By Kenneth W. Hart
this can be the 1st biography of this significant determine, and it really is instructed from the point of view of an established colleague and buddy. Aligned with the biography, Kenneth W. Hart analyzes a few of Pfautsch's countless numbers of compositions. this can be the definitive paintings on some of the most influential American choral musicians of the 20th century.
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Extra resources for A Day for Dancing: The Life and Music of Lloyd Pfautsch
Pfautsch also achieved “on-call” status with both the NBC and CBS choruses, singing with many famous conductors during that period. Pfautsch remembers the work with Toscanini fondly. While the fiery Italian could be very unpleasant to any orchestral player he The Dance of Promise o 29 found lacking, he also had such enormous charisma that “you knew you were going to do your very best; nothing less. ” The legendary conductor also expected it of himself. He could just walk into the room and it made a difference.
She begins the composing process with a study of the words and then expresses them through music, not the other way around. Pfautsch espoused the same approach. Further, both evaluate new choral music by first examining the text, next the validity of the relationship between the melody and the text, and finally the form and texture and their ability to express that text. Consequently, both absorbed Shaw’s famous emphasis on diction and added to his approach their 52 o A Day for Dancing own tricks and techniques to achieve absolute textual clarity with a choir in a way that enhances the meaning of the words and yet sounds completely natural to the listener.
Aside from absorbing what Shaw learned as it was shared with the chorus in rehearsal, Pfautsch also worked directly with Herford as he was preparing to enter the MSM program at Union Theological Seminary. He clearly understood the concept of analyzing the music one intends to conduct before ever approaching the ensemble for a first rehearsal. As we shall see later, Pfautsch was able to invite Herford to SMU as well, for further study and reflection. The Dance of Promise o 47 In these early years Robert Shaw was a demon for perfection in matters beyond diction as well.