Rowman & Littlefield Publishers
Pages: 300
Trim: 6½ x 9⅜
978-0-8108-8439-7 • Hardback • July 2014 • $70.00 • (£54.00)
978-0-8108-8440-3 • eBook • July 2014 • $66.50 • (£51.00)
R. James Tobin has been writing about classical music for many years. Reflecting his training in cultural history and aesthetics, his doctoral dissertation at the University of Wisconsin was Judging the Avant-garde: Originality and Value in the Arts. Now retired from the University of Wisconsin-Milwaukee, he continues to write for classical.net.
Preface
Chapter 1: Introduction: What Was Neoclassicism and What Became of It?
Chapter 2: European Influences on American Neoclassicism
Chapter 3: Edward Burlingame Hill: A Link to Paris
Chapter 4: Walter Piston: Spanning Two Generations
Chapter 5: Harold Shapero
Chapter 6: Irving Fine
Chapter 7: Arthur Berger
Chapter 8: Lukas Foss—His Early Period
Chapter 9: Alexei Haieff
Chapter 10: Ingolf Dahl
Chapter 11: Louise Talma
Chapter 12: John Lessard
Chapter 13: Nicolai Lopatnikoff
Chapter 14: Aaron Rabushka
Chapter 15: Conclusion
Discography
Bibliography
Index
About the Author
With his subtitle, Tobin describes the traditional nature of the musical neoclassicism. Inspired by Harold Shapero's Symphony for Classical Orchestra and by his own listening over the last half century, Tobin hopes to champion American 'classical' music as an alternative to current programming. The chronology of composers ranges from Edward Burlingame Hill to Aaron Rabushka and in degree of familiarity from Walter Piston and Lukas Foss (and perhaps Louise Talma, the only woman) to unknown and/or neglected composers writing between the 1920s and 1950s under the influence of Stravinsky and Hindemith. Tobin writes for the listener from a listener’s point of view, and many pieces are available, using Spotify, to listen to while reading his overviews. Recognition of the limits of the tonal system presaged the end of the movement, even though, as John Lessard, one of the composers, writes: 'Everybody does it differently.' Notes, bibliography, and selected discographies are appended. Those interested in the . . . Second Boston School and musical activity at Harvard will find much material here, as will any reader interested in this aspect of 20th-century music. Summing Up: Recommended. All readers.
— CHOICE
Tobin’s book is an elegy for music whose ‘clarity and restraint’ he sees as providing the ideal antidote to ‘the gratuitous complexities of musical modernism’. . . .Tobin boldly compares Shapero’s quality of ‘triumphant joy’ with Schubert’s Great C Major Symphony.
— Music & Letters
Tobin . . . works to a clear thesis, with two really strong chapters – one at the beginning, and one at the end – setting out the book's thesis and then firming it up through recap. In addition, Tobin asks provocative questions about the worth of the movement and about artistic influence, among others.
— Classical Net
This is a generous book dealing with a group of composers whose reputations have declined. Tobin announces his intentions to ‘fill a widening gap in music history’; to stimulate interest in the American neo-classical composers; and to ‘serve as a resource for collectors of recordings and for concert and broadcast programmers’. . . .Tobin makes a convincing claim for giving the American neo-classicists a second chance with their satisfying, unfamiliar music – advice worth following. The book is well produced with notes on sources, recordings, short bibliography and an index.
— Gramophone
The descriptions of music found in Neoclassical Music in America are . . . vivid, clear, and concise. . . .Tobin’s writing is engaging and unassuming, and the author’s deep interest in and knowledge of his subject is palpable. . . .Students of twentieth-century music will find in Neoclassical Music in America a wealth of topics that are ripe for continued research. Indeed, this book offers a welcome starting point for further investigation into a network of fascinating—and neglected—figures and compositions.
— Notes: Quarterly Journal of the Music Library Association
Tobin offers original insight, and this is where his pages shine. The prime example is his lengthy chapter on Harold Shapero (who is pictured on the cover), which features information gained only through personal contact and correspondence.... Tobin's ... aim, that of providing a 'resource for collectors of recordings and for concert and broadcast programmers,' is easily the most successfully met....If there are any concert and broadcast programmers willing to program these composers and works, either now or in the future, they will certainly find much valuable content here.
— American Music
I was really impressed by Tobin’s writing. He avoids a dry academic style and offers a perfect mix of musical, professional, and personal details.
— Hannah Pyracantha Shapero, daughter of Harold Shapero
Tobin's book will be an essential record of this mid-twentieth century music for all libraries and music departments. His intensive interviewing of the composer Harold Shapero is notably impressive, and the excellent account of Alexei Haieff is the best I have ever read. To call this an exceptional job is way below an understatement. An outstanding book!
— Andre Haeff