By Kenneth W. Hart
this can be the 1st biography of this significant determine, and it truly is advised from the point of view of an established colleague and good friend. Aligned with the biography, Kenneth W. Hart analyzes a few of Pfautsch's thousands of compositions. this can be the definitive paintings on the most influential American choral musicians of the 20th century.
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Extra resources for A Day for Dancing: The Life and Music of Lloyd Pfautsch
Pfautsch took that with him to Illinois and used it there in conducting classes. Of course, Marshall was originally more concerned with spoken diction than sung diction and Pfautsch, although a fan, did not always agree with the application of her ideas to singing. Eventually he responded by writing his own diction book, but at this stage he used hers. Fortunately it appeared in print the first year he taught in Illinois. Another important influence on Shaw, who also influenced Pfautsch, was the renowned musicologist Julius Herford.
He was in great demand for singing the title role in Mendelssohn’s Elijah and the bass solos in Handel’s Messiah. He further built a reputation as perhaps the best narrator in the nation for Honegger’s King David. One Messiah performance at the First Methodist Church of McAllen, Texas, was attended by a standing-room-only crowd of more than 1,000 people. 1 It was conducted by V. Earl Copes, who had been an MSM candidate at Union during Pfautsch’s first years of ministerial studies. Pfautsch managed to provide some “cliff-hanger” excitement before the performance.
The next two summers were spent at Glen Rock Community Church in New Jersey. He was also involved in student government and was elected president of his senior class at the seminary. A good citizen of the seminary community, he petitioned both Hugh Porter, director of the MSM program, and the president of the seminary for permission to form an ad hoc men’s chorus among the seminarians. Both men agreed and Porter even arranged for him to perform Brahms’s Alto Rhapsody for a UTS chapel service, with Carol Brice singing the solo and Porter him- 26 o A Day for Dancing Big Bertha – a loaner car to transport Pfautsch and youth groups between Helena and Bresher Falls, NY (1943) self accompanying.