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Ulysses Kay  (1917-1995) African American Composer, Conductor & Professor * Centennial of Birth: January 7, 2017 *
Table of Contents   1 Birth   2 Family   3 Piano   4 Saxophone   5 High School   6 Tucson   7 University of Arizona   8 Eastman School of Music   9 Yale University  10 U.S. Navy  11 Columbia University  12 American Academy  13 Editorial Advisor  14 Soviet Union  15 Professor  16 Composer  17 1939-1946  18 1947-1965  19 1966-1995   20 Emily Abrams Ansari  21 Barbara Kay  22 Death  23 Six Dances  24 Kevin Scott  25 Recording Project  26 Chamber Works   27 Ulysses Kay Papers  28 Works  29 Bibliography	Ulysses Kay (G.D. Hackett/Pictorial Parade) Ulysses Kay: Works for Chamber Orchestra Metropolitan Philharmonic Orchestra Kevin Scott, Conductor Troy 961 (2007)

Ulysses Kay Papers
As noted in this biography, the "Ulysses Kay Papers, 1938-1995" were donated by the Kay family, in 2009, to Columbia University's Rare Book & Manuscript Library.
Click here to access the online catalogue. 

Audio Sample: Cedille 90000 061 (2001); African Heritage Symphonic  Series, Vol. II;  Chicago Sinfonietta; Paul Freeman, Conductor
Overture To Theater Set

1 Birth
Ulysses Simpson Kay, Jr. was an African American composer, conductor and professor.  As an adult, he was known simply as Ulysses Kay. He was born on January 7, 1917 in Tucson, Arizona.  Prof. Dominique-René de Lerma of  Lawrence University has generously made his research entry on Ulysses Kay available to this Website.  The International Dictionary of Black Composers, published by the Center for Black Music Research, profiles Kay. 

2 Family
Prof. De Lerma tells us young Ulysses was surrounded by music at home:

His father, Ulysses Simpson Kay, Sr., who had previously been married, had been a Texas cowboy and barber. His mother, Elizabeth Kay, had come from Louisiana.  Both parents enjoyed music making at home and church (Elizabeth Kay was a Baptist, the father a Methodist).  His step-brother played violin and saxophone, and his step-sister was a piano student.

3 Piano
The boy began learning the piano at six, with the encouragement of an uncle who was a famous musician, the research entry indicates:        

When he was six, urged by his maternal uncle, King Oliver, he began studying piano with William A. Ferguson, with his step-sister supervising his practice routine. At age 10 he began studying the violin, and, when he was 12, the alto saxophone – a Christmas gift from his step-sister.  With that, he abandoned the piano and violin.

4 Saxophone
Prof. De Lerma writes that Ulysses formed a jazz quintet in which he played saxophone, and for which he composed and arranged music:

He soon organized a quintet with friends who played clarinet, trumpet, violin, and drums, for which ensemble he began composing and arranging, doing his best to aim for the sounds he heard as an avid radio listener to the broadcasts of Cab Calloway, Duke Ellington, and Benny Goodman.

5 High School
We learn from Prof. De Lerma that Ulysses Kay belonged to the glee club, the marching band and the jazz band during his high school years:            

In the schools of Tucson he sang in the glee club and played in the marching and jazz bands. Prior to the ninth grade, he attended schools, economically segregated by neighborhoods, but all students attended the city’s single high school. The principal there, a Tuskegee graduate, was followed by one who had studied at Fisk.

6 Tucson
Tucson offered a variety of concerts and performances at which Ulysses Kay heard classical music, band music and dance music, according to Dominique-René de Lerma:        

Tucson’s summer program included performances by a Mexican-American ensemble, led by Joseph di Luca, euphonium (former student of John Philip Sousa) who was band director at the University of Arizona. Concerts were also held at the Temple of Music and the Carnegie Library, by the Tucson Symphony Orchestra (established in 1929 by the Belgian composer-conductor Camil van Hulse) with dance recitals led by Kurt Jooss.  At such venues he heard performances by Jascha Heifetz and Marian Anderson.

7 University of Arizona
Prof. De Lerma writes that Ulysses Kay first majored in liberal arts at the University of Arizona, but later received encouragement from William Grant Still to study music:

He was encouraged to follow his musical interests by William Grant Still, whom he met in 1936 and 1937 while completing his undergraduate studies at the University of Arizona. He had entered the school as a liberal arts major, but changed to a music education major before earning his B.M. degree in 1938. He encountered the music of Béla Bartók through his piano study with Julia Rebeil, and other contemporary music in his studies in theory with John L. Lowell.

8 Eastman School of Music
The research entry indicates Ulysses Kay enrolled at Eastman School of Music in 1938, and made the acquaintance of a number of students of voice and composition, as well as members of a jazz band:

He entered the Eastman School of Music on a scholarship in 1938, and studied with Bernard Rogers and Howard Hanson, securing his M.M. degree in 1940.  Friendships from the Eastman days were formed with voice students Irma Allen, Raymond Morris, Kenneth Spencer, and William Warfield, and composers  Mark Fax and Thomas Kerr.  During these days he also came to know Jimmy Rushing and members of Count Basie’s band.

According to The International Dictionary of Black Composers, several of Kay's orchestral compositions were performed from 1938-40, while he was a student at Eastman.

9 Yale University
The Berkshire Festival of 1941 was the occasion of Kay's first contact with the composer Paul Hindemith, Prof. De Lerma writes:

At the Berkshire Festival in 1941 on scholarship, he won the attention of Paul Hindemith, and contined working with him at Yale University for the next school year.

10 U.S. Navy
Prof. De Lerma gives the details of Ulysses Kay's service in the U.S. Navy during World War II:

With the outbreak of World War II, Kay enlisted in the Navy in 1942 and was stationed with the band at Quonet Point, Rhode Island, in which he played alto saxophone, flute, piccolo, and piano, active also in composing and arranging. He was granted an honorable discharge in 1946.

11 Columbia University
In 1947, the research entry tells us, Ulysses Kay enrolled at Columbia University:

Receipt of the Alice M. Ditson Fellowship in 1946 provided him with opportunity to study with Otto Luening at Columbia University in 1947, with the summers spent at the Yaddo Festival, in Saratoga Springs NY.

12 American Academy
Dominique-René de Lerma describes the scholarship, fellowship and awards which supported Kay's studies at the American Academy in Rome.  The composer's daughter Virginia Kay tells us in an email that her parents traveled to Rome together:

He moved to Rome in 1949, armed with a Julius Rosenwald Fellowship (1947), a grant from the National Institute of Arts and Letters (1947), the Prix de Rome (1949 and 1951) a Fulbright Scholarship (1949), and the Gershwin Memorial Award for  A short overture  (1950).                           ... He married Barbara Harrison in 1949, who joined him in his residence in Italy, where she taught music at the Anglo-American Overseas School. Their daughter, Virginia, was born in Rome in 1951.  Their second child was Melinda, born in 1957, followed by Hillary in 1959.

13 Editorial Advisor
Broadcast Music, Inc. is an American performing rights organization founded in 1940.  Prof. De Lerma says Ulysses Kay began working for BMI in 1953:

On his return to the U.S. in 1953, he was named advisor and then consultant to BMI, a position he held until 1968.

14 Soviet Union
The research entry recounts a month Kay spent in the Soviet Union as a participant in the first cultural exchange between the United States and the Soviet Union:    

The State Department included him in the first sponsored cultural exchange visit to the Soviet Union in 1958 where, from 17 September to 17 October he joined Roy Harris, Peter Menin, and Roger Sessions in visits to Moscow, Leningrad, Tiflis, and Kiev.

The IDBC reports that the Moscow State Radio Orchestra performed Kay's composition Of New Horizons at Tchaikovsky Hall in Moscow in 1958. 

15 Professor
Prof. De Lerma summarizes Ulysses Kay's career as a Professor  at several universities:             

In the summer of 1965, he was visiting professor at Boston University, and then at the University of California (1966-1967). He was named Distinguished Professor of Music in 1972 at the Herbert H. Lehman College of the City University of New York where he was initially engaged in 1968, retiring in 1988. In 1975 he was Hubert H. Humphrey Lecturer at Macalester College (St. Paul). He held the Mu Phi Epsilon Endowed Chair at the Brevard Music Center in 1979.

16 Composer
The International Dictionary of Black Composers  gives this overview of Kay's output as a composer:      

Ulysses Kay composed approximately 140 musical compositions for orchestra, chorus, chamber ensembles, piano, voice, organ, and band, and he wrote five operas as well as scores for film and television.  Kay’s works appear in numerous published editions and on approximately 21 recordings.  Avoiding obvious musical references to his ethnicity, Kay preferred to immerse himself in compositional procedures that were a natural outgrowth of his educational and international experiences.  According to Robert D. Herrema, “Kay believes that a composer is the product of his extraction and environment as well as his political and ethnic interests, but should not be limited by them.”  In spite of these reservations, however, Kay incorporated the use of black spirituals in the opera Jubilee (1974–76) and in his last opera, Frederick Douglass  (1979–85), treated the life of the legendary abolitionist.

17 1939-1946
The IDBC divides the compositions of Kay into three periods, beginning with 1939-1946:

His early period encompasses the years 1939–46 and includes such works as the ballet Danse Calinda (1941) and the Four Pieces for Male Chorus (1941).  As a young composer, Kay experienced his first major success in Of New Horizons: Overture (1944), a piece premiered by the New York Philharmonic and awarded an American Broadcasting Company prize.  Suite for Orchestra (1945), winner of the BMI prize, was premiered by Dean Dixon and the American Youth Orchestra.  Other works from this period include the Brief Elegy for oboe and string orchestra (1946), the Four Inventions for piano (1946) and A Short Overture (1946), which received the George Gershwin Memorial Award.

18 1947-1965
According to the IDBC, the 1947 work Suite for Strings is the first in the second period of Kay's compositions:

Kay’s middle period, 1947–65, begins with the Suite for Strings (1947), which was premiered by the Baltimore Chamber Orchestra.                           ... Two operas, The Boor (1955) and The Juggler of Our Lady (1956), were composed, as well as String Quartet no. 2 (1956) and String Quartet no. 3 (1961); the string pieces were premiered at the University of Illinois and the University of Michigan, respectively. The composer’s middle period culminates with two orchestral pieces—the Fantasy Variations (1963) and Umbrian Scene (1963)—and Two Dunbar Lyrics for mixed chorus (1965).

19 1966-1995
The final period in the IDBC chronology of the compositional output of Ulysses Kay extends from 1966-1995:

The composer’s late period (1966–95) begins with Markings, for orchestra, and The Birds, for women’s chorus, both in 1966.                         ... Three operas were composed during this period: The Capitoline Venus (1969), Jubilee (1974–76), and Frederick Douglass (1979–85). At the time of his death in May 1995, Kay was at work on a commission for the New York Philharmonic.

20 Emily Abrams Ansari
On October 10, 2014 Virginia Kay, daughter of Ulysses Kay, wrote to the Webmaster:

Emily Abrams Ansari was chosen as winner of the ASCAP Deems Taylor Award for her article on Ulysses Kay's opera Jubilee, which was based on the novel by Margaret Walker. The author is based in Canada, so I'll represent her at the awards ceremony on November 12.

The University of Illinois Press published the article, which has this Stable URL:
http://www.jstor.org/stable/10.5406/americanmusic.31.4.0379  

"Vindication, Cleansing, Catharsis, Hope": Interracial Reconciliation and the Dilemmas of Multiculturalism in Kay and Dorr's Jubilee (1976) Author(s): Emily Abrams Ansari Source: American Music, Vol. 31, No. 4 (Winter 2013), pp. 379-419

21 Barbara Kay
Barbara Jane Kay, born Barbara Jane Harrison, was a Civil Rights activist in the Southern states in the 1960s.  Virginia Kay, the oldest child of Ulysses and Barbara Kay, sent an email to the Webmaster on October 21, 2013:

But what your readers may find more interesting is that she was a Freedom Rider and was imprisoned in Parchman Prison in Mississippi

Virginia Kay provided a link to the Columbia University Archives on Barbara Jane Kay:
https://exhibitions.cul.columbia.edu/exhibits/show/kay/barbara-kay/freedom-rider

The link shows a copy of a document of the Hinds County Jail, Jackson, Mississippi:

Barbara Jane Kay has been committed to the Hinds County Jail by order of Judge James Spencer for the crime of Breach of Peace.  Your sentence has been set at $200.00 and 4 months.  You will be released from jail June 9, 1962.  J.R. Gilfoy, Sheriff of Hinds County.  By Jim Kelly, Deputy Sheriff

22 Death
Ulysses Simpson Kay passed away in Englewood, New Jersey on May 20, 1995.  His Overture to Theatre Set (4:28) is available on Cedille 90000 061 (2001), performed by the Chicago Sinfonietta under Conductor Paul Freeman.
 

23 Six Dances
Ulysses Kay's Six Dances for String Orchestra (20:16) are found in the 2-CD set The Incredible Flutist: American Orchestral Works By Still, Kay, Coolidge, Mason, Piston; Westphalian Symphony Orchestra, Recklinghausen; Paul Freeman, conductor; VoxBox CDX 5157 (1996).  Shirley Fleming writes in the liner notes:

His Six Dances, composed in 1954, reveal his affinity for tradition infused with a robust and unmistakable American spirit. The dances are designated: 1) Schottische; 2) Waltz; 3) Round Dance; 4) Polka; 5) Promenade; 6) Galop.

24 Kevin Scott
The first major release devoted exclusively to the works of Ulysses Kay is Ulysses Kay: Works for Chamber Orchestra; Metropolitan Philharmonic Orchestra; Kevin Scott, Conductor; Troy 961 (2007).  Kevin Scott explains his professional activities:

In addition to my conducting activities, I am also active as a composer, with several of my orchestral works performed by major orchestras in the United States. At present, I am currently serving as director of the symphonic band program at Orange County Community College in Middletown, New York, and also do  several gigs with the Orchestra Society of Philadelphia.

25 Recording Project
Kevin Scott is also Project Director/Conductor for the Ulysses Kay Recording Project.  In the liner notes for the CD, he notes that about a fourth of Kay's works were recorded on LP.  He adds:

Several of his most important compositions, including his 1967 Symphony, the Portrait Suite, Quintet Concerto, Southern Harmony, Western Paradise, the ballet Danse Calinda and his most programmed work Overture: Of New Horizons, have never received major commercial recordings, not to mention his five operas, numerous large-scale choral works, three string quartets and several compositions for concert band and wind ensemble.  For one who received many awards and commissions that culminated in performances led by the likes of Stokowski, Bernstein, Mitropoulos, Dorati, Szell and Mehta during his lifetime, much of his music still remains unheard since his passing in 1995.

26 Chamber Works
Kevin Scott and the Metropolitan Philharmonic Orchestra recorded four of the composer's works for the 2007 CD:  Suite from The Quiet One was music written for an award-winning 1948 documentary film. Three Pieces After Blake, for Soprano and Orchestra dates from 1952 and is sung by Janet Hopkins, soprano.  A work from 1968 is Scherzi Musicali. Melanie Valencia plays the flute on the final composition, Aulos, for Flute and Chamber Orchestra (1967).

27 Ulysses Kay Papers
The Harlem Chamber Players scheduled a concert  of compositions of Ulysses Kay for October 22, 2013 at Columbia University, explaining that the "Ulysses Kay Papers, circa 1938-1995" were donated by the composer's family:

The Kay family gave the papers of Barbara and Ulysses Kay to Columbia's Rare Book & Manuscript Library in 2009, and they have since been cataloged. Click here to access the online catalogue.

The Kay family gave the papers of Barbara and Ulysses Kay to Columbia's Rare Book & Manuscript Library in 2009, and they have since been cataloged. Click here to access the online catalogue. 

28 Works
Prof. Dominique-René de Lerma

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

CD: Monica Gaylord, piano. Music & Arts Programs of America CD 737-1 (1992, Piano music of Black composers).

A covenant for our time; Once there was a man, W111, for narrator, SATB & orchestra (1969). Text: Randal Caudill. Première: 1969; Detroit; Detroit Symphony Orchestra; William Warfield, narrator; Sixten Ehrling, conductor. Commission: Worchester Music Festival (1969). Duration: 17:00.

A Lincoln letter, W49, for bass-baritone & SATB (1953). New York: C. F. Peters, 1958 (Ed. Peters, 6027) 15p. Text: Abraham Lincoln, The Bixby letter. Dedication: Carl Haverlin. Première: 1953/IX/1; Lincoln IL; Bruce Foote, bass-baritone; Lincoln College Choir; William Tagg, conductor. Duration: 4:30.

A new song; 3 Psalms, W59, for SATB (1955). New York: C. F. Peters, 1961. 1. Sing unto the Lord. 8p. (Ed. Peters, 6136a) Text: Psalm 149: 1-2; 2. Like as a father. 4p. (Ed. Peters, 6222a) Text: Psalms 103: 13-16. Duration: 2:00.; 3. O praise the Lord. 7p. (Ed. Peters, 6229a) Text: Psalm 117. Duration: 3:00. Commission: Illinois Wesleyan University. Première: 1956/V/11; Bloomington IL, Illinois Wesleyan University, Bloomington; Annual Symposium of Contemporary American Music: Collegiate Choir; Lloyd A. Pfautsch, conductor.

CD: Trinity Church Choir; James A. Simms, conductor. Gothic Records G 78932 (1989, Music from Trinity Church, vol. 1: Choral music by twentieth-century American composers).

A short overture, W27, for orchestra (1946). New York: Duchess Music, 1973 (#19685-044). 44p. Instrumentation: 2222 (p), 2210, timp, perc, strings. Première: 1947/III/31; New York; New York City Symphony Orchestra; Leonard Bernstein, conductor. Won: 3rd George Gershwin Memorial Award (1947). Duration: 7:00.

LP: Oakland Youth Orchestra; Robert Hughes, conductor. Desto DC-7101 (1970, The Black composer in America).

A thing of beauty, W101, for SATB & percussion, incidental film music for Trafco Production (1966). Commission: Fisk University. Dedication: Fisk University. Duration: 15:00.

A wreath for waits, W56, for SATB with piano reduction (1954). New York: Associated Music Publishers, 1956. Text: anonymous. Commision: Cornell University A Cappella Chorus. Dedication: Cornell University A Cappella Chorus. Première: 1954/XII/28; Ann Arbor; Cornell University A Cappella Chorus; Robert Hull, conductor. Library: Library of Congress (63-52725, holograph; 74-217081, publication).

----- 1. Noel. 10p. (A-209; #AMP-95515). Duration: 1:15.

----- 2. Lull, lullay. 10p. (A-210; #AMP-95516). Duration: 5:00.

----- 3. Welcome Yule. 12p. (A 211; #AMP-95517). ==

Admiral Byrd, W75, for chamber orchestra, incidental music for CBS television series, The twentieth century (1960). Instrumentation: 1111; 2220; 2 perc, harp; strings. Première: 1960/XII/25; CBS telecast. Duration: 25:00.

Ancient saga, W28, for piano & string orchestra (1947). A revision of The rope.

As Joseph was a-walking, W11, for SATB (1943). New York: American Composers Alliance. Text: anonymous. Duration: 3:00.

Aulos, W103, for flute & chamber orchestra (1967). New York: Duchess Music. Duration: 8:00. Instrumentation: flute, 2 horns, percussion & string orchestra. Commission: John Solum. Dedicaton: John Solum. Première: 1971/II/21; Bloomington, Indiana University; Recital Hall; John Solum, flute; Indiana University Chamber Orchestra; Wolfgang Vacano, conductor (sponsored by the Black Music Center). Duration: 14:00.

AC: John Solum, flute; Indiana University Chamber Orchestra; Wolfgang Vacano, conductor (1971).

----- for flute & piano. 32p.

Bleeker Street suite, W106, for orchestra of young players (1968).
1. Entrada; 2. Lullaby; 3. Novellete; 4. Ostinato. Exists only for piano. Duration: 7:00. Withdrawn.

Brief elegy, W22, for oboe & string orchestra (1946). New York: Duchess Music. Première: 1948/V/8; Washington, National Gallery of Art; Lalo Shifrin, oboe; National Gallery Orchestra; Richard Bales, conductor. Duration: 5:00.

CD: Oscar Petty, oboe; Billings Symphony Orchestra; Uri Barnea, conductor. Innova MN 501 (1994).

----- for oboe & piano. New York: Leeds Music, 1964. 4p. (Leeds solo series). Library: Library of Congress (LC 65-53158).

Chariots; An orchestral rhapsody, W132 (1978). New York: Pembroke Music, 1983.. 76p. Commission: Saratoga Performing Arts Center. Instrumentation: 333, 4331, timp, perc, harp, strings. Based on Swing low, sweet chariot. Première: 1979/VIII/8; Philadelphia Orchestra; Ulysses Kay, conductor. Duration: 15:00.

Choral triptych, W82, for SATB & string orchestra (1962). New York: Associated Music Publishers, 1967 (#A-495). 19, 12, 16p. 1. Give ear to my words [text: Psalms 5: 1-7].; 2. How long wilt thou forget me, O Lord? [text: Psalm 5: 13]; 3. Alleluia. Commission: Daniel Pinkham, with a grant from the Ford Foundation. Première: 1963/III/21; New York, Museum of Modern Art; King’s Chapel Choir of Boston; Daniel Pinkham, conductor. Duration: 13:00. Library: Library of Congress (LC 74-207641, holograph; 72-202312, publication).

LP: Barbara Wallace, soprano; Betty Lou Austin, contralto; Joseph Dwyer, tenor; William Darrow, bass; King’s Chapel Choir of Boston; Cambridge Festival Strings; Daniel Pinkham, conductor Cambridge CRM-1416 (1963).

LP: Barbara Wallace, soprano; Betty Lou Austin, contralto; Joseph Dwyer, tenor; William Darrow, bass; King’s Chapel Choir of Boston; Cambridge Festival Strings; Daniel Pinkham, conductor. Cambridge D-416 (1963; Four contemporary choral works).

----- 1. Give ear to my words. 19p. (#A-495).

----- 2. How long wilt thou forget me, O Lord? 12p. (#A-496).

----- 3. Alleluia. 16p. (#A-497) Text: Alleluia.

----- for SATB & piano or organ. New York: Associated Music Publishers, 1967.

Christmas carol, W12, for SSA (1943). New York: Peer International, 1957 (WO-524; #455). 7p. Text: Sara Teasdale. Duration: 3:00.

Come away, come away, Death, W18, for TTB (1944). New York: Peer, 1954 (ME-1014; #302). Text: William Shakespeare, Twelfth night. Première: 1948 tour; DePaur Infantry Chorus; Leonard DePaur, conductor. Duration: 3:00.

Concert sketches, W95, for band (1965). New York: Duchess Music.
1. Prologue; 2. Promenade; 3. Carnival; 4. Holiday; 5. Epilogue. Instrumentation: 3372, 4 sax, 4230, 3 cornets, baritone horn, , timp, perc, double bass. Won: American Bandmasters Association, Ostwald Band Competition, semifinalist. The first 2 movements issued as Prologue and parade, W130. Duration: 10:00.

Concerto, bassoon, WoO (c1939). Withdrawn.

Concerto, oboe, W4 (1940). 1. Allegro; 2. Lento; 3. Allegro. Instrumentation: 2222; 4210; timp; strings. Première: 1940/IV/17; Rochester NY; Robert Sprenkle, oboe; Rochester Civic Orchestra; Howard Hanson, conductor. Duration: 10:00. Library: Fleisher (953m).Withdrawn.

Concerto, orchestra, W32 (1948). New York: Duchess Music,1948. 80p.
1. Toccata; 2. Arioso; 3. Passacaglia; allegro moderato; 4. Adagio -- andante. Instrumentation: 2222 (p), 4331, timp, perc, strings. Première: 1953; Venice, Orchestra Sinfonica del Teatro La Fenice, Jonel Perlea, conductor. Duration: 18:00.

AC: Savannah Symphony; Marsha Mabrey, conductor (1991/II/09, Black heritage concert).

LP: Orchestra Sinfonica del Teatro La Fenice; Jonel Perlea, conductor. Remington Musirama R199-173 (1953).

LP: Orchestra Sinfonica del Teatro La Fenice; Jonel Perlea, conductor. Varèse Sarabande VC-81047 (1979, 1953).

Dance calinda, W7, ballet (1941). New York: MCA. Scenario after Ridgeley Torrence. Instrumentation: 2221; 2220; timp, perc, piano; strings. Première: 1941/IV/23; Rochester; Rochester Civic Orchestra; Howard Hanson, conductor. Duration: 14:00. Won: Anna Bobbit Gardner Award, Boston, 1947. Duration: 25:00. Library: Fleisher (3851), Yale (manuscript, 18p.).

----- New York: American Music Center, 1977. Library: Library of Congress.

-----. Scene 2. Library: Fleisher (U317).

6 Dances, string orchestra, W53; American dances (1954). New York: Duchess Music, 1965 (Leeds contemporary classics for string orchestra). 35p. 1. Scottishe; 2. Waltz; 3. Round dance; 4. Polka; 5. Promenade;
6. Galop. Premiere [selections]: 1953/V/10; CBS Radio; Alfredo Antonini, conductor; [complete?]:1962/XI/18; Worcester Symphopny Orchestra [MA]; Harry Levenson, conductor. Duration: 18:30. Library: Library of Congress (78-212854, holograph; 66-50025, publication).

CD: Westfällische Sinfonieorchester, Recklinghausen; Paul Freeman, conductor (1973). Vox Box 2-CDX 5157 (1996, The incredible flutist). Liner notes: Shirley Fleming.

LP: Westfällische Sinfonieorchester, Recklinghausen; Paul Freeman, conductor (1973). Turnabout TVS-34536 (1974, The contemporary Black composer in the USA).

----- 1. Scottish.

LP: Westphalian Symphony Orchestra; Paul Freeman, conductor. Turnabout TVS-34546 (1974).

----- 2. Waltz.

LP: Westphalian Symphony Orchestra; Paul Freeman, conductor. Turnabout TVS-34546 (1974).

----- 3. Round dance.

LP: New Symphony Orchestra of London; Tutti Camarata, conductor. London LL-1213

LP: New Symphony Orchestra of London; Tutti Camarata, conductor. CRI 119

----- 3. Round dance.

LP: New Symphony Orchestra of London; Tutti Camarata, conductor. London LL-1213 (1956, Modern American composers, vol. 1).

LP: New Symphony Orchestra of London; Tutti Camarata, conductor. CRI 119 (1958, Ten scenes for string orchestra).

LP: Westphalian Symphony Orchestra; Paul Freeman, conductor. Turnabout TVS- 34546.

----- 4. Polka.

LP: New Symphony Orchestra of London; Tutti Camarata, conductor. CRI 119 (1958, Ten scenes for string orchestra).

LP: New Symphony Orchestra of London; Tutti Camarata, conductor. London LL-1213 (1956, Modern American composers, vol. 1).

LP: Westphalian Symphony Orchestra; Paul Freeman, conductor. Turnabout TVS-34546.

LP: New Symphony Orchestra of London; Tutti Camarata, conductor. London LL-1213.

Dedication, W23, for SATB (1946). Text: Ulysses Kay. Duration: 8:00. Withdrawn.

2 Dunbar lyrics, W98, for SATB (1949). New York: Duchess, 1966. 20p. (Masterwork choral series, UC 434; #18404-062). Text: Paul Laurence Dunbar. 1. A starry night; 2. A madrigal. Commission: West Virginia State College, for its 75th anniversary. Première: 1965; West Virginia State College. Duration: 5:00. Library: Library of Congress (LC 65-49191).

Emily Dickinson set, W92, for SSA & piano (1964). New York: Duchess, 1965 (Leeds masterwork choral series, UC 97; #L-472).  20p. 1. Elysium is as far; 2. Indian summer; 3. Ample make this bed. Text: Emily Elizabeth Dickinson. Commission: Simmons College Glee Club and Burton A. Cleaves. Première: 1965; Boston; Simmons College Glee Club; Burton A. Cleaves, conductor. Duration: 6:00. Library: Library of Congress (74-212853, holograph)

Epigrams and hymn, W126, for SATB & organ (1975). New York: Carl Fischer, 1975. 20p. Text: John Greenleaf Whittier, Rev. John Murray, and Samuel Longfellow. Commission: Prebysterian Theological Seminary, Bryn Mawr Presbyterian Church, and Brick Presbyterian Church, for the American Bicentennial. Première: 1976/V/15; New York; Brick Presbyterian Church Choir; T. Charles Lee, conductor. Duration: 6:00.

Essay on death, W93; incidental television music for a Leo Hurwitz Production on WNET, New York, memorial to John F. Kennedy (1964).

Evocation, W19, for band (1944). Instrumentation: 2230 (p, English horn) E-flat cl, bcl; 2 asax, tsax, barsax; 4031, 3 cornets, bar horn; timp, perc. Première: 1946/V/10; Detroit; Wayne State University Band; Graham T. Overgard, conductor. Duration: 6:00. Withdrawn.

Facets, W113, for woodwind quintet & piano (1971). New York: Pembroke.Contains 3 movements. Commission: Eastman School of Music, for its 50th anniversary. Dedication: Walter Hendl. Première: 1971/X/19; Rochester; Kilburn Hall, Musica Nova Faculty ensemble; Walter Hendl, piano. Duration: 11:00.

3 Fanfares, W10, for 4 trumpets (1942). New York: Duchess, 1964 (Leeds music for winds) . 4p. & parts. 1. Moderato; 2. Lento; 3. Allegro. Original title: Trumpet fanfares. Première: 1947/X/25; New York; Composers Forum Concert. Duration: 4:00. Library: Library of Congress (65-53140), Schomburg.

CD: Dallas Symphony Orchestra trumpets [Richard Gianhiulio, Bert Truax, Thomas Booth, Glen Bell]. Crystal S230 (1981. Dallas trumpets).

Fantasy variations, W89, for orchestra (1963). New York: MCA Music, 1966 (#11093-044). 76p. Commission: Arthur Bennett Lipkin and the Portland (ME) Symphony Orchestra. Instrumentation: 2222 (p), 4331, timp, perc, strings. Première: 1963/XI/19; Portland [ME]; Portland Symphony Orchestra; Arthur Bennett Lipkin, conductor. Duration: 15:00.

LP: Oslo Philharmonic: Arthur Bennett Lipkin, conductor. Remington Musirama R-199-173 (1963).

LP: Oslo Philharmonic: Arthur Bennett Lipkin, conductor. CRI SD-209 (1963).

FDR; from third term to Pearl Harbor, W65, incidental television music for CBS series The twentieth century (1958). Instrumentation: 1110; 2220; perc; strings. Première: 1958/IV/13. Duration: 16:00.

Festival psalms, W134, for baritone SATB & piano(1984). New York: Pembroke Music, 1984. Commission: Holland Community Chorale. Première: 1984/III/13; Holland MI; Holland Community Chorale Duration: 10:00.

Five winds, W136, for woodwind quintet (1984). New York: Pembroke Music. Première: 1985/VII/5; St. Mary’s MD; Tidewater Festival Quintet. Duration: 12:00.

Flowers in the valley, W78, for SATB (1961). New York: C. F. Peters, 1962. 12p. (American Music Awards series; Edition Peters, 6522) Text: anonymous. Duration: 4:00. Dedication: Sigma Alpha Iota. Première: 1962/VIII/20; Chicago; Sigma Alpha Iota National Convention; Sigma Alpha Iota Chorus; Margaret Hillis, conductor. Library: Library of Congress (80-770869, copyist's manuscript).

2 Folksong settings, W128, for SATB (1975). n.p.: J. C. Penney. 1. Sally Anne; 2. Blow ye winds in the morning [adapted by Joanna Colcord]. Commission: J. C. Penney Bicentennial Music Project. Duration: 1:40; 3:30.

----- 1. Sally Ann.

LP: The DePaur Chorus; Leonard DePaur, conductor. Columbia M-33838 JCP (1975, 200 years of American music).

Forever free; A Lincoln chronicle, W83, for band (1962). New York: Associated Music Publishers, 1975 (#AMP 7441). 54p. & parts. 1.The young Lincoln; 2. Conflict; 3. Proclamation. Commission: Broadcast Music, Inc. for the U.S. Civil War Cntennial Commission and the 100th anniversary of the Emancipation Proclamation. . Instrumentation: 3262, 2 asax, tsax, bars, bsax, 2431, 3 cornets, euphonium baritone horn, timp, perc. Première: 1962/IX/22; Washington, Lincoln Memorial; United States Marine Band; Dale Harpham, conductor. Duration: 12:00. Library: CBMR (Lerma), Library of Congress (79-216131, holograph; 76-771325, publication).

AC: (Concert band music of African-American composers, v1).

Frederick Douglass, W133, opera in 3 acts, for 5 soloists, SSSSAAATTBB, children’s chorus (SA), off-stage band (optional) & orchestra (1985). Text: Donald Door. Instrumentation: 2222 (p, bcl); 4330; 2 perc, harp, mandolin & strings; off-stage band: p, E-flat cl; 045; perc. Première: 1991/IV/14; Newark, Newark Symphony Hall; Kevin Maynor (Frederick Douglass); New Jersey State Opera; Alfredo Silipign, conductor; Louis Johnson, director; Salvatore Tagliarino, designer.

Fugitive songs, W40, for medium voice & piano (1950). New York: Pembroke Music. 1. Song is old [text: Herman Hagedorn]; 2. That day you came [text: Lizette Reese]; 3. When the wind is low [text: Carl Young Rice]; 4. Even song [text: Frederic Ridgeley Torrence]; 5. The fugitives [text: Florence Wilkerson]; 6. The mystic [text: Wittner Bynner];
7. Sentence [text: Witner Bynner]. 8. When I am dead [text: Elsa Baxter]. Première: 1957/IX/28; New York, Town Hall; Eugene Brice, baritone; Jonathan Brice, piano.

Going home, W84, for quintet, incidental film music, for the United Nations Film Department. (1962) Commission: Peter Hollander. Dedication: Peter Hollander. Instrumentation: 0010; 1000; perc, harp; 0001. Première: 1962/IX/29.

Grace to you, and peace, W58, for SATB & organ (1955). New York: H. W. Gray, 1957. 12p. (#C.M.R. 2467[12]) Text: Epistle of Dt. Paul to the Ephesians, adapted by Theodore Melnechuk. Duration: 5:00. Commission: 100th anniversary of the Moravian Church in Bethlehem PA. Première: 1956/VI/20; Bethlehem PA; Central Moravian Church Choir; Festival Service and dedication of the Möller organ; Robert Hall Elmore, conductor. Won: Moravian anthem context, 1966. Library: Library of Congress (facsimile of holograph).

Guitarra, W119, for guitar (1973, rev. 1985). New York: Pembroke Music, 1985. 1. Prelude; 2. Arioso; 3. Finale. Commission: Wilbur P. Cotton. Dedication: Wilbur P. Cotton. Première: 1985/XII/8; London, Wigmore Hall; Jorge Morel, guitar. Duration: 12:00.

Harlem children’s suite, W120, for orchestra of young players (1973).
1. Prelude; 2. Aria; 3. Finale. Commission: Harlem School of the Arts. Dedication: Dorothy Maynor. Première: III1976/III; New York; Harlem School of the Arts. .Duration: 9:00.

Heralds I, Fanfares, W107, for 4 trumpets and 4 trombones (1968). New York: Pembroke Music, 1978. Dedication: Oliver Daniel. Première: 1968/IX/9; New York, Brooklyn College; International Music Congress; Brooklyn College Brass Ensemble. Duration: 1:00.

Heralds II, W122; Fanfare, for 3 trumpets (1974). New York: Pembroke Music, 1978. Duration: 01:00. Written for the City University of New York Graduate Center. Première: 1974/X/10; Brooklyn College Brass Ensemble.

AC: (Concert band music of African-American composers, v2).

How stands the glass around?, W54, n1, for SSATB with piano reduction (1954). New York: Associated Music Publishers, 1956 (A-228; #AMP 9568-14). 15p. Text: General James Wolfe. Commission: David Randolph and the Randolph Singers. Dedication: David Randolph and the Randolph Singers. Originally part of Two madrigals. Duration: 3:10.

LP: Randolph Singers; David Randolph, conductor). CRI 102 (1956, Lament for April 15th and other modern madrigals).

4 Hymn-anthems, W96, for SATB & organ (1965). New York: Duchess, 1965. (UC 610). 1. God, the Lord [text: John Koble, after Psalms of David]; 2. Lo, the earth; hymn-anthem on Monkland [text: Henry Wadsworth Longfellow; melody by John B. Wilkes]; 3. Love divine; hymn-anthem on Beecher [text: Charles Wesley; melody: John Zundal]; 4. O come Emmanue; Veni, veni, Emmanuel. Duration: 10:00.

----- 1. God, the Lord. New York: MCA Music, 1966. (UC 687) 6p.

----- 2. Lo, the earth. New York: MCA Music, 1966 (UC 600; #12614-062). 4p.

----- 3. Love divine. New York: MCA Music, 1964 (UC 604; #12615-062) 7p.

----- 4. O come Emmanuel. 6p.

Hymn anthem on Hanover; O worship the king, W71, for SATB and organ or piano (1959). New York: C. F. Peters, 1960. 7p. (Ed. Peters 6223) Text: Sir Robert Grant. Première: 1961; Lenox MA, Berkshire Music Center; Tanglewood Festival Chorus; Hugh Ross, conductor. Duration: 4:00.

Inscriptions from Whitman, W90, for SATB & orchestra (1963). New York: Duchess. In 2 movements. Text: Walt Whitman. Instrumentation: 2222; 4331; timp, perc; strings. Commission: Tercentary Commission of the State of New Jersey and the New Jersey Symphony Orchestra for the New Jersey Tercentary. Première: 1964/IV/26; Atlantic City; Coorhees Chapel Choir; Women’s chorus of Douglass College, New Jersey Oratorio Society Male Chorus of Atlantic City, New Jersey Symphony Orchestra; Kenneth Schermerhorn, conductor. Duration: 25:00.

4 Inventions, piano, W25 (1946). New York: Duchess Music, 1964. (#11094-011) 1. Andante; 2. Scherzando; 3. Larghetto; 4. Allegro. Première: 1947/IX/29; New York, Town Hall, Lucy Brown, piano. .Duration: 1:29; 1:00; 2:38; 1:21. A revision of 8 Inventions.

AT: Sharon Barron, piano.

LP: Felipe Hall, piano. Da Camera Magna SM-93144 (1975).

----- 3. Larghetto.

AC: Hildred Roach, piano. (1977).

LP: Ruth Norman, piano. Opus One 35 (c1978).

----- 4. Allegro

AC: Hildred Roach, piano. (1977).

----- G minor

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: Monica Gaylord, piano. Music & Arts CD 737 (1998, Piano music of Black composers).

----- A minor

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: Monica Gaylord, piano. Music & Arts CD 737 (1998, Piano music of Black composers).

----- C major

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: Monica Gaylord, piano. Music & Arts CD 737 (1998, Piano music of Black composers).

8 Inventions, piano, W24 (1946). New York: American Composers Alliance, Duchess Music. 1. Allegro; 2. Moderato; 3. Andantino; 4. Scherzando; 5. Grave; 6. Moderato; 7. Larghetto; 8. Presto. Première [of 5 titles]: 1952/VI/8; Washington, National Gallery of Art; Thomas Henderson Kerr, piano. Duration: 4:00.

Jazz suite, WoO, for violin & piano.

Jersey hours; Triptych, W131, for medium voice & 3 harps (1978). New York: Pembroke Music, 1980. Commission: Mrs. Paul R. Emmanuel. Text: Donald Door. Première: 1979/I/7’Teaneck NJ; Teaneck Arts Perform, The Emmanuel Harp Trio and singer. Duration: 12:00.

----- for voice & harp, arr. by Mrs. Paul G. Emmanuel.

----- for voice & piano, arr. by Mrs. Paul G. Emmanuel.

Jubilee, W123, opera in 3 acts, for 3 sopranos, 1 mezzo-soprano, 3 tenors, 2 baritones, 3 basses, 1 boy soprano, SSAATTBB (1976). New York: Carl Fischer. Text: Donald Door after Jubilee, novel by Margaret Walker. Commission: Opera South. Onstrumentation: 3232; 4230; timp, perc; strings. Première: 1976/XI/20; Jackson MS; Jackson State University; Opera/South; Adelaida Acevedo-Anderson; Alfred Anderson; Marcia Baldwin; Raymond Bazemore; Vinson Cole; Hilda Harris; Richard Mundt; Clyde Walker; John West; Opera South.; James DePreist, conductor.

Markings; Symphonic essay to Dag Hammarskjöld, W100 (1966). New York: Duchess, 1968. 93p. Commission: Meadow Brook Music Festival in memory of Dag Hammarskjöld. Dedication: Oliver Daniel. Instrumentation: 3333, 4331, timp, perc, strings. Première: 1966/VIII/18; Rochester MN; Oakland University, Meadow Brook Festival; Detroit Symphony Orchestra; Sixten Ehrling, conductor. Duration: 19:05.

AT: Indiana University Symphony Orchestra; Paul Freeman, conductor. (1975).

AT: New York Philharmonic; Zubin Mehta, conductor (1978).

LP: London Symphony Orchestra; Paul Freeman, conductor. Columbia M-32783 (1974, Black composers series, vol. 3).

2 Meditations, W46, for organ (1950). New York: H. W. Gray, 1951 (Contemporary organ series, n27). 7p. 1. Allegretto; 2. Andante. Première: 1952/X/23; Nashvile, Fisk University; Arthur Crowley, organ..

5 Mosaics, W5, for chamber orchestra (1940). 1. Allegro; 2. Lento; 3. Allegretto; 4. Andante; 5. Allegro. Instrumentation: 1111; 2110; perc, cel; strings. Première: 1940/XII/28; Cleveland; Cleveland Philharmonic Orchestra; F. Larl Grossman, conductor. Duration: 4:00. Won First prize, Phi Mu Alpha Competition. Library: Fleischer (3898). Withdrawn.

New York, city of magic, W66, incidental television music for WNET, New York (1958). Première: 1961/X/10; New York, Museum of Modern Art,.

Nocturne, piano, no. 1, W118 (1973). New York: MCA Music Corporation, 1973. 11p. Commission: Mrs. Eric Stein. Dedication: James Dick. Première: 1973/VII/4; Round Top Piano Institute; James Dick, piano. Duration: 5:00.

AT: Theodore Hendricks, piano.

Nocturne, piano, no. 2, W121 (1973). Duration: 5:00. Withdrawn.

Nocturne, WoO, for piano.

Nostros, W86, incidental film music for the United Nations, Film Department (1962). Commission: Peter Hollander. Dedication: Peter Hollander.

Of new horizons; Overture, W20, for orchestra (1944). New York: C. F. Peters, 1953 (Ed. Peters, 6253). 76p. Commission: Thor Johnson and the New York Philharmonic. Instrumentation: 3333 [or 3333 (p)], 4331, timp, perc, harp, piano (cel), strings [without violins]. Première: 1944/VII/29; New York, Lewissohn Stadium; New York Philharmonic Symphony Orchestra; Thor Johnson, conductor. Award: American Broadcasting Corporation prize (1946). Library: Library of Congress (62-28973, holograph). Duration: 8:00.

University of Arizona Records.

Once there was a man; A covenant for our time, W111, for narrator, SATB & orchestra (1969). Text: Randall Caudill. Commission: Worcester Musical Festival, 1969. Instrumentation: 3232; 4331; timp, perc, harp; strings. Première: 1969/IX/18; Ford Auditorium, Detroit; William Warfield, narrator; Detroit Symphony Orchestra; Sixten Ehrling, conductor. Duration: 18:00.

Our time, WoO, for SATB & orchestra (1969).

Parables, W112, for SATB & chamber orchestra (1970 ). New York: Duchess Music, 1970. 1. The old arm chair; 2. The hell-bound train. Text: Anonymous. Commission: American Choral Directors Association. Instrumentation: 1111; 1110; perc, double bass Première:1971/III/6; Kansas City MO, Municipal Auditorium, First annual convention of the American Choral Directors Association; Kansas State University Concert Chorale; Kansas State University Chamber Orchestra; Paul Roby, conductor.. Duration: 12:00.

Partita, violin & piano, A major, W41 (1950). New York: Pembroke Music, 1979. 1. Prelude; 2. Burlesca; 3. Interlude; 4. Echo. Première: 1952/IV/15; Rome, American Academy; Vittorio Emanuele, violin; R. Josi, piano. Duration: 15:00.

Pat-a-pan, WoO. Detroit: Luck's Music Library. (11075).

Pentagraph, W117, for SSSAAA. New York: Carl Fischer, 1978. 1. The miller’s song [text: Isaac Bickerstaffe]; 2. King Arthur [text: anonymous]; 3. To be or not to be [text: anonymous]; 4. The flamingo [text: Lewis Gaylor Clark]; 5. The monkey’s glue [text: Goldwin Goldsmith]. Duration: 17:00.

----- for SSSAAA & piano (1972). New York: Belwin Mills. Contains 5 movements.

Phoebus arise, W72, for soprano, bass, SATB & orchestra (1959). New York: Duchess Music, 1979. 1. Prelude [text: Ulysses Kay]; 2. No! [text: Thomas Hood]; 3. Tears, flow no more [text: Lord Herbert of Cherbury]; 4. Phoebus, arise [text: William Drummond]; 5. song [text: Thomas Middleton and William Rowley]; 6. The epicure [text: Abraham Cowley]; 7. Epilogue [text: Ulysses Kay]. Commission: International Music Council of New York City. Première: 1959/V/17; New York, Town Hall; Louise Natale, soprano; Lee Cass, bass; Interracial Fellowship Chorus & Orchestra; Harold Aks, conductor. Duration: 30:00.

----- 6. The epicure, W68, for soprano, bass,SATB & orchestra (1959). New York: Dutchess Music. (Leeds masterwork choral series, UC 294; #L-479). Duration: 4:00.

----- for SATB & piano.

Pieces, 2 horns, 2 trombones, WoO (1941). 1. Andante; 2. Allegretto; 3. Lento. Withdrawn.

4 Pieces, men's voices, W8, for TTBB (1941). New York: American Composers Alliance. 1. Between the hills [text: Carl Sandberg]; 2. Song [text: Shakespeare]; 3. With rue my heart is laden [text: A. E. Housman]; 4. Spanish Johnny [text: Willa Silbert Cather]. Duration: 9:00.

2 Pieces, orchestra, W94 (1964). New York: Pembroke Music. 1. Reverie; 2. Rondo. Instrumentation: 3222; 4331 (or 2221); timp, perc; strings. Première: 1968/X/11; Flint MI; Flint Symphony Orchestra; William Byrd, conductor. Duration: 7:00.

3 Pieces after Blake, W48, for high voice & orchestra (1952, rev. 1974). New York: Pembroke Music, 1977 (Music in the making). 1. To the evening star; 2. Mad song; 3. Contemplation. Text: William Blake. Instrumentation: 1121; 2210; timp, perc; strings. Première: 1955/III/27; New York, Cooper Union; Shirlee Emmons, soprano; David Broekman, conductor. Duration: 14:00.

AC: Shirley Baines, soprano; Houston Symphony Orchestra; Paul Freeman, conductor (1974).

----- Triptych on texts of Blake, W88, for high voice, violin, violoncello & piano (1962). New York: Pembroke Music. 38p. Commission: Kermit Moore. Dedication: Clarmoor Chamber Quartet. Première: 1963; Winston-Salem; Winston-Salem Teachers College; Clarmoor Quartet. Arranged from 3 Pieces after Blake

10 Pieces for children; 10 Short essays, W3, for piano (1939). 1. So gay; 2. Tender thoughts; 3. Sprite’s dance; 4. Little tune; 5. Old lament; 6. Make believe; 7. Two voices; 8. Playing, playing; 9. Slumber song; 10. March song. Original title: 13 Pieces for children. Première: 1940/V/27; Rochester NY; Mary Beeson, piano.

Pietà, W42, for English horn & string orchestra (1950). New York: MCA Music. Dedication: Pietro Accaroni. Première: 1958/II/12; New York, Town Hall; Annual Festival of American Music; Doris Goltzer, English horn; Knickerbocker Chamber Orchestra; Herman Newman, conductor.

----- for English horn & piano.

Portrait suite, W33, for orchestra (1948). New York: Pembroke Music, 1977. 1. Prologue; 2. Assymetric [suggested by sculptures of Wilhelm Lehmbruch, Kneeling woman and Rising youth]; 3. Reclining figure [suggested by sculpture of Henry Moore, Reclining figure]; 4. Blossoming [suggested by sculpture of Jacques Lipschitz, Blossoming]; 5. Epilogue. Instrumentation: 3222 (p); 4331; timp, perc, harp; strings. Première: 1964/IV/24; Erie; Erie Philharmonic Orchestra; James Sample, conductor. Award: Phoenix Symphony Orchestra and Phoenix Musicinas Club, best work by a native Arizonian (1948). Duration: 18:00.

5 Portraits, W115, for violin & piano (1972). New York: Pembroke Music, 1979. 40p. & part. 1. Scherzando; 2. Adagio; 3. Allegretto; 4. Larghetto; 5. Allegro. Commission: McKim Fund of the Library of Congress. Première:1974/II/22; Washington, Library of Congress; Ruggiero Ricci, violin; Leon Pommers, piano. Duration: 17:00.

AC: Ruggiero Ricci, violin; Leon Pommers, piano. Grenadilla Productions 1056 (1986).

Prelude, flute, W14 (1943). New York: Pembroke Music, 1976. 3p. Première: 1953/V17; Orono ME, University of Maine; Patricia Damour, flute. Duration: 1:49.

LP: D. Antoinette Handy, flute. Eastern ERS-513 (1973, Contemporary Black images for flute).

Presidental suite, W97, for orchestra (1965). New York: Pembroke Music, 1977. 51p. 1. Prologue; 2. Convention scene; 3. Vigil; 4. Decisions; 5. Epilogue. Commission: Artis Arslanian and Greater Boston Youth Symphony. Dedication: Artis Arslanian and the Greater Boston Youth Symphony Orchestra. Instrumentation: 3222; 4331; timp, perc; strings. Première: 1966/III/13; Boston, Symphony Hall; Greater Boston Youth Symphony; Ulysses Kay, conductor. Duration: 12:00. Library: Library of Congress (facsimile of holograph).

Prologue and parade, W130, for band (1977). New York: Pembroke Music, 1978 (Concert sketches, J-709), individually published. 23p. Instrumentation: 3161; 4sax; 2331 baritone horn; timp, perc; double bass. Extracted from Concert sketches, W95. Duration: 3:00.

Quartet, strings, no. 1, W37 (1949). New York: American Composers Alliance. 1. Allegro; 2. Andante; 3. Allegro scherzando; 4. Allegro moderato. Première: 1953/V/24; Washington, National Gallery of Art; American University String Quartet. Duration: 26:00. Withdrawn.

Quartet, strings, no. 2, W61 (1956). New York: Pembroke Music. 1. Allegretto; 2. Adagio; 3. Allegro agitato; Larghetto. Première: 1959/XI/6; Urbana; University of Illinois; Walden String Quartet. Duration: 18:00.

Quartet, strings, no. 3, W70 (1960). New York: Pembroke Music. 1. Allegretto; 2. Adagio-presto-adagio; 3. Finale. Commission: University of Michigan. Dedication: Stanley Quartet. Première: 1962/II/20; Ann Arbor, University of Michigan School of Music; Stanley Quartet. Duration: 15:00.

Quartet, trumpets & trombones, W39 (1950). New York: Peer International, 1958. 14p. & parts. (#433-13) 1. Fantasia; 3. Arioso; 3. Toccata. 1952/X/12; Brooklyn Museum; Third Street Music School Quartet. Library: Library of Congress (63-52736; also publication). Duration: 11:00.

AT: Larry Wiseman, Walter Blanton, trumpets; Michael Olsavsky, Jay Hildebrant, trombones (Indiana University,1969).

LP: members of the American Brass Quintet. Folkways FM-3651 (1965).

Quintet, flute & strings, W13 (1943). New York: American Composers Alliance. 1. Allegro; 2. Adagio; 3. Allegro moderato. Première: 1947/II; New York; WNYC Music Festival; Arthur Lora, flute, CBS String Quartet. Duration: 14:00.

Quintet, piano & strings, W36 (1949). New York: American Composers Alliance. 1. Allegretto; 2. Adagio; 3. Allegro. Première: 1949/XI/29; Rome, American Academy; Gherardo Macarini, piano; Quartetto della Radio di Roma. Duration: 25:00. Library: Library of Congress (63-34556, holograph; 62-36281, facsimile of holograph).

Quintet concerto, W124, for 2 trumpets, horn, 2 trombones (or 1 trombone, tuba) & orchestra (1974). New York: Carl Fischer. 1. Allegretto; 2. Andante; 3. Allegro. Commission: Juilliard School of Music. Première: 1975/III/14; New York, Alice Tully Hall; Paul Costanzo, Rolla Durham, trumpet; Julie Landsman, horn; Vernon Post, trombone; Kevin Ladd, tuba; Juilliard School of Music Orchestra; Walter Hendl, conductor. Duration: 17:00.

Reverie and rondo, orchestra, W94, for orchestra (1964). New York: Pembroke Music. 1977. Instrumentation: 3222, 4311 (or 2221), timp, perc, strings. Première: 1968/X/11; Whiting Auditorium, Flint MI; Flint Symphony Orchestra; William C. Byrd, conductor. Also known as 2 Pieces, orchestra. Duration: 8:00.

Scene and song, W70, for orchestra, incidental music (1959). Commission: Vinnie Burrows. Duration: 8:00.

Scherzi musicali, W108, for chamber orchestra (1968). New York: Dutchess Music, 1971. Commission: Chamber Music Society of Detroit for its 25th anniversary. Première: 1969/II/13; Detroit; Princeton Chamber Orchestra; Interlochen Arts Woodwind Quintet; Nicholas Harsanyi, conductor. Duration: 17:00.

Serenade, no. 1, orchestra, W52 (1954). New York: Associated Music Publishers, 1955 (#AMP-95933-112). 114p. 1. Andante amabile; 2. Presto; 3. Elegy; 4. Allegro. Commission: Louisville Philharmonic Society. Première: 1954; Louisville Symphony; Robert Whitney, conductor. Instrumentation: 2222 (p), 4231, timp, strings. Duration: 18:00.

LP: Louisville Orchestra; Robert Whitney, conductor. LOU 545-8 (1959).

Serenade, no. 1, orchestra, W52 (1954). New York: Associated Music Publishers, 1955. 114p. (#AMP-95933-112). 1. Andante amabile; 2. Presto; 3. Elegy; 4. Allegro. Duration: 18:00. Instrumentation: 2222 (p), 4231, timp, strings. Commission: Louisville Philharmonic Society, 1954. Première: 18/IX/1954; Louisville Orchestra; Robert Whitney, conductor. Library: Library of Congress (60-1738).

LP: Louisville Orchestra; Robert Whitney, conductor. LOU 545-8.

Serenade, no. 2, 4 horns, W62 (1957). New York: Duchess, 1964. 24p. (Leeds music for winds). 1. Prelude; 2. Arietta; 3. Toccata; 4. Epilogue. Duration: 12:00. Commission: Written for Ken Nishi. Première: University of Illinois, Urbana; Thomas Holden, Kathryn Dieterich, Jan Bach, Richard Ely, horns. Library: Library of Congress (70-212852, holograph; 65-53143, publication), Schomburg.

Serenade, no. 3, string quartet, WoO (1960). 1. Overture; 2. Fantasy; 3. Melody; 4. Rondo. Withdrawn.

Short essays; 10 pieces for children, for piano (1939). New York: Duchess, 1965. 12p. (Leeds piano library; #12162-001). 1. So gay; 2. Tender thought; 3. Sprite's dance; 4. Little tune; 5. Old lament; 6. Make believe; 7. Two voices; 8. Playing, playing; 9. Game song; 10. Sleep song [aka Slumber song]; 11. March song; 12. Sad story; 13. In glee. Première: 27/V/1940; Eastman School of Music, Rochester; Mary Beeson [Dismukes], piano. Library: Library of Congress (LC 66-50044).

2 Short pieces, piano, 4 hands, W64 (1957). New York: Ricordi, 1962. 7p. 1. Prelude; 2. Moto perpetuo. Première [Moto perpetuo]: 1982/I/21; Washington, Howard University, Meet the Composer Series; Hobson-Kerr Duo [Constance Tibbs Hobson, Hortense R. Kerr, piano].

Short suite, band, W43 (1950). New York: Associated Music Publishers, 1957. 10p. (condensed score) & parts (#AMP 95532-8). 1. Fanfare; 2. March; 3. Interlude; 4. Lyric: 5. Finale. Instrumentation: 3362, 4 saxophones, 4341, 3 cornets, baritone, timp, perc. Première: 1951/V/8; Waco TX; Baylor University Golden Wave Band; Donald I. Moore, conductor. Duration: 7:00.

AC: (Concert band music of African-American composers, v2).

4 Silhouettes, W116, for band (1972). New York: Duchess Music, 1973. Contemporary music for concert band; #810022-22) . 19p.(condensed score, 11p.) & parts Instrumentation: 2152; 4 sax; 2310; baritone horn; timp., perc; double bass. Première: 1973/XII/8; New York; Lehman College Band; J. Dellicarri, conductor. Duration: 3:30.

Sinfonia in E, W44 (1950). New York: Pembroke Music, 1975. 105p. 1. Allegro pesante; 2. Adagio grazioso; 3. Allegro. Instrumentation: 2222 (p), 4331, timp, strings. Première: 1951/V/2; Rochester; Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor. Duration: 20:00.

AC: (Concert band music of African-American composers, v1).

LP: Oslo Philharmonic Orchestra; George Barati, conductor. CRI SD-139 (1960).

Sinfonietta, W1 (1939). 1. Allegro; 2. Andante; 3. Finale; allegro. Instrumentation: 2222; 4200; timp, harp; strings. Première: 1939/IV/19; Syracuse; Rochester Civic Orchestra; Howard Hanson, conductor. Duration: 14:00. Withdrawn. Library: Fleisher (3642).

Solemn prelude W38, for band (1949). New York: Associated Music Publishers, 1950. Commission: Baylor University Band. Instrumentation: 3362; 4 sax; 4201, 3 cornets, 4 baritone horns; timp, perc. Première: 1950/II/16; Waco; Baylor University Golden Wave Band; Donald I. Moore, conductor. Duration: 5:00.

Sonata, bassoon, WoO (1941). 8p. Library: Eastman School of Music, Sibley Music Library (photolithograph).

Sonata, piano. no. 1, W6 (1940). New York: American Composers Alliance. 1. Allegretto; 2. Andante; 3. Allegro. Duration: 10:00. Première: 940/XII/29 Cleveland; Thomas Nichols, piano. Won: Phi Mu Alpha competition, 1940, 1st prize. Withdrawn.

Sonata, piano, no. 2, WoO (1971). Commission: Juilliard School of Music.

Sonatina, viola & piano, W2 (1939). In 1 movement. Duration: 6:00.Withdrawn.

Sonatina, violin & piano, W9 (1942). 1. Allegro moderato; 2. Andantino; 3. Allegro. Première: 1943/I/24; New York, League of Composers; Stefan Frenkel, violin; Leonard Bernstein, piano. Duration: 9:00. Withdrawn.

Song of Ahab, W45, for baritone & dixtour (1950). Text: Herman Melville. Instrumentation: baritone, 1010; 1100; timp, perc, piano; violin, viola, cello. Commission: Quincy (IL) Fine Arts Society. Première: 1951/V/17; Quincy IL; J. Leslie Pierce, baritone; Quincy Chamber Music Ensemble; George Irwin, conductor. Duration: 20:00. Withdrawn.

Song of Jeremiah, W30, cantata for bass-baritone, SATB & chamber orchestra (1947). New York: Pembroke Music. Instrumentation: 2222 (p, Eng horn); 2221; timp, perc, harp, piano; strings. Première: 1954/IV/23; Nashville; Roy Petty, baritone; Fisk University Choir; Harry von Bergen, conductor. Duration: 19:00. Withdrawn. Original version (1945) for baritone, SSA & organ. New York: Duchess. 24p.

2 Songs for children, W102, for medium voice & piano (1966). Commission: Juilliard School of Music, for the Juilliard Repertory Project.

----- 1. Where the boats go. Cincinnati: Canyon Press. Text: Robert Lewis Stevenson.

----- 2. The little elf-man. New York: Duchess. Text: John Kendrick Bangs

Soul gone home,WoO, opera (1954). Text: Langston Hughes.

Southern harmony, W127, for orchestra (1975). New York: Pembroke Music, 1976. 1. Prelude; Land of beginnings; 2. Fifes and drums; 3. Variants; 4. Elysium. Based on themes from The Southern harmony, by William Walker [aka, Singin’ Billy] (1835). Commission: Southeastern Regional Metropolitan Orchestra Managers Association. Première: 1976/II/10; Wilmington NC, University of North Carolina, Kenan Auditorium; North Carolina Symphony Orchestra; John Gosling, conductor. Duration: 21:00.

Spirituals, for string orchestra.

Stephen Crane set, W104, for SATB & chamber ensemble (1967). New York: Dutchess Music, 1972. 54p. (piano-vocal score; #19686-062) 1. Black riders; 2. Mystic shadows; 3. A spirit; 4. War is kind. Text: Stephen Crane. Instrumentation: 1111 (Eng horn, bcl); 2220; perc. Commission: Chicago Musical College of Roosevelt University for its 100th anniversary. Première: 1968/II/4; Chicago; Chicago Musical College; David S. Larson, conductor. Duration: 16:00.

String triptych, W139, for string orchestra (1987). New York: Carl Fischer. Première: 1988/I/23; Missouri All-State High School Orchestra; Paul Vermeel, conductor. Duration: 7:00.

Submarine!, W73, for chamber orchestra, incidental music for CBS television series, The twentieth century (1959). Instrumentation: 1111; 2220; perc; strings. Première: 195/IV/12; CBS Television. Duration: 14:00.

Suite, brasses, W16 (1943). New York: American Composers Alliance. 1. Fanfare and lyric; 2. Chorale; 3.) Toccata. Instrumentation: 4431. Première: 1947; Cincinnati; Cincinnati Conservatory of Music. Duration: 8:00. Withdrawn.

Suite, flute & oboe, no. 1, W17, (1943) New York: Duchess, 1964 (Leeds music for winds) 8p. 1. Allegretto; 2.Andantino; 3. Allegro. Première: 1947/X/25; New York; Composers Forum; Carleton Sprague Smith, flute; Antonio Estevez, oboe. Duration: 5:00. Also known as Duo.

AC: Effie Hillian, flute; Walter Lee, oboe (Morgan State University, 1977).

CD: New York Flute Club [Harold Jones, flute; Marcia Butler, oboe]. CRI CD-561 (1988, A tribute to Otto Luening).

Suite, oboe & piano, W15, B (1943). New York: American Composers Alliance. 1. Prelude; 2. Recitative and air; 3. Dance Première: 1949/XI/29; Rome, American Academy; Pietro Accaroni, oboe; Gherardo Macarini, piano. Duration: 12:00.

Suite, orchestra, W21 (1945). New York: Associated Music Publishers, 1948. 91p. 1. Fanfare; 2. Three-four; 3. Scherzo; 4. Olden tune; 5. Finale. Instrumentation: 3333, 4331, timp, perc, piano, strings. Première: 1950/V/21; New York, Town Hall; American Youth Orchestra; Dean Dixon, conductor. Duration: 17:00. Library: Library of Congress (64-45647, holograph; 49-19905, publication), Yale (76p. manuscript & 1948 publication). Won BMI award (1947).

LP: Louisville Orchestra; Robert Whitney, conductor. LOU 545-8.

Suite, organ, no. 1, W67 (1958). New York: Pembroke Music, 1986. 1. Andante maestoso; 2. Pastorale; 3. Finale. Commission: Marilyn Mason. Première: 1958/XII/20; New York, St. Paul’s Chapel, Trinity Parish; Marilyn Mason, organ. Duration: 7:00.

CD: Herman D. Taylor, organ (1992/VI.30; Atlanta, All Saints’Episcopal Church; 1972 Schantz organ; National convention, American Guild of Organists).

CD: James Abbington, organ. JAV 112 (1998, Comes summertime; highlights from Riverside summer recitals, 1998).

----- 3. Finale. St. Louis: MorningStar (10-547; African-American organ music anthology, v3, ed. by Mickey Thomas Terry).

Suite, string orchestra, W31; Little suite (1947). New York: C. F. Peters, 1961, 1952 (Ed. Peters, 6254). 26p. 1. Andante sostenuto; 2. Lento ; 3. Allegro. Première: 1949/IV/18; Baltimore; Baltimore; Baltimore Chamber Orchestra; Ulysses Kay, conductor. Duration: 14:00. Original title: Song for strings. Seemingly, a revised version of Little suite for string orchestra from 1941 (withdrawn after the première, University of Maine, 1954/V. Duration: 14:00. Library: Library of Congress (63-52726, holograph).

LP: Louisville Orchestra; Robert Whitney, conductor. LOU 634.

Symphony, W105 (1967). New York: Pembroke Music, 1977. 1. Allegro declamando; 2. Allegro capriccioso; 3. Largo; 4. Allegro molto. Instrumentation: 3333; 4331; timp, perc; strings. Commission: Illinois Sesquicentennial Commission. Première: 1968/III/28; Macomb IL; Chicago Symphony Orchestra; Jean Martinon, conductor. Duration: 26:00.

The birds, W99, for SA & piano (1966). New York: Duchess Music, MCA, 1969. Commission: Burton A. Cleaves, for the Simmons College Glee Club. Première: 1967/XII/3; Boston; Simmons College Glee Club; Burton A. Cleaves, conductor. Duration: 14:00.

----- 1. The great black crow. 10p. (UC 674; #17678-059) Text: Philip James Bailey.

----- 2. The skylark. 8p. (UC 675; #17680-059) Text: James Hogg.

----- 3. The peacock. 8p. (UC 160; #16422-060) Text: William Cowper.

----- 4. The throstle. 8p. (UV 677 or 676; #17679-059) Text: Alfred Lord Tennyson.

----- 5. Answer to a child's question. 6p. (UC 678; #17681-059) Text: Samuel Coleridge Taylor.

The boor, W57, opera in 1 act, for soprano, tenor, baritone & orchestra (1955). New York: Duchess Music, MCA. Text: Vladimir Ussachevsky, translator, after Anton Chekov, adapted by Ulysses Kay. Commision: Koussevitsky Foundation of the Library of Congress. Dedication: In memorium, Serge and Natie Koussevitsky. Instrumentation: 1111 (p, Eng horn); 1110; timp, perc, piano; strings. Première [concert performance]: 1968/IV/2; Lexington KY, University of Kentucky. Library: Library of Congress (65-74636/M, 102p., holograph).

The capitoline Venus, W110, opera in 1 act, for soprano, 2 tenors, 3 baritones, 2 basses & orchestra (1969). New York: Pembroke, 1970. Text: Judith Dvorkin, after Mark Twain. Commission: Quincy Society of Fine Arts. Instrumentation: 1121; 1110; timp, perc, harp; strings. Première: 1971/III/11; Festival Theater, Quincy IL; University of Illinois Opera Group; Richard Aslanian, onductor; David Barron, director; Laura Zirner, stage designer. Duration: 45:00.

The fall of China, W69, for chamber orchestra, incidental television music for CBS series, The twentieth century (1959). Instrumentation: 2200; 1321; piano, perc; strings. Première: 1959/XI/15; “The twentieth century.” Duration: 17:00.

The juggler of Our Lady, W60, opera in 1 act, for soprano, 2 mezzo-sopranos, contralto, 3 tenors, 4 baritones, 3 basses, boy soprano, SATB [from cast] & orchestra (1956). New York: Pembroke Music. Text: Alexander King, after a medieval morality play. Instrumentation: 1121 (p); 1110; timp, perc, harp; strings. Première: 1962/II/23; New Orleans, Xavier University Opera Workshop; Mervin Wallace, tenor; Alex McDonald, choral director; Richard Harrison, director; Patricia Euth, stage director and set designer. Duration: 50:00.

AT: Xavier University Opera Workshop (1962).

The land, W85, incidental television music for NBC and United Nations (1962). Commission: Reuben Frank. Première: 1962/III/13; Chet Huntley, narrator.

The lion, the griffin and the unicorn W47, for octet, incidental film music for Hollander-Tait Productions (1951). Commission: Peter Hollander. Instrumentation: 1011’1100; perc; string quartet. Duration: 12:00.

The quiet one, W34, incidental film music (1948). New York: Pembroke Music. Producer: Film Documents, Inc.; James Agee, commentator; Richard Bagley, photographer. Instrumentation: 1111 (p), 1110, timp, perc, piano, strings. Première: 19/XI/1948; Times Hall, New York; New York Little Symphony; Ulysses Kay, conductor. Duration: 50:00.

----- Suite, W35, for orchestra. New York: Pembroke Music. 1. Joy and fears; 2. Street wanderings; 3. Interlude; 4. Crisis. Instrumentation: 1111; 1110; timp, perc, piano (cel), vib; strings. Première: 1948/XI/19; New York, Times Hall; New York Little Symphony Orchestra; Ulysses Kay, conductor.

AT: Unidentified orchestra.

The rope, W26, for dancer & piano (1946). Commission: Eleanore Goff. Première: 1947/I/12; New York; 92nd Street YMHA;Kaufman Auditorium; ; Eleanor Goff, dancer. Revised as Ancient saga.

The shape of things W76, for chamber orchestra, incidental television music for NBC production of Worldwide 60 (1960). Instrumentation: 1011; 2100; perc, harp; strings. Première: 1960/III/12; NBC News telecast. Duration: 16:00.

The three musketeers, W77, for chamber orchestra, incidental television music for Talent Associates production (1960). Commission: David Susskind. Instrumentation: 1011; 2110; perc, strings. Duration: 15:00.

The western paradise, W129, for male narrator & orchestra (1975). New York: Carl Fischer, 1977. 84p. Contains 5 movements. Text: Donald Door. Commission: National Symphony Orchestra for the Bicentennial. Première: 1976/X/12; Washington; William Conrad, narrator; National Symphony Orchestra; Antal Dorati, conductor.. Duration: 16:00.

Theater set, W109, for orchestra (1968). New York: Duchess Music, 1971. 96p. 1. Overture; 2. Ballad-chase music; 3. Finale. Commission: Junior League of Atlanta for Robert Shaw and the Atlanta Symphony Orchestra. Dedication: Robert Shaw. Première: 1968/IX/26; Atlanta Symphony Orchestra; Robert Shaw, conductor. Instrumentation: 3332; 4331; timp, perc; strings. Duration: 15:00.

----- 1. Overture

CD: Chicago Sinfonietta; Paul Freeman, conductor (1995). Cedille CDR 90000 061 (2001; African heritage series, v2). Liner notes: Dominique-René de Lerma.

To light that shines W87, for SAB & piano or organ (1962). New York: Duchess Music, 1964 (UC 572) Text: Samuel Johnson. Commission: New York Society for Ethical Culture. Première: 1962/V/27; New York; New York Ethical Culture. Duration: 5:00.

Trigon, W80, for band (1961). New York: C. F, Peters, 1961 (American Wind Symphony Edition; Ed. Peters 6267) 67p. 1. Prelude; 2. Canticle; 3. Toccata. Commission: American Wind Symphony. Instrumentation: 3343; 4331; timp, perc, harp. Première: 1961/VI/18; Pittsburgh, First International Festival of Contemporary Music for Wind Symphony Orchestra; American Wind Symphony; Robert A. Boudreau, conductor. Duration: 12:00.

Triple set, W114, for TBB (1971). New York: Duchess, 1972. Duration: 8:30.

----- 1. Ode to the cuckoo, for TB. (UC 528) Text: Michael Bruce.

----- 2. Had I a heart, for TB. (UC 529) Text: R. B. Sheridan.

----- 3. A toast, for TBB. (UC 530; MCP 43) Text: R. B. Sheridan.

Triumvirate, W50, for TTBB with piano reduction (1954). New York: Peer, 1954 (ME 1013; #295). 33p. 1. Music [text: Ralph Waldo Emerson] 2. Children’s hour [text: Henry Wadsorth Longfellow]; 3. Night march [text: Herman Manville]. Commission: Leonard DePaur, for the DePaur Infantry Chorus. Première: 1954/X/17; New York, Hunter College; DePaur Infantry Chorus; Leonard DePaur, conductor. Duration: 1:37.

CD: Morehouse Glee Club; Harding Epps, Jr., conductor. MHGC (One moment in time).

Tromba, W135, for trumpet & piano (1983). New York: Pembrokle Music. Commission: Fred Urby, III. Première: 1986/V/24; Washington, Smithsonian Institution, Baird Auditorium; Fred Irby, III, trumpet; Ronald Tymus, piano. Duration: 9:00.

Umbrian scene, W91, for orchestra (1963). New York: Leeds, 1965. 32p. Commission: Edward B. Benjamin. Instrumentation: 2222, 4331, timp, perc, harp, strings. Première: 1964/III/31; New Orleans Philharmonic Symphony Orchestra; Werner Torkanowsky, conductor. Duration: 12:00. . Library: Library of Congress (66-38544, holograph).

LP: Louisville Orchestra; Robert Whitney, conductor. LOU 651 (1965).

Variations, orchestra.

LP: Louisville Orchestra; Robert Whitney, conductor. LOU 545.

Variations on Joy to the world. Detroit: Lucks' Music Library (11076).

Visions, W125, for piano (1975), in Black perspective in music, v3n2 (1975/V) p222-223. Dedication: William Grant Still. Duration: 1:15.

What's in a name?, W54n2, for SSATB with piano reduction (1956). New York: Duchess, 1966 (Leeds masterwork choral series L-446, UC 443; #L2011). 13p. Text: Helen F. More. Dedication: David Randolph Singers. Première: 1955; David Randolph Singers; David Randolph, conductor. Duration: 4:00. Originally part of 2 Madrigals. Library: Library of Congress (70-200766, holograph).

LP: Randolph Singers; David Randolph, conductor. CRI 102 (1956, Lament for April 15th and other modern madrigals).

Documentary:  Interview

AC: By Mike Cuthbert, on Western paradise (1976/X/11, Washington).

29 Bibliography
Prof. Dominique-René de Lerma

“Brooklyn Philharmonia” in Musical America, v84 (1964/I) p43. [Fantasy variations]

“Catálogo cronológico classificado de las obras del compositor estadaunidense Ulysses Kay; Classified chronological catalog of works by the United States composer Ulysses Kay" in Boletín interamericano de música, n28 (1962/III) p40-50.

“Chicago Symphony Orchestra" in Music leader, v98 (1966/XII) p3. [Serenade for orchestra]

“Classified chronological catalog of works by the United States composer Ulysses Kay” in Boletín interamericano de música, n28 (1962/III) p40-50.

“Concert hall" in American Composers Alliance bulletin, v12n1 (1964) p20. [Fantasy variations, & Umbrian scene]

“Concert hall” in American Composers Alliance bulletin, v4n1 (1954) p22-23. [Sinfonia in E. Song of Jeremiah. Piano quintet.]

“In memoriam” in CBMR digest, v8n5 (1995/fall) p9.

“International Fellowship Chorus” in Musical courier, v159 (1959/VI) p10. [Phoebus arise]

“Kay to conduct work in Tucson” in Down beat, v21 (1954/II/24) p17.

“Markings" in Cleveland Orchestra program notes (1967/III/2) p690.

“N.Y. composer Ulysses Kay wins Moravian contest" in Diapason, v47 (1956/V/1) p2.

“New York" in Music journal, v22 (1964/X) p65. [Umbrian scene]

“Orchestra of America" in Musical America, v84 (1964/IX) p44-45. [Umbrian scene]

“Premières and performances" in American Composers Alliance bulletin, v11n2/4 (1963) p19. [Choral triptych]

“Premières: Scherzi musicali" in BMI (1969/V) p10.

“Return of Ulysses" in Negro history bulletin, v17 (1954/V) p181.

“Return of Ulysses" in Time, v63n10 (1954/III/8) p71.

“Serenade for orchestra; Chicago Symphony Orchestra" in Musical leader, v98 (1966/XII) p3.

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“String quartet no. 2" in American Composers Alliance bulletin, v9n2 (1960) p22.

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“Ulysses Kay's Juggler of Our Lady, and William Grant Still's Highway 1, U.S.A." in Opera news, v37 (1973/I/13) p23.

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Abdul-Rahim, Raoul. Blacks in classical music; a personal history. New York: Dodd, Mead, 1977.

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