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Saint-Georges, Le Chevalier de
Sancho, Ignatius
Smith, Hale
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Sowande, Fela
Still, William Grant
Walker, George Theophilus
White, José Silvestre
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       The Toledo Clarinets
       Lyric Quartette
(15:18)
     Christmas in the Western
    World (Las Pascuas)
(18:51)
    Shannon Ford, Georg Klaas,
   Jocelyn Langworthy, Elliott
   Ross, Kevin Schempf,   Chelsea   Tipton II, clarinets;
Greg Kostraba, piano
Cambria CD-1190 (2009)

 

 


 

 

 

 

 

 

 


William Grant Still Symphonies Nos. 4 and 5; Poem for Orchestra
Fort Smith Symphony
John Jeter, Conductor
Cover Art: Currier & Ives
Naxos 8.559603 (2009)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


  Africa: Piano Music of William Grant Still
Koch 3 7084 2H1 (1991)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


William Grant Still, Conducting
(Photo is the sole property of William Grant Still Music, and is used with permission.)
www.williamgrantstill.com 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Home -> Composers -> Still, William Grant

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William Grant Still  (1895-1978)

African American Composer, Arranger, Conductor & Oboist

Dean of African American Composers


 


Table of Contents

  1 Birth
  2 Youth
  3 Instruments
  4 Wilberforce University
  5 Oberlin College
  6 W.C. Handy
  7 Musical Training
  8 Shuffle Along
  9 Harlem Renaissance
10 Genres
11 Classical Composer
12 Darker America
13 Arranger
14 John Alden Carpenter
15 Artistic Maturity
16 Deep River Hour
17 Conductor
18 Afro-American Symphony
19 Symphonic Debut
20 Recognition
21 Grace Bundy Still
22 Europe
23 La Guiablesse
24 Song of a New Race
25 Guggenheim
26 Los Angeles
27 Public Relations
28 Columbia Pictures
29 Opera
30 Kaintuck'
31 Hollywood Bowl
32 Lenox Avenue
33 1939 World's Fair
34 A New Family
35 Dances
36 Sunday Symphony
37 Africa
38 In Memoriam 
39 Poem for Orchestra
40 Symphony No. 4
41 Symphony No. 5
42 Skyward My People Rose
43 Piano Music 
44 Romance
45 Lyric Quartette
46 Christmas Songs
47 Death
48 Legacy
49 Resources
50 Works
51 Bibliography      
 

 


William Grant Still
(Photo is the sole property of William Grant Still Music, and is used with permission.)

 

 

 

 

 


My Life, My Words: The Autobiography of William Grant Still, American Master Composer; With additional material by Judith Anne Still; The Master-Player Library, Flagstaff, Arizona (2011)
Available at
William Grant Still Music

 


William Grant Still conducting the Los Angeles Philharmonic at the Hollywood Bowl in a piece titled Old California that he wrote for the city of Los Angeles’ Birthday Concert on Sept. 8, 1965. (http://dornsife.usc.edu/)

Audio Sample:
1
Cedille 90000 055 (2000); African Heritage Symphonic Series,
   Vol. I
; Chicago Sinfonietta; Paul Freeman, Conductor
   Symphony No. 1 (Afro-American)

2 Koch International Classics 3-7084-2 H1 (1991); Africa: Piano
   Music of William Grant Still
; Denver Oldham, piano
   Blues From "Lenox Avenue"
3
Koch International Classics 3-7192-2 H1 (1994); William Grant
   Still: Summerland
; Alexa Still, flute; Susan DeWitt Smith,
   piano;
   New Zealand String Quartet Summerland
4
Koch International Classics 3-7154-2 H1 (1993); William Grant
   Still: La Guiablesse, Danzas de Panama, Quit Dat Fool'nish,
   Summerland
; Berliner Symphoniker; Isaiah Jackson, Conductor
   Danzas de Panama


1 Birth
Dominique-René de Lerma, Professor of Music at Lawrence University, has specialized in African heritage in classical music for four decades.  He has kindly made his research file on William Grant Still available to this site.  William Grant Still was born in Woodville, Mississippi on May 11, 1895.  He was the son of two teachers, Carrie Lena Fambro Still (1872-1927) and William Grant Still (1871-1895), who was also a partner in a grocery store. 

2 Youth
Young William was only three months old when his father died.  Carrie Still then took him to Little Rock, Arkansas, where they lived with her mother.  She taught high school English there for 33 years.  During William's childhood Carrie married Charles B. Shepperson, a postal clerk.  He bought many 78 rpm records of opera, which the boy greatly enjoyed.  The two attended a number of performances by musicians on tour. 

3 Instruments
William started violin lessons at age 14.  Prof. De Lerma notes that the youth also taught himself how to play the clarinet, saxophone, oboe, double bass, cello and viola, and showed a great interest in music.  His maternal grandmother introduced him to African American spirituals by singing them to him.  At age 16 he graduated from M. W. Gibbs High School in Little Rock. 

4 Wilberforce University
His mother wanted him to go to medical school, so Still pursued a Bachelor of Science degree program at Wilberforce University in Ohio from 1911 to 1915.  He then dropped out of school.  On October 4, 1915 he married Grace Bundy, an acquaintance from Wilberforce.  Prof. De Lerma explains Still's dissatisfaction with the school:

He was unhappy at Wilberforce where he directed the band from 1911 to 1915 and made arrangements because there was no music in the curriculum. First recital of his music in 1913.  He moved to Oberlin in 1917, following two years of work in Columbus where in 1914 he began playing the oboe and cello professionally at the Athletic Club. Also played oboe and violin in the tours of the National Guard Band, 1915-1916.

5 Oberlin College
Prof. De Lerma gives the details of Still's studies at Oberlin, which were interrupted by service in the U.S. Navy:

He studied at Oberlin with Maurice P. Kessler (violin), George Whitfield Andrews (composition), Friedrich J. Lehman (counterpoint and theory), and Charlotte Andrews Stevens, and played in the student string quartet.  Made band arrangements. The lure of music was too strong. Further study, made possible by an inheritance from his father, was undertaken in 1917 and 1919 at Oberlin (where he first heard an orchestra).  His stay at Oberlin was interrupted when he enlisted service in the Navy (1918-1919).

Black sailors were restricted to aspects of food service but, when it became known that Still was a trained musician, he was engaged to play the violin for the meals of officers on the U.S.S. Kroonland.

6 W.C. Handy
We learn from the research file that Still returned to Oberlin only briefly before moving to New York City to work for W.C. Handy:

Released from the Navy with the end of the war, he returned briefly to Oberlin and then in 1919 moved to New York, resuming his work with W.C. Handy as performer, arranger, and road manager and in Pace and Handy Music Company Band (he originally began working for Handy, who was then in Memphis, for the summer of 1916 as arranger and cellist).  Then freelanced in Columbus for the fall of 1916.

7 Musical Training
Still's  Afro-American Symphony  has been recorded by the Detroit Symphony Orchestra, under Neeme Jarvi, Conductor, on Chandos 9154 (1993).  Michael Fleming writes of Still's musical training in the liner notes:

His musical training was twofold, embracing the European tradition at Oberlin College, and the African-American in his work with W. C. Handy in New York.  He earned his living playing the oboe in the pit band for the musical  Shuffle Along

8 Shuffle Along
Shuffle Along
  was produced by Noble Sissle and Eubie Blake.  Some of its musical arrangements were done by Still.  The show featured an African American cast and was so successful that it ran for 504 performances in New York City before going on tour.  Still's studies with the composer George Chadwick were without charge.  They took place at the New England Conservatory of Music, where Chadwick was Director, beginning in 1921.  A scholarship enabled him to study composition with the avant garde composer Edgar Varese in New York City for two years.  He also received a Guggenheim and a Rosenwald fellowship.  Prof. De Lerma explains that Still later turned away from the techniques of Varese:

He subsequently abandoned the influence so that he could turn his attention to the folkloric.
                         ...
He also played in the pit orchestra of Dixie to Broadway (1924 and the summer of 1926).  Played in Leroy Smith Orchestra 1926, managed Earl Carroll’s Vanities (1926).

9 Harlem Renaissance
The "Harlem Renaissance", also called the "New Negro Movement", began about the time of Still's arrival in New York City, and continued into the early 1930s.  It proved that African Americans had a rich and vibrant culture which was fast becoming a prominent cultural feature of the United States and the world.  Two leading authors who influenced the movement were W. E. B. DuBois, who wrote  The Souls of Black Folk,  and Alain Locke, author of  The New Negro.  Still was a firm believer and an active participant in the "Harlem Renaissance", and his music showed its influence for the rest of his life. 
He also performed classical music as an oboist with the Harlem Orchestra.

10 Genres
Aaron Myers is a contributor to Africana Encyclopedia. He characterizes William Grant Still as an:

...American composer whose musical works included African American themes and spanned jazz, popular, opera, and classical genres.
                    ...
He created over 150 musical works including a series of five symphonies, four ballets, and nine operas.

11 Classical Composer
Still became a classical composer while working in the record business.  Black Swan Records was a label owned by African Americans.  Prof. De Lerma tells us that Still was the director of Black Swan's classical division from 1921-1922, and was the label's music director from 1922-1924. 

The first performance of a classical work by Still took place on February 8, 1925.  The ensemble was the International Composer's Guild and the work was  From the Land of Dreams.  Still's Darker America  was performed in both 1926 and 1927.   

12 Darker America
Verna Arvey, Still's second wife, writes in her book, In One Lifetime, published by the University of Arkansas Press in 1984, that the composer had not yet settled on his own style of composing when he wrote Darker America:
                      

Yet Darker America won a publication prize at the Eastman School of Music in Rochester (which was to play an important part in Still's life) and was described as the “high spot” of its New York concert by the Musical Courier, which told its readers that “there is no doubting the man's power.”

The Eastman School of Music and its distinguished director, Dr. Howard Hanson, became increasingly important in Still's life.

The author adds that William Grant Still asked the jazz singer Florence Mills if she would sing a work with a classical orchestra if he were to write one for her.  When she agreed, he wrote Levee Land, with four songs for singer and orchestra.   Eugene Goosens conducted the International Composer's Guild in the premiere of the work on January 4, 1926.  Still and the critics were very pleased, and the audience insisted that the performance be repeated on the spot.

13 Arranger
Still had played a variety of instruments to make a living.  When a conductor named Don Voorhees hired Still to do all the arranging for a radio program, Arvey writes, he no longer needed to take jobs as an instrumentalist.  She continues:

Don Voorhees and Still were linked through a couple of historic occasions. When the Columbia Broadcasting System network started, Voorhees broadcast an entire program of Still arrangements on the opening day.  And it was Voorhees who recorded (on a Columbia disc) Still's Fantasy on the “St. Louis Blues,”  the first such arrangement of what is now an American classic ever to be recorded.
                        ...
He scored a number of shows, including Rain or Shine, one edition of J. P. McEvoy's Americana, and Runnin' Wild, the show that contained the first Charleston.  Jimmy Johnson and Cecil Mack wrote the tune; Still was the first to orchestrate it.

14 John Alden Carpenter
Still's friendship with the prominent American composer John Alden Carpenter also furthered his career, Verna Arvey writes:

Through him and his artistic friends in Chicago, Still also became acquainted with that famous dancer and ballet master, Adolph Bolm, and with the latter's pupil, Ruth Page. It was from this association that Still's “La Guiablesse” was born.

Prof. De Lerma notes that Still also composed the music for Paul Whiteman's 1929 film The King of Jazz.

15 Artistic Maturity
Still's successes in 1930 were evidence of his artistic maturity as a composer.  In that year his African ballet Sahdji made use of a scenario by Alain Locke, Arvey relates.  Though the play lasted nearly an hour, the music was composed within a month.  She elaborates:

Sahdji, which Still dedicated to Howard Hanson, became the first ballet produced as a part of the American Music Festivals in Rochester, and starred Thelma Biracree as choreographer and soloist.  Its success paved the way for productions of other ballets by other American composers at the Eastman School.

Buoyed by an October 24 (1930) performance of Africa, in Rochester, Still launched another ambitious venture, his now-famous Afro-American Symphony, which he constructed on an original theme in the blues idiom.
                         ...
He started work on this symphony on October 30, 1930. Ideas came to him so rapidly that he could hardly record them.

At the same time that Still found emotional fulfillment in composing, his relationship with his wife grew more strained.

16 Deep River Hour
Verna Arvey relates that the composer's concentration was interrupted by awareness that because of the Depression, he was unable to pay his bills.  Money was owed him, but he could not collect it, she writes.  A short time later, Don Voorhees asked him to do some arranging for the Maxwell House Coffee radio show he conducted.  The author continues:

The orchestrations so pleased Willard Robison, the guest soloist on the show, that he asked Still to orchestrate his new radio program, the “Deep River Hour.” Still agreed.  The “Deep River Hour” gained an immediate and enthusiastic following among musicians, partly because of the unique orchestral effects.  What few of them realized was that its orchestrator was using it as a musical training ground: trying out new tone combinations, experimenting with harmonies and rhythms, and in general bringing to it the freshness of his youth and his creative ideas.
                         ...
Still's work on the songs involved actual composing, and was far more than what is usually meant by “arrangements.”

17 Conductor
We learn from the author that the program had trouble finding a suitable conductor, so the musicians suggested Still for the position.   She continues:

It seemed to Still to be a workable solution.
                   ...
So Still became the first Negro ever to conduct a white radio program.
                    ...
Still had no formal training in conducting, therefore very little knowledge of baton technique.  All he knew was what he wanted to hear from the orchestra, so the orchestra members became his teacher. Move by move, they showed him what they had to see him do in order to get the effects he wanted.

Learning to conduct also helped him in composing; he had never before known how things look to a conductor.  It was an entirely different point of view.
                     ...
Eventually the “Deep River” moved from CBS to NBC, where the officials adamantly refused to have a Negro conduct the orchestra, so someone else was called to do it.

18 Afro-American Symphony
Dominique-René de Lerma comments on Still's  Afro-American Symphony  in Africana Encyclopedia:

A contemporary of Work and Dawson, William Grant Still based his first symphony, the  Afro-American Symphony  (1930), on the blues and his experience as a jazz arranger.

Michael Fleming quotes the composer in the liner notes for Chandos 9154 (1993):

I knew I wanted to write a symphony; I knew that it had to be an American work; and I wanted to demonstrate how the blues, so often considered a lowly expression, could be elevated to the highest musical level.

Other noteworthy recordings of the  Afro-American Symphony include one by the Royal Philharmonic Orchestra, conducted by Karl Krueger, on Bridge 9086 (1999).

19 Symphonic Debut

The first performances of the  Afro-American Symphony were given by the Rochester Philharmonic, with Howard Hanson conducting, on Oct. 28 and 29, 1931.  The liner notes explain the significance of the composer's symphonic debut:

Howard Hanson [1896-1981], who conducted the premiere with the Rochester Philharmonic in 1931, was a noted exponent of contemporary American music.  Once he had paved the way, others moved quickly to take up Still's cause: the New York Philharmonic gave the New York premiere of the symphony in 1935 at Carnegie Hall.

Verna Arvey emphasizes the impact of a national tour of the
Philadelphia Orchestra:

Possibly Still's symphonic music received its greatest North American publicity when Leopold Stokowski played the fourth movement of the Afro-American Symphony on his cross-country tour with the Philadelphia Orchestra, for this tour was advertised extensively.

20 Recognition
By 1931, William Grant Still's music was being heard and appreciated in a growing number of venues, the author tells us:

Thanks to Howard Hanson, Still didn't lack performances of his work, and the results were gratifying. After the first rehearsal of Sahdji in May of 1931, Hanson wrote to say that the orchestra members put down their instruments and applauded, as the audience applauded after the performance. In the 1931-1932 season, Hanson also played the Afro-American Symphony and then repeated it at a subsequent concert, after which its composer was given a standing ovation by the audience.

 21 Grace Bundy Still
Verna Arvey writes that in 1932 Grace Bundy Still moved to Canada with their son and three daughters as well as her mother:

Around this time (1932) Still's wife, obviously as discontented as he, took her four children and her mother and went to live in Canada. She was going there, she said, to write for a magazine, though the job never materialized. Still never saw her again, but he did continue to see the children.

22 Europe
Arvey tells of two performances of Still's compositions in Europe in 1933.  One movement of the
Afro-American Symphony was played in Berlin, and a concert in Paris included Africa:

In January of 1933, Hanson played the Third (Scherzo) Movement of the Afro-American Symphony with the Berlin Philharmonic Orchestra, where the audience ignored tradition and refused to let the concert continue until the Scherzo was repeated.

That same year,
Africa was played to a thunderous ovation by Richard Lert and the Pasdeloup Orchestra in Paris.

23 La Guiablesse
We learn from Verna Arvey's biography that the American composer Randall Thompson was among those who remarked on the manner in which African American musical influences appeared in Still's music in an original form. She says the ballet La Guiablesse is an excellent example:

It was this way in the West Indian ballet, La Guiablesse, which Still had completed in the intervening months and for which, lacking material from Martinique, he developed his own idiom. He later found it to be completely true to the drama, characters and locale. Both Howard Hanson and Thelma Biracree in Rochester – as well as Ruth Page in Chicago – produced this ballet  successfully in 1933, Ruth Page repeating it at the Chicago Grand Opera the following year, with Katherine Dunham as soloist - her first major opportunity.

24 Song of a New Race
For several years after his successful debut as a symphonist, Still continued to be regarded as primarily an arranger.  Michael Fleming has also written the liner notes for Still's  Symphony No. 2 in G Minor (Song of a New Race)  (29:22).  It was recorded by the Detroit Symphony Orchestra and Neeme Jarvi, Conductor, on Chandos 9226 (1993).  Fleming recounts:

Yet he persisted, and on 10 December 1937, Leopold Stokowski conducted the  Symphony in G Minor  with the Philadelphia Orchestra.

The composer provided subtitles for the four movements of the symphony: Yearnings, Sorrow, Humor  and  Aspiration.

25 Guggenheim
We learn from Verna Arvey that Still had been frustrated in his attempts to compose opera, so he applied for a fellowship, but was unsuccessful at first:

He had applied for a Guggenheim Fellowship so that he could have a year free in which to work on an opera, but he had been refused.  Dr. Hanson was visibly surprised to learn of the refusal, and suggested that he try again the following year.  He did, and this time he was awarded one.

On May 22, 1934, he did walk away from Robison and the "Deep River Hour," drove to Los Angeles, and settled down to composing his new opera.

Here we met and began to work together.

Verna Arvey was a 24-year-old journalist and concert pianist with interests in dance, film music, and music of the Americas.  Her articles were published in such magazines as Etude, Opera, Concert and Symphony, and American Dancer.

26 Los Angeles
Dominique-René de Lerma provides an overview of Still's first 20 years in Los Angeles:

He moved to Los Angeles in 1934, having won the first of two consecutive Guggenheim Fellowships (third in 1938), followed by two years on a Rosenwald Fellowship (1939-1940), soon after sound was introduced to the cinema, and was engaged in writing music for such early films as Lost Horizon (1935), Pennies From Heaven (1936), and Stormy Weather  (1943).  Later he served as composer for television, writing music for Gunsmoke  and the original Perry Mason Show  (1954).  All the while, however, he gave serious attention to his symphonic, chamber, and operatic interests.

27 Public Relations
We learn from Verna Arvey that public relations tasks soon cut into the time Still had for composing:

It seemed to me that my own talents might be of use here, so I volunteered to handle the public relations and promotional side of the work.  Still (who by then was called Billy by his West Coast friends) agreed, so I started to work.  In addition to the secretarial and literary aspects of my labors, I often played over what he had written when his day's composing was over, because, although he could find his notes and chords on the piano, he was still far from
being a performing artist on that instrument.  I also included some of his music in my own piano recitals, often lecturing about him and his compositions in the process.

He paid me for all this, but not very much, since he was keeping only fifteen dollars a week for himself and sending the major part of his Guggenheim Fellowship money for the support of his family in the East.

He also started writing piano works specifically for performance by Verna Arvey.

28 Columbia Pictures
Still's work with Columbia Pictures was short-lived, the author explains:

Publicity in the Los Angeles papers brought Still a contract with Columbia Pictures for six months, and an option which was never picked up, for understandable reasons.  Billy was out of his element in the studios.  The man who brought him in (Howard Jackson, an old friend) soon lost his job as head of the studio music department.
                   
Time and time again during the six months, the  new studio music director would ignore Still and call in outside composers to do the work.

Verna Arvey adds that other studios were falsely told Still had been unable to do the work.  Also, she writes, a coworker loudly exclaimed in Still's presence, "A n____ in this line of work?"

29 Opera
When Still completed his first opera, Blue Steel, he set it aside,  Verna Arvey writes.  His second was Troubled Island, set in Haiti, with text mainly by Langston Hughes and partly by Verna Arvey.  It was the only opera for which she did not write most of the libretto.  It was also the only one of Still's operas to have the honor of being staged by a major opera company, the New York City Opera.  The website http://www.williamgrantstill.com lists his operas, some of which were set aside or left incomplete:

Blue Steel
Troubled Island
A Bayou Legend
Costaso
From the Furnace of the Sun
Highway 1, USA
Minette Fontaine
Mota
The Pillar
A Southern Interlude

Just Tell The Story: Troubled Island  is a book about the historic performance by the New York City Opera.  It is edited by Judith Anne Still and Lisa M. Headlee, and is published by The Master-Player Library (2006).  A companion website is
www.troubledisland.com   Highway 1, USA  is available on a CD by Phillip Brunelle and the Vocalessence Ensemble, Albany Records 734 (2005).
 
30 Kaintuck'
After he wrote Blue Steel, Still received a commission for an instrumental work to be performed by the Cincinnati Symphony Orchestra under the direction of Eugene Goosens.  He responded by producing two works for piano and orchestra, Dismal Swamp and Kaintuck'.  Goosens chose Kaintuck', and allowed Verna Arvey and another pianist to perform it first on two pianos at a Los Angeles Pro Musica concert.  Howard Hanson conducted both works in Rochester.


31 Hollywood Bowl
One of the proudest and most historic moments of Still's career took place on July 23, 1936, when he conducted the Los Angeles Philharmonic in a performance of his own compositions at the Hollywood Bowl.  Verna Arvey writes that this was the first time an African American conductor led a major symphony orchestra in concert in the United States.

32 Lenox Avenue
We learn the origin of the 1936 ballet Lenox Avenue from Verna Arvey, who wrote the script:

A new kind of music was requested for Still's next composition when CBS, under Deems Taylor's guidance, decided to commission six leading American composers to write compositions especially for radio.  It was a relatively new medium for serious music, so the project was considered experimental.  Still composed a series of pieces - actually a suite - for orchestra, piano soloist, chorus and narrator, inspired by street scenes in Harlem. 

CBS opened the series of broadcasts with Lenox Avenue.  Verna Arvey says Still subsequently received letters, postcards and telegrams from about 130 listeners, and fewer than half a dozen
of them were unfavorable.


33 1939 World's Fair
Verna Arvey tells of another result of the commission for Lenox Avenue:

Indirectly, this led to another commission, for when Kay Swift and the other members of the New York World's Fair in 1939-40 Theme Committee wanted to select a composer to write their theme music, they went to the CBS offices and there heard airchecks of all the serious American composers' work which CBS had in its files.  None of the composers were aware of this at the time.  The Theme Committee itself did not know the names of the composers of any of the works.  They found two (A Deserted Plantation and Lenox Avenue) and agreed that whoever wrote either one of them could be their composer.  William Grant Still had written both.

Still composed the theme and it was continuously played in the Fair Perisphere, the author notes:

All the while (1939-40) the William Grant Still Theme Music was grinding away in the New York World Fair's Fair Perisphere, performance after performance daily, until at the Fair's end it was estimated to have been played about fifty or sixty thousand times.

34 A New Family
William Grant Still and Grace Bundy Still were divorced in 1939.  Still and Verna Arvey married on February 8, 1939, according to In One Lifetime.  The book also indicates that the couple's son Duncan Allan Still was born about a year later, and their daughter Judith Anne Still was born when her brother was two and a half. 

35 Dances

The African American Conductor Isaiah Jackson and the Berliner Symphoniker [Berlin Symphony Orchestra] have recorded two of Still's major dance works on Koch 3 7154 2H1 (1993).  The first is La Guiablesse  (18:35), consisting of nine brief dances.  The second major composition is  Danzas de Panama [Dances of Panama] (14:00).  The four dances are titled:  Tamborito, Mejorana, Punto  and  Cumbia.   Perna notes:

Still took these dance themes and cast them for string quartet, quintet or, as heard on this recording, for string orchestra.  He made every effort to approximate the sounds of native instruments thereby giving this piece an arresting character.

36 Sunday Symphony
Still's  Symphony No. 3 (Sunday Symphony)  (20:48) has been recorded by the North Arkansas Symphony Orchestra, led by Carlton R. Woods, Conductor.  The CD is Cambria 1060 (1996).  The liner notes explain:

It is the only symphony which was not performed during Still's lifetime.  In fact the William Grant Still Festival performance in 1984 and this recording were world premieres.

37 Africa
Rhapsody in Black and White  is an Italian CD on which Marco Fumo, piano, performs Still's symphonic poem,  Africa  (22:49).  The disc is Dynamic CDS 351 (2000).  The liner notes analyze the work and its form:

Africa  is a symphonic poem in three movements, a little in the fashion of the symphonic suites by Rimskji-Korsakov.
                     ...
Still here draws the picture of an imaginary Africa - not much was known about it in those days - using the music material at hand: the work's fabric is woven with beautiful themes, often in the fashion of blues or spirituals yet very idiomatic and showing right from the first measure those iridescent polytonal juxtapositions that can be considered his trademark.

A symphonic version of Africa (27:51) was recorded by the Fort Smith Symphony Orchestra under John Jeter, Conductor, on Naxos 8.559174 (2005).

38 In Memoriam
The 2005 Naxos CD also includes Still's  Afro-American Symphony  (24:57) and another 1930 work,  In Memoriam: The Colored Soldiers Who Died for Democracy  (7:22).  It  had been commissioned by the League of Composers, and was premiered on Jan. 5, 1944 by the New York Philharmonic under Artur Rodzinski. David Ciucevich, Jr. writes in the liner notes:

The  New York Times  critic Olin Downes remarked on its powerful 'simplicity and feeling, without affectation or attitudinizing'. The wording of the title does carry an ironic aspect, reflecting the fact that African-Americans were fighting for world freedom and civilisation abroad while being denied those very freedoms at home.

39 Poem for Orchestra
Poem for Orchestra  (10:27) dates from 1944 and joins the 4th and 5th Symphonies on Naxos 8.559603 (2009), recorded by the Fort Smith Symphony and conducted by John Jeter.  The liner notes are by David Ciucevich, Jr.:

Poem for Orchestra was commissioned by the Kulas American Composers' Fund for the Cleveland Orchestra at the suggestion of then music director Erich Leinsdorf.
                   . . .
The
Poem, 'one of Still's key works' in the words of Robert Bartlett Haas, is an extensive symphonic poem...

40 Symphony No. 4
Symphony No. 4 (Autochthonous) (26:15) is dated 1947.  In contrast to his first two Symphonies, Afro-American and Song of a New Race, the Autochthonous Symphony is a work whose subject is all of the people of the United States   The liner notes explain:

Regarding the Fourth Symphony, Still remarked: 'As the subtitle indicates, the Fourth Symphony has its roots in our own soil, but rather than being aboriginal or indigenous, it is intended to represent the spirit of the American people.
                     ...
The symphony is dedicated to one of the composer's early teachers, Maurice Kessler of Oberlin.  It was given its premiere by Victor Alessandro and the Oklahoma City Symphony Orchestra on 18th March, 1951.

41 Symphony No. 5
As its subtitle indicates, Symphony No. 5 (Western Hemisphere) (19:37) expresses the composer's thoughts on the natural and human resources of all of the countries of the Americas.  The liner notes by David Ciucevich, Jr. tell us the work which became Still's Fifth Symphony was first conceived as his Third.  It was completed as the Fifth Symphony in 1945, and was revised in 1970.  The liner notes continue:

The revised work was given its premiere by the Oberlin College Orchestra under the direction of Robert Baustian at the celebration of the composer's 75th birthday on 9th November, 1970.

42 Skyward My People Rose
Skyward My People Rose: Music of William Grant Still,  Clarion CLR 905 CD (2004) combines original vocal pieces with music adapted from Stephen Foster.  Soloists include Hilda Harris, mezzo soprano, and Yolanda Williams, soprano.  The groups are the VocalEssence Ensemble and the VocalEssence Orchestra.  Philip Brunelle is both organist and Conductor.  The CD is one of four Clarion discs in a VocalEssence collection called  Witness, devoted to music by African American composers.  The works are: Wailing Woman  (1946),  Swanee River (Old Folks at Home), And They Lynched Him on a Tree  (1940),  Miss Sally's Party: A Ballet for string orchestra (1940),  Reverie  (1962) and  Elegy  (1963). 

43 Piano Music
William Grant Still Piano Music  was recorded by the African American pianist Mark Boozer, who is an Associate Professor at Clark Atlanta University.  He has made a specialty of the music of William Grant Still.  The CD is Naxos 8.559210 (2005).  It opens with Three Visions, continues with Seven Traceries, Lenox Avenue, The Blues, and A Deserted Plantation, before concluding with a piano arrangement of Africa.

44 Romance
The Works list tells us William Grant Still wrote Romance, for saxophone and piano, in 1954.  It was published in New York by Bourne in 1966, with a dedication to Sigurd Rascher:

Originally intended to be a movement of a larger work. Duration: 3:00. Library: Library of Congress.

Romance has been recorded many times It is included in the CD
But Not Forgotten: Music by African-American Composers,
by clarinetist Marcus Eley and pianist Lucerne DeSa, Sono Luminus DSL-92156 (2012).  The time is 5:13. Marcus Eley writes in the liner notes:

This composition, originally composed for alto saxophone, has been arranged for clarinet and piano.  It is essentially a love song without words

45 Lyric Quartette
The Toledo Clarinets is Cambria CD-1190 (2009). Greg Kostraba, D.M.A. is founder and pianist of the ensemble of the same name.  The clarinetists on the works of William Grant Still on the CD are Shannon Ford, Georg Klaas, Jocelyn Langworthy and Kevin Schempf.  William Grant Still composed Lyric Quartette (15:18) in 1960, the liner notes by Greg Kostraba tell us:

Dedicated to his friend Joachim Chassman, this string quartet shows the intimate side of the composer.  The piece is subtitled Musical Portraits of Three Friends, and is comprised of The Sentimental One, The Quiet One (based on an Inca melody), and The Jovial One.

46 Christmas Songs
Christmas in the Western World (Las Pascuas) (18:51) is described in the liner notes of The Toledo Clarinets, Cambria CD-1190, as follows:

Composed in 1967, this set can be performed in a variety of combinations...
                    ...
Nine of the songs in this compilation are adapted from authentic Christmas folk tunes from various countries in the Western Hemisphere, including
Jesous Ahatonia, the first Christmas carol composed in the Western Hemisphere.  The climactic tenth song in the set,
Sing! Shout! Tell the Story! is an original William Grant Still song with text by Verna Arvey.

47 Death
The Epilogue of In One Lifetime tells us that William Grant Still was in a nursing home for the final three years of his long and productive life:

The last three years of Billy's life were spent in a nursing home as a result of a series of strokes and heart attacks.  Death came on December 3, 1978, at age 83.

48 Legacy
William Grant Still
was so much more successful than other African American classical composers of his time that he was often referred to as the Dean of African American Composers.  He left a rich legacy of instrumental and vocal works of classical music, jazz, blues, and popular music.  His works are available on a huge  number of recordings.  The compositions and CDs discussed on this page are only a fraction of those in the Works list below.  Prof. De Lerma notes:

His materials are held by his daughter, Judith Anne Still, manager of William Grant Still Music, which moved to Flagstaff, Arizona.

The  Website  of William Grant Still Music can be found at: http://www.williamgrantstill.com

49 Resources

Interview  www.umich.edu/~afroammu/standifer/still.html  - African American Music Center, University of Michigan School of Music. Interviewer Jim Standifer spoke with William Grant Still and Verna Arvey Still at their home in Los Angeles in 1974.  When asked about the racial situation in his early life, Still replied, in part: "Oh, I have seen incidents that I abhorred.  For instance, I saw a Negro being beaten up by a couple policemen.  I saw the old Negro man, poor old fellow, he was coming out of a market, in Memphis, I'll never forget this, this deputy right behind him, shot him and killed him."

Dr. Estrella's Incredibly Abridged Dictionary of Composers www.stevenestrella.com/composers/composerfiles/still1978.html  - Biographical data, recommended CDs, books and sheet music, bibliography, and links from Dr. Estella's Incredibly Abridged Dictionary of Composers.  Essay contributed by Celeste Anne Headlee, granddaughter of William Grant Still.

Wikipedia http://en.wikipedia.org/wiki/William_Grant_Still  - Entry on William Grant Still in Wikipedia, the free encyclopedia.  Life, career, compositions, bibliography and links.  Excerpt: "He was the first African-American to conduct a major American orchestra, the first to have an opera performed by a major opera company, and the first to have an opera performed on national television.  He is often referred to as the dean of African-American composers."

50 Works
Prof. Dominique-René de Lerma

CD: William Brown, tenor; Ann Sears, piano. Albany TROY (1999; Fi-yer!; A century of African-American song).

Orphans

AC: Albert Dominguez, piano. WGMS CASM-1002 (1988).

AC: William Grant Still PAS [Performing Arts Society] of the National Association of Negro Musicians. WGMS M-1003 (1989; William Grant Still; Voices and piano).

CD: Fritz Gearhart, violin; Paul Tardif, piano. Koch International Classics 3-7268-2 (1996). Still work; Suite, violin & piano. A first mvt originally for flute & piano, arr. by composer.

CD: Koch 7602

CD: Northern Arizona University Wind Symphony; Patricia J. Hoy, conductor. NAUW 0001 (1994, From the delta).

CD: Oral Moses, bass-baritone; George Morrison Bailey, piano. Albany TROY (2001; Amen!; African-American composers of the 20th century).

CD?: Lois Adele Craft, harp; Annette Kaufman, piano; Kaufman String Quartet [Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello]. WGS MCA 1001 (1988).

CD?: William Grant Still PAS [Performing Arts Society] of the National Association of Negro Musicians. WGMS M-1003 (1989; William Grant Still; Voices and piano).

LP: Albert Dominguez, piano. WGMS MCA-1002 (1988).

LP: New England Conservatory Jazz Repertory Orchestra; Gunther Schuller, conductor. Golden Crest CRSQ 31043 (1976; Happy feet).

LP: Westphalian Symphony Orchestra; Paul Freeman, conductor. Turnabout TVS-34536 (1974, The contemporary Black composer in the USA).

A bayou legend, opera in 3 acts for soprano, mezzo-soprano, 4 tenors, 2 baritones, 2 basses, chorus & orchestra, in 3 sets
(1941). Mission Viejo CA: WGS Music. Text: Verna Arvey. Dedication: John Barbirolli. Instrumentation: 3232, Eh (p); 3321; timp; perc; cel; harp; strings Première: 1974/XI/15; Jackson MS, Jackson State University; Opera South; Donald Door, director; Leonard dePaur, conductor. Library of Congress (184p. piano-vocal score). Duration: 120:00. == Telecast PBS 1981.

VC: Cambria WGM BL-3003/ H1-3004 (2000). Includes Highway 1 USA.

VC: Cambria WGSM4-3002-4 (2000). Includes A bayou legend; Highway 1, U.S.A.; Minette Fontaine; Troubled island.

----- Because faint whisperings of practices, for 2 tenors, baritone, bass & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3.

----- Calm as the waters of the bayou, for soprano, tenor, SATB & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3.

----- Children of the world, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2.

----- In ages past, for soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1.

----- More lovely than my imagining, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2.

----- Now they will be coming to the tree, for mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1.

A deserted plantation, for chamber orchestra (1933). New York: Robbins, 1934. 4p. 1. Spiritual; I want Jesus to walk with me; 2. Young Missy; 3. Dance. Première: 1933/XII/15; New York; Metropolitan Opera House; Paul Whiteman, conductor. Duration: 15:00

----- for piano. New York: Robbins Music, 1936. Library: Spingarn.

CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996).

A look at jazz; songs, a medley, for instrumental ensemble (1922?).

A psalm for the living, for SATB & orchestra (1954). New York: Bourne. Text: Verna Arvey. Dedication: Dr. Bessie Arvey. Duration: 10:00.

----- piano-vocal score. New York: Bourne, 1965 (#825). 20p. Library: Library of Congress (LC 66-40550/M).

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994).

A song at dusk, for orchestra (1936). Dedication: Judith Anne Still[-Headlee] and Larry Headlee. Duration: 9:00. Original title: Beyond tomorrow.

A song for the lonely, for medium voice & piano (1953). Los Angeles: WGS Music. Text: Verna Arvey. Duration: 3:48.

----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000.

AC: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-633.

CD: CBS Symphony, the Standard Hour; Bay Cities BCD 1033 (1991).

CD: Claudine Carlson, soprano; Georgia Akst, piano. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas.

CD: Robert Honeysucker, baritone; Vivian Taylor, piano. New World Records NW 80399-2 (1990).

LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7278 (1972).

LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7152 (1972).

----- for flute & piano.

CD: Alexa Still, flute; ==, piano. Koch 3-7192-2H1 (1994).

----- for medium voice & string quartet with piano.

CD: Videmus [Robert Honeysucker, baritone; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello, Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

-----for soprano & chamber orchestra.

----- for violin & piano.

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman).

A Southern interlude, opera in 2 acts, for 4 soloists, SATB & orchestra, in one scene (1942). Text: Verna Arvey. Duration: 60:00. Withdrawn and absorbed by other works, particularly Highway 1 U.S.A. Library: Library of Congress (43-7632, piano-vocal score, 107p.).

Adios, Mariquita linda.

CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream)

After you’ve gone, by Turner Layton, Jr., arr. by William Grant Still.

CD: Wade Woodward, baritone; Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling.

LP: Unidentified performers; Publisher’s Central Bureau (1977).

Africa; suite, for orchestra (1930). 1. Land of peace; 2. Land of romance; 3. Land of superstition. Instrumentation: 3233 (p) Eh bcl, 4331, timp, 3 perc, cel, harp, piano, strings. Première: 1930; New York; Little Symphony; Georges Barrère, conductor. Dedication: Georges Barrère. Duration: 23:00-30:00. Withdrawn. Library: Columbia (9p. lead sheet); Library of Congress (74-226251; holograph, 101p., gift of Irving. Schwerké, March 1966; 3p. penciled note on stationery having monogram "RL" mentioning the composer's invention of finger-nail pizzicato, use of tom-toms and of Harmon and fibre mutes for trumpets and trombones; also manuscript of 9p. dated 1934 and lead sheet of 5p. dated 1937); Robbins Music Corporation, manuscript copyright, 1934.

----- 1931 reorchestration. Première: 1930; Rochester; American Composers Concert, Eastman School of Music.

----- for piano (1928). Flagstaff: William Grant Still Music. with commentaries by Grant Venerable and Kay Pace.

CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991).

CD: Marco Fumo, piano. Dynamic 351 (2000; Rhapsody in black and white)..

CD: Mark Boozer, piano (2001/III). Interntional Consortium for the Music of Africa and its Diaspora. FESAAM 2001.

African dancer, for violin & orchestra. The violin part was edited by Louis Kaufman.

----- for violin & string orchestra.

Ah got a home in-a dat rock, for high voice & piano. New York: Handy Brothers, 1948. Library: Library of Congress.

All that I am, for SATB & organ (1965). Mission Viejo CA: WGS Music. Text: Verna Arvey. Duration: 2:00.

----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000.

----- for SATB & orchestra, arr. by Ray Anthony Delia Lomita CA: Cambria Publications. Première: 1984/X/22; cast of Minette Fontaine.

----- for SATB & organ.

----- for soprano, alto, tenor, baritone, SATB & orchestra.

America; a vision, by Mabel Bean, orchestrated by William Grant Still (1953). Flagstaff: WGS Music.

And they lynched him on a tree, for narrator, contralto, SATB (Black chorus), SATB (White chorus) & orchestra (1940). Mission Viejo CA: WGS Music: J. Fischer, 1941. 52p. Text: Katherine Garrison Chapin (Mrs. Biddle). 1. We’ve swung him higher; 2. Look dere; 3. Oh, sorrow; 4. He was her baby; 5. They took away his freedom; 6. They left him hanging. Première: 1940/VI/24; New York; Lewisohn Stadium; Schola Cantorum; Louise Burge, contralto; New York Philharmonic; Artur Rodzinski, conductor. Duration: 19:00. Instrumentation: 2222 (p Eh), 3331, perc, harp, strings. Dedication: Henry Allen Moe.

78rpm: Unidentified ensemble; Leopold Stokowski, conductor (broadcast). Leopold Stokowski Society CA 11 LSSA (available from William Grant Still Music).

AC: Eva Jessye Choir; Collegiate Choir; Leopold Stokowski, conductor. CMCA 11 LSSA.

CD: Marvin Hayes, narrator; Louise Burge, contralto; Lawrence Winters, narrator; Eva Jessye Choir; Collegiate Choir; NBC Symphony Orchetra; Leopold Stokowski, conductor & announcer (1942). Cambria CD-A11IA (2000, A centennial retrospective).

CD: Hilda Harris, mezzo-soprano; William Warfield, narrator; Leigh Morris Chorale; The Ensemble Singers, Chorus of the Plymouth Music Series of Minnesota; Philip Brunelle, conductor. Collins Classics 14542 (1996, Witness, vol. 2). Liner notes: Dominique-René de Lerma.

CD: Hilda Harris, mezzo-soprano; William Warfield, narrator; Leigh Morris Chorale; VocalEssence Ensemble Singers; Philip Brunelle, conductor. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma.

----- piano-vocal score. Glen Rock: J. Fischer & Bro., 1941. 46p. (#J.F.&B. 0409-46). Library: Library of Congress (45-25446).

----- 3. Oh, sorrow.

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994).

5 Animal sketches, for piano (1951). Morristown: Silver Burdett, 1952 (Music for early childhood; New music horizon series). 1. Camel; 2. Bear; 3. Horse; 4. Lamb; 5. Elephant. Manuscript contents: 1. Swan (or Graceful swan); 2. Camel (or Bear, or Clumsy bear); 3. Chipmunk (or Busy chipmunk); 4. Horse (or Galloping horse); 5. Lamb (or Gamboling lamb); 6. Mischievous monkey; 7. Elephant (or Pacing pachyderm).

Archaic ritual, for orchestra (1946).  Los Angeles: Delkas, 1946; WGS Music.   1. Chant; 2. Dance before the altar; 3. Possession.  Duration: 20:00.  Instrumentation: 2111 (p cbsn) Eh bcl, 4331, timp, perc. bells, cel, harp, strings.  Première: 1949/VIII/25; Hollywood Bowl, Los Angeles; Los Angeles Philharmonic: Izler Solomon, conductor.

Aria, for accordion (1960). New York: Sam Fox, 1960. 7p. Commission: American Accordionists Association, 1959. Première: 1960/V/15; New York; Town Hall; Myron Floren, accordion. Duration: 5:00.

AT: Robert Young McMahon, accordion.

Arkansas, for medium voice & piano (ca. 1945?). Mission Viejo CA: WGS Music. Text: Verna Arvey. Duration: 3:00.

----- . Flagstaff: Master-Player Library, 2000 (Song collection, ed. by Celeste Headlee).

Bambelele e espin garda, for violin & piano. Duration: 2:21.

CD: Zina Schiff, violin; Cameron Grant, piano. 4 Tay CD 4005 (1997).

Bayou home, for medium voice & piano (1944). New York: Robbins Music, 1944. 4p. (#SH 2786-4). Text: Verna Arvey. Based on I'm pickin' my last row of cotton. Duration: 3:00.

CD: Robert Honeysucker, baritone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- Flagstaff: Master-Player Library, 2000 (Song collection, ed. by Celeste Headlee).

----- for flute & piano.

CD: Alexa Still, flute; ==, piano. Koch 3-7192-2H1 (1994).

CD: Carlyn Lloyd-Ford, flute; unidentified pianist. Ti-L-Comusic TLC-990002 (1995).

CD: Donna Wissinger, flute; Jon Klibonoff, piano. Eroica JDT 3031 (2000, Amazing grace, an American tapestry).

CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippi classic).

Beale Street blues, by W. C. Handy, arr. by William Grant Still

Bells, for piano (1940). New York: MCA Music; Delkas, 1944.
1.
Phantom chapel [dedication: Dolores Calvin]; 2. Fairy knoll [dedication: Philippa Schuyler]. Duration: 6:00.

CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991).

LP: Albert Dominguez, piano. WSGM 1002 (1987).

LP: Richard Fields, piano. Orion ORS-82442 (1982).

----- for chamber orchestra.

----- for orchestra (1944). Los Angeles: Delkas, 1944. 21p. Instrumentation: 2222 (p cbsn) Eh bcl, 4331, timp, 3 perc, harp, piano, strings. Première: 1946/XI/29; St. Louis Symphony Orchestra; Vladimir Golschmann, conductor. Library: Library of Congress (44-47114).

----- 1. Phantom chapel. Duration: 6:40.

CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene).

Beyond tomorrow; poem, for orchestra (1936). Mission Viejo CA: WGS Music. 30p. Duration: 9:00. Library: Library of Congress.

Black bottom, for chamber orchestra (1922). Manuscript (copyright, 1937, held by Robbins Music Corporation). Duration: 10:00. Withdrawn. Library: Columbia (1p. lead sheet)

Blue steel, opera in 3 acts, in 3 scenes, for soprano, contralto, tenor, baritone & chorus (1934). Text: based by J. Bruce Forsythe on a story Carlton Moss. Instrumentation: 3243, Eh; 4331; timp; per, cel; harp; strings. Duration: 120:00. Withdrawn following performance of excerpts; music absorbed by later works. Library: Library of Congress (piano-vocal score, 59p.)

----- piano-vocal score.

----- Entrance of the priests and dance of the priestess. Première: 1935/IV/03; Rochester; Eastman School of Music Little Symphony; Karl van Hoesen, conductor.

----- Give me nobody without your soul, for soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. . Flagstaff: Master-Player Library, 2003, vol. 1.

----- See the trees, for baritone & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. . Flagstaff: Master-Player Library, 2003, vol. 2.

----- The drums weave the spell of death, for soprano, contralto, baritone, SATB, percussion & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3.

Blues, arr. for jazz band by William Grant Still.

78rpm: Artie Shaw and His Orchestra (1940). His Master’s Voice B-9259.

78rpm: Artie Shaw and His Orchestra (1940). Victor 27411.

Boston, by Ervin Schulhoff, arr. by William Grant Still.

CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling.

Breath of a rose, for voice & piano (1926). New York: G. Schirmer, 1928. Text: Langston Hughes. Première: 1927/IV/26; New York, School for Social Research; Jessie Zachary, soprano. Duration: 5:00.

----- New York: G. Schirmer, 1942 (A new anthology of Americanm songs).

----- New York: G. Schirmer (Romantic American art songs).

CD: Louise Toppin, soprano; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

CD: William Brown, tenor; Ann Sears, piano. Albany (Fiyer!)

----- for saxophone & piano, arr. by Vivian Taylor.

CD: Sam Strickland, saxophone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

Brown baby, for medium voice & piano, by Willie M. Grant [pseud.] (1923). New York: Edward B. Marks, 1923 (#9111). 5p. Text: Paul Henry [pseud.]. Library: Spingarn.

----- Flagstaff: Master-Player Library, 2000 (Song collection, ed. by Celeste Headlee).

2 Cameos, for flute or violin & piano. Flagstaff: William Grant Still Music. 1. Picnic with Sheilah; 2. Procession of the ants. Reconstructed by Judith Anne Still.

Can'tcha line 'em, for chamber orchestra (1940). Los Angeles: WGS Music. Duration: 5:00. Commission: CBS. Première: 1940/II/17; American School of the Air, CBS radio.

Caribbean melodies, for medium voice & piano (1941). Philadelphia: Oliver Ditson, 1941. Based on melodies collected by Zora Neale Hurston. 1. Hand a' bowl; voodoo chant, from Jamaica; 2. Baintown; serenade, from Bahamas; 3. Two banana; jumping dance, from Bahamas; 4. Woman sweeter than man?, from Bahamas; 5. Peas and rice; jumping dance, from Bahamas; 6. Bellamina, from Bahamas; 7. Mama, I saw a sailboat, from Bahamas; 8. Ah, la sa wu, from Bahamas; 9. Evalina, from Bahamas; 10. Doo ma; jumping dance, from Bahamas; 11. Héla grand père; rada chant, from Haiti; 12. Going to my old home; dance song, from Bahamas; 13. Mister Brown; ring play, from Bahamas; 14. Ten poun' ten; dance song, from Jamaica; 15. Do an' Nannie; jumping dance, from Bahamas; 16. Eh, bi nango, from Bahamas; 17. Carry him along, from Bahamas.

----- 1. Hand a’ bowl, for contralto, baritone, piano & steel band, arr. by Vivian Taylor.

CD: Ruth Hamilton, contralto; Robert Honeysucker, baritone; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 2. Baintown, for tenor, SATB & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17.

----- 3. Two banana, for voice & steel band, arr.by Vivian Taylor

CD: Videmus; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 4. Woman sweeter than man?, for tenor & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17.

----- 5. Peas and rice, for soprano, contralto, baritone, percussion & piano, arr. by Vivian Taylor.

CD: Videmus. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 6. Bellamina, for contralto & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17.

----- for voice & piano, arr. by Vivian Taylor.

CD: Videmus; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 7. Mama, I saw a sailboat, for soprano, SSAA, dancers, tom-tom & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62).

----- for soprano, steel band & piano, arr. by Vivian Taylor.

CD: Vivian Taylor, soprano & piano; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 8. Ah, la sa wu, for piano & steel band, arr. by Vivian Taylor.

CD: East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 9. Evalina, for baritone & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17.

----- for baritone & piano, arr.by Vivian Taylor.

CD: Robert Honeysucker, baritone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 10. Doo Ma, for soprano, contralto, baritone & steel band, arr. by Vivian Taylor.

CD: Vivian Taylor, soprano; Ruth Hamilton, contralto; Robert Honeysucker, baritone; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 11. Héla, grand père, for soprano, baritone & piano.

CD: Vivian Taylor, soprano & piano; Robert Honeysucker, baritone; East Carolina Steel Orchestra; Mark Ford, conductor . Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 12. Going to my old home, for steel band, arr. by Vivian Taylor.

CD: East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999).

----- 14. Ten poun' ten, for tenor, percussion & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17.

----- 15. Do an’ Nannie, for men's chorus, percussion & piano. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17.

----- for contralto, steel band & piano, arr. by Vivian Taylor.

CD: Ruth Hamilton, contralto; Vivian Taylor, piano; East Carolina University Steel Band; Mark Ford, conductor. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- 16. Eh, bi nango, for soprano or tenor & piano.

----- for SATB, piano & percussion. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17.

----- 17. Carry him along, for SATB. Philadelphia: Oliver Ditson, 1947 (#78751-62). 56p. Contains nos. 2, 4, 6, 9, 14, 15, 16, and 17.

----- for soprano or tenor, dancers, percussion & piano.

Carmela, for violin & piano (1949?). Duration: 2:08. Written for Louis Kaufman.

AC: Louis Kaufman violin; Anette Kaufman, piano. Orion ORS-633.

AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001.

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman).

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas.

CD: Louis Kaufman, violin; Annette Kaufman, piano. Ethnovibe Productions (1999; Ebony rhythm).

CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971).

----- for flute & guitar, arr. by T. Smith.

----- for viola & piano.

----- for violin & orchestra, orchestrated by Marshall Fine (1991).

Chantez-les bas.

CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream)

Chloe, opera. Text: William Grant Still. Withdrawn.

Choreographic prelude, for flute, piano & string orchestra (1970). Mission Viejo CA: WGS Music. Première: 1970/I/15; Los Angeles County Museaum, Exposition Park; William Grant Still, conductor. Duration: 5:00.

Christmas in the Western World; las pascuas, for SATB & string orchestra and/or piano (1967). New York: Southern Music, 1967. 36p. Text: Christmas carols, in English, with narration. Text: Verna Arvey. 1. A maiden was adoring God; 2. Ven, niño divino; 3. Aguinaldo; 4. Jesous ahatonhia; 5. Tell me shepherdess; 6. De Virgin Mary had a baby; 7. Los reyes magos; 8. La piñata; 9. Glad Christmas bells; 10. Sing, shout, tell the story!. Duration: 20:00. Library: Library of Congress (piano-vocal score, 68-47273/M), Lucks (11514).

----- unidentified excerpts.

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano).

AC: William Grant Still PAS [Performing Arts Society?] of the National Association of Negro Musicians. WGMS M-1003 (1989; William Grant Still; Voices and piano).

CD?: William Grant Still PAS [Performing Arts Society?] of the National Association of Negro Musicians. WGMS (1989; William Grant Still; Voices and piano).

----- piano-vocal score. New York: Southern Music, 1967. 44p. (#1069)

----- 12. Sing! Shout! tell the story, for SATB, 2 violins & piano.

Clouds, for orchestra by Arthur Lange, arr. by William Grant Still.

Costaso, opera in 3 acts, for saoprno, mezzo-soprano; 4 tenors; 2 baritones; 3 basses; SATB, dancers & orchestra, in 4 scenes (1949). Mission Viejo CA: WGS Music. Text: Verna Arvey. Instrumentation: 2222, Eh (p); 3331’timp; perc; cel; harp; strings. Première: 1981/IV; Opera South. Duration: 120:00. Dedication: Donald Vorhees.

----- A wand’ring beggar came, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2.

----- Ave Maria.

----- for tenor, baritone & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3.

CD: Scott Piper, tenor; Richard Banks, baritone; Byron Burford, piano. Videmus (1998, Fare ye well).

----- Dance, for piano.

CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996).

----- Golden days.

CD: Margaret Astrup, soprano; Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene).

----- for soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1.

----- for soprano, harp & strings.

----- On the highway.

AT: Ben Holt, baritone; Cliff Jackson, piano (1984, Peabody Conservatory of Music).

----- piano-vocal score.

3 Dances, orchestra.

Dances in the canebreaks, by Florence Price, arr. by William Grant Still. 1. Nimble feet; 2. Tropical noon; 3. Silk hat and walking cane.

CD: Centennial Celebration Orchestra; John McLaughlin Williams, conductor (1998). Cambria A110 (The big broadcast). Liner note: Lance Bowling.

Danse barbare from Congo sketches, by Will Donaldson, orchestrated by William Grant Still (1928). New York: Carl Fischer.

Danzas de Panamà, for string quartet (1948). New York: Southern Music, 1953 (#197-31). 32p. 1. Tamborito; 2. Mejorana y sovacón; 3. Punto; 4. Cumbia y congo. After melodies collected by Elisabeth Waldo. Première: 1948/V/21; Los Angeles County Museum; Waldo Latin-American String Quartet. Duration: 15:00. Library: Library of Congress (also photocopy of manuscript, 57p., 48-39735), Lucks (11515).

----- New York: Southern Music, 1953. 26p. (236-24; miniature score).

AC: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. WGS M-1001.

AC:Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-633.

CD: CBS Symphony, the Standard Hour; Bay Cities BCD 1033 (1991).

CD: Die Odeion Strykkwartet. Janus JNSD-73 (1997).

CD: Kaufman String Quartet [Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello]. Music & Arts CD 638 (1990, 1972, Louis Kaufman, violin; historic recordings of the 20th century).

CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music).

LP: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-7152 (1972).

LP: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-7278 (1972).

Orion ORS-7152 (1972). ORPHAN

----- 2. Mejorano y sovacón.

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman).

CD: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas.

----- 4. Cumbia y congo

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman).

CD: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas.

LP: Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-7278 (1972).

----- for 3 guitars, arr. by Thomas Smith. Flagstaff: WGS Music.

CD: Philadelphia Classical Guitar Trio [Marisol Rampolla, Thomas Smith, Michael Simmons]. Jackson Avenue Music JAMG 3001 (2000; Philadelphia classical guitar trio). Liner notes: unsigned.

----- for string orchestra.

CD: Berliner Symphoniker; Isaiah Jackson, conductor. Koch International Classics 3-7154-2H1 (1993).

Dark madonna, by Will Donaldson, orchestrated by William Grant Still (1928). New York: Carl Fischer.

Darker America, for orchestra (1925). Boston: C. C. Birchard, for the Eastman School of Music, 1928. 4, 47p. Duration: 11:58. Instrumentation: 2122 p, Eh, 1110, perc, piano, strings. Première: 1926/XI/28; New York; Aeolian Hall; International Composers’ Guild; Eugène Goossens, conductor. Won award from the Eastman School of Music. Duration: 17:00.

CD: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor. Vox Box CSX 5157 (1996, The incredible flutist). Liner notes: Shirley Fleming.

LP: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor. Turnabout TVS-34546 (1971; The contemporary composer in the U.S.A.).

Deep river, for orchestra (ca. 1930).

Didn't ma Lawd deliver Daniel?, for medium voice & piano (by 1948). New York: Handy Brothers, 1948.

CD: Robert Honeysucker, baritone; Sam Strickland, saxophone; Vivian Taylor, piano. Cambria CD-1112 (1999).

Dismal swamp, for piano & orchestra (1936). San Francisco: The New Music Society of California, 1937 (New music orchestra series, n2, January 1937) 32p. After the poem by Verna Arvey. Instrumentation: 3232 Eh bcl cbsn, 4431, timp, vibraphones, piano, strings. Première: 1936/X/30; Rochester; Eastman Theatre; American Composers’ Concert; Howard Hanson, conductor. Duration: 15:00. Library: Library of Congress (A45-1269), Theodore Presser.

CD: Richard Fields, piano; Cincinnati Philharmonia Orchestra; Jindong Cai, conductor. Centaur CRC 2331 (1997).

Don’t fall asleep.

CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream)

Down the Carolina lane (1932).

CD: Marvin Hayes, narrator; Deep River Hour Orchestra; William Grant Still, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective).

Ebon chronicle, for orchestra (1933). Première: 1936/XI/03; Fort Worth Symphony Orchestra; Paul Whiteman, conductor. Duration: 9:00. Withdrawn. Library: Library of Congress (lead sheet), Fleisher (2767).

Elegy, for organ (1963). Los Angeles: Avant Music, Western International Music, 1963 (The California organist, 7; #A.V. 44). 4p. Written for the California chapters of the American Guild of Organists. Duration: 5:25. Library: Library of Congress (LC 66-86053/M)

CD: Philip Brunelle, organ. Collins Classics 14542 (1996, Witness, vol. 2). Liner notes: Dominique-René de Lerma.

CD: Philip Brunelle, organ. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma.

CD: Lucius Weathersby, organ (Father Willis organ, 1864; St. Michael and All Angels Church, Great Torrington, UK, 2003/IX/27). International Society – African to American Music (2003).

CD: Lucius Weathersby, organ (Father Willis organ, 1864; St. Michael and All Angels Church, Great Torrington, UK). Albany 440 (2001; Spiritual fantasy).

Ennanga, for harp (or piano) & orchestra (1956). Los Angeles: WGS Music. 36p. 1. Moderately fast; 2. Slow [originally: Moderately slow]; 3. Majestically -- moderately fast. "Inspired by African folk melodies." Instrumentation: 2222 (p Eh), 3221, timp, perc, cel, strings. Dedication: Lois Adele Craft. Première: 1958/X/12; Los Angeles; Westside Jewish Community Center; Lois Adele Craft, harp; Verna Arvey, piano. Duration: 15:00.

AC: Lois Adele Craft, harp; Annette Kaufman, piano; Kaufman String Quartet [Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello]. WGS MCA 1001 (1988).

AC: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-633 (1972?).

CD: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Music & Arts CD 638 (1990, 1972, Louis Kaufman, violin; historic recordings of the 20th century).

CD: Videmus [Ann Hobson Pilot, harp; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

LP: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-7278 (1972).

LP: Lois Adele Craft, harp; Annette Kaufman, piano; Louis Kaufman, George Berres, violins; Alexander Neiman, viola; Terry King, cello. Orion ORS-7251 (1972).

Ev'ry time I feel the spirit, for medium voice & piano (1938). New York: Galaxy Music, 1948. (Negro spirituals for voice with piano accompaniment; #G.M. 1724-2). 3p. Duration: 2:00.

----- for SATB. New York: American Book Co., (ABC choral art series, v2)

Fanfare for American war heroes, for orchestra (1943). Première: 1991/II/09; Columbus IN; Indiana Pro-Musica; David Bowden, conductor. Duration: 1:00. Written for the 99th Fighter Squadron.

----- for brass ensemble.

----- for piano. Library: Library of Congress (holograph).

Fanfare for the 99th Fighter Squadron, for winds (1945). Mission Viejo CA: WGS Music. Duration: 1:00. Première: 1945/VII/22; Hollywood Bowl; Los Angeles Philharmonic: Leopold Stokowski, conductor.

Festive overture, for orchestra (1944). Glen Rock: J. Fischer & Bro., 1949. Instrumentation: 2111 (p) Eh bcl, 4331, timp, 4 perc, cel, harp, strings. Award: Jubilee Season Prize of the Cincinnati Symphony Orchestra, 1944 (Jury: Pierre Monteux, Deems Taylor, Eugene Goossens). Première: 1945/I/19; Cincinnati Symphony Orchestra; Eugene Gooseens, conductor. Duration: 10:00. Library: Library of Congress (45-19521, reproduction of manuscript).

----- New York: Carl Fischer.

Fanfare for American war heroes,
for orchestra (1943). Première: 1991/II/09; Columbus IN; Indiana Pro-Musica; David Bowden, conductor. Duration: 1:00. Written for the 99th Fighter Squadron.

----- for brass ensemble.[34]

----- for piano. Library: Library of Congress (holograph).

Fanfare for the 99th Fighter Squadron, for winds (1945). Mission Viejo CA: WGS Music. Duration: 1:00. Première: 1945/VII/22; Hollywood Bowl; Los Angeles Philharmonic: Leopold Stokowski, conductor.

Festive overture, for orchestra (1944). Glen Rock: J. Fischer & Bro., 1949. Instrumentation: 2111 (p) Eh bcl, 4331, timp, 4 perc, cel, harp, strings. Award: Jubilee Season Prize of the Cincinnati Symphony Orchestra, 1944 (Jury: Pierre Monteux, Deems Taylor, Eugene Goossens). Première: 1945/I/19; Cincinnati Symphony Orchestra; Eugene Gooseens, conductor. Duration: 10:00. Library: Library of Congress (45-19521, reproduction of manuscript).

AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO CA 1001 (1994).

AC: Charleston [WV] Symphony Orchestra; Leon Thompson, conductor (1976/II/22).

AC: Royal Philharmonic Orchestra; Arthur Bennett Lipkin, conductor. CRI CA-259 (1970).

CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1994).

CD: Royal Philharmonic Orchestra Arthur Bennett Lipkin, conductor. Cambria CD-1060 (1996; A festive Sunday with William Grant Still).

LP: Royal Philharmonic Orchestra; Arthur Bennett Lipkin, conductor. CRI SD-259 (1970).

Florida blues, for chamber orchestra, by William King Philips, arr. by William Grant Still (early 1920s). Flagstaff: WGSM-Handy Music.

----- for piano.

Folk suite, no. 1, flute, piano & string quartet (1962). New York: Southern Music. 11p. 1. Bambalele e espin garda; 2. Sometimes I feel like a motherless child; 3. Two Hebraic songs. Duration: 8:52. Library: Library of Congress (also reproduction of holograph).

CD: Alexa Still, flute; New Zealand String Quartet. Koch 3-7192-2H1 (1994).

CD: Bridgehampypm Chamber. Bridgehampton 0. AMR index not specific.

----- 1. Bambelele e espin garda, for violin & piano.[37]

CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one).

----- 2. Sometimes I feel like a motherless child.

CD: NYC (1994).

CD: Koch International Classics (1994).

Folk suite, no. 2, flute, clarinet, violoncello (or bassoon) & piano (or harp) (1962). New York: Southern Music. 15p. 1. El zapatero; 2. Molé; 3. Mom'zelle Zizi; 4. Peruvian melody. Duration: 9:00. Library: Library of Congress (also reproduction of holograph).

CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994).

CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Kim de Libero, harp]. Cambria CD 1083 (1995, Get on board!).

Folk suite, no. 3, flute, oboe, bassoon & piano (1962). New York: Southern Music. 13p.: 1. An Inca dance; 2. An Inca song; 3. Bow and arrow dance song. Duration: 5:04. Library: Library of Congress (also reproduction of holograph).

CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994).

CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!).

-----for flute, bass clarinet & strings.

Folk suite, no. 4, flute, clarinet, violoncello (or bassoon) & piano (1962). 1. El monigote; 2. Anda buscando de rosa en rosa; 3. Tayeras. Duration: 5:30.

CD: Leonard Harrison, flute; Robert Umiker, clarinet; Samuel Magill, violoncello; Arthur Tollefson, piano (1984). Cambria CD-1060 (1996; A festive Sunday with William Grant Still).

CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994).

CD: Sierra Winds [Richard Soule, flute; Felix Viscuglia, clarinet; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!).

----- for orchestra

AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASOCA 1001 (1996).

CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1996).

LP: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASOLP 1001 (1996).

----- for woodwind quintet. Richmond VA: International Opus (WW5-9551).

----- 2. Anda buscando de rosa en rosa, for string quartet.

Folk suite, band (1963). New York: Bourne, 1966 (Bourne symphonic library). 44p. (condensed score, 5p.) 1. Get on board; 2. Deep river; 3. Medley: The old ak's a moverin', Sinner please don't let this harvest pass [see also single title]. Duration: 8:00. Première: 1963/VIII/18; Los Angeles Bureau of Music Symphonic Band; Dale Eymann, conductor. Library: Library of Congress (LC 66-92147).

AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO CA 1001 (1994).

CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1994).

LP: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor. NASO 1001 (1984).

CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-001 (1994, From the Delta).

----- 1. Get on board, for flute, clarinet, bassoon, strings & piano.

Frankie and Johnny, for orchestra Première: Deep River Hour

Frenesi.

CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream)

From a lost continent, for SATB & orchestra (1948). Los Angeles: WGS Music. 1. Song of worship; 2. Song for dancers; 3. Song of yearning; 4. Song of magic. Text: William Grant Still. 1. Song of worship; 2. Song for dancers; 3. Song of yearning; 4. Song of magic. Text: textless. Dedication: the Gordons of Berkeley. Duration: 15:00. Premiere (1, with piano): 1953/V/22; Choral Guild of San José; LeRoy V. Brant, conductor; (2, with orchestra): 1955/III/27; Bruxelles; I.N.R. Flemish Division. Library: Library of Congress (also holograph of lead sheet, M59-289).

From the Black belt, for chamber orchestra (1926). New York: Carl Fischer, 1946. 15p. (piano score) 1. Li'l scamp; 2. Honeysuckle; 3. Dance; 4. Mah bones is creakin'; 5. Blue; 6. Brown girl; 7. Clap yo' han's. Instrumentation: 2222, 4321, timp, perc, harp, strings. Première: 1927/III/20; New York, Henry Miller Theatre; Little Symphony; Georges Barrère, conductor. Duration: 11:14.

----- for orchestra

CD: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor. Vox Box CDX 5157 (1996, The incredible flutist). Liner notes: Shirley Fleming.

LP: Music for Westchester Symphony Orchestra; Siegfried Landau, conductor (1974). Turnabout TVS-34546 (1971; The contemporary composer in the U.S.A.).

----- 6. Brown girl, for harp, arr. by M. Portanova.

From the Delta, for band (1945). New York: Leeds Music, 1947, 1945. (condensed score) (Moments in American music for band). 11p. 1. Work song; 2. Spiritual; 3. Dance. Duration: 5:00. Première: 1947/III/17; New York, Central Park Mall; Central Park Mall; Goldman Band; Richard Franco Goldman, conductor.

CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-001 (1994; From the delta).

----- 1. Work song, for orchestra.

78rpm: Morton Gould and His Symphonic Band. Columbia 4519-M (1948).

LP: Morton Gould and His Symphonic Band. Columbia ML-2029.

From the furnace of the sun, opera. Text: Sherwood Frank.

From the heart of a believer, for orchestra (1927). Duration: 10:00. Withdrawn.

From the heart of a woman, for medium voice & piano (1961). Mission Viejo CA: WGS Music. 1. Little mother; 2. Midtide; 3. Coquette; 4. Bereft. Text: Verna Arvey. Also known as From the hearts of women. Duration: 9:00.

----- for soprano & string quartet. Mission Viejo CA: WGS Music. Première: 1962/II/19; Los Angeles; Los Angeles County Museum; Pearl Whitelow, soprano, with instrumental ensemble.

CD: Margaret Astrup, soprano; Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene).

----- for soprano, flute, oboe, piano & string quartet. Mission Viejo CA: WGS Music.

----- for soprano, alto flute (or clarinet) & 2 harps, arr. by A. Griggs. Alternate title: La marée à midi.

From the journal of a wanderer, for orchestra (1925).
1. Phantom’s trail; 2. Magic bells; 3. Valley of echoes; 4. Mystic moon; 5. Devil's hollow. Duration: 20:00. Première: 1926; North Shore Festival, Chicago; Chicago Symphony Orchestra; Frederick Stock, conductor. Withdrawn. Library: Eastman School of Music (holograph); Fleisher (2830).

From the land of dreams, for SSA & chamber orchestra (1924). Textless. Duration: 8:00. Première: 1925/II/8; International Composers Guild; Vladimir Shavitz, conductor. Withdrawn.

Get on board; The gospel train, for flute, oboe, bassoon, piano & string quartet (1927?). Duration: 1:26.

CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Felix Viscuglia, clarinet; Bernard Kole, bassoon; Terea Ling, Rebecca Ramsey, violins; John Peskey, viola; Kelley Mikkelsen, cello; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994).

CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Felix Viscuglia, clarinet; Bernard Kole, bassoon; Terea Ling, Rebecca Ramsey, violins; John Peskey, viola; Kelley Mikkelsen, cello; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!).

Glory to that new born king, for SATB, strings & piano.

Gloomy Sunday

CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream)

God's goin' to set this world on fire, for medium voice & piano (1968). New York: Holt, Rinehart & Winston (Exploring music, ed. by Beth Landis) Duration: 1:00.

LP: Unidentified performers. Holt, Rinehart & Winston (1968).

----- for SAT & piano.

Good news, for medium voice & piano. New York: Handy Brothers, 1948. Library: Library of Congress.

Good night, for medium voice & piano (1917). Text: Paul Laurence Dunbar. Dedication: William Service Bell. Première: 1921/X/30; New York; St. Mark’s Hall; Revella Hughes, soprano.

Grief, for high voice & piano (1953). Bryn Mawr: Oliver Ditson, Theodore Presser, 1955 (#Cl3l-4l053). 3p. Text: LeRoy V. Brant. Duration: 3:00. Library: Library of Congress.

CD: Richard Heard, tenor; Pamela Howland, piano. HM Classics (1998; Ain’t a that good news?).

----- Melville: Edward B. Marks, 1977 (Anthology of art songs by Black American composers, ed. by Willis Patterson, p45-47).

----- New York: G. Schirmer (Romantic art songs). Duration: 3:00.

CD: Fleur de Son Classics (2000).

CD: Dina Cameryn Foy, soprano; Polly Brecht, piano. DCF Records DCF-001 (1996, Remembrance; African-American songs).

AC: G. Carlton Hines, tenor; André Thomas, piano (1981/II/02, University of Illinois).

CD: Robert Honeysucker, baritone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

LP: Susan Matthews, mezzo-soprano, with unidentified pianist. University of Michigan SM-0015 (1980; Art songs by Black American composers).

----- for organ, arr. by A. Griggs.

Gunsmoke, incidental music for television.

Gwinter sing all along de way, for voice & piano.

CD: Robert Honeysucker, baritone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- for tenor, SATB & piano.

Hard times, for SATB. New York: Bourne. (#B205310).

Hard trials, for voice & piano, by D. McNair, arr. by William Grant Still.

CD: Louise Toppin, soprano; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- for piano.

----- for voice & string quartet.

Here's one, for soprano, SATB & piano (1941). Philadelphia: John Church, 1955, 1941 (American folksong choral series; #322-40037-7). 8p. Text: Talk about a child that do love Jesus. Duration: 3:55. Library: Library of Congress, Spingarn.

----- New York: Oxford University Press, 2002 (The Oxford book of spirituals, ed. by Moses Hogan, p).

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994 William Grant Still; Voices and piano).

CD: Northern Arizona University Chorale.  CD NACCM 09 (1994).

----- for medium voice & piano. Philadelphia: John Church.

78rpm: Robert McFerrin, baritone, with unidentified pianist. Riverside 812 (c1956).

AC: Edward Pierson, baritone; Donald Walker, piano

CD: Bridget Bazile, soprano; Moses Hogan Singers; Moses Hogan, conductor.  (2002; This little light of mine).

CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge).

LP: Bill Mann, tenor; Paul Mickelson, organ. Word Records W-3061 (1963).

----- for contralto, saxophone & piano, arr. by Vivian Taylor.

CD: Ruth Hamilton, contralto, Sam Strickland, saxophone; Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

----- for flute & piano.

CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippi classic).

CD: Alexa Still, flute;==, piano. Koch 3-7192-2H1 (1994).

----- for flute, strings & piano.

----- for soprano, SATB & piano.

----- for violin & piano, arr. by Louis Kaufman.

78rpm: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall H-1640 (1950; Contemporary American violin music).

78rpm: Louis Kaufman, violin; Annette Kaufman, piano. Vox 667-5 (1948).

AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001.

AC:Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-633.

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman).

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas.

CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one).

LP: Louis Kaufman, violin [Annette Kaufman, piano?]. Discopedia MB 1032 (1986?; The Kaufman legacy; Masters of the bow, vol.
2)
.

LP: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall Society CHS-1140 (1950)

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion MB-1032v2 (1971)

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971).

----- for voice & piano.

CD: Inetta Harris, soprano; Scott Lippoldt, piano. My Heritage Sings (1998).

CD: Joanne Stephenson, soprano; Karen Laubengayer, piano (2001/VIII).

CD: Videmus [Robert Honeysucker, baritone; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

LP: Bill Mann, tenor; Paul Mickelson, organ. Word Records W-3061 (1963).

LP: Robert McFerrin, baritone. Riverside 812 (c1964).

----- for voice & string quartet.

Hesitating blues, for orchestra, by W. C. Handy, arr. by William Grant Still (1916).

CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling.

Hiking song. Not extant.

Highway 1 USA, opera in 1 act, for 4 soloists, SATB & orchestra, in one scene (1962). Mission Viejo CA: WGS Music. Text: Verna Arvey. Première: 1963/V/11; Coral Gables, University of Miami; 4th Annual Festival of Contemporary Music; Fabien Sevitzky, conductor. Dedication: Judith Anne Still [Headlee], Larry Headlee; Daniel Still, Daniel Headlee; Lisa Headlee. Duration: 60:00. Absorbed sections of A Southern interlude.

VC: Cambria WGM BL-3003/ H1-3004 (2000). Includes A bayou legend.

VC: Cambria WGSM4-3002-4 (2000). Includes A bayou legend; Highway 1, U.S.A.; Minette Fontaine; Troubled island.

----- A dream wasted, for baritone & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2.

----- Once a little child, for mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1.

----- What does he know of dreams?

LP: William A. Brown, tenor; London Symphony Orchestra; Paul Freeman, conductor. Columbia M-32782 (1974; The Black composers series, vol. 2).

LP: William A. Brown, tenor; London Symphony Orchestra; Paul Freeman, conductor.  P9-19424 (==; The Black composers series, vol. 2).

----- for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2.

----- You're wonderful, Mary.

LP: William A. Brown, tenor; London Symphony Orchestra; Paul Freeman, conductor. Columbia M-32782 (1974; The Black composers series, vol. 2).

LP: William A. Brown, tenor; London Symphony Orchestra; Paul Freeman, conductor. P9-19424 (==; The Black composers series, vol. 2).

Home in-a dat rock, for voice & piano.

CD: Joanne Stephenson, soprano; Karen Laubengayer, piano (August 2001).

I feel like my time ain't long, for SSATB & piano (1956). Bryn Mawr: Theodore Presser, 1956 (#312-40304). 4p. Duration: 3:00. Library: Library of Congress.

AC: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOCA 1001 (1996).

CD: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-1060 (1996).

LP: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOLP 1001 (1996).

I'm on my way, for 2 equal voices. Detroit: Board of Education, City of Detroit, 1971 (Afro-America sings).

I'm pickin' my last row of cotton; The cotton picker's song, for medium voice & piano (1941). Absorbed by Bayou home. Library: Library of Congress (4p., lead sheet, M59-290).

In memoriam, the colored soldiers who died for democracy, for orchestra (1943). Los Angeles: Delkas Music, 1943. 16p. Instrumentation: 2111 (p) Eh bcl, 4331, timp, perc, harp, strings. Commision: League of Composers. Duration: 6:00. Première: 1944/I/5; New York Philharmonic: Artur Rodzinski, conductor. Library: Belwin-Mills, Library of Congress (LC 44-36836), Spingarn.

AT: Boston Symphony Orchestra; George Szell, conductor (1945/I/20).

In pastures green, by Willard Robinson, arr. by William Grant Still.

CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling.

Incantation and dance, oboe & piano (1942==1941?). New York: Carl Fischer, 1955 (#29843; W1687) 9p. & part. Duration: 4:24. Dedication: Betty and Loyd [sic] Rathbun. Première: 1942; Lloyd Rathburn. Library: Library of Congress (46-18613; also holograph).

AC: Walter F. Lee, oboe; Patricia Springer, piano.

AC: Walter F. Lee, oboe; Mellasenah Morris, piano (1978/X/29, Lois J. Wright Memorial Concert Series).

AC: Janice Smith, oboe; Diane Marsha, piano (1957/XIX/12).

CD: Sierra Winds [Stephen Caplan, oboe; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994).

CD: Sierra Winds [Stephen Caplan, oboe; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!).

CD: Videmus [Jean de Mart, flute; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

4 Indigenous portraits, for flute & string quartet (1957). Mission Viejo CA: WGS Music. 1. North American Negro; 2. South American Negro; 3. South American Indian; 4. North American Indian. Duration: 10:00. Withdrawn.

Is there anybody here?, for SATB & piano (1956). Bryn Mawr: Theodore Presser, 1956 (#312-40305). 4p. Duration: 3:00. Library: Library of Congress.

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994 William Grant Still; Voices and piano).

Jungle drums, for chorus & orchestra (c1924). Piano-conductor score. Text: Phil Boutelse.

Kaintuck'; Poem, for piano & orchestra (1935). Mission Viejo CA: WGS Music. 30p. Instrumentation: 3232 (p), 4331, timp, perc, strings. Commission: League of Composers. Duration: 14:00. Dedication: ´To my wife, Verna Arvey.” Library: Columbia (lead sheet, 1937), Lerma, Library of Congress (lead sheet, 1937), Yale (manuscript).

----- New York: Carl Fischer.

CD: Richard Fields, piano; Cincinnati Philharmonia Orchestra; Jindong Cai, conductor. Centaur CRC 2331 (1997).

----- for 2 pianos (1935). Première: 1935/X/28; Los Angeles Pro Musica. Verna Arvey, piano. The second pianist is not identified.

CD: Richard Fields, piano. Orion ORS-82442 (1982).

Keep me from sinkin’ down, for SATB & piano.

La guiablesse, ballet for dancers & orchestra, in one set (1927). New York: Carl Fischer. Scenario: Ruth Page, after Lafcadio Hearn. 1. Prelude; 2. Children’s dance; 3. Yzore’s waltz; 4. The bearers; 5. Pas de deux; 6. Gendarme; 7. Dance; 8. La guiablesse; 9. Final scene. Instrumentation: 3222 (p) Eh bcl, 4331, timp, perc, harp, strings. Written for the Adolph Bohm Ballet of New York. Première: c1933; Rochester, Eatman Theater; Howard Hanson, conductor. Dedication: Adrian Michaelis. Duration: 30:00.

----- for piano (1941). 38p. Library: Fisk (holograph); Library of Congress.

----- Suite. 27p. 1. First dance of the children; 2. Dance of Yzore and Adou; 3. Entrance of les porteuses.

---- 3. Yzore’s waltz. Première: 1933/V/05; Rochester; 3rd Annual Festival of American Music; Thelma Biracree, solo dancer; Howard Hanson, conductor.

CD: Berliner Symphoniker; Isaiah Jackson, conductor. Koch International Classics 3-7154-2H1 (1993).

----- 3. Entrance of les porteuses.

AC: San Francisco Symphony Orchestra; William Grant Still, conductor (1937). Glendale Legend GLCA-8011 (1984; William Grant Still conducts William Grant Still).

LP: San Francisco Symphony Orchestra; William Grant Still, conductor (1940?==). Glendale GLLP-8011 (1984; William Grant Still conducts William Grant Still).

----- 4. The bearers.

CD: Berliner Symphoniker; Isaiah Jackson, conductor. Koch International Classics 3-7154-2H1 (1993).

----- 5. Pas de deaux.

CD: Berliner Symphoniker; Isaiah Jackson, conductor. Koch International Classics 3-7154-2H1 (1993).

----- [7.?] Dance of the porteuses.

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano).

----- for piano.

CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996).

Lady of secrets, incidental music for film (1936).

Lament, for SSA & piano (1950). New York: Silver Burdett, 1951 (American music horizons, ed. by Osourne McConathy et alia, New music horizon series, p99-101). Text: Verna Arvey. Duration: 3:00.

----- for SSA & piano. Detroit: Board of Education, City of Detroit, 1971 (Afro-America sings).

CD: Atlanta Young Singers of Callawolde. EM-30001 (1997).

Legend, for orchestra [?] (1959).

Lenox Avenue; Choreographic street scenes, dancers, narrator, SATB & orchestra (1937). New York: J. Fischer & Bro., 1938. piano-vocal score, 41p. Scenario: Verna Arvey. Instrumentation: 2231, Eh bcl 5 saxophones, 3320, timp, 2 perc, piano, strings. Commission: Columbia Broadcasting System. Première: 1937;V/23; CBS Radio; Howard Barlow, conductor. Duration: 23:00. Library: Library of Congress (43-21830), Schomburg.

AC: Los Angeles WPA Orchestra and Chorus; Verna Arvey, piano; William Grant Still, conductor (1937). Glendale Legend GLCA-8011 (1984).

AC: Los Angeles WPA Orchestra and Chorus; Verna Arvey, piano; William Grant Still, conductor (1937). Glendale Legend GLCA-8011 (1984; William Grant Still conducts William Grant Still).

CD: CBS Symphony, the Standard Hour; Bay Cities BCD 1033 (1991).

CD: Juano Hernandez, speaker; CBS Symphony Orchestra; Howard Barlow, conductor. Includes introduction by Deems Taylor. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas.

CD: Marvin Hayes, narrator; Juano Hernandez, speaker; CBS Symphony Orchestra; Howard Barlow, conductor. Cambria CD-A11IA (2000; A centennial retrospective).

LP: San Francisco Symphony Orchestra; William Grant Still, conductor (1940?==). Glendale Legend GLLP-8011 (1984; William Grant Still conducts William Grant Still).

----- for narrator, dancers, chorus, piano & chamber orchestra.

----- piano-vocal score. New York: J. Fischer & Bro., 1938. 41p. (#J.F.&B. 0379) Library: Library of Congress, Spingarn.

----- for piano. Library: Duke University.

----- Blues, for piano. ===+:Keyboard Jr. Publication [multimedia kit] (Pathways to music; From jazz to rock, ed. by N. Rossi, includes LP recording by Verna Arvey, piano, c1972. Duration: 3:03.

78rpm: Gordon Manley, piano. Belwin-Mills (1952).

CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991).

LP: Albert Dominguez, piano. WSGM 1002 (1987).

LP: Gordon Manley, piano. New Records NRLP-105.

----- for jazz band.

78rpm: Artie Shaw and His Orchestra. Victor 27411 (1941).

CD: Artie Shaw and His Orchestra. Bluebird AMX2/AXK2-5572 (1982; The complete Artie Shaw, vol. 4).

----- for orchestra.

CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling.

----- for string quartet.

CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Issued as Lyric quartet.

----- for violin & orchestra (by 1944)

CD: Louis Kaufman, violin; Columbia Symphony; Bernard Hermann, conductor (1946). Cambria CD-1078 (1996; Pan-Americana).

----- for violin & piano, arr. by Louis Kaufman (1941).

78rpm: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall H-1640 (1950; Contemporary American violin music).

78rpm: Louis Kaufman, violin; Annette Kaufman, piano. Vox 667-2 (1948).

AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001.

AC:Louis Kaufman violin; Anette Kaufman, piano. Orion ORS-633.

CD: Fritz Gearhart, violin; Victor Steinhardt, piano. Koch International 7546 (2002; Oregon festival of American music).

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman).

CD: Louis Kaufman, violin; Annette Kaufman, piano. Bay Cities BCD 1019 (1991).

CD: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS 7152.

CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall Society CHS-58.

LP: Louis Kaufman, violin; Annette Kaufman, piano. Discopedia MB 1032 (1986?; The Kaufman legacy; Masters of the bow, vol. 2).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Vox 667-2

LP: Louis Kaufman, violin; Annette Kaufman, piano. Vox MB-1032v2 (1971).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Concert Hall Society CHS-1140

----- Choral episodes. Glen Rock: J. Fischer & Bro.

----- Flirtation.

78rpm: Hancock Ensemble; Loren Powell, conductor. Hancock Foundation, University of South Carolina 395 (1942).

----- I’m gonna tell, for SATB & piano.

Levee land, for soprano & instrumental nonet (1925). Text: William Grant Still. Contents: 4 songs==. Instrumentation: 2200, tenor banjo, piano, perc, 2 violins. Première: 1926/I/24; New York; Aeolian Hall; International Composers Guild Concert; Florence Mills, soprano; orchestra; Eugène Goossens, conductor. Duration: 10:00. Alternate title: Levee song. For a different work bearing same title, see: The American scene, suite II.

CD: Celeste Anne Headlee, soprano; Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-003 (1995).

Lift every voice and sing, for voice, flute, piano & string orchestra, by J. Rosamond Johnson (1899); arr. by William Grant Still (early 1920s). Duration: 3:02.

CD: Videmus [Robert Honeysucker, baritone; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello, Prentice Pilot, double bass; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

Lilt, for accordion (1960). New York: Piero Diero, 1967. 6p. Duration: 4:00.

AC: Robert Young McMahon, accordion.

Listen to de lambs.

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano).

CD: Joanne Stephenson, soprano; Karen Laubengayer, piano. == (2001).

Little David, play on your harp, for SSATB & piano (c1945?). Written for Anne Fambro, the composer’s maternal grandmother.

Little folk suite, no. 1, string quartet (1968). New York: Southern Music, 1968. 1. Salangadou; 2. El capotin. Duration: 3:45.

----- 1. Salangadou.

----- for string quartet..

CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music).

Little folk suite, no. 2, string quartet. New York: Southern Music, 1968. 1. El nido; 2. Sweet Betsy from Pike. Duration: 4:00.

Little folk suite, no. 3, string quartet. New York: Southern Music, 1968. 1. Aurore pradère [&] Tant sirop est doux; 2. Wade in the water. Duration: 3:00.

CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music).

CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music).

Little folk suite, no. 4, string quartet. New York: Southern Music, 1968. 1. Los indios [&] Yaravi; 2. The crawdad song. Duration: 3:30.

----- 1. Los indios and Yaravi.

CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music).

Little folk suite, no. 5, string quartet. New York: Southern Music, 1968. 1. Tutu maramba; 2. La varsoviana. Duration: 4:00.

Little folk suite from the Western Hemisphere, for brass quintet (1968). New York: Southern Music, 1968. 1. Where shall I be when the great trumpet sounds?; 2. En roulant ma boule. Instrumentation: 1211. Duration: 2:30.

----- 1. Where shall I be?

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano).

----- En roulant ma boule, for steel drums, arr. by A. Griggs.

Little red schoolhouse, for orchestra (1956). 1. Little conqueror; 2. Egyptian princess; 3. Captain Kidd, Jr.; 4. Colleen Bawn; 5. Petey. Première: 1957/III/30; Redlands University; Edward Tritt, conductor. Duration: 15:00. RELATE TO PAGES FROM A MOTHER’S DIARY

----- for band, arr. by Bucky Steele. New York: Peer-Music.

CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-001 (1994; From the delta).

Log cabin ballads, for orchestra (1927). 1. Long to'ds night; 2. Beneaf de willers; 3. Miss Malindy. Duration: 10:00. Première: 1928/III/15; New York; Booth Theatre; Little Symphony; Georges Barrère, conductor. Withdrawn.

----- 3. Miss Malindy.

CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast).

Los alnados de España, for narrator & orchestra (1962). Mission Viejo CA: WGS Music. 1. Prólogo y narración; 2. El valle esondido; 3. Serenata; 4. Danza. Dedication: to the composer’s maternal grandfather and to the memory of Clarence Cameron White. Première: 1994/X/29; Sequehanna Symphony Orchestra; Sheldon Bair, conductor. Duration: 12:00. Library: Library of Congress (29p. condensed score).

Lost horizon, incidental film music (1937).

VHS: Ronald Coleman; Jane Wyatt; Frank Capra. Chicago: Facets Multimedia (S02919 [restored version]). Duration: 132:00.

Lyric suite, string quartet (1960). Mission Viejo CA: WGS Music.
1. The sentimental one; Moderately; 2. The quiet one; Moderately slow; 3. The jovial one; Moderately fast. Dedication: Joachim Chassman. Duration: 9:00. Alternate title: Lyric quartette. Withdrawn.

CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music).

----- for saxophone quartet, arr. by Rudy Volkmann.

Mandy Lou, for voice & piano (c1926). Première: 1927/IV/26; New York, School for Social Research; Jessie Zachary, soprano.

March-finale, for SATB & orchestra (1942). Library: Library of Congress (holograph).

Marinella.

CD: [Artie Shaw and His Orchestra?]. Pavillon Records CD-9779 (1986?; Cream)

Marionette, for piano (1946). New York: MCA Music, 1946 (Compositions for piano by contemporary American composers, vl). 5p. Dedication: Adelaide and Kenneth Winstead. Duration: 1:00.

AC: Hildred Roach, piano (1977/V/01).

CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996).

Memphis man, medium voice & piano, by Willy Grant [pseud.], (1923). New York: Edward B. Marks, 1923 (#8193). 5p. Text: Paul Henry [pseud.]. Library: Spingarn.

----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000.

----- for organ, arr/ by H. Bert Coleman.

Men of the army, for voice & piano (1952). Text: Verna Arvey. Based on Mississippi. Duration: 2:00.

Minette Fontaine, opera in 3 acts, for 10 soloists, SATB & orchestra, in 5 scenes (1958). Mission Viejo CA: WGS Music. Text: Verna Arvey. Première: 1984/X/22; Baton Rouge; Centroplex Theater; Baton Rouge Opera Company; Donald Door, director. Dedication: Joan Palevsky. Duration: 120:00. Library: Library of Congress (piano-vocal score, 174p., 1959).

VC: Cambia WGMS MF-3002 (2000).

VC: Cambria WGSM4-3002-4 (2000). Includes A bayou legend; Highway 1, U.S.A.; Minette Fontaine; Troubled island.

----- Act II, scene 2

CD: Tiffany Jackson, soprano (Minette Fontaine); Jean Reed, soprano (Clarice); Judith Ellis, mezzo-soprano (Felice); Kimberly Haynes, mezzo-soprano (Mme. De Noyan); Scott Piper, tenor (Diron); Richard Banks, baritone (Claude); Jean Schneider, piano; David Morrow, conductor. Videmus (1998, Fare ye well).

----- I have two loves, for soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1.

----- I knew why you were coming, for soprano, contralto, TTBB (or SATB) & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3.

----- piano-vocal score.

Miniature overture, for orchestra (1965). Mission Viejo CA: WGS Music. Première: 1965/X/17; Greater Miami Philharmonic Orchestra; Fabien Sevitsky, conductor. Duration: 2:00.

Miniatures, for flute, oboe & piano (1948). London: Oxford University Press, 1963. 19p. & parts. 1. I ride old paint (USA); 2. Adolorido (Mexico); 3. Jesus is rock in the weary land (USA); 4. Yaravi (Peru); 5. A frog went a-courtin' (USA). Dedication: Sir John and Lady Barbirolli. “This suite is based on folk songs of the Americas, and is a souvenir of the visit to America of Sir John and Lady Barbiolli, and of the many friends made by them during their stay.” Duration: 12:14. Library: Library of Congress (64-33197/M; holograph, 48-22855).

AC: Peter Christ, oboe; Gretel Shanley, flute; Sharon Davis, piano. Crystal CRCA-321 (1979).

CD: Peter Christ, oboe; Gretel Shanley, flute; Sharon Davis, piano. Crystal CRCD-321 (1979).

CD: Stephen Capland, oboe; unidentified pianist. University of Nevada MA-104 (1999).

CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Carol Urban-Silvers, piano]. Cambria CD 1983 (1994).

CD: Sierra Winds [Richard Soule, flute; Stephen Caplan, oboe; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on
board!
).

LP: Peter Christ, oboe; Gretel Shanley, flute; Sharon Davis, piano. Crystal CRLP-321 (1979).

----- for flute, oboe, bassoon & piano, arr. by Fred Thayer.

Minorities and majorities, for SATB & piano 1971). New York: American Book Co. (ANC choral arts series, v1). Text: Verna Arvey. Originally to have been within 4 Octavo songs.

Miss Sally's party, ballet for 7 solo dancers, ballet corps & orchestra, in one scene (1940). Mission Viejo CA: WGS Music. Scenario: Verna Arvey. 1. Introduction; 2, The square dance; 3. Tias’ dance; 4. Toby and Tip’s dance; 5. The country dance; 6. Miss Sally’s dance; 7. Jim Slick’s dance; 8. The cake walk contest. Première: 1941/V/02; Rochester; 11th Festival of American Music; Thelma Biracree, dancer; Howard Hanson, conductor. Dedication: Thelma Biracree. Duration: 19:42. Library: Library of Congress (piano-vocal score, 37p.).

CD: The Orchestra of the Plymouth Music Series of Minnesota; Philip Brunelle, conductor. Collins Classics 14542 (1996, Witness, vol. 2). Liner notes: Dominique-René de Lerma.

CD: VocalEssence Ensemble String Orchestra; Philip Brunelle, conductor. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma.

----- Boy’s dance

----- for flute, oboe, strings & piano.

----- for piano.

Mississippi, for medium voice & piano (1942). Mission Viejo CA: WGS Music. Text: Verna Arvey. Written for Mark Warnow and the United States Army’s Sound off (ABC radio). Première: 1948/VII/26; ABC radio network, Sound off. Original title: Mississippi march; March-finale. Duration: 3:00.

----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000.

Mota, opera in 3 acts, 4 scenes, for 8 soloists, SATB & orchestra, in 2 scenes (1951). Mission Viejo CA: WGS Music. Text: Verna Arvey. Première [projected]: 1996; North Carolina A & T University; Clifford Watkins, conductor [?]. Duration: 129:00. Library: Library of Congress.

----- Must I die for my boldness?, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2.

----- This strange awakening, for soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1.

----- Who can tell what fate?, for mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1.

----- vocal score.

My brother American, for medium voice & piano (1971). New York: American Book Co. (Sound, beat, and feeling; ed. by Choate, Kaplan & Standifer; New dimensions in music, 7th grade). Text: Verna Arvey. Duration: 2:00.

My Lawd says he's goin' to rain down fiah, for medium voice & piano. New York: Handy Bros., 1948. Library: Library of Congress.

CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge).==

3 Negro songs, for medium voice & chamber orchestra (1921).
1. Negro love song; 2. Death song; 3. Song of the backwoods. Duration: 10:00. Withdrawn.

12 Negro spirituals, for medium voice & piano, arr. by William Grant Still, preface by Wellington Adams, includes "William Grant Still, Afro-American composer" by Verna Arvey and "Literary treatments" for each song by Ruby Berkley Goodwin, illustrated by Albert Barbelle epicting Negro life at the timethey were inspired (1937). New York: Handy Brothers, 1937, 1948. 2 vols (6 spirituals in each, also published separately, for SATB if with asterisk): 61, 40p. Vol l: 1. *Gwinter sing all along de way; 2. All God's chillun got shoes; 3. Lis'en to de lam's; 4. *Keep me f'om sinking down; 5. *Lord, ah wants to be a Christian; 6. Great camp meeting; Vol. 2: 7. Great day; 8. Ah gotta home in-a dat rock; 9. Peter, go ring dem bells; 10. Good news; 11. Didn't ma Lawd deliver Daniel; 12. Ma Lawd gonna rain down fish. Duration: 25:00. Library: British Library; (1937 imprint); Library of Congress (37-22232); Schomberg, Spingarn (v1).

----- London: Francis, Day & Hunter, 1937. 2 vols. Contents (reordered): 8, 2, 6, 11, 10, 7, 1, 4, 3, 5, 12, 9. Library: Spingarn.

----- 1. Gwinter sing all along de way.

CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge).

----- 4. Keep me f'om sinkin' down, for SATB (1937). New York: Handy Brothers. Duration: 5:00.

----- 5. Lawd, ah wants to be a Christian, for SATB. New York: Handy Brothers.

----- for voice & piano. Duration: 3:56.
CD: Inetta Harris, soprano; Scott Lippoldt, piano. My Heritage Sings (199?).

LP: John Patton, tenor; C. Edward Thomas, piano. Narthex Recording N-69085 (c1969; Black spirituals and art songs).

----- 8. Ah gotta home in dat rock.

CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge).

----- 9. Peter go ring dem bells.

CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge).

----- 11. Didn’t mah Lawd deliver Daniel?

CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04; Churchill College, University of Cambridge).

----- 12. Mah Lawd says he’s doin’ to rain down fiah.

CD: Jewel Bleckinger, mezzo-soprano; Wallace Cheatham, piano (2003/VIII/04, Churchill College, University of Cambridge).

No matter what you do, for medium voice & piano (1916). New York: Handy Brothers. Text: Grace Bundy. Withdrawn.

4 Octavo songs, for SATB (1971). New York: Gemini Press. 1. Ev'ry time I feel the spirit; 2. The blind man; 3. Toward distant shores [text: Judith Anne Still]; 4. Where shall I be? Duration: 10:00.

----- 2. The blind man.

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano).

CD: Duke University Chorale. NC 27708-0065 (1997; In these delightful, pleasant groves).

Old California, for orchestra (1941). New York: Carl Fischer, 1942. 1. Indian; 2. Spanish; 3. American. Instrumentation: 2222 (p Eh bcl cbsn), 4331, timp, 2 perc, harp, strings. Commission: Werner Janssen, for the 160th anniversary of Los Angeles. Dedication: George Fischer. Première: 1941/X/30; Los Angeles; Wilshire-Ebell Theatre; Janssen Symphony Orchestra; Werner Janssen, conductor. Duration: 10:00. Library: Library of Congress (holograph, M59-291).

AT: New York Philharmonic: Pierre Monteux, conductor (1944/XI/05).

CD: New York Philharmonic; ==, conductor. (1999, An American celebration, vol. 1).

----- for band.

Pages from a mother's diary, for orchestra. Instrumentation: 2222 (p bcl), 4330, timp, 2 perc, cel, harp, strings. Première: 1954/I/08; Santa Clara County Symphonette; Edward Azhderian, conductor. Duration: 14:30.

Pages from Negro history, for orchestra (1943). Boston: Carl Fischer, 1943 (Music of our time; 12 orchestral compositions by American contemporaries, ed. by Karl Duane van Hosen, p33-48 [reduced score]). (#29407-80; 03195) 1. Africa; 2. Slavery;
3. Emancipation.
After a text by Verna Arvey. Dedication: Duncan Still. Première: 1944/III/17; Westminster MD; Western Maryland College Orchestra. Duration: 10:00. Instrumentation: 2222, 4221, timp, perc, harp, piano, strings.

----- 1. Africa.

AT: NBC Concert Orchestra; Henri Nosco, conductor. (==)

Parted, for medium voice & piano. Text: Paul Laurence Dunbar.

Pastorela, for violin & piano (1946). New York: Witmark & Sons, 1947. 15p. & part. (#20603-19). The violin part edited by Louis Kaufman. Dedication: Louis and Annette Kaufman. Première: 1947/III/14’New York; Town Hall; Louis Kaufman, violin. Duration: 8:22. Library: Library of Congress.

AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001.

AC:Louis Kaufman violin; Anette Kaufman, piano. Orion ORS-633.

AT: Vincent Esposito, violin; Pablo Singer, piano.

CD: Fritz Gearhart, violin; Victor Steinhardt, piano. Koch International 7546 (2002; Oregon festival of American music).

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman). Liner notes: Tony Thomas.

WGMS Music 1001

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971).

----- for flute & string quartet.

CD: Alexa Still, flute; New Zealand String Quartet. Koch 3-7192-2H1 (1994).

----- for violin & orchestra. Instrumentation: 3222 (Eh) bcl, 4331, timp, harp, strings. Dedication: Samuel Marti.

CD: CBS Symphony, the Standard Hour == Bay Cities BCD 1033 (1991).

Path of glory, for bass-baritone & orchestra (1962). Los Angeles: WGS Music. Text: Verna Arvey. 1. Prologue; 2. Invocation; 3. Call to battle; 4. Judgment; 5. Elegy. Duration: 15:00. Library: Library of Congress (piano-vocal score).

Patterns, for chamber orchestra (1960). Mission Viejo CA: WGS Music. 1. Magic crystal; 2. A lone teardrop; 3. Rain pearl; 4. Tranquil cove; 5. Moon gold. Première: 1961/IV/23; Inglewood Symphony Orchestra; Ernest Gebert, conductor. Duration: 15:00. Library: Library of Congress.

Pennies from heaven, incidental film music for the Columbia Pictures production.

Perry Mason, incidental music for the (original) television series.

Peter go ring dem bells, for medium voice & piano. New York: Handy Bros., 1948. Library: Library of Congress.

7 Pieces, flute & piano ==
CD:Alexa Still, flute; Susan De Witt Smith, piano;. Koch 7192.

Plain chant for America, for baritone & organ or orchestra (1941). New York: Carl Fischer, 1941(Fischer edition 7800). 34p. Text: Katherine Garrison Chapin. Instrumentation: 3222 Eh bcl, 4331, timp, 2 perc, harp, organ, strings. Written for the centennial of the New York Philharmonic. Dedication: The President of the United States and Mrs. Franklin Delano Roosevelt. Première: 1941/X/23; Wilbur Evans, baritone; New York Philharmonic: John Barbirolli, conductor. Duration: 8:30. Library: Library of Congress (58-1896; photocopy, 45-29593), Spingarn.

LP: Paine College Choirs, Augusta GA (1972/IV/16). Century 40598 (1972).

----- piano-vocal score. New York: Carl Fischer, 1941. 14p. (J.F.&B. 7800-14) Library: Library of Congress.

----- for SATB & orchestra (c1965). Première: 1968/IV/16; Dillard University Choir; New Orleans Philharmonic Orchestra; Werner Torkanowsky, conductor.

Poem, for orchestra (1944). Los Angeles: Delkas Music, 1945. 40p. Instrumentation: 3222, (cbsn) Eh bcl, timp, 3 perc, cel, harp, strings. Commission: Fynette H. Kulas American Composer's Fund for the Cleveland Orchestra. Dedication: Arthur Judson. Prefatory text: Verna Arvey. Première: 1944/XII/7; Cleveland Orchestra; Rudolph Ringwall, conductor. Duration: 12:30. Library: Library of Congress (45-22168; photocopy, 45-19520).

Pompous march, for treble instruments & piano.

Prelude, piano. New York: Scribner's (The new Scribner music library, v4).

Preludes, flute, piano, & string orchestra (1962). 1. Moderately fast [Briskly]; 2. Moderately slow [Placidly]; 3. Delicately;
4. Moderately
[Smooth and sustained]; 5. Energetically [Liltingly]. Première: 1968/V/26; Los Angeles; Georges Barrère, flute; Westchester String Symphony; George Berres, conductor. Dedication: Consuelo Pappy. Duration: 12:00.

----- for flute & piano.

CD:Alexa Still, flute; Susan De Witt Smith, piano. Koch 3-7192-2H1 (1994).

----- for piano (1971). New York: Scribner's, 1972 (The new Scribner music library, v4, ed. by Howard Hanson).

CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991).

CD: Roy Eaton, piano. Summitt DCD-318 (2002; Preludes of Chopin, Gershwin and Still).

Preludes, piano & strings (1967).

Promised land, cantata (early 1920s). Text: Frederick Martens. Unfinished.

Puritan epic, for orchestra.

Quit dat fool'nish, for piano (1935). New York: J. Fischer & Bro., 1938 (#J.F.&B. 7460-3). 5p. Dedication: “Shep, my mischievous dog.” Première [?]: 1935; Los Angeles; Verna Arvey, piano. Duration: 2:00. Library: Library of Congress (lead sheet), Spingarn.

CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996).

LP: Albert Dominguez, piano. WSGM 1002 (1987).

LP: Richard Fields, piano. Orion ORS-82442 (1982)

----- for instrumental ensemble.

CD: Alexa Still, flute; New Zealand String Quartet. Koch 3-7192-2H1 (1994).

----- for flute & piano.

CD: Alexa Still, flute; Susan de Witt Smith, piano. Koch International Classics 3-7154-2H1 (1993).

CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippoi classic).

----- for saxophone & chamber ensemble.

----- for saxophone & piano.

CD: Sierra Winds [Felix Viscuglia, saxophone; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994).

CD: Sierra Winds [Felix Viscuglia, saxophone; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!).

----- for orchestra.

----- for violin & piano, arr. by Louis Kaufman.

CD: Fritz Gearhart, violin; Victor Steinhardt, piano. Koch International 7546 (2002; Oregon festival of American music).

CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one).

Radiant night, ==

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano).

Ralph Bunche; An American odyssey, incidental film music. New York: Filmakers Library, c2001. Film by William Greaves; narrator: Sidney Poitier; based on the biography of Brian Urquhart; additional music by Kermit Moore. Duration: 117:00.

Video: Filmakers Library, c2001.

Reverie, for organ (1962). Los Angeles: Avant Music, Western International Music, 1962 (A.G.O prelude book). Première: 1962/III/12; Pasadena; Pasadena Presbyterian Church; Robert Pritchard, organ. Duration: 3:56. Library: Library of Congress (holograph).

CD: Nancy Cooper, organ (Richard L. Bond Op. 27, Holy Spirit Episcopal Church, Missoula MT). Pro Organo CD 7139 (2001).

CD: Lucius Weathersby, organ (Great Torrington Parish Church, Father Willis organ; 2003/IX/27). International Society – African to American Music (2003).

CD: Lucius Weathersby, organ (Father Willis organ, 1864; St. Michael and All Angels Church, Great Torrington, UK). Albany 440 (2001; Spiritual fantasy).

CD: Philip Brunelle, organ. Collins Classics 14542 (1996, Witness, vol. 2). Liner notes: Dominique-René de Lerma.

CD: Philip Brunelle, organ. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma.

Rhapsody, soprano & orchestra (1955). Mission Viejo CA: WGS Music. 1. Pastorale; 2. Romance; 3. Lullaby; 4. Paen. Text: Verna Arvey. 1. Pastorale; 2. Romance; 3. Lullaby; 4. Paean. Duration: 15:00. Commission: Southside Conference, for Mattiwilda Dobbs. Dedication: Larry Allyn Headlee, in memoriam.

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano).

3 Rhythmic spirituals, for SATB & piano (1956). Duration: 9:00.

----- for voice & chamber orchestra. Flagstaff: WGS Music.

----- Lord, I looked down the road, for SATB & piano (1956). New York: Bourne, 1961. (807; #2951; B204886). 11p.

AC: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOCA 1001 (1996).

CD: Marvin Hayes, narrator; Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective).

CD: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-1060 (1996; A festive Sunday with William Grant Still).

LP: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOLP 1001 (1996).

----- Hard trials for SATB & piano (1956). New York: Bourne, 1961 (808; #2952). 6p.

AC: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOCA 1001 (1996).

CD: Marvin Hayes, narrator; Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective).

CD: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-1060 (1996).

LP: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOLP 1001 (1996).

----- Holy spirit, don't you leave me, for SATB & piano (1956). New York: Bourne, 1961 (809; #1953; 10566). 9p.

AC: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOCA 1001 (1996).

CD: Marvin Hayes, narrator; Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective).

CD: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). Cambria CD-1060 (1996).

LP: Schola Cantorum of the University of Arkansas; Jack Groh, conductor (1984). NASOLP 1001 (1996).

Ring play, for piano (1962). New York: J. Fischer & Bro., 1964 (Twentieth-century piano music, ed. by Bernice Frost). Duration: 1:00.

Rising tide, for SSATTBB & piano (1939). Glen Rock: J. Fischer & Bro., 1951. (Fischer edition, 7809; #J.F.&B. 7809-7) 8p. Text: Albert Stillman. Commission: World’s Fair Committee. Selected as theme music for the New York World’s Fair, 1939. Duration: 3:00. Also known as Victory tide and Song of a city. Performed on loudspeakers within the Perisphere Library: Library of Congress (also holograph).

----- for chorus & 2 pianos.

CD: Marvin Hayes, narrator (1939). Cambria CD-A11IA (2000, A centennial retrospective; New York World’s Fair music).

----- for TTBB & piano. Glen Rock: J. Fischer & Bro., 1951.

----- for medium voice & piano. New York: J. Fischer & Bro., 1939. 5p. (#7525)

----- for medium voice (optional) & orchestra. New York: J. Fischer & Bro., 1939. 3p. & 20 parts. (#7526). Library: Spingarn.

----- for piano.

CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996).

Romance, for saxophone & piano (1954). New York: Bourne, 1966 (#B211193) Dedication: Sigurd Rascher. Originally intended to be a movement of a larger work. Duration: 3:00. Library: Library of Congress.

AC: Robert Umiker, alto saxophone; Arthur Tollefson, piano (1984). NASOCA 1-1001 (1996); Roncorp EMS-007.

CD: Bill Perconti, saxophone; James Marsh, piano. Centaur 2335.

CD: Lawrence Gwozdz, alto saxophone; Lois Leventhal, piano. Crystal Records CD 652 (1994, An American tribute to Sigurd Rascher).

CD: Robert Umiker, alto saxophone; Arthur Tollefson, piano (1984). Cambria CD-1060 (1996; A festive Sunday with William Grant Still).

CD: Sierra Winds [Felix Viscuglia, saxophone; Carol Urban-Silvers, piano]. Cambria CD 1983 (1995, Get on board!).

CD: Sierra Winds [Felix Viscuglia, saxophone; Carol Urban-Silvers, piano]. Cambria CD 1083 (1994).

LP: Robert Umiker, alto saxophone; Arthur Tollefson, piano (1984). NASO LP 1-1001 (1996).

----- for saxophone & chamber orchestra. New York: International Music.

AC: Performer not identified. CANA 1001 (1984).

CD: Kenneth Tse, saxophone; == (2002).

CD: Lawrence Gwozdz, alto saxophone; Bohuslav Martinu Philharmonic; Kirk Trevor, conductor. Albany TROY 331 (1999).

CD: Wildy Zumwalt, saxophone; Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling.

LP: Performer not identified. NASO 1001 (1984).

----- for trombone & piano, arr. by Douglas Yeo.

Sahdji, for dancers, bass, SATB & orchestra, in 1 scene (1930). New York: Carl Fischer. Scenario: Richard Bruce Nugent [pseud. Richard Bruce] and Alain Locke. Instrumentation: 2222 (2p) Eh Ebcl bcl, 4221, timp, 3 perc, strings. Première: 1931/V/22; Rochester; Eastman Theatre; Thelma Biracree, solo dancer; Howard Hanson, conductor. Dedication: Howard Hanson. Duration: 45:00. Library: Columbia (incomplete lead sheet, 2p.), Library of Congress (LC 65-80155/M), Yale (manuscript).

AC: Kenneth Billups Chorus; Indianapolis Symphony Orchestra; Everett Lee, conductor (1976/VIII/13).

AC: Morgan State University Choir; Baltimore Symphony Orchestra; Paul Freeman, conductor (1973/IX/30).

CD: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor (1960) . Philips Classics Mercury Living Presence 434 324-2 (1992, Fiesta in hi-fi).

LP: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Mercury MG-50257 (1960).

LP: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Mercury SR 90-50257 (1960).

LP: Morgan State University Choir; London Symphony Orchestra, Paul Freeman, conductor. Columbia M-33433 (1975; The Black composers series, vol. 7).

----- Suite. Duration: 20:30.

AC: Morgan State University Choir; Nathan Carter, conductor (1976/IX, Carbondale IL).

LP: Morgan State University Choir; Annette Houston, piano; George Gray, percussion; Nathan Carter, conductor. Audio House AHS-30F75 (1975).

----- piano-vocal score. New York: Carl Fischer, 1941. 63p. Library: Library of Congress.

----- New York: Carl Fischer, 1961, 1941. 47p. (American composers edition). Library: Columbia (incomplete), Library of Congress (65-80155/M; also reproduction of holograph).

----- typescript scenario. Library: Columbia.

---- 4 Dances, for piano & strings.

----- Finale

CD: Marvin Hayes, narrator; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor (1951). Cambria CD-A111 (2000, Centennial retrospective).

----- Suite. Duration: 20:30.

LP: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Mercury MG-50257 (1960).

LP: Eastman School of Music Chorus; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Mercury SR-90257 (1960).

Saint Louis blues, by W. C. Handy, arr. by William Grant Still
(1919?).

CD: Marvin Hayes, narrator; 369th Infantry Band; James Reese Europe, conductor (1984). Cambria CD-A111 (2000, Centennial retrospective).

Sea pieces: Song, by Edward MacDowell, arr. by William Grant Still.

CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling.

Sentimental song, for orchestra (1953). Instrumentation: 2222, p Eh bcl, 4331, timp, cel, harp, strings. Duration: 10:00. Library: Library of Congress.

Serenade, for flute, clarinet, harp & orchestra (1957). Mission Viejo CA: WGS Music. Duration: 8:00. Originally to have been part of a cello concerto on the suggestion of Gregor Piatigorsky. Commission: Great Falls High School, MT. Première: 1958/V/07; Great Falls High School Orchestra; Paul Schull, conductor. Duration: 7:16.

CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene).

----- for flute, clarinet, harp, piano & strings.

----- for orchestra, arr.by George Berres [?] for the Westchester String Symphony.

----- for treble instruments & piano.

Sinner, please don't let this harvest pass, for SATB (1950). Sacramento: California State Department of Education (Let music ring, ed. by Peter W. Dykema). Duration: 3:00. See also Folk suite, band.

----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000.

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano).

Sipping cider through a straw, for SATB & piano (c1945?).

----- for SAT & piano.

Song for the lonely, for medium voice & piano (1953). Los Angeles: WGS Music. Text: Verna Arvey. Duration: 3:48. Recorded:

LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7278 (1972).

Song for the valiant, for low voice & piano (1952). Boston: Richard D. Row, 1952 (#R.D.R. 794-6). 7p. Text: Verna Arvey. Dedication: Jerome Hines. Première: Marie Powers. Duration: 3:00. Library: Library of Congress, Spingarn.

----- for low voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000.

----- for low voice & orchestra.

Song of a city, for voice, SATB & orchestra (1938). New York: J. Fischer & Bro., 1939. Text: Albert Stillman. Instrumentation: 3222 Eh bcl, 4331, timp, 2 perc, harp, piano, strings. Based on Rising tide. Duration: 10:00. See also: Victory tide.

----- for medium voice & piano.

----- for piano.

----- for SSATBB & piano.

----- for TTBB & piano.

Song of the hunter, for medium voice & piano (1968). New York: Holt, Rinehart & Winston (Exploring music, ed. by Beth Landis). Text: Verna Arvey. Duration: 1:00.

Songs; A medley, for instrumental ensemble (1927?). Includes Song of the rivermen; Slave chant; Oh! Dem golden slippers; I’m goin’ where nobody knows my name; Medley of Ain’t misbehavin’and Sweet Georgia Brown; Some of these days; Love will find a way; St. Louis blues.

Songs of separation, for medium voice & piano (1949). New York: Leeds, 1949 (#658-11). 12p. 1. Idolatry [text: Arna Bontemps; dedication: Frieta Shaw]; 2. Poème [text: Philippe Thoby-Marcelin; dedication: Hannah Bierhoff]; 3. Parted [text: Paul Laurence Dunbar]; 4. If you should go [text: Countee Cullen; dedication: Joyce Hansen); 5. A Black Pierrot [text: Langston Hughes; dedication: Muriel Rawn]. Première: 1946/II/19; Concert time (ABC broadcast); Herta Glaz, soprano. Duration: 7:16. Library: Columbia, Library of Congress, Spingarn (1949 imprint & manuscript of no. 5).

----- Flagstaff: William Grant Still Music, ==. With an introduction by Darryl Taylor.

CD: JoAnne Stephenson, soprano; Lora Young-Wright, piano (2003/VIII/04; Churchill College, University of Cambridge).

AC: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-633.

AC: Bernadine Oliphint, soprano; Carl Henry, piano (1971/VI/28, Indiana University).

CD: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas.

CD: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Music & Arts OC 633 (1972).

CD: Dina Cameryn Foy, soprano; Polly Brecht, piano. DCF Records DCF-001 (1996, Remembrance; African-American songs).

CD: Oral Moses, bass; [Ann Sears, piano?]. Albany TROY-459 (2001; Amen!).

CD: Videmus [Robert Honeysucker, baritone; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7152 (1972).

LP: Claudine Carlson, mezzo-soprano; Georgia Akst, piano. Orion ORS-7278 (1972).

----- for medium voice, string quartet & piano.

----- for low voice & orchestra. Instrumentation: 2222, 4000, timp, perc, cel, harp, strings.

LP: Cynthia Bedford, mezzo-soprano; Oakland Youth Orchestra; Robert Hughes, conductor. Desto DC-7107.

CD: CBS Symphony, the Standard Hour == Bay Cities BCD 1033 (1991).

----- 1. Idolatry

CD: Fleur de Son Classics (2000).

-----. 2. Poème.

CD: Fleur de Son Classics (2000).

----- 3. Parted.

AT: Joan Forde, mezzo-soprano; Judy May, piano.

CD: Fleur de Son Classics (2000).

----- 4. If you should go.

AC: George Shirley, tenor; Christina Dahl, piano (1995/III/31, Lawrence University, Ben Holt Memorial Concert Series).

AT: Joan Forde, mezzo-soprano; Judy May, piano.

AC: George Shirley, tenor; Wayne Sanders, piano (1976/VI/23, Westminster Choir School).

----- for flute & piano.

CD: Alexa Still, flute; ==, piano. Koch 3-7192-2H1 (1994).

----- 5. A Black Pierrot.

AT: Joan Forde, mezzo-soprano; Judy May, piano.

CD: Darryl Taylor, tenor; Maria Corley, piano; William Warfield, narrator. Naxos 8.559136 (2002; Dreamer; A portrait of Langston Hughes). Liner notes: “Langston Hughes and music” by Arnold Rampersand (German translation: Tilo Kittel; French translation: Pierre-Martin Juban); Dominique-René de Lerma. 8p.

-----for medium voice & orchestra. Instrumentation: 2222, 4000, timp, perc, cel, harp, strings. Dedication: Frieta Shaw, Hannah Bierhoff, Edyth and Eugene Pearson, Joyce Hansen and Muriel Rahn.

LP: Cynthia Bedford, mezzo-soprano; Oakland Youth Orchestra; Robert Hughes, conductor. Desto DC-7107 (1970; The Black composer in America).

----- for violin & piano [?].

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman).

Spirituals; A medley (1927?). Perhaps the final version of The devotion of a people and/or From the heart of a believer. Withdrawn.

AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO CA 1001 (1994). QUESTIONABLE ENTRY

CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1994). QUESTIONABLE ENTRY

Steal away to Jesus, for soprano, SAT & piano (1945?).

CD: Duke University Chorale. NC 27708-0065 (1997; In these delightful, pleasant groves).

Stormy weather, incidental film music.

----- Stock sketches, or Short sketches.

Suite, violin & piano (1943). Los Angeles: Delkas Music, 1945. 28p. & part (violin part ed. by Louis Kaufman). 1. African dancer, after the bronze sculpture by Richard Barthe; majestically; vigorously;
2. Mother and child, after the lithograph by Sargent Johnson; slowly and expressively; 3. Gamin, after the bronze sculpture by Augusta Savage; rhythmically and humorously. Dedication: Louis and Annette Kaufman. Première: 1944/IV/15; Boston; Jordan Hall; Louis Kaufman, violin. Duration: 11:22.

AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001.

AC: Mary Louise Boehm, violin; unidentified pianist (1985; American Music Inaugural concert). Pantheon CA-PFN 2231 (1985).

AC: Melissa White, violin; Michael Kim, piano (1997/X/04, Lawrence University, Ben Holt Memorial Concert Series).

AC: Louis Kaufman violin; Anette Kaufman, piano. Orion ORS-633.

CD: Fritz Gearhart, violin; Paul Tardif, piano. Koch 3-7268-2
(1996).

CD: Linda Rosenthal, violin; Lincoln Mayorga, piano. Town Hall THCD-45 (c1999, Fiddle-de-bop).

CD: Portia Hawkins, violin; Felix Farrar, piano. Wavetree (2001, African-American sampler).

CD: Videmus [Lynn Chang, violin; Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971).

VC: Melissa White, violin; Michael Kim, piano (1997/X/04, Lawrence University, Ben Holt Memorial Concert Series).

----- for violin & orchestra. New York: Leeds. Instrumentation: 1122 (p Eh) bcl, 3221, timp, perc, cel, harp, strings. Première: 1946/III/25; Louis Kaufman, violin; WOR Symphony; Emerson Buckley, conductor.

CD: Louis Kaufman, violin; Standard Symphony Orchestra; Henry Svedrofsky, conductor (1947). Cambria CD-1121 (1999; The violin artistry of Louis Kaufman).

CD: CBS Symphony, the Standard Hour == Bay Cities BCD 1033 (1991).

CD: Louis Kaufman, violin; Standard Symphony Orchestra; Henry Svedrofsky, conductor (1947). Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas.

----- 2. Mother and child.

CD: Louis Kaufman, violin; Standard Symphony Orchestra; Henry Svedrofsky, conductor (1947). Cambria CD-A111 (2000, A centennail retrospective).

----- for flute & piano.

CD: Alexa Still, flute; Susan De Witt Smith, piano. Koch 7192.

CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippi classic).

----- for string orchestra.

CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 1995; The American scene).

----- for violoncello [and piano?], arr. by T. Holley.

----- 1. African dancer.

----- for flute, piano & string orchestra.

----- 3. Gamin, for flute & piano.

CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippi classic).

CD: Alexa Still, flute; Susan De Witt Smith, piano. Koch 3-7192-2H1 (1994).

CD: Carlyn Lloyd-Ford, flute; unidentified pianist. Ti-L-Comusic TLC-990002 (1995).

----- for flute, piano and string orchestra.

----- for string orchestra.

Swanee River; Old folks at home, for piano (1939). New York: Robbins, 1939. (29 modern piano interpretations of Swanee River). Duration: 2:56.

CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991).

----- for SATB; arr. by Dana Paul Pena. Aylesbury UK: Bardic Editions.

CD: The Ensemble Singers of the Plymouth Music Series of Minnesota; Philip Brunelle, conductor. Collins Classics 14542 (1996, Witness, vol. 2).

CD: VocalEssence Ensemble Singers; Philip Brunelle, conductor. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma.

Swanee River, for piano (1939). New York: Robbins, 1939. (29 modern piano interpretations of Swannee River). Duration: 2:00.

Symphony, no. 1 (1930, Afro-American symphony). New York: J. Fischer & Bro., 1935 (no. 0318). 88p. 1. Moderato assai; longing [7:15]; 2. Adagio; sorrow [5:14]; 3. Animato; humor [4:00];
4. Lento con resoluzione; aspiration [7:15]. Dedication: Irving Schwerké. Première: 1931/X/29; Rochester; Eastman School of Music; American Composers’ Concert; Howard Hanson, conductor. Duration: 23:45. Instrumentation: 3222 (p) Eh bcl, 4331, 3 perc, cel, harp, tenor banjo, strings. Text: Paul Laurence Dunbar [prefaced]. Library of Congress (holograph, 101p. 74-226255).

LP [?]: Vienna State Opera Orchestra; Karl Krueger, conductor. New Records NRLP 105 (1952).

LP: Royal Philharmonic Orchestra; Karl Krueger, conductor. Society for the Preservation of the American Musical Heritage MIA-118 (1965).

----- rev. 1969. London: Novello, 1970, 1962, 1935 (Novello orchestral scores) 71p. Instrumentation: 2232, p Eh bcl, 4331, timp, 2 perc, harp, tenor banjo, strings. Library: Library of Congress (70-263895).

AC: Royal Philharmonic Orchestra; Karl Krueger, conductor (1965). Library of Congress CA 106.

AT: NBC Symphony Orchestra; Max Reiter, conductor.

CD: Chicago Sinfonietta; Paul Freeman, conductor. Cedille CDR 90000 055 (2000, African heritage symphonic series, vol. 1).

CD: Cincinnati Philharmonia Orchestra; Jindong Cai, conductor. Centaur CRC 2331 (1997).

CD: Detroit Symphony Orcestra; Neemi Järvi, conductor. Chandos CHAN 9154 (1993).

CD: Royal Philharmonic Orchestra; Karl Krueger, conductor (1965). Bridge 9086 (1999).

CD: Royal Philharmonic Orchestra; Karl Krueger, conductor (1965). Library of Congress CD 106

LP: London Symphony Orchestra; Paul Freeman, conductor. Columbia M-32782 (1974; The Black composers series, vol. 2). Liner notes: Dominique-René de Lerma.

LP: London Symphony Orchestra; Paul Freeman, conductor. == P9-19424 (==; The Black composers series, vol. 2). Liner notes: Dominique-René de Lerma.

----- 1. Moderato assai, for band, arr. by Melvin Miles. Thesis (M.A., music education) Morgan State University, 1978 (A transcription for concert band of the first movement from William Grant Still's Afro-American Symphony). Library: Morgan State University.

----- 3. Animato; Humor. New York: W. W. Norton, ==

78rpm: Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Victor 20549-B (1941).

78rpm [?]: NBC Symphony Orchestra; Max Reiter, conductor..

78rpm: All American Youth Orchestra; Leopold Stokowski, conductor (1940/XI/13). Columbia 11992 (1944).

----- for reduced orchestra. New York: J. Fischer, 1937 (#J.F.&B. 0366). 7p., piano score. Library: Spingarn.

CD: Marvin Hayes, narrator; Detroit Symphony Orchestra; Neemi Järvi, conductor. Cambria CD-A111 (2000, Centennial retrospective).

CD: Detroit Symphony Orchestra; Neemi Järvi, conductor. Sony Music A12 26638 (1996; Norton recorded anthology of Western music).

LP: Vienna Symphony; Karl Kreuger, conductor. New Records NRLP-105.

LP: All American Youth Orchestra; Leopold Stokowski, conductor (1940/XI/13). LSSA 6

LP: Unidentified performers. Keyboard Publications (1972?; Pathways to music; From jazz to rock).

----- for 2 pianos.

Symphony, no. 2, G minor (1936; Of a new race). New York: J. Fischer & Bro., 1937. 105p. 1. Slowly, yearnings; 2. Slowly and deeply expressive, sorrow; 3. Moderately fast, humor; 4. Moderately slow, aspiration expressed through religious fervour. Première: 1937/XII/10; Philadelphia Orchestra; Leopold Stokowski, conductor. Dedication: Isabel Morse Jones. Duration: 25:00. Library: Library of Congress (1941 imprint).

CD: Detroit Symphony Orchestra; Neeme Järvi, conductor. Chandos CHAN 9226 (1993, American music series, v5). Liner notes: Michael Flemming (German translation: Inge Moore; French translation: Paulette Hutchinson). 19p.

LP: San Francisco Symphony Orchestra; William Grant Still, conductor (1940?==). Glendale Legend GLLP-8011 (1984; William Grant Still conducts William Grant Still).

----- unidentified excerpt.

AC: Los Angeles WPA Orchestra and Chorus; Verna Arvey, piano; William Grant Still, conductor (1937). Glendale Legend GLCA-8011 (1984; William Grant Still conducts William Grant Still).

Symphony, no. 3 (1958; Sunday symphony). Mission Viejo CA: WGS Music. 1. Awakening; moderately; 2. Prayer; very slowly;
3. Relaxation; gaily; 4. Day’s end an a new beginning; resolutely.
Instrumentation: 3222 (p) Eh bcl, 4331, timp, 3 perc, cel, harp, strings. Dedication: Christian Dupriez. Première: 1984/II/12; Harrison AK; North Arkansas Symphony; Carlton R. Woods, conductor. Duration: 28:00. The original third symphony, following revision, was numbered five.

AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor. CANA 1001 (1984).

AC: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO CA 1001 (1994).

CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). Cambria CD-1060 (1994).

CD: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor. Cambria CD-1060 (1996; A festive Sunday with William Grant Still.

LP: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor. NASO 1001 (1984).

LP: North Arkansas Symphony Orchestra; Carlton R. Woods, conductor (1984). NASO LP 1001 (1996).

Symphony, no. 4 (1947; Autochthonous). Mission Viejo CA: WGS Music. 1. Moderato; 2. Slowly; 3. With a graceful lilt; 4. Slowly and reverently. Instrumentation: 3222 (p) Eh bcl, 4331, timp, 3 perc, cel, harp, strings. Dedication: Maurice Kessler. Première: 1951/III/18; Oklahoma City Symphony Orchestra; Victor Alessandro, conductor; Mutual Radio broadcast. Library: Library of Congress (reproduction of holograph, 73p.). Duration: 29:00.

AC: Denver; National Association of Educational Broadcasters (1959, UNESCO concert); William Grant Still, conductor. Available from William Grant Still Music.

LP: William Grant Still, conductor. National Association of Educational Broadcasters (UNESCO Concert, Denver (1959).

Symphony, no. 5 (1945, 1958; Western Hemisphere). Mission Viejo CA: WGS Music. 1. Briskly -– the vigorous, life-sustaining forces of the Hemisphere; 2. Slowly with utmost grace – the natural beautiful of the Hemisphere; 3. Energetically – the nervous energy of the Hemisphere; 4. Moderately – the overshadowing spirit of kindness and justice in the Hemisphere. Dedication: Victoria Juarez Burke. Première: 1970/XI/09; Oberlin College; Robert Baustian, conductor. Prior to revision of 1958, this was regarded as the composer's third symphony. Duration: 25:00.

Terrible trailer, for treble instruments & piano.

Texas moaner blues, by Clarence Williams, arr. by William Grant Still (early 1920s). New York: MCA Music.

The American scene: 5 suites for young Americans, for orchestra (1959). Mission Viejo CA: WGS Music. Duration: 50:00.

----- selections, arr. for band. 1. Tomb of the unknown soldier;
2. A New Orleans night; 3. Berkshire night; 4. Tribal dance;
5. Grand Teton.


CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-003 (1995).

The American scene, Suite I; The East, for orchestra (1957). 
1. On the village green; 2. Berkshire night; 3. Manhattan skyline. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor.

CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene).

----- 2. Berkshire night. Première: 1964/X; Rochester Civis Symphony; Paul White, conductor.

----- for band.

----- for 2 oboes, 2 clarinets, 2 bassoons & piano.

The American scene, Suite II; The South, for orchestra (1957).
1. Florida night; 2. Levee land; 3. A New Orleans street. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor.

----- 1. Florida night. Première: 1960/III/31; Standard School Broadcast, NBC Radio Network.

----- 2. Levee land. Première: 1959/II/05; Standard School Broadcast, NBC Radio Network.

----- 3. A New Orleans street. Première: 1959/II/05; Standard School Broadcast, NBC Radio Network.

----- for band.

The American scene, Suite III; The old West, for orchestra (1957). 1. Song of the plainsmen; 2. Sioux love song; 3. Tribal dance. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor.

----- 1. Songs of the plainsmen.

LP: All-State Group, National Music Camp, Interlochen (1971).

----- 2. Sioux love song.

LP: All-State Group, National Music Camp, Interlochen (1971).

----- 3. Tribal dance. Première: 1964/X; Rochester Civic Symphony; Paul White, conductor.

----- for band.

The American scene, Suite IV; The far West, for orchestra (1957). 1. The plaza; 2. Sundown land; 3. Navaho country. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor.

CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene).

The American scene, Suite V; A mountain, a memorial, and a song, for orchestra (1957). 1. Grand Teton; 2. Tomb of the unknown soldier; 3. Song of the rivermen. Première: 1990/XI/18; Memphis; Rhodes Civic Orchestra; Jack Abel, conductor.

CD: Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene).

----- 1. Grand Teton. Première: 1960/III/31; Standard School Broadcast, NBC Radio Network.

----- for band.

----- 2. Tomb of the unknown soldier. Première: 1962/II/19; Bevery Hills Symphony Orchestra; Herbert Weiskopf, conductor.

----- for band.

The Black man dances; Suite, for piano & orchestra (1935).
1. Moderato assai; 2. [no tempo indication]; 3. Moderato assai;
4. Allegro moderato.
Duration: 10:00. Text: Bruce Forsythe. Commission: Paul Whiteman. Withdrawn.

CD: Richard Fields, piano; Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling.

The blind man, for SSA & piano. New York: American Book Co. (ABC choral art series, v3).

----- for tenor & piano.

The breath of a rose, medium voice & piano (by 1928). New York: G. Schirmer, 1928 (#33804). 5p. Text: Langston Hughes. Library: Columbia, Library of Congress, Schomburg, Spingarn.

----- New York: G. Schirmer (A new anthology of American songs; 25 songs by native composers).

AT: Helene Oatts, soprano; Robert L. Morris, piano. (1969, Indiana University).

CD: == Cambria CD-1112 (1999).

CD: Dina Cameryn Foy, soprano; Polly Brecht, piano. DCF Records DCF-001 (1996, Remembrance; African-American songs).

The citadel, medium voice & piano (1956). Mission Viejo CA: WGS Music. Text: Virginia Brasier Perlee. Duration: 2:00. Withdrawn.

----- for medium voice & piano, in Song collection, ed. by Celeste Headlee. Flagstaff: Master-Player Library, 2000.

----- for medium voice & string orchestra.

AC: National Association of Negro Musicians [young adults]. Cambria CA-1003 (1994; William Grant Still; Voices and piano).

CD: Margaret Astrup, soprano; Manhattan Chamber Orchestra; Richard Auldon Clark, conductor. Newport Classic NPD 85596 (1995; The American scene).

CD: Videmus [Robert Honeysucker, baritone; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello, Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

The devotion of a people; Spirituals, medium voice & orchestra (1961). 33p.

The dark madonna, for orchestra, by Will Donaldson, arr. by William Grant Still.

The devotion of a people; Spirituals, for medium voice & orchestra (1961). 33p. Library: Library of Congress.

The land of dreams, for 3 female sings & chamber orchestra. Première [?]: 1925/II/8; New York, Aeolian Hall; Vladimir Shavitch.

The little red schoolhouse, for orchestra (1957). New York: Southern Music, 1977. 1. Little conqueror; 2. Egyptian princess; 3. Capt. Kidd, Jr; 4. Colleen Bawn; 5. Petey. Instrumentation: 2222 (p Eh bcl), 3321, timp, 2 perc, cel, strings. Première: 1957/III/20; University of Redlands; Edward Tritt, conductor. Adapted from From a mother's diary. Duration: 15:30. Library: Library of Congress (also 1957 manuscript).

----- for band. New York: Southern Music, 1977. 43p. Library: Library of Congress (78-770094).

CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-001.

The little song that wanted to be a symphony, for male narrator, women's trio (or string quartet) & orchestra (1953). New York: Carl Fischer, 1974. (American composers' edition) 37p. Text: Verna Arvey. Instrumentation: 2222, 3220, timp, 2 perc, harp, strings. Duration: 19:00. Première: 1955/II/15; Jackson (MS) Symphony Orchestra; Theodore Russell, conductor. Library: Library of Congress (LC 74-228146).

----- piano-vocal score. New York: Carl Fischer, 1974. 26p. (American composers' edition). Library: Library of Congress (LC 74-228150)

The path of glory, for bass-baritone & orchestra (1962). Duration: 15:00. 1. Prologue; 2. Evocation; 3. Interlude; 4. Call to battlke; 4. Interlude; 5. Judgment; 6. Interlude; 7. Elegy. Text: Verna Arvey. Written for Jerome Hines. Première: 1990/IV/22; Grand Forks ND; Holy Family Church; Herbert V. R. P. Jones, bass-baritone; Grand Forks Symphony; John Deal, conductor.

----- for voice & piano.

The peaceful land, for orchestra (1960). 9p. New York:, Theodore Presser (American music edition). 9p. Instrumentation: 2222, 3221, harp, strings. Dedication: United Nations. Première: 1961/X/22; University of Miami Symphony Orchestra; Fabien Sevitsky, conductor. Won: National Federation of Music Clubs award, and Aeolian Music Foundation award. Duration: 9:00-10:00. Library: Library of Congress.

The pillar, opera in 3 acts, for dancer, 10 soloists, SATB & orchestra (1955). Mission Viejo CA: WGS Music. Text: Verna Arvey. Duration: 120:00. Dedication: Leiland Atherton Irish. Library: Library of Congress (piano-vocal score, 200p., 1965)

----- Hear me, hear my plea!, for tenor & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 2.

The prince and the mermaid suite, incidental music to the play by Carol Stone, for soloists, chorus & chamber orchestra (1965). Mission Viejo CA: WGS Music. 1. Song of the flea; 2. Waltz; 3. Minuet; 4. Scherzo; 5. Summerland [see also 3 Visions]. Première: 1966/III/04; San Fernando Valley State College; Carol Stone, director. Duration: 20:00.

CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music).

----- for chamber ensemble.

----- Song of the sea, for string quartet.

The sorcerer, ballet (1933). Text: Bruce Forsythe. Withdrawn

----- for piano.

The voice of the Lord; Mizmor Ledovid, for tenor, SATB & organ (1946). New York: M. Witmark, 1946 (#20552). 10p. Text: Psalm 29. Commission: Park Avenue Synagogue, New York. Dedication: Edwin R. Embree. Première: 1946/V/10; New York; Park Avenue Synagogue; David J. Patterman, cantor. Duration: 5:00. Library: Library of Congress, Schomburg.

----- New York: G. Schirmer (Synagogue music by contemporary composers).

Threnody; In memory of Jan Sibelius, for orchestra (1965). Mission Viejo CA: WGS Music. 11p. Instrumentation: 2222 (p), 3221, timp, 2 perc, harp, strings. Commission: Fabien Sevitsky. Première: 1965/III/14; University of Miami Symphony Orchestra; Fabien Sevitsky, conductor. Duration: 4:00. Library: Library of Congress.

Theodora goes wild, incidental film music for the Columbia Pictures production.

Those who wait, for mezzo-soprano, baritone, SATB & orchestra (1942). Text: Verna Arvey. Duration: 9:00. Dedication: Nimrod Allen and Clara Allen. Première: 1992/XI/29; Milwaukee; St. Mark’s Church; Evelyn Jones, mezzo-soprano; Byron Jones, baritone; Nathaniel Dett Chorus [Wallace Cheatham, conductor]; Wisconsin Civic Orchestra; Monte Perkins, conductor. Library: Library of Congress (reproduction of holograph of piano-vocal score, 31p.)

To you, America, for band (1951). New York: Southern Music, 1956. 36p. Commission: U.S. Military Academy, West Point, for the its sesquicentennial. Dedication: Francis E. Resta and the United States Military Academy Band. Première: 1952/II/17; United States Military Academy Band; William Grant Still, conductor. Won: Freedom Foundation award, 1952. Duration: 11:00.

78rpm: United States Military Academy Band; Francis E. Resta, conductor; Pittsburgh International Contemporary Music Festival. ASCAP CB-177 (1952). Library of Congress (also 16p. condensed score).

LP: United States Military Academy Band; Francis E. Resta, conductor. Pittsburgh Festival of Contemporary Music ASCAP CB-177.

Tomorrow's city, for narrator, SATB & orchestra. (1938). Library: Library of Congress (19p., condensed score; also 16p., condensed score, second 1938 revision).

Toward distant shores, for SATB. New York: American Book Co. (ABC choral art series, v3). Text: Judith Anne Headlee [Still],

7 Traceries, for piano (1939). New York: J. Fischer & Bro., 1940 (Fischer edition, 7632; #7632-24). 24p. 1. Cloud cradles [dedication: Helen and Allan]; 2. Mystic pool [dedication: Josephine Harreld Love]; 3. Muted laughter [dedication: Jessie, Marge, Adrian, and Charles]; 4. Out of the silence [dedication: William Duncan Allen]; 5. Woven silver [dedication: Kay Swift];
6. Wailing dawn [dedication: Militza and James]; 7. A bit of wit [dedication: Florence and James]. Duration: 17:00. Library: Library of Congress (LC 53-43), Spingarn.

----- Flagstaff: William Grant Still Music, 1999. xxii, 23p. (S1810). Edited and with an introduction by Richard Crosby, and an essay by Judith Anne Still.

CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991).

CD: Maxine Franklin, piano (August 2001/VIII).

CD: Monica Gaylord, piano. Music & Arts CD-737 (1992, Black piano; A treasury of works for solo piano by Black composers). Liner notes: Monica Gaylord.

CD: Richard Crosby, piano. Capstone 8671 (1999).

CD: Richard Crosby, piano. RAC 001 (1994).

CD: William Cerny, piano. Wilmarc Records (1998; Explorations in piano literature).

LP: Albert Dominguez, piano. WSGM 1002 (1987).

LP: Frances Walker, piano. Orion ORS-78305/306 (1978).

----- for piano & strings.

----- 1. Cloud cradles.

LP: Gordon Manley, piano. NRLP-105.

----- 2. Mystic pool.

LP: Gordon Manley, piano. NRLP-105.

----- 3. Muted laughter. New York: J. Fischer & Bro. (Piano repertoire, ed. by Bernice Frost).

LP: Gordon Manley, piano. NRLP-105.

LP: Ruth Norman, piano. Opus One 39 (1978).

----- 4. Out of the silence. Duration: 4:50.

LP: Gordon Manley, piano. NRLP-105.

----- for flute. string quartet & piano. New York: J. Fischer & Bro. Duration: 6:00.

CD: Videmus [Jean de Mart, flute; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello, Vivian Taylor, piano]. New World Records 80399-2 (1990; Works by William Grant Still).

----- for orchestra.

----- 5. Woven silver.

LP: Gordon Manley, piano. NRLP-105.

----- 6. Wailing dawn.

LP: Ruth Norman, piano. Opus One 39 (1978).

----- 7. A bit of wit, for guitar, arr. By T. Smith.

----- excerpts, not identified.

78rpm: Gordon Manley, piano. Belwin-Mills (1952).

78rpm: Verna Arvey, piano. Co-Art 5037 (1941).

Troubled island, opera in 3 acts, for dancers, 8 soloists, SATB & orchestra, in 4 scenes (1938). New York: Leeds Music, 1949. Text: Langston Hughes (originally written for Clarence Cameron White, as Drums of Haiti) with additions by Verna Arvey after Hughes left to participate in the Spanish Civil War. Première: 1949/III/31; New York City Center; Robert Weede, baritone (Dessalines); Marie Powers, soprano (Azelia); Laszlo Halasz, conductor. The production was encouraged by New York’s mayor, Fiorello LaGuardia, and the president’s wife, Eleanor Roosevelt. Dedication: Leopold Stokowski. Duration: 160:00. Library: Library of Congress (piano-vocal score of p184-251, 4th act [sic]; also holograph of piano-vocal score, 247p., M61-1734), Schomburg.

AC: New York; Marie Powers, soprano (Azelia); Richard Charles, tenor; Robert Weede, baritone (Dessalines); Helena Bliss; Oscar Natska, bass (Martel); Laszlo Halasz, conductor (1949). WGSM T1-CA-3001 (2000)..

VC: New York; Marie Powers, soprano; Robert Weede, baritone; Laszlo Halasz, conductor (1949). WGSM T1-CD-3001 (2000)..

VC: Cambria WGSM4-3002-4 (2000). Includes A bayou legend; Highway 1, U.S.A.; Minette Fontaine; Troubled island.

----- Excerpts of a rehearsal, with an interview with William Grant Still

AT:

----- Libretto. New York: Leeds Music, 1949. 38p.

----- Act II, love duet

CD: Marvin Hayes, narrator; Helena Bliss, soprano; Richard Charles, tenor; New York City Center Opera; Laszlo Halasz, conductor (1949 dress rehearsal). Cambria A111 (2000, A centennial retrospective).

----- I dream a world, for bass & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. . Flagstaff: Master-Player Library, 2003, vol. 2.

----- Drums in the court for baritone & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. . Flagstaff: Master-Player Library, 2003, vol. 2.

----- Little Black slave child, for mezzo-soprano & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 1.

----- Now you lie still in death, for voice & piano.

----- To polish and shine, for soprano, mezzo-soprano, 2 contraltos & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. Flagstaff: Master-Player Library, 2003, vol. 3.

----- Why do you laugh, Vuval?, for baritone & piano, in Arias, duets, and scenes from the operas, ed. by Beverly Soll. . Flagstaff: Master-Player Library, 2003, vol. 2.

Up there, for medium voice & piano (1950). Morristown: Silver Burdett (World music horizons, ed. by MacConathy). Text: Verna Arvey. Duration: 1:30.

----- Detroit: Board of Education, City of Detroit, 1971 (Afro-America sings).

Victory tide, for SATB & piano (1939). New York: J. Fischer & Bro., 1942. (J. Fischer & Bro. choral series, F.E.C. 7831; #J.F.&B. 7831-7). 8p. Text: Albert Stillman. Duration: 2:30. Library: Library of Congress.

----- Detroit: Board of Education, City of Detroit, 1971 (Afro-America sings).

LP: Morgan State University Choir; Nathan Carter, conductor. Sable Records KM-2272 (1978).

----- for medium voice & piano. New York: J. Fischer & Bro.

----- for SATB & band.

----- for SATB & orchestra.

----- for TTBB & piano.

Vignettes, for oboe, bassoon & piano (1962). New York: Southern Music. 17p. 1. Winnebago moccasin game; 2. Carmela;
3. Peruvian melody; 4. Clinch Mountain; 5. Garde piti mulet la; 6. M'sieu Banjo.
Witten for Evelyn Barbirolli. Duration: 11:30. Library: Library of Congress.

CD: Sierra Winds [Stephen Caplan, oboe; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994).

CD: Sierra Winds [Stephen Caplan, oboe; Bernard Kolle, bassoon; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on
board!
).

----- for violin & piano.

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971).

3 Visions, for piano (1935). New York: J. Fischer & Bro., 1936(#7119). 12p. 1. Dark horseman; 2. Summerland; 3. Radiant pinnacle. Première [?]: 1936; Los Angeles; Verna Arvey, piano. Duration: 11:00.

----- Flagstaff: William Grant Still Music, ==. With an essay by Mark Boozer.

AC: Mildred K. Ellis, piano

CD: Mark Boozer, piano (1998/VI/27). International Society – Africa to American Music (2002).

CD: Althea Waites, piano. Cambria CD-1097 (1993, Black diamonds).

CD: Denver Oldham, piano. Altarus AIR-CD-9013 (1996).

CD: Monica Gaylord, piano. Music & Arts CD-737 (1992, Black piano; A treasury of works for solo piano by Black composers). Liner notes: Monica Gaylord.

CD: Natalie Hinderas, piano. CRI CD 629 (1992; Piano music by African American composers). composers). Liner notes: Dominique-René de Lerma, 19p.

LP: Albert Dominguez, piano. WSGM 1002 (1987).

LP: Gordon Manley, piano. NRLP-105.

LP: Felipe Hall, piano. Da Camera Magna SM-93144 (1975).

LP: Natalie Hinderas, piano. Desto DC-7102/3 (1971).

LP: Richard Fields, piano. Orion ORS-82442 (1982)

----- 1. Dark horseman.

CD: Denver Oldham, piano. Altarus 9013 (1996).

----- 2. Summerland. Duration: 3:46.

CD: Althea Waites, piano. Cambria CD A111 (2000; A centennial retrospective).

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999; The violin artistry of Louis Kaufman).

CD: Denver Oldham, piano. Koch International Classics 3-7084-2H1 (1991).

CD: Vivian Taylor, piano. Cambria CD-1112 (1999, More Still). Liner notes: Vivian Taylor and Zora Neale Hurston.

LP: Ruth Norman, piano. Opus One 39 (1978).

----- for flute, harp, violin, cello & piano.

----- for orchestra. Instrumentation: 1121, 2210, perc, piano, strings. Library: Spingarn.

----- for organ, arr. by Edouard Nies-Berger. New York: J. Fischer, 1944 (#J.F.&B. 8039). 5p.

----- for piano & orchestra.

----- for string quartet.

----- for violin & piano. Duration: 3:22. Recorded: Orion ORS-7152 (Louis Kaufman, violin; Annette Kaufman, piano) 1971. Library: Lerma.

----- for violoncello [& piano?], arr. by T. Holley.

----- excerpts, not identified

78rpm: Gordon Manley, piano. Belwin-Mills (1952).

----- for band.

CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-003 (1995).

----- for instrumental ensemble.

----- for chamber orchestra.

----- for flute & piano.

CD: Alexa Still, flute; Susan de Witt Smith, piano. Koch International Classics 3-7154-2H1 (1993).

CD: Keith Pettway, flute; Louis Hobbs, piano. Delta Classic Records DC 0191 (2000, Mississippi classic).

CD: Sierra Winds [Richard Soule, flute; Carol Urban-Silvers, piano]. Cambria CD 1084 (1994).

CD: Sierra Winds [Richard Soule, flute; Carol Urban-Silvers, piano]. Cambria CD 1083 (1995, Get on board!).

----- for flute, string quartet & harp.

CD: Alexa Still, flute; New Zealand String Quartet. Koch 3-7192-2H1 (1994).

CD: Videmus [Jean de Mart, flute; Lynn Chang, Lydia Forbes, violins; George Taylor, viola; Mark Churchill, cello, Ann Hobson Pilot, harp]. New World Records 80399-2 (1990; Works by William Grant Still).

----- for lute & organ. Première: 2000/IV; Great Torrington UK; Michael and All Angels Parish Church; Wendy Hymes, flute; Lucius Weathersby, organ.

----- for orchestra.

----- for organ and flute, arr. by Lucius Weathersby. Duration: 4:05.

CD: Wendy Hymnes, flute; Lucius Weathersby, organ (Father Willis organ, 1864; St. Michael and All Angels Church, Great Torrington, UK). Albany 440 (2001; Spiritual fantasy).

----- for organ, arr. by Edouard Nies-Berger.

----- for 2 pianos.

----- for string quartet..

CD: Oregon String Quartet [Kathryn Lucktenberg, Fritz Gearhart, violins; Leslie Straka, viola; Steve Pologe, cello]. Koch International 7546 (2002; Oregon festival of American music).

----- for violin & piano.

AC: Louis Kaufman, violin; Annette Kaufman, piano. WGS M-1001.

AC:Louis Kaufman violin; Anette Kaufman, piano. Orion ORS-633.

CD: Portia Hawkins, violin; Felix Farrar, piano. Wavetree (2001, African-American sampler).

CD: Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999, Lenox Avenue). Liner notes: Tony Thomas.

CD: Louis Kaufman, violin; Annette Kaufman, piano. == Bay Cities BCD 1033 (1991).

CD: Zina Schiff, violin; Cameron Grant, piano (1994). 4-Tay CD 4005 (1997, Here’s one).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7152 (1971).

LP: Louis Kaufman, violin; Annette Kaufman, piano. Orion ORS-7278 (1971).

----- for woodwind quintet. Richmond VA: International Opus (WW5-9550).

----- 3. Radiant pinacle.

CD: Denver Oldham, piano. Altarus 9013 (1996).

Wailing woman, for soprano, SATB & orchestra (1946). Los Angeles: WGS Music. Text: Verna Arvey. Instrumentation: 2222 Eh bcl, 4331, harp, strings. Première: 1991/IV/21; Ames IA; Iowa State University Chorus and Orchestra; Robert Molison, conductor. Duration: 9:00. Library: Library of Congress.

CD: Yolanda Williams, soprano; The Chorus and Orchestra of the Plymouth Music Series of Minnesota; Philip Brunelle, conductor. Collins Classics 14542 (1996, Witness, vol. 2). Liner notes: Dominique-René de Lerma.

CD: Yolanda Williams, soprano; VocalEssence Ensemble Singers and Chorus with orchestra; Philip Brunelle, conductor. Clarion CL 8905 CD (2004, Witness, Skyward my people rose, Music of William Grant Still). Liner notes: Dominique-René de Lerma.

Wake up, chillun, wake up, by Willard Robinson, arr. by William Grant Still.

CD: Centennial Celebration Orchestra; Ronnie Wooten, conductor (1998). Cambria A110 (The big broadcast). Liner notes: Lance Bowling.

We sang our songs: The Fisk Jubilee Singers, 1871-1971, for SATB & piano (1971). Mission Viejo CA: WGS Music. Text: Verna Arvey. Commission: Fisk University, for its centennial. Première: 6 October 1971; Fisk University, Nashville; Fisk Jubilee Singers; Matthew Kennedy, conductor. Duration: 3:00.

LP: Fisk Jubilee Singers; Anne Gamble Kennedy, piano; Matthew Kennedy, conductor. NR-2597 (1972; Eye of the storm).

Were you there?, for solo, SATB & piano (c1945?).

Western hemisphere, for orchestra. (1945) 93p. After a poem by Verna Arvey. Library: Library of Congress (47-28011, reproduction of manuscript).

What makes me believe you?, by Charles Lawrence, orchestrated by William Grant Still (early 1920s).

Where shall I be?, for SATB. New York: American Book Co. (ABC choral arts series, v1).

----- for organ, arr. by A. Griggs.

Winter's approach, for high voice & piano (1926). New York: G. Schirmer, 1928 (#33805). 5p. Text: Paul Laurence Dunbar. Première: 1927/IV/26; New York, School for Social Research; Jessie Zachary, soprano. Duration: 3:00. Library: Columbia, Library of Congress, Spingarn.

----- New York: G. Schirmer (Romantic American art songs).

CD: Dina Cameryn Foy, soprano; Polly Brecht, piano. DCF Records DCF-001 (1996, Remembrance; African-American songs).

Wood notes; Suite, for chamber orchestra (1947). New York: Southern Music, 1959. (#451). ==+?6p. 1. Singing river; 2. Autumn night; 3. Moon dusk; 4. Wippoorwill's shoes. Instrumentation: 3222 (p) Eh bcl, 4331, timp, 2 perc, cel, harp, strings. Dedication: F. J. Lehmann. Première: 1948/IV/22; Chicago Symphony Orchestra; Artur Rodzinski, conductor. "Inspired by poems of J. Mitchell Pilcher." Duration: 20:00 Library: Library of Congress (59-1339).

----- for orchestra. n.p.: 1947. 78p. Library: Library of Congress (reproduction of holograph).

Work song, for orchestra. Melville: Belwin-Mills.

Yamekraw; A Negro rhapsody, by James P. Johnson, arr. for orchestra (early 1920s). New York: Alfred & Co., 1928. Library: Library of Congress.

Your world, for SATB & piano (1968). Boston: Ginn, 1971 (The magic of music, ed. by Walters, Wersen, et alia). Text: Georgia Douglas Johnson. Duration: 3:00.

51 Bibliography
Prof. Dominique-René de Lerma

“A birthday offering to William Grant Still” in Black perspective in music, v3n2 (1975) p131-240.

"Baton Rouge Opera opens third season” in Morning advocate [Baton Rouge] (1984/X/25).

"Black music, lost in America?” in Chicago tribune (1989/XII/24), section 13, p2.

"Catálogo cronológico clasificado de la obras del compositor estadounidense William Grant Still; Classified cronological [sic] catalog of the works by the United States composer William Grant Still” in Boletín interamericano de música, n14 (1959/XI) p18-29.

“Catálogo cronológico clasificado de la obras del compositor estadounidense William Grant Still” in Compositores de América. Washington: Pan American Union, v5.

"Danzas de Panamá” in Musical courier, v149 (1954/IV/01) p38.

"Danzas de Panamá” in Notes, v11 (1954/VI) p442.

“Duke University presents musical legacy of William Grant Still” in American music teacher, v44n3 (1994-1995) p4.

"Hollywood Symphony closes season with world première" in Music of the West magazine, v16 (1961/VI) p14. [Patterns]

"Honors for members" in American Society of Composers, Authors, and Publishers, v2n3 (1968) p40.

"In memoriam; William Grant Still, 1895-1978” in Black perspective in music, v7n2 (1979/fall) p235-243.

"In retrospect; A pictoral survey” in Black perspective in music, v3n2 (1975/V) p207-221.

"Jackson records W. G. Still ballet music” in Symphonium, v4n2 (1992/spring) p8.

"Jazz symphony” in Time, v30 (1937/XII/20) p44-45.

"Miami" in Opera, v14 (1963/VII) p462. [Highway 1, U.S.A.]

"New items re William Grant Still” in Music rap, v2n6 (1985/III) p16-17.

"New native ballet and opera given in Rochester” in Musical America, v51m11 (1931/VI) p13. [Sahdji]

"New opera given Miami première: Highway no. 1, U.S.A., William Grant Still is heard" in New York times (1963/V/13).

"New Still opera premiered in Miami" in Musical leader, v95 (1963/VII) p23. [Highway 1, U.S.A.]

“News and notes; William Grant Still Music Society now known as the International African to American Music Society” in CBMR digest, v11 (1998/spring) p3.

"Note on William Grant Still" in Theatre arts, v26n8 (1942/VIII) p517.

"Nueva opera en Miami" in Buenos Aires musical, v18n291 (1963) p6. [Highway 1, U.S.A.]

"Opera in Mississippi" in Time (25 November 1974/XI/25) p84. [Bayou legend]

"Poem for orchestra" in Chicago Symphony program notes (1950/XI/2) p25.

"Premières" in International musician, v60 (1961/XII) p14. [The peaceful land]

"Serious music: new field for the Negro" in Variety, n197 (1955/I/5) p227.

"Still celebrations continue” in CBMR digest, v8n5 (1995/fall) p3.

"Still centennial programs scheduled” in CBMR digest, v8n1 (1995/spring) p18-19.

"Still, William Grant” in Black perspective in music, v7n2 (1979/fall) p283.

"Still, William Grant” in Current biography 1941.

“Still, alive at 100” in Symphony magazine, v46n4 (1995) p29-30.

"The composer's creed" in Music of the West magazine, v17 (1961/X) p13-15.

"The peaceful land" in Showcase, v41n1 (1961) p6.

"The peaceful land, William Grant Still's composition, wins Aeolian Music Foundation award" in Musical leader, v94 (1962/I) p14.

"To you, America; for band" in Notes, v16 (1954/XII) p144.

"Ulysses Kay’s Juggler of Our Lady and William Grant Still’s Highway 1, USA” in Opera news, v37 (1973/I/13) p23.

"University of Miami Symphony chosen to première The peaceful land by William Grant Still" in American Symphony Orchestra League newsletter, v13n2 (1962) p14.

"William Grant Still given National Federation award" in Music of the West magazine, v17 (1961/X) p9.

"William Grant Still opera premiers in Miami" in Music and dance, v54 (1963/VIII) p15. [Highway 1, U.S.A.]

"William Grant Still" in Composers of the Americas, v5. Washington: Pan-American Union, 1959.

"William Grant Still" in Negro history bulletin (1939/II) p36.

"William Grant Still" in Pan pipes, v43 (1950/XII) p131.

"William Grant Still" in Pan pipes, v44 (1952/I) p45.

"William Grant Still" in Pan pipes, v45 (1953/I) p67-68.

"William Grant Still" in Pan pipes, v47 (1955/I) p68-69.

"William Grant Still” in Flash! (1938/XI/15)

"William Grant Still” in Jet (1984/V/14) p19.

"William Grant Still” in Music journal (1949/I-II) p21.

"William Grant Still” in Sonorities in Black music: a concert series, first concert, 12 December 1978, ed. by Dominique-René de Lerma. Baltimore: Morgan State University, 1978. p4.

Abbott, Lynn. Out of sight; The rise of African American popular music, 1889-1895, by Lynn Abbott and Doug Seroff. [n.p.]: University Press of Mississippi, 2002.

Abdul-Rahim, Raoul. "Jazz with a Ph.D." in Blacks in classical music. New York: Dodd, Mead, 1977, p28-32.

Abdul-Rahim, Raoul. "Operas by Black composers" in Blacks in classical music. New York: Dodd, Mead, 1977, p123-126.

Abdul-Rahim, Raoul. “Reading the score: Panorama of symphonic music” in New York Amsterdam news, v68n39 (1977/IX/24) pD6.

Abdul-Rahim, Raoul. Blacks in classical music. New York: Dodd, Mead, 1977, p28-32, 124-125.

Adams, Stanley . "Birthday greetings to William Grant Still" in Black perspective in music v3n2 (1975/V) p133-134.

Adams, Stanley. "Birthday greetings to William Grant Still" in The Black perspective in music, v3n2 (May 1975) p133-134.

Adams, Stanley. “Birthday greetings to William Grant Still” in Black perspective in music, v3n2 (1975/V) p133-134.

American music, v1n4, p82; v3n1, p102, 111 (Smith)

Ardoin, John. "A Black composers' concert" in American musical digest, v1n5 (1970) p5-6.

Ardoin, John. “A Black composers’ concert” in Dallas morning news (1970/I/31).

Ardoyno, Dolores. "William Grant Still" in High fidelity/Musical America, v34 (1984/X) p18-20.

Arvey, Verna. "In memoriam: William Grant Still (1895-1978)" in Black perspective in music, v7n 2 (1979/fall): 235-43 [messages of condolence by various authors].

Arvey, Verna. “In memoriam: William Grant Still, 1895-1978” in Black perspective in music, v7n2 (1979/fall) p235-243.

Arvey, Verna. “Is there a place for Negroes in classical music?” in Upbeat (1939/I).

Arvey, Verna. “Still opera points the way” in Music forum and digest (1949/VIII).

Arvey, Verna. “Symphonies in black” in Music journal, v32 (1974/IV) p28-29, 32-36.

Arvey, Verna. “The ballets of William Grant Still” in Choreographic music. New York: Dutton, 1941.

Arvey, Verna. “The ballets of William Grant Still” in The`new challenge; a literary Quarterly (1937/fall).

Arvey, Verna. “W. G. A., creator of indigenous American music” in Chesterian, v20, n145 (1939/V-VI) p134-138.

Arvey, Verna. “William Grant Still, American composer” in Co-art turntable [Beverly Hills CA] (1942/II).

Arvey, Verna. “William Grant Still, creator of indigenous American music” in Chesterian (1939/V-VI)

Arvey, Verna. “William Grant Still; Creative aspects of his work” in Dillard University arts quarterly, v1 (1938/I-III) p3-4, 22.

Arvey, Verna. “William Grant Still” in William Grant Still; a study in contradictions, ed. by Catherine Parsons Smith. Berkeley: University of California Press, 2000, p304-339.

Arvey, Verna. “With his roots in the soil” in International musician, v62 (1963/VII) p20-21, 41-42.

Arvey, Verna. Choreographic music. New York: E. P. Dutton, 1941. 523p.

Arvey, Verna. In one lifetime, with an introduction and notes by B. A. Nugent. Fayetteville: University of Arkansas Press, 1984. xii, 262p. LC 83-24226. ISBN 0-938626-31-0 (hardback); 0-938626-36-1 (paperback).

Arvey, Verna. In one lifetime. Fayetteville. University of Arkansas Press, 1984. \

Arvey, Verna. Studies of contemporary American composers; William Grant Still. New York: J. Fischer & Bro., 1941 == or 1939.

Arvey, Verna. Studies of contemporary American composers: William Grant Still. New York: J. Fischer, 1939. 48p. With an introduction by John Tasker Howard.

Arvey, Verna. William Grant Still, with an introduction by John Tasker Howard. New York: J. Fischer, 1939. 48p. (Studies of contemporary composers).

Arvey, Verna. “Still opera points the way” in Music forum and digest (1949/VIII).

Baskerville, David Ross. Jazz influence on art music to mid-century. Graduate paper (Ph.D.) University of California, Los Angeles, 1965. xiv, 535p. LC 65-15175.

Bedell, Kingsley. “Judith Anne Still; Advancing the Still legacy of music” by Kingsley Bedell and Kym Bennett, in Intercultural harp news; A news and information source for harpists, v2n1 (1996/spring) p3, 5, 6-7.

Bennett, Elsie M. "William Grant Still and accordion music" in Black perspective in music, v3n2 (1975/V) p193-195.

Black music research journal, 1980, p5, 85, 92, 93; 1981-1982, p51, 72, 74, 106, 145; v10n1, p89, 100, 124; v12n2, p16

Black perspective in music, v1p98, 99, 101, 202; v2p104, 105, 155; v3n1, p120, 121, 123; 124; 327; v3n3, p239, 346, 347; v4n1, p103; v4n3, p337; v5n1, p33; v5n2, p237, 238, 239, 240, 242, 243; v6n1, p107, 110; v6n2, p148, 181, 239; v7n1, p107; 265; 270, 271; v7n2, p283; v8n1, p81; v8n2, p258; v9n1, p72, p111; v9n2, p125, 198, 243, 245; v10n2, p207, 234, 235; v11n1, p58, 68, 93; v11n2, p220, 229, 232, 233; v12n1, p60, 146; v13n1, p53, 55, 61, 64, 75, 127; v14n1, p32, 45, 69, 74, 77; v14n2, p192; v15n2, p199; v17, p18, 21, 192, 197; v18, p218, 238

Black sacred music v4n2, p74

Bogle 1992, p67

Bourne, Kay. “Centenary marked of composer Still” in Bay state banner (1995/IV/13) p14.

Bowling, Lance. “William Grant Still” in The Maud Powell signature, v2 (1997) p23.

Braithwaite, Coleridge Alexander. A survey of the lives and creative activities of some Negro composers; A report of a Type C project. Graduate paper (Ed.D.) Columbia University, Teachers College, 1952. 185p.

Brown 1986, p185

Brown, R. Donald. William Grant Still; an interview. Fullerton: California State University, 1984.

Brown, Rae Linda. “William Grant Still, Florence Price, and William Dawson; Echoes of the Harlem Renaissance” in Black music in the Harlem Renaissance, ed. by Samuel A. Floyd, Jr. Westport: Greenwood Press, 1990, p71-86.

Bull, Storm. Index to biographies of contemporary composers, vol. 3. Metuchen: Scarecrow Press, 1987. xxiv, 854p. ISBN 0-8108-1930-9.

Butler, Henry. “Still is grateful for Tin Pan Alley days” in Indianapolis news (1970/III/6).

Caldwell, Hansonia La Verne. Black idioms in opera as reflected in the works of six Afro-American composers. Graduate paper (Ph.D., musicology) University of Southern California, 1974. 285 p. DDM Code: 71opCalH; DA no.: 35/09:6179; LC 74-23021; RILM no.: 76/0866dd; UM no.: 75-06,403. [Troubled island]

Calloway, Earl. “A great musician sleeps and this generation never knew him” in Chicago defender (1978/XII/16)

Center for Black Music Research. Digest, v2n2, p48, v3n2, p2

Chase 1987, p356

Chasins, Abram. Leopold Stokowski; A profile. New York: Hawthorn Books, 1979.

Cobbs, Paul-Elliott. William Grant Still’s The Afro-American symphony; A culturally inclusive perspective. Graduate paper (D.M.A.) University of Washington, 1990.

Cody, Carlos Bernard. A study of selected band compositions of three twentieth century composers: William Grant Still, Ulysses Kay, and Hale Smith. Graduate paper (Ph.D.) University of Southern Mississippi, 1990.

Cook, J. Douglas. “Visits to homes of famous composers; No. 3, William Grant Still” in Opera, concert, and symphony (1946/XI).

Cowell, Henry, ed. American composers on American music. New York: Frederick Unger, 1962, 1933.

Cox, Bette Yarbrough. “Verna Arvey Still and William Grant Still” in Central Avenue; Its rise and fall, 1890-c1955, including the musical renaissance of Black Los Angeles. Los Angeles: BEEM Publications, 1993, 1993, p212-222.

Cunningham, Arthur. "Eclatette" in Black Perspective in Music v3n2 (1975/V) p226-234.

Current biography 1941, 1979 obituary

Dabrishus, Michael J. William Grant Still; A bio-bibliography, by Michael J. Dabrishus, Carolyn L. Quin, and Judith Anne Still. Westport: Greenwood Press, 1996.

Dargan, William T. Still going on; A reassessment of the life and works of William Grant Still, by William T. Dargan, Boyd Gibson, and Joan D. Madeksza. Raleigh: Saint Augustine’s College, Department of Music, 1995. 32p.

Davidson, Celia Elizabeth. Operas by Afto-American composers; A critical survey and analysis of selected works. Graduate paper (Ph.D.) Catholic University of America, 1980.

Davis, Peter G. “Opera Ebony in debut work” in New York times (1970/XII/05). Highway 1 U.S.A.

Detels, Claire, ed. William Grant Still studies at the University of Arkansas; A 1984 congress report. Fayetteville: University of Arkansas, 1985.

Dixon, Lorraine. The New Negro Renaissance in Harlem and the blues; An historical and aesthetic background to Symphony No. 1 (Afro-American) by William Grant Still (1895-1978). Undergraduate paper (B.A.) University of Leeeds, 1996.

Doernberg, Jerry. “Musical premiere due at E. L. A.” in Los Angeles times, San Gabriel edition (1965/V/13).

Dorr, Donald. “Chosen image; The Afro-American vision in the operas of William Grant Still” in Opera quarterly, v4n2 (1986/summer) p1-23. RILM 86/2675.

Douglass, Fannie Howard. "A tribute to William Grant Still" in The Black perspective in music, v2n1 (1974/spring) p51-53.

Dufour, Charles L. “All-Still performance offers happy evening” in New Orleans states-item (1968/IV/17).

Dunn-Powell, Rosephanye. The solo vocal writing style of William Grant Still. Graduate paper (Mus.D.) Florida State University, 1993.

Dunn-Powell, Rosephanye. “William Grant Still; A synopsis of his life and songs” in Journal of singing, v52n2 (1995) p3-13.

Edwards, Benjamin Griffith. The life of William Grant Still. Graduate paper (Ph.D., History of American civilization) Harvard University, 1987. University Microfilms 8806075.

Elaine, Karen. Diverse cultural voices and improvisation in music of the late twentieth century. Graduate paper (M.A.) University of California-San Diego, 1998.

Embree, Edwin Rogers. 13 against the odds. Port Washington: Kennikat Press, 1968. Previously issued in New York by Viking Press, 1944. 4, 261p. LC 44-636.

Ennis, Bayard F. “Opera enhances art festival: Highway credit to West Virginia State College” in Charleston gazette (1967/V/07).

Everett, Thomas. "Concert band music by Black-American composers, A selected list" in Black Perspective in Music 6, n.2 (1978/fall) p143-50.

Ewen, David. Composers of today. New York: H. W. Wilson, 1834, p270-271,

Ferguson, Blanche E. Countee Cullen and the Negro Renaissance. New York: Dodd, Mead & Co., 1966.

Fisk 1980, p7, 89

Fisk University, Nashville. Library. George Gershwin Memorial Collection of Music and Musical Literature: manuscripts. Nashville: Fisk University, c1960. LC 61-3149.

Flash! (1938/XI.15). [photographs].

Fleming, John. “Composer proves there’s no color line in music world” in Arkansas gazette (1951/VIII/05).

Floyd 1990, p175, 204, 208

Floyd, Samuel A., Jr. Black music biography; An annotated bibliography, by Samuel A. Floyd, Jr., and Marsha Reisser. White Plains: Kraus International Publications, 1986., pxvi, xvii, xviii, xxiv, 39, 141, 226-270, 282

Forsythe, Harold Bruce. “Plan for a biography of Still” in William Grant Still; a study in contradictions, ed. by Catherine Parsons Smith. Berkeley: University of California Press, 2000, p300-303.

Forsythe, Harold Bruce. “William Grant Still; a study in contradictions” in William Grant Still; a study in contradictions, ed. by Catherine Parsons Smith. Berkeley: University of California Press, 2000, p264-299.

Gatewood, Willard B. “The formative years of William Grant Still; Little Rock, Arkansas, 1895-1911” in William Grant Still; a study in contradictions, ed. by Catherine Parsons Smith. Berkeley: University of California Press, 2000, p21-38.

Gehrkens, K. W. "How about William Grant Still?" in Etude, v66 (1948/VIII) p478.

Goss, Madeleine Binkley. Modern music makers; contemporary American composers. New York: Dutton, 1952, p207-221.

Greene, Patterson. “Bridging the musical gap” in Los Angeles herald-examiner (1963/IX/08).

Griggs-Janower, David. “The choral works of William Grant Still” in Choral journal, v35n10 (1995) p41-44.

Haas, Robert Bartlett, ed. William Grant Still and the fusion of cultures in American music, with introductions by Howard Hanson and Frederick Hall. Los Angeles: Black Sparrow Press, 1972. xi, 201p. ISBN 0-87685-149-9; 0-87685-150-2 (autographed); LC 72-5955; RILM 73/720. PERHAPS also in 1975. Second edition, rev. by Judith Anne Still, Celeste Anne Headlee, and Lisa M. Headlee-Huffman. Flagstaff: Master Player Library, 1975, 1995. Issued both in paperback and hardback versions. Originally issuedfrom Los Angeles by Black Sparrow Press in 1972.

Hains, Frank. "Jackson: Opera/South, Bayou legend" in High fidelity/ Musical America, v25n3 (1975/III) pMA25-26.

Hains, Frank. "Opera/South; all-Black and hopeful" in High fidelity/Musical America, v23n5 (1973/V) pMA23, MA28.

Hains, Frank. "William Grant Still, an American composer who happens to be Black" in High fidelity/Musical America, v25n3 (1975/III) pMA27.

Handy, D. Antoinette. Black music; opinions and reviews. Ettrick VA: BM&M, 1974., p8, 56, 73

Hare, Maude Cuney. Negro musicians and their music. Washington: Associated Publishers, 1936.==

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Harris, Carl Gordon, Jr. “Three schools of Black choral composers and arrangers, 1900-1970” in School music news, v34n4 (1974/XII) p33-39.

Haas, Robert Bartlett, ed. William Grant Still and the fusions of cultures in American music. Los Angeles, Black Sparrow Press, 1972.

Harton-Brown, Connie. African-American influences in selected compositions by American composers. Graduate paper (M.A.) Eastern Michigan Universty, 1993.

Harvey, B. “Flute music of William Grant Still” in Flute talk, v18 (1999/I) p20-22.

Horne, Aaron. String music by Black American composers. Westport: Greenwood Press, 1991 (Music reference collection, no. 33). xx, 327p. Foreword by Dominique-René de Lerma. ISBN 0-313-27938-1. +

Howard-Hanson, Michelle Denise. In dying, born to eternal life; William Grant Still, silenced, still speaks. Graduate paper (D.M.A.) Universitry of Maryland-College Park, 1998.

Huang, Rachel V. “The suite for violin and piano; William Grant Still and the Harlem Renaissance” in Journal of the violin Society of America, v14 (1996) p183-195.

Hudgins, Mary D. "William Grant Still, the dean of Negro composers" in Arkansas gazette [Little Rock] (1966/I/30) p4E.

Hudgins, Mary D. “An outstanding Arkansas composer, William Grant Still” in Arkansas historical quarterly, v24n4 (1965/fall) p308-314.

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Hussung, Mark Edward. The solo piano works of William Grant Still. Graduate paper (D.M.A.) University of Cincinnati, 1998.

Jackson 1985a, p246, 267

James, Shaylor Lorenza. Contributions of four selected twentieth-century Afro-American classical composers; William Grant Still, Howard Swanson, Ulysses Kay, and Olly Wilson. Graduate paper (Ph.D.) Florida State University, 1988. == TRACE

Johnson, Herbert. The piano music of William Grant Still. Graduate paper (D.M.A.) Manhattan School of Music, 1992.

Jones, Isabel Morse. [Meet the composer , William Grant Still] “From Tin Pan Alley to opera” in Negro digest (1945/V).

Jones, Isabel Morse. “Meet the composer , William Grant Still; from Tin Pan Alley to symphony and opera, his beliefs have never faltered:” in Musical America (1944/XII/25) p7, 25.

Kay, Ulysses. “Visions” in Black perspective in music, v3n2 (1975/V) p222-223.

Kennan, Clara B. “Native of Little Rock is widely celebrated Negro composer”: in Arkansas gazette (1951/VIII/5)

Kernodle, Tammy Lynn. Still’s Troubled island, a troubled opera; Its creation, performance, and reception. Graduate paper (M.A.) Ohio State University, 1993.

Kernodle, Tammy Lynn. “Arias, Communists, and conspiracies; The history of Still’s Troubled island” in Musical quarterly, v83 (1999) p487-508.

Kerr, Hortense H. The chamber music for piano and strings of three African-American composers; The chevalier de Saint-Georges, William Grant Still, and Roque Cordero. Graduate paper (D.M.A.) Catholic University of America, 1996.==

Kimball 1973, p114

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Maxile, Horace J., Jr. Convention and surprise in William Grant Still’s Seven traceries. Graduate paper (M.M.) Southeastern Louisiana University, 1997.

McCorvey, Everett David. The art songs of Black American composers. Graduate paper (D.M.A.) University of Alabama, 1989.

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McMahan, Robert Young. “Classical music for accordion by African-American composers; The accordion works of William Grant Still (1985-1978) and Ronald Roxbury (1946-1986) “ in The free-reed journal, v1 (1999) p19-37.==

Mell, Albert. “An interview with the violinist Louis Kaufman” in Journal of the Violin Society of America, v7n4 (1986) p3-38. RILM 86/3435.

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Murchison, Gayle Minetta. American nationalism in William Grant Still and Aaron Copland; Musical style and ideology between the wars. Graduate paper (Ph.D., musicology) Yale University, 1998. DDM Code: 71naMurG*.

Murchison, Gayle Minetta. “Dean of Afro-American composers, or Harlem Renaissance man; The New Negro and the musical poetics of William Grant Still” in Arkansas historical quarterly, v53n1 (1994/spring) p42-74. Reprinted in William Grant Still; A study in contradictions, ed. by Catherine Parsons Smith. Berkeley: University of California Press, 2000, p39-65.

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Newman, R. "`East of Broadway:; Florence Mills at Aeolian Hall" in Sonneck Society bulletin for American music, v20n3 (1994) p9-10.

O’Connor, Tom. “Los Angeles life: Portrait number 17, William Grant Still” in Los Angeles evening news (1936/IX/26).

Oja, Carol J. Making music modern; New York in the 1920s. New York: Oxford University Press, ===. 493p.

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Ottley, Nevilla E. Still’s life in pictures; The life and works of the Indian, Irish, Spanish, Scottish, African American composer, William Grant Still, 1895-1976, compiled and written for the centennial celebration of his birth. Takoma Park MD: Classics of Ebony Publishing, 1995.

Patterson 1988, p258, 620

Pilcher, J. M. “Negro spiritual, lively leaven in the American way of life” in Etude (1946/IV) p194.

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Ryder, Georgia Atkins. Melodic and rhythmic elements of American Negro folksongs as employed in cantatas by selected American composers between 1932 and 1967. Graduate paper (Ph.D., music education) New York University, 1970. 264p. LC 70-21149. RILM 74/737.

Saggus, James. "Black opera rises in South" in Los Angeles times (1974/XI/29) p20. [A Bayou legend]

Sampson, Henry T. Blacks in blackface; a source book on early Black musical shows. Metuchen: Scarecrow Press, 1980., p55

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Sargeant, Winthrop. “Musical events” in New Yorker, v35 (1959/XI/21) p201. [In memoriam]

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Shaw, Arnold. Black popular music in America. New York: Schirmer Books, 1988, p102

Shirley, Wayne D. “Religion in rhythm; William Grant Still’s orchestrations for Willard Robinson’s Deep River hour” in Black music research journal, v19n1 (1999) p1-41.

Shirley, Wayne D. “William Grant Still and Irving Schwerke’; Documents from a long-distance friendship” in William Grant Still; A study in contradictions, ed. by Catherine Parsons Smith. Berkeley: University of California Press, 2000, p235-273.

Shirley, Wayne D. “William Grant Still’s choral ballad, And they lynched him on a tree” in American music, v12n4 (1994/winter) p425-461.

Simosko, Vladimir. Artie Shaw; A musical bibliography and discography. Foreword by Artie Shaw. Lanham: Scarecrow Press, 2000 (Studies in jazz, 29). 416p. ISBN 0-8108-3397-2.

Simpson, Ralph Ricardo. William Grant Still; The man and his music. Graduate paper (Ph.D., music) Michigan State University, 1964. 331 p. DDM Code: 71woSimR; DA no.: 25/12:7310; RILM no.: UM no.: 65-727.

Slattery, Paul Harold. A comparative study of the first and fourth symphonies of William Grant Still. Graduate paper (M.A.) San José College, 1969.

Slonimsky, Nicolas. "Still, William Grant" in Baker's biographical dictionary of musicians. New York: Schirmer Books, 1978, p1666-1667.

Slonimsky, Nicolas. "Still, William Grant" in Die Musik in Geschichte und Gegenwart. Kassel: Bärenreiter, 19XX== v9, c1330-1331.

Smith, Catherine Parsons. “Still and Price in Flagstaff” in Sonneck Society for American Music bulletin, v24 (1998/fall) p74-75.

Smith, Catherine Parsons. “Harlem Renaissance man revisited; The politics of race and class in William Grant Still’s late career” in American music, v15 (1997) p381-406.

Smith, Catherine Parsons. William Grant Still; A study in contradictions. Berkeley: University of California Press, 2000.

Smith, Catherine Parsons. William Grant Still : A study in contradictions; with contributed essays by Gayle Murchison and Willard B. Gatewood ; chronology by Carolyn L. Quin ; and contemporary sources from the 1930s, Verna Arvey ... [et al.]. Berkeley: University of California Press, 2000. xvi, 368p. (Music of the African diaspora, 2) ISBN 0-520-21542-7 (cloth); 0-520-21543-5 (paperback); LC 99-43232.

Smith, Hale. “A personal remembrance of William Grant Still and his significance for other African American composers” in Still going on; A reassessment of the life and works of William Grant Still. Raleigh: Saint Augustine’s College, Department of Music, 1995, p5-7.

Smith, Hale. “For one called Billy” in Black perspective in music, v3n2 (1975/V) p224-225.

Soll, Beverly. I dream a world; the operas of William Grant Still. Fayetteville: University of Arkansas Press, 2005.

Southern, Eileen. "Conversation with William Grant Still" in Black perspective in music, v3n2 (1975/V) p165-176.

Southern, Eileen. "In retrospect; Letters from W. C. Handy to William Grant Still" in Black perspective in music, v7n2 (1979/fall) p199-234; v8n1 (1980/spring) p65-119.

Southern, Eileen. "Milestones of Black-American composition" in Black music research journal, v10n8 (1990) p123-124.

Southern, Eileen. "Still, William Grant" in The new Grove dictionary of music and musicians. London: Macmillan, 1980, v18, p145-146.

Southern, Eileen. "Still, William Grant" in The new Grove dictionary of American music, ed. by H. Wiley Hitchcock and Stanley Sadie. London: Macmillan, 1986, v4, p311-312.

Southern, Eileen. "William Grant Still; List of works" in Black perspective in music, v3n2 (1975/V) p235-237.

Southern, Eileen. “In retrospect; A pictorial survey” in Black perspective in music, v3n2 (1975) p207-234.

Southern, Eileen. Readings in Black American music. New York: W.W. Norton, 1971/rev. 1983.

Southern, Eileen. “Still, William Grant” in Biographical dictionary of Afro-American and African musicians. Westport: Greenwood Press, 1982, p359-361. (The Greenwood encyclopedia of Black music).

Southern, Eileen. “William Grant Still; List of major works´ in Black perspective in music, v3n2 (1975) p207-234.

Southern, Eileen. “William Grant Still, trailblazer” in William Grant Still studies at the University of Arkansas: A 1984 congress report. Fayetteville: University of Arkansas, Fulbright College of Arts and Sciences, 1984.

Southern, Eileen. Readings in Black American music. New York: W. W. Norton, 1971.

Southern, Eileen. The music of Black Americans; A history. 2nd ed. New York: W. W. Norton, 1983, p264

Spence, Martha Ellen Blanding. Selected song cycles of three contemporary Black American composers: William Grant Still, Songs of separation, Hale Smith, Beyond the rim of day, John Duncan, Bluz set. Graduate paper (D.M.A., performance) University of Southern Mississippi, 1977. 143p. DDM Code: 71voSpeM; DA no.: RILM no.: 78/930.

Spencer, Jon Michael, ed. The William Grant Still reader; Essays on American music, with preface, introduction, bibliographies, and index, foreword by Olly Wilson. Durham: Duke University Press, 1992 (Black sacred music; A journal of theomusicology, v6n2, p1-60).

Spencer, Jon Michael. "Theomusicology; Western classical tradition: William Grant Still, eclectic religionist" in Black sacred music, v8n1 (1994) p135-136.

Spencer, Jon Michael. “William Grant Still; Eclectic religionist” in Black sacred music: A journal of theomusicology (1994/spring) v8n1, p135-156.

Spencer, Jon Michael. The writings of R. Nathaniel Dett and William Grant Still on Black music. Graduate paper (Ph.D., music composition), Washington University, 1982.

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Stephens, Glenn. "After 32 years, Bayou legend" in Bergen legend (New Jersey; 1974/XI/24)

Still, Judith Anne, ed. William Grant Still; An oral history, with William Grant Still; a register of his works by Dominique-René de Lerma. Flagstaff: Master-Player Library, 1998.

Still, Judith Anne. “A musical dreamer" in Keyboard classics, v5n4 (1985) p6.

Still, Judith Anne. “Legacy of hope; William Grant Still Music” in Maud Powell signature, v2n1 (1997) p22.

Still, Judith Anne. “Carrie Still Shepperson; the hollows of her footsteps” in Arkansas historical quarterly, v62 (1983/spring) p37-46.

Still, Judith Anne. “Carrie Still Shepperson; the hollows of her footsteps” in Forum XV [University of Houston] (1977/spring) p60-65.

Still, Judith Anne. “Carrie Still Shepperson; the hollows of her footsteps” in Delta Gamma journal, v63 (1981/V) p40-45.

Still, Judith Anne. “In my father’s house” in Black perspective in music, v3n2 (1975/V) p199-206. Reprinted in Still going on; A reassessment of the life and works of William Grant Still. Raleigh: Saint Augustine’s College, Department of Music, 1995, p11-13.

Still, Judith Anne. “The American composer; A durable victim" in Sonneck Society bulletin for American music, v15n3 (1989/fall) p99-103.

Still, Judith Anne. “The genesis of Ennanga” in American harp journal, v9n4 (1984/winter) p15-17.

Still, Judith Anne. A voice high-sounding. Flagstaff: Master-Player Library, 2003. vii, 318p. Issued both in hardback and paperback editions.

Still, Judith Anne. Little David had no fear; A William Grant Still biography. Flagstaff: Master-Player Library, 1999. 113p. ISBN 1-877873-03-9 (hardback); 1877873-07-1 (paperback). LC 99-70398.

Still, Judith Anne. "William Grant Still; A voice high-sounding (includes transcription of a 1968 taped interview)." in Music educators journal 70 (1984/II) p24-30.

Still, William Grant. “A composer's viewpoint" in Black music in our culture, ed. by Dominique-René de Lerma. Kent: Kent State University Press, 1970. p93-108.

Still, William Grant. “A Negro symphony orchestra” in Opportunity, v17n9 (1939/IX) p267, 286-287.

Still, William Grant. “A recorded conversation” in Co-art turntable [Beverly Hills CA} (1942/VIII).

Still, William Grant. “A symphony of dark voices" in Opera, concert, and symphony (1947/V) p18-19, 36, 38-39.

Still, William Grant. “A vital factor in America’s racial problem” in Oberlin alumni magazine (1950/III) p9, 25.

Still, William Grant. “American music and the well-timed sneer" in Opera, concert, and symphony, v13 (1948/V) p10-11, 26-27, 30.

Still, William Grant. “An Afro-American composer’s point of view” in American composers on American music, ed. by Henry Cowell. Palo Alto: Stanford University Press, 1933. Reprinted in Source readings in American choral music, ed. by David P. DeVenny. Missoula MT: College Music Society, and in American composers on American music, ed. by Henry Cowell. New York: Frederick Ungar, 1962, 1933, p182-183. Original publication: Palo Alto: Stanford University Press, 1933.

Still, William Grant. “Another musical pioneer passes” in Miami whip (1944/VIII/19).

Still, William Grant. “Answer to a questionnaire” by William Grant Still and Verna Arvey, in Arts and society, v5n2 (1968) p219-222.

Spencer, Jon Michael, ed. The William Grant Still reader; Essays on American music, with preface, introduction, bibliographies, and index, foreword by Olly Wilson. Durham: Duke University Press, 1992 (Black sacred music; A journal of theomusicology, v6n2, p1-60).

Still, William Grant. “Are Negro composers handicapped?" in Baton, v1n2 (1937/XI) p3.

Still, William Grant. “Blues in California” in Time, v51 (1948/VI/7) p55.

Still, William Grant. “Can music make a career?" in Negro digest, v7 (1948/XII) p79-84. Reprinted in Oberlin alumni magazine (1950/III).

Still, William Grant. “Does interracial marriage succeed?” by William Grant Still and Verna Arvey, in Negro digest, v3 (1945/IV) p50-52.

Still, William Grant. “Fifty years of progress in music" in Pittsburgh courier (1950/XI/11) p15. Issued in Danish as "Negrene i amerikansk musik" in Dansk musiktidsskrift, v26n5 (1951) p91-96.

Still, William Grant. “For finer Negro music” in Opportunity, v17n5 (1939/V) p137-138.

Still, William Grant. “Horizons unlimited” in William Grant Still and the fusion of American music, ed. by Judith Anne Still, Celeste Ann Headlee, and Lisa M. Headlee-Huffman. 2nd ed. Flagstaff: Master-Player Library, 1995, p53-63.

Still, William Grant. “How do we stand in Hollywood?" in Opportunity, v13n2 (1945/spring) p74-77.

Still, William Grant. “La música de mi raza" in Música (Bogotá), by William Grant Still and Vena Arvey, v1n5 (1941/VIII), p105-110.

Still, William Grant. “Leopold Stokowski as I knew him” in War worker, v1n9 (1943/XI) p6, 8.

Still, William Grant. “Modern composers have lost their audience. Why?” in William Grant Still and the fusion of American music, ed. by Judith Anne Still, Celeste Ann Headlee, and Lisa M. Headlee-Huffman. 2nd ed. Flagstaff: Master-Player Library, 1995, p31-34.

Still, William Grant. “Modern world challenges contemporary composers” by William Grant Still and Verna Arvey, in Los Angeles times (1939/VII/05). Reprinted in Australian musical news, v47n1 (1956/VII/02).

Still, William Grant. “Music, a vital factor in America’s racial problems” in Australian musical news (1948/XI).

Still, William Grant. “Music for young listeners; An interview with William Grant Still, by Robert A. Martin (1964” in William Grant Still; An oral history, ed. by Judith Anne Still. Flagstaff: The Master-Player Library, 1998, p69-98.

Still, William Grant. “My Arkansas boyhood,” as told to Verna Arvey, in Arkansas historical quarterly, v26n3 (1967/autumn) v285-292.

Still, William Grant. “My biggest break" in Negro digest, v7 (1949/X) p19. Reprinted in Los Angeles sentinel (1949/IX/1).

Still, William Grant. “Negro music in the Americas" by William Grant Still and Verna Arvey, in Revue internationale de musique (1938/V-VI).

Still, William Grant. “Negro music in the Americas” by William Grant Still and Verna Arvey, in Revue international de musique (1938/V-VI) p280-288.

Still, William Grant. “Negro serious music; An interview with William Grant Still, by R. Donald Brown, 1967” in William Grant Still; An oral history, ed. by Judith Anne Still. Flagstaff: The Master-Player Library, 1998, p11-50.

Still, William Grant. “On composing for the harp, as told to Verna Arvey” in American harp journal, v4n4 (1974/winter) p32-33.

Still, William Grant. “On orchestration” in William Grant Still and the fusion of American music, ed. by Judith Anne Still, Celeste Ann Headlee, and Lisa M. Headlee-Huffman. 2nd ed. Flagstaff: Master-Player Library, 1995, p35-39.

Still, William Grant. “Our American musical resources" by William Grant Still and Verna Arvey, in Showcase, v41 (1961/fall) p7-9.

Still, William Grant. “Personal notes” in William Grant Still; A study in contradictions, ed. by Catherine Parsons Smith. Berkeley: University of California Press, 2000, p325-234.

Still, William Grant. “Politics in music” in Opera, concert, and symphony, v12 (1947/VIII), p10-11, 20.

Still, William Grant. “Race problems study needed” in New York times (1944/I/19) p18.

Still, William Grant. “Serious music; New field for the Negro" by William Grant Still and Verna Arvey, in Variety, n197 (1955/I/5) p227.

Still, William Grant. “Spirituals, blues important section of American music” in New York Amsterdam news (1940/VI/29) p25.

Still, William Grant. “Still calls Nathaniel Dett one of our çuktural pioneer’” in Los Angeles tribune (1943/XI/8).

Still, William Grant. “The American composer” in Baton, v2n3 (1937/III), p4.

Still, William Grant. “The art of musical creation” in The mystic light; Rosicrucian fellowship magazine (1936/VII) p297-299. Reprinted in Spencer, Jon Michael, ed. The William Grant Still reader; Essays on American music, with preface, introduction, bibliographies, ed. by Jon Michael Spencer. Durham: Duke University Press, 1992.

Still, William Grant. “The composer needs determination and faith” in Etude, v67 (1949/I) p7-8.

Still, William Grant. “The composer's creed" in Music of the West, v17n2 (1961/X) p13-15.

Still, William Grant. “The function of piano music in American culture” in Fischer edition news, v22 (1956/VI-VII) p8-10.

Still, William Grant. “The greater need for choral singing today” in Fischer edition news, v31 (1955/II-IV) p1-2.

Still, William Grant. “The king is dead, long live the king!” by William Grant Still and Verna Arvey, in New York Stadium concerts review, v28n2 (1945/IV/25) p7, 11, 41.

Still, William Grant. “The lost audience for new music" by William Grant Still and Verna Arvey, in Music journal (1966 annual) p38-39.

Still, William Grant. “The men behind American music" in Crisis, v51 (1944/I) p12-15, 29.

Still, William Grant. “The Negro and his music” in War worker (1943/X) p15.

Still, William Grant. “The Negro and his music in films” in Writer’s congress: The proceedings of the conference held in October 1943 under the sponsorship of the Hollywood Writers’ Mobilization and the University of California. Berkeley: University of California Press, 1944.

Still, William Grant. “The Negro and his music” in War worker (1943/X).

Still, William Grant. “The Negro musician in America" in Music educators journal, v56n5 (1970/I) p100-101, 157-161.

Still, William Grant. “The structure of music" in Etude, v68 (1950/III) p17, 61. Reprinted in Readings in Black American music, ed. by Eileen Southern. 2nd ed. New York: W. W. Norton, 1983, p314-317.

Still, William Grant. “Towards a broader American culture” in Lincoln University music bulletin [PA} v2n4 (1969/VIII). Reprinted in American Symphony Orchestra League newsletter, v6n1 (1954/VII) p1, 7, 13.

Still, William Grant. “Troubled island; An interview with William Grant Still, 1949” in William Grant Still; An oral history, ed. by Judith Anne Still. Flagstaff: The Master-Player Library, 1998, p51-67.

Still, William Grant. “Troubled history of The troubled island" in New York times, (1949/III/20) section II 7, p4.

Still, William Grant. “Troubled history of Troubled island” in New York times (1949/III/20) section 2, p4.

Still, William Grant. Collection of programs, press releases, articles, and related papers, n.d. [location?] ==

Still, William Grant. Papers, 1877-1992 [2,250 items]. Duke University.

Still, William Grant. The private scrapbooks of Still & Arvey Flagstaff: WGS Music. 15 microfilm rolls.

Still, William Grant. “W. Grant Still thinks race needs artistic propaganda” in Los Angeles tribune (1944/VII/17).

Still, William Grant. “What a composer is” in William Grant Still and the fusion of American music, ed. by Judith Anne Still, Celeste Ann Headlee, and Lisa M. Headlee-Huffman. 2nd ed. Flagstaff: Master-Player Library, 1995, p48-51.

Still, William Grant. William Grant Still and Verna Arvey Scrapbooks, William Grant Still and Verna Arvey Papers, Series 4. University of Arkansas, 1984-91. Microfilm.

Still, William Grant. “With or without honor” in Music and dance in California and the West, ed. by Richard Drake Saunders. Hollyoowd: Bureau of Musical Research, 1948, p18-19.

Sultan, Rahimah A. Compositional techniques in selected vocal works of William Grant Still. Graduate paper (M.M.), Eastern New Mexico University, 1993.

Swift, Kay. "None but the brave" in Black perspective in music, v3n2 (1975/V) p190-192.

Symphonium v3n3; v4n1, p1; v4n2; v5n1; v5n2

Taylor, Darryl. “The importance of studying African-American art song” in Journal of singing, v54 (1998) p9-12.

Terry, Micjey Thomas. “Second glance; An overview of African-American organ literature” in Diapason, v89 (1998/V) p19-21.==

Thomas 1989, p1, 36, 61, 101

Thompson, Leon Everett. A historical and stylistic analysis of the music of William Grant Still and a thematic catalog of his works. Graduate paper (D.M.A.) University of Southern California, 1966. 177p.

Thompson, Leon Everette. A historical and stylistic analysis of the music of William Grant Still and a thematic catalog of his works. Graduate paper ( D.M.A.) University of Southern California, 1966.

Thompson, Randall. "The contemporary scene in American music" in Musical quarterly (1932/I) p11.

Tillis, Frederick. “A symphony, for William Grant Still” in Still going on; A reassessment of the life and works of William Grant Still. Raleigh: Saint Augustine’s College, Department of Music, 1995, p16-18. [poem]

Toppin, Edgar A. “William Grant Still” in A biographical history of Blacks in American since 1528. New York: David McKay, 1971, p415-418.

Tucker, David Allan. A project in direction and reconstruction of the opera, A bayou legend. Graduate paper (M.F.A.) San Diego State University, 1996.

Tucker, Mark. “In search of Will Vodery” in Black music research journal, v16 (1996) p123-182.==

Turner, Patricia. Dictionary of Afro-American performers: 78rpm and cylinder recordings of opera, choral music, and song, c1900-1949. New York: Garland Publishing, 1990., p25, 26, 111, 355

Vann, Kimberly R. Black Music in Ebony: An annotated guide to the articles on music in Ebony magazine, 1945-1985. Chicago: Center for Black Music Research, Columbia College. 1990 (CBMR Monographs, no. 2)., p52, 70

Warburton, Thomas. “Still, William Grant” in The new Grove dictionary of opera, ed. by Stanley Sadie. London: Macmillan, 1992, v4, p544.

Waters, Edward Neighbor. "Harvest of the year; Selected acquisitions of the Music Divison" in Quarterly journal of the Library of Congress, v24n1 (1967) p62.

West, S. "Composer needs determination and faith" in Etude, v67 (1949/I) p7-8.

White, Evelyn Davidson. Choral music by Afro-American composers; A selected, annotated bibliography. 2nd ed. Metuchen: Scarecrow Press, 1996. viii, 126p. ISBN 0-8108-3037-X. First edition issued by Scarecrow in 1981:

Widell, Harvey. on WGS. in American visions (1995/VIII-IX)

William Grant Still studies; a congress report. University of Arkansas.

Yancy, H. M. "The contribution of the American Negro to the music culture of the country" in School musician, v41 (1970/IV) p62-63.

Yestadt, Marie. “Song literature for the 70’s; A socio-musical approach” in NATS bulletin, v39n4 (1973/V-VI) p22-27.

Yuhasz, Marie Joy. “Black composers and their piano music” in American music teacher, v19 (1970) p28-.

 

This page was last updated on August 02, 2013

William Grant Still: Afro-American Symphony
Fort Smith Symphony
John Jeter, Conductor
Naxos 8.559174 (2005)

 

           William Grant Still: Piano Music
        
Mark Boozer, piano
        Naxos 8.559210 (2005)