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Van Appledorn, Mary Jeanne

Van Appledorn, Mary Jeanne

Van Appledorn, Mary Jeanne American composer, pianist, and teacher; b. Holland, Mich., Oct. 2, 1927. She studied piano with Cecile Staub Genhart (B.Mus., 1948), theory (M.Mus., 1950), and composition with Bernard Rogers and Alan Hovhaness at the Eastman School of Music in Rochester, N.Y., where she received her Ph.D. in 1966 with the diss. A Stylistic Study of Claude Debussy’s Opera, Pelléas et Mélisande. She pursued postdoctoral studies at the Mass. Inst. of Technology (1982). From 1950 to 1987 she was prof, and chairman of the theory and composition dept. in the music school of Tex. Tech. Univ. in Lubbock, and then was the Paul Whitfield Horn Prof, of Music from 1989 to 2000. She received the ASCAP Standard Panel Awards (1980-99).


dramatic: Ballet : Set of7 (N.Y., May 10, 1988). ORCH.: Concerto Brevisfor Piano and Orch. (1954); A Choreographic Overturefor Concert Band (1957); Concerto for Trumpet and Band (1960); Passacaglia and Chorale (1973); Cacophonyfor Wind Ensemble, Percussion, and Toys (1980); Lux: Legend of Sankta Luciafor Symphonic Band, Percussion Ensemble, and Handbells (1981); Ayrefor Strings, Viola da Gamba Consort, and Clarinet or Saxophone Choir (1989); Terrestial Music,double concerto for Violin, Piano, and Strings (Nagano, Japan, Aug. 8, 1992); Cycles of Moons and Tidesfor Symphonic Band (1995); Rhapsodyfor Violin and Orch. (1997); Meliora,fanfare for Orch. or Symphonic Band (1999). CHAMBER: Celiano Rhapsodyfor Cello and Piano (1948); Burlescafor Piano, Brass, and Percussion (1951); Matricesfor Saxophone and Piano (1979); Liquid Goldfor Saxophone and Piano (1982); 4 Duosfor Alto Saxophones (1985); 4 Duosfor Viola and Cello (1986); Sonic Mutationfor Harp (1986); Clarinet Sonatine (N.Y., Oct. 17,1988); Cornucopiafor Trumpet (1988); Windsongsfor Brass Quintet (1991); Incantationsfor Trumpet and Piano (1992); Atmospheresfor Trombone Ensemble (1993); Reeds Afire,duos for Clarinet and Bassoon (1994); Passagesfor Trombone and Piano (1996); A Native American Mosaicfor Native American Flute (1997); Incantationsfor Oboe and Piano (1998); Galilean Galaxiesfor Flute, Bassoon, and Piano (1998); Gesturesfor Clarinet Quartet (1999); various piano pieces. VOCAL: Peter Quince at the Clavierfor Women’s Chorus, Narrator, Flute, Oboe, Horn, and Piano (1958); Barest Thou Now, O Soulfor Women’s Chorus and Organ (1975); West Texas Suitefor Chorus, Symphonic Band, and Percussion Ensemble (1976); Rising Night After Night,cantata for 3 Soloists, Narrator, Choruses, and Orch. (1978; Lubbock, Tex., Jan. 27, 1979); Danza Impresión de Españafor Vocal Octet and Ballet (1979); Missa Brevisfor Voice and Organ or Trumpet and Organ (1988); Les Hommes Vidésfor Chorus (1994); 5 Psalmsfor Tenor, Trumpet, and Piano (1998); Songs Without Wordsfor 2 Sopranos and Piano (1999).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire

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