Anderson, T(homas) J(efferson Jr.)
Anderson, T(homas) J(efferson Jr.)
Anderson, T(homas) J(efferson Jr.), black American composer and teacher; b. Coatesville, Pa., Aug. 17, 1928. He studied at W.Va. State Coll. (B.Mus., 1950) and at Pa. State Univ. (M.Ed., 1951) before pursuing training in composition with Huston at the Univ. of Cincinnati Coll.-Cons. of Music (1954), Bezanson and Hervig at the Univ. of Iowa (Ph.D., 1958), and Milhaud at the Aspen (Colo.) School of Music (summer, 1964). He was prof. of music and chairman of the dept. at Langston (Okla.) Univ. (1958–63), and prof. of music at Term. State Univ. (1963–69). From 1969 to 1971 he was composer-in-residence of the Atlanta Sym. Orch. From 1972 to 1990 he was prof. of music at Tufts Univ., and also chairman of the dept. (1972–80). In 1988-89 he held a Guggenheim fellowship. Anderson played a major role in the revival of Scott Joplin’s music. He arranged Joplin’s opera Treemonisha for its first complete performance (Atlanta, Jan. 28, 1972). Anderson’s own works are audaciously modern, while preserving a deeply felt lyricism. His harmonies are taut and intense without abandoning the basic tonal frame. His contrapuntal usages suggest folklike ensembles, but he freely varies his techniques according to the character of each particular piece.
Works
DRAMATIC: The Shell Fairy, operetta (1976- 77); Re-Creation for 3 Readers, Dancer, and Instrumentalists (1978); Soldier Boy, Soldier, opera (Bloomington, Ind., Oct. 23, 1982); Thomas Jefferson’s Orbiting Minstrels and Contraband, a “21st Century celebration of 19th Century form” for Dancer, Soprano, String Quartet, Woodwind Quintet, Jazz Sextet, Computer, Visuals, and Keyboard Synthesizer (1984; DeKalb, III, Feb. 12, 1986); Walker, chamber opera (1992; Boston, Dec. 9, 1993). ORCH.: Pyknon Overture (1958); Introduction and Allegro (1959); New Dances (1960); Classical Symphony (1961); 6 Pieces for Clarinet and Chamber Orch. (1962); Symphony in 3 Movements, in memory of President John F. Kennedy (Oklahoma City, April 10, 1964); Squares: An Essay for Orchestra (1965); Chamber Sym. (1968; Nashville, Tenn., Nov. 24, 1969); Intervals (1970–71); Messages: A Creole Fantasy (1979; Atlanta, May 3, 1980); Concerto for 2 Violins and Chamber Orch. (Chicago, May 29, 1988); Remembrances, chamber concerto (Cleveland, Oct. 30, 1988); Bahía, Bahia for Chamber Orch. (1990). band:Trio Concertante for Clarinet, Trumpet, Trombone, and Band (1960); Rotations (1967); In Memoriam Zach Walker (1968); Fanfare for Trumpet and 4 Mini-bands (1976). CHAMBER: String Quartet (1958); 5 Bagatelles for Oboe, Violin, and Harpsichord (1963); 5 Etudes and a Fancy for Woodwind Quintet (1964); Connections, a Fantasy for String Quintet (1966); Transitions for Chamber Ensemble (1971); Swing Set for Clarinet and Piano (1972); 5 Easy Pieces for Violin, Piano, and Jew’s Harp (1974); Variations on a Theme by Alban Berg for Viola and Piano (1977); Minstrel Man for Bass Trombone and Percussionist (1978); Vocalise for Violin and Harp (1980); Inaugural Piece for 3 Trumpets and 3 Trombones (1982); Intermezzi for Clarinet, Alto Saxophone, and Piano (1983; also as solo pieces for each of these instruments); Sunstar for Trumpet and Cassette Recorder (1984); Bridging and Branching for Flute and Double Bass (1986); Ivesiana for Violin, Cello, and Piano (1988); What Ever Happened to the Big Bands? for Alto Saxophone, Trumpet, and Trombone (1991); Spirit Songs for Cello and Piano (1993). KEYBOARD: Piano: 5 Portraitures of 2 People for Piano, 4-Hands (1965); Watermelon (1971); Street Song (1977); Play Me Something (1979); Call and Response (1982); Passacaglia and Blues (1990). Organ: In memoriam: Graham Wootton (1985). VOCAL: Personals, cantata for Chorus, Narrator, and Brass Septet (1966); Variations on a Theme by M. B. Toison, cantata for Soprano and 6 Instruments (1969); This House for Men’s Glee Club and 4 Chromatic Pitch Pipes (1971); Block Songs for Soprano, Children’s Toys, Chromatic Pitch Pipe, and Jack-in-the-Box (1972); Beyond Silence for Tenor and 5 Instruments (1973); Im Memoriam Malcolm X for Voice and Orch. (N.Y., April 7, 1974); Horizons ’76 for Soprano and Orch. (1975; Chicago, June 11, 1978); Spirituals for Tenor, Narrator, Chorus, Children’s Chorus, Jazz Quartet, and Orch. (1979; Atlanta, Jan. 19, 1982); Jonestown for Chorus and Piano (1982; Boston, May 6, 1984); Thomas Jefferson’s Minstrels for Baritone, Men’s Glee Club, and Jazz Band (1982; Medford, Mass., April 15, 1983); What Time is It? for Boy’s Chorus and Jazz Orch. (N.Y., Dec. 1, 1986); Songs of Illumination for Soprano, Tenor, and Piano (Medford, Mass., April 27, 1990); Ancestral Voices for Bass and Piano (Strasbourg, Sept. 21, 1990); Dear John, Dear Coltrane for Chorus and Piano (Minneapolis, Dec. 4, 1990); Egyptian Diary for Soprano and 2 Percussionists (1991; Chicago, April 26, 1992); Here in the Flesh, hymn for Congregation and Piano (Charlotte, N.C., June 28, 1993).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire