyant, William K. “Composer Urges Operas in English,” 339 Wyatt, Walker, 220, 442 Wylie, Elinor, 10, 84, 310 Wyner, Elizabeth “Denver’s Party Line: Society All Dolled Up for ‘Baby Doe’ Premiere,” 405 “Denver’s Sunday Party Line: Society Turns Out in Full Splendor for Central City,” 405 Wyner, Susan Davenny, 197, 364, 375, 384, 391 Wyner, Yehudi, 240–41, 490 X Xerses (Handel), 455 Y Yaberg, Gloria, 206 Yaddo Festival, 213, 235–36 Yakes, Lynn, 192 Yale, Elihu, 41 Yale Alumni Magazine, 298 “Yale Boola,” 122–23 Yale Daily News, 261 Yale Glee Club Associates, 122, 293 Yale Review, 249–51, 259

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Yale University Arts and Letters Fellow of Timothy Dwight College, 58, 278–79, 307 Audio Visual Center, 123 Band, 108, 123, 214 Banjo and Mandolin Club, 4, 304–5 Centennial Concert, 238, 473 Dramatic Association, 6, 8, 231, 335, 339 Elizabethan Club, 6, 8, 98–99 Glee Club, 5, 122–23, 293, 304–5 honorary doctorate, 49, 266. 298, 305 Kelleher, Bradford, alumnus, 32 manuscripts, location of “Apple Boughs Bend, The” (Moore), 84 Crossing, The (Moore), 100 Dirge (Moore), 108 Fantaisie Polonaise (Moore), 112 Fugue in F Minor (Moore), 118 “I’ve Got a Ram, Goliath” (Moore), 106 Music for Yale Pageant (Moore), 136 Sonata for Violin and Piano in D Minor (Moore), 156 Sonata for Violoncello in D Major (Moore), 157 Variations on a Theme in G Major (Moore), 169 Orchestra, 238 Pageant, 7, 136, 495, 505, 507 performances, 214, 216, 218, 231, 234–35, 238, 246, 293, 304–5, 335, 339, 473 Pierson College, 210 Quartet, 235 School of Music, 482 student years friends from, 22, 31, 420 Lindsay, Vachel, meeting, 6, 11, 285 students, 58, 278–79 studies by Moore, 68, 112, 291, 294 Summer School of Music and Art, 218 Wolf ’s Head Society, 5, 8, 41, 283, 339 Yalies, 41 Yannatos, James, 206 Yarick, Doris, 185–86, 355, 398 Yauger, Margaret, 192 Yeaman, Diana Smith, 185 Year in American Music, 1946–1947, The (Bloom, ed.), 274, 299

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Year in American Music (1948), The (Ewen), 288 Yeargan, Michael, 196–97 Yeats, William Butler, 6, 32, 51, 95, 97, 157 Yenne, Vernon, 220 Yessin, Gerson, 164 YMCA Auditorium (Philadelphia), 203 YM-YWHA (New York), 201–2 Yoder, Paul, 122, 344, 505 Yonan, Chris, 195 Yontz, Mary Elaine. “Douglas Moore’s Giants in the Earth”, 339 York Theatre Company, 89 Young, Allen “Alternate Cast Heard: Second Performance of ‘Baby Doe’ Given,” 405 “Ballad of Baby Doe, The” in Opera in Central City, 340, 405 “Central City Triumph: ‘Baby Doe’ Praised as Forceful, Original,” 405 “Music, Song and Dance in Denver: ‘Baby Doe’ and ‘Silk Stockings’ ”, 405–6 “Music and Dance: ‘Baby Doe’ Heads List of 10 Regional Musical Bests,” 405 Opera in Central City, 405 Young, Brad, 223, 450 Young, Doris, 104, 429 Young, Stark, 268 “Young Composers after the War” (Moore), 261 Young Keyboard Jr. (School Edition), 254, 292, 300, 314, 316, 327 young man (character in Carry Nation), 95–96, 202 Young Musicians’ Orchestra, 245 Young People’s Concerts, 215 Young People’s Records, 36–38, 110, 149, 178–79, 247, 439–40, 454, 500, 509–10 “Younger Generation and Music, The” (Moore), 261 Youngstown, OH, 218, 226 You’re in the Army Now, 13 “Youth at Work” from Youth Gets a Break (Moore), 180 “Youth Discouraged” from Youth Gets a Break (Moore), 180 “Youth Gains Confidence” from Youth Gets a Break (Moore), 180 Youth Gets a Break (Moore), 27–28, 170, 179–80, 313, 499, 504

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DOUGLAS MOORE: A BIO-BIBLIOGRAPHY

Youth Gets a Break. Suite (Moore), 27, 179–80, 245, 499, 504–5 Yugoslavia, 28, 250, 271 Yule, Don, 87, 96, 187–91, 198, 202, 222 Yutang, Lin, 268 Z Zakariasen, William, 182–84 Zaneteas, Bettina, 200, 397 Zanger, Brenda, ed. “Donald Oenslager: The Ballad of Baby Doe, 1956,” 355 Zaslav, Bernard, 237 Zeitler, Jean, 207 Zeller, Richard, 197, 351, 381 Zelnis, Edward, 195 Zenei lexikon (Szabolcsi and Tóth), 343 Zijlstra, Miep, ed. Algemene muziek encyclopedie, 340 Zimmer, W. D. “Reports: U.S.; New York,” 417

Zimmermann, Christoph. “Bielefeld: Bühnen der Stadt Bielefeld,” 406 Zimmermann, Robert, 198 Zimmermann, Walter, 392 Zinman, David, 92 Zolezzi, Mark, 195 Zondergeld, Rein A., 373 Zook, Carol “Medicine Lodge Honors Composer Who Made Heroine of Carry Nation,” 417 “Opera to Premiere at KU in April,” 417 Zornow, William Frank. Kansas, 316 Zuckerman, George, 232 Zuercher, Mary, 193 Zvuk, 394 Zwilich, Ellen Taaffe, 150 Zynda, James, 194

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M u s i c L i b ra r y A s s o c i a t i o n I n d ex a n d B i b l i o g ra p hy S e r i e s

M u s i c L i b ra r y A s s o c i a t i o n I n d ex a n d B i b l i o g ra p hy S e r i e s

Douglas Moore: A Bio-Bibliography

This book documents all of Moore's published, unpublished, and recorded compositions along with an exhaustive listing of performances. The annotated bibliography of over 3000 entries includes descriptions of books, dissertations, articles, and reviews both by and about Moore and brings to light a fascinating creative personality in the history and development of American music. Jerry McBride is Head Librarian of the Music Library and Archive of Recorded Sound at Stanford University where he also teaches music bibliography. He was previously Music Librarian at Middlebury College and Archivist of the Arnold Schoenberg Institute. He has written articles and presented papers on Arnold Schoenberg and on a wide variety of subjects in music librarianship. Cover Photo: Douglas Moore, reproduced with permission of the University Archives, Columbia University in the city of New York

I S B N 978-0-89579-666-0

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Douglas Moore: A BioBibliography Douglas Moore: A Bio-Bibliography McBride

Douglas Moore (1893–1969) is best known as the composer of The Ballad of Baby Doe, one of the few American operas to enter the operatic repertory. He also composed songs, chamber and orchestral music, and six other operas, including The Devil and Daniel Webster. Early in his career he turned to American subjects for inspiration. At a time when many composers were writing ever more adventurous music, he steadfastly continued writing tonal music in traditional forms. His influence was felt far beyond his work as a composer through his work as an educator and administrator. He was a significant advocate for American composers and musicians, especially during the 1930s and 1940s, when American composers were not held in high regard, and he initiated the recording company, Composer's Recordings, Inc. to make music of important American composers widely available regardless of the music's commercial viability. He was professor of composition and head of the music department at Columbia University for over thirty-five years and President of the American Academy of Arts and Letters. His leadership in founding the Columbia Opera Workshop established a model for college and university workshops throughout the country when there were few professional opera companies in the United States and almost no opera training opportunities for musicians and composers in America.

Jerry L. McBride

780895 796660

Í A-R Editions, Inc.