{"id":13552,"date":"2026-04-29T01:00:11","date_gmt":"2026-04-29T05:00:11","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?p=13552"},"modified":"2026-04-23T10:49:00","modified_gmt":"2026-04-23T14:49:00","slug":"apr25-may1","status":"publish","type":"post","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/2026\/04\/apr25-may1\/","title":{"rendered":"April 25th-May 1st: The first American Composers\u2019 Concert"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1729266887923{background-color: #ffffff !important;}”]Published on Apr 25th, 2022<\/em><\/p>\n

Back to This Week at Eastman<\/a><\/p>\n

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Ninety-seven years ago this week, on May 1st, 1925, a \u201cConcert of New Works by American Composers\u201d took place in the Eastman Theater, marking the first of what would be named the American Composers\u2019 Concerts at the Eastman School.\u00a0 The launch of the American Composers\u2019 Concerts represented the realization of the first of Howard Hanson\u2019s initiatives in the promotion of American music.\u00a0 Moreover, their launch heralded the beginning of an era when the Eastman School of Music would be publicly identified with the promotion of both American music and the status of the American composer.<\/p>\n

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\u25baprinted program, May 1st<\/sup>, 1925<\/span><\/p>\n

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As a young professional\u2014and we should recall that he began his teaching career as a young professor at the age of 20 (!)\u2014and then as the newly appointed Director of the Eastman School of Music in 1924, one of Howard Hanson\u2019s earliest concerns was that \u201cthe lot of the American composer was not necessarily a uniformly happy one\u201d in that young composers repeatedly suffered having their manuscripts rejected out of hand, and also rarely or never hearing their orchestral music performed.[1]<\/a>\u00a0<\/sup> In Hanson\u2019s own experience, while teaching at the College of the Pacific in California (1916-21), his two orchestral tone poems Before the Dawn <\/em>and Exhaltation <\/em>\u00a0had proven too difficult for the student orchestra at his disposal; he was eventually able to hear both works performed by the Los Angeles Symphony Orchestra (today the Los Angeles Philharmonic Orchestra) in 1920.\u00a0 \u00a0Later, during his three years (1921-24) as a Fellow at the American Academy in Rome, he had enjoyed several opportunities to hear his works performed by professional orchestras, but he returned home to the U.S.A. keenly aware that many a young composer did not find such opportunities.\u00a0 Without those opportunities, Hanson reasoned that young composers would be hampered in their development and any potential for the development of a home-grown American musical art would be handicapped.\u00a0 To meet this problem, Hanson envisioned providing a forum whereby composers could hear their own works performed under professional circumstances.\u00a0 As background to his vision, a passage from his unpublished Autobiography is worth quoting in its entirety:<\/p>\n

\u201cThe composer faces one problem which is indigenous to no other art except perhaps the art of the theater. For the composer, it is imperative that he have the opportunity of hearing what he has written.\u00a0 Without this experience, his whole career as a creative artist is jeopardized.\u00a0 In the case of the dramatist, it is at least possible to read a play without the accompanying dramatic action, unsatisfactory though such a performance may be.\u00a0 In music there is literally no substitute for performance.<\/p>\n

\u201cI desired, therefore, to attempt to set up at the Eastman School a \u2018laboratory\u2019 for young composers, whereas gifted young men might come and hear their works performed by a competent professional orchestra and under circumstances where compositions could be played without consideration of the box office.\u00a0 It was my hope also to invite critics of national importance to be members of our audience and to receive the benefit of their criticism.<\/p>\n

\u201cBoth President Rhees and Mr. Eastman approved the idea, and I set about the task of finding foundation support for the financing of the project.\u00a0 Everyone to whom I spoke, including a number of New York City\u2019s most influential critics, were enthusiastic about the plan and fully agreed that it could be of enormous help to the American composer.<\/p>\n

\u201cRaising the necessary funds was a different matter.\u00a0 I had the expressed interest and encouragement of one foundation.\u00a0 We had a number of meetings, all of which were most friendly and all equally abortive.\u00a0 The answer was always that my plan was excellent but needed \u2018further consideration.\u2019\u201d<\/p>\n

\u201cReturning to Rochester from one of these meetings, I met George Eastman.\u00a0 He inquired how things were going.\u00a0 I replied that I was delighted with the progress of the school, but that my pet project for the American composer had yet to get off the ground.\u00a0 I then told him of my unsuccessful attempts to get a firm commitment of funds with which to begin the experiment.\u00a0 Mr. Eastman\u2019s reply was typical of the man.\u00a0 \u201cHoward,\u201d he said, \u201cyou are not stupid!\u00a0 Why don\u2019t you ask me for the money?\u201d\u00a0 I did, and the American Composers\u2019 Concerts have gone on without interruption for over forty years.\u201d[2]<\/a>\u00a0<\/sup><\/p>\n

The founding of the American Composers\u2019 Concerts entailed much activity on Hanson\u2019s part.\u00a0 During his early months as Director of the Eastman School, he took advantage of his speaking engagements and guest conducting appearances to speak to all who would listen about the needs and challenges faced by American composers.\u00a0 \u00a0Between November, 1924 and January, 1925 he published a series of eight articles in the Rochester Democrat & Chronicle <\/em>\u00a0to educate the local public on the problems of modern music and the challenges faced by American composers.[3]<\/a>\u00a0<\/sup> And in January, 1925, he issued a nationwide call for the submission of manuscripts by composers, openly promoting for the first time concert opportunities at the Eastman School.\u00a0 A committee of three\u2014composer Ernest Bloch, conductor Albert Coates, and Hanson himself\u2014examined the numerous submitted manuscripts to select those that would be rehearsed and performed in the first concert.\u00a0 The Eastman School committed itself to hosting each composer, as well as each composer\u2019s travel, at its own expense.\u00a0 Further, leading music critics from around the nation would be invited to Rochester to cover the event.\u00a0 Newspapers across the nation, together with journals including Musical America, <\/em>carried articles discussing Hanson\u2019s aims for composers.[4]<\/a>\u00a0<\/sup> To ensure professional standards of performance, Hanson reached out to the Rochester Philharmonic Orchestra to serve as the ensemble of choice under his own direction.\u00a0 Local publicity for the planned concert was heavy, and to maximize the opportunity for public exposure, Hanson established that the open rehearsals and the concert itself would be free of charge to the public, thereby establishing a practice that remained in place thereafter.<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” css=”.vc_custom_1650657565066{margin-top: -10px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_inner width=”2\/3″][vc_column_text css=”.vc_custom_1729267539187{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]The inaugural American Composers\u2019 Concert on May 1st, 1925 featured works by seven young composers, all of whom were present for the event:\u00a0 Aaron Copland, William Quincy Porter, Bernard Rogers, George McKay, Adolph Weiss, Mark Silver, and Donald Tweedy.\u00a0 True to Hanson\u2019s intentions, several noted critics were also present for the concert.\u00a0 They included Olin Downes from The New York Times, <\/em>Francis D. Perkins of the New York Herald Tribune, <\/em>and Winthrop P. Tryon of the Christian Science Monitor.\u00a0 <\/em>Of those three, Mr. Downes became something of a regular visitor to the Eastman School, where over the years he attended American Composers\u2019 Concerts and Festivals of American Music until the year of his death.[5]<\/a>\u00a0<\/sup> The seven composers featured in the concert all went to respectable careers.\u00a0 Bernard Rogers (1893-1968) would soon be appointed to the Eastman School faculty, serving 41 years altogether, and becoming a prolific composer in his own right.\u00a0 \u00a0William Quincy Porter (1897-1966) enjoyed prominence as Director of the Cleveland Institute of Music, and George F. McKay (1899-1970) went on to compose prolifically, was appointed to the University of Washington in 1927, and established that institution\u2019s composition department.\u00a0 Adolph Weiss (1891-1971) doubled as an orchestral bassoonist, playing in several major orchestras during his career.\u00a0 Donald Tweedy (1890-1948) became a respected educator and taught at several institutions, including Vassar College, UCLA, and the Eastman School of Music.\u00a0 Mark Silver (1892-1965) is now something of a dark horse, but OCLC cites a few original compositions by him.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1729267648259{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13672″ img_size=”350×450″ add_caption=”yes” style=”vc_box_shadow” onclick=”img_link_large” css=”.vc_custom_1729266946622{margin-top: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-top: 10px !important;padding-bottom: 0px !important;padding-left: 0px !important;}”][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” css=”.vc_custom_1650657565066{margin-top: -10px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_inner][vc_column_text css=”.vc_custom_1729267558443{margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Inevitably, of the seven composers featured in the May 1st, 1925 concert, the uncontested winner in the popularity department is Aaron Copland (1900-1990), who for some time enjoyed the nickname \u201cdean of American composers\u201d and who became a respected mentor to composers at Tanglewood and whose works in all genres became standard repertory.\u00a0 The performance of Mr. Copland\u2019s Cort\u00e8ge macabre <\/em>was a world premiere from a planned but never realized ballet Grohg.<\/em>[6]<\/a><\/sup>\u00a0\u00a0Following the May, 1925 American Composers\u2019 Concert, Mr. Copland would make several more visits to the Eastman School and to Rochester, with later visits in (but not limited to) 1964, 1974, 1976, and 1979.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″][vc_column_inner][vc_column_text css=”.vc_custom_1729267633979{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]The Eastman School would continue to mount American Composers\u2019 Concerts, always under Hanson\u2019s direction.\u00a0 (After his retirement in 1964 he would continue to be involved in the capacity as Director of the newly founded Institute for American Music, the same Institute which today bears his name.)\u00a0\u00a0 In October, 1971, the concert program of May 1st, 1925 was repeated in the Eastman Theater as part of a gala celebration of Howard Hanson\u2019s 75th birthday.\u00a0 This re-creation of the first American Composers\u2019 Concert served as the definitive conclusion to the series that Hanson had launched nearly half a century earlier.\u00a0 Between 1925 and 1971, the American Composers\u2019 Concerts had presented more than 2,000 works by more than 900 composers.\u00a0 In 1972 the Eastman School published a complete list of the repertory programmed in the American Composers\u2019 Concerts and the Festivals of American Music, itemizing all of the individual composition titles and specifying which performances constituted premieres.\u00a0 A Foreword to the booklet was provided by then-Sibley Librarian Dr. Ruth T. Watanabe.<\/p>\n

Following the launch and early success of the American Composers\u2019 Concerts, there were to be other initiatives in American music.\u00a0 In the spring of 1931, the Eastman School sponsored a four-day festival of performances of American music, marking the inauguration of a new series; the model would be repeated one year later under the name Festival of American Music, with an annual Festival occurring at the Eastman School each spring up through the year 1971.\u00a0 Hanson took things a step further in 1935-36 when he inaugurated the so-named Annual Symposium of American Orchestral Music (in the fall) and the Symposium of Student Works for Orchestra (in the spring).\u00a0 Each of the two new series underscored Hanson\u2019s implicit preference for the orchestra as a medium of musical performance.\u00a0 The springtime Symposia were founded to promote the work of Eastman School composition majors, whatever their national or ethnic origin, whereas the fall Symposia were expressly tied in with his American music interests.<\/p>\n

A comprehensive history, chronology, and analysis of the American Composers\u2019 Concerts and the Festivals of American Music was contributed by Dr. Andrea Kalyn in her doctoral dissertation Constructing a nation\u2019s music : Howard Hanson\u2019s American Composer\u2019s Concerts and Festivals of American Music, 1925-71 <\/em>(University of Rochester, 2001).\u00a0 In the course of her research, Dr. Kalyn had been granted access to relevant primary sources at a time when they were held in private hands.\u00a0 Many of those same sources now reside in the Howard Hanson Collection at the Sibley Music Library.<\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”5″ css=”.vc_custom_1648824288537{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1729266959579{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”13588,13589″ img_size=”medium” css=”.vc_custom_1729267264208{margin-left: 5px !important;}”][vc_column_text css=”.vc_custom_1729267193271{border-top-width: 0px !important;padding-top: 0px !important;}”]<\/p>\n

On a return visit to the Eastman School, Aaron Copland speaks to Eastman students on May 1st, 1974. \u25ba Photos by Louis Ouzer. Master negative no. R1929-12 and R1929-22. <\/span><\/p>\n

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On a return visit to the Eastman School, Aaron Copland visits with fellow composer Sam Adler, May 1st, 1974. Mr. Copland had been Professor Adler\u2019s mentor at Tanglewood in 1949 and 1950. \u25ba Photos by Louis Ouzer. Master negative nos. R1931-2, R1931-4, R1931-5, R1931-6, R1931-7. <\/span><\/p>\n

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[1]<\/a>\u00a0 Chapter 17, \u201cPromoting the Cause of American Music\u201d in The Autobiography of Howard Hanson, <\/em>compiled and edited from manuscript sources by Vincent A. Lenti.\u00a0 Unpublished; 2013.\u00a0 Eastman School of Music Archives.<\/span><\/p>\n

[2]<\/a>\u00a0 Ibid.\u00a0<\/span><\/p>\n

[3]<\/a>\u00a0 Copies of the articles are preserved in the Rochester Scrapbooks (Sibley Music Library) and the Howard Hanson Collection (Eastman School of Music Archives).\u00a0 In addressing the subject of modern music, he explicitly drew a distinction between his preferred style of music, i.e. that which engaged human emotions, and those styles that, in his view, did not.\u00a0 In his efforts to connect with the local audience and to engage their interest and support, Hanson took pains to cast himself as an egalitarian, more lowbrow than highbrow.\u00a0<\/span><\/p>\n

[4]<\/a> Copies of many of these press articles are preserved in Hanson\u2019s pressbooks in the Howard Hanson Collection.\u00a0<\/span><\/p>\n

[5]<\/a>\u00a0 Mr. Downes (1886-1955) also took time to pay Sibley Music Librarian Barbara Duncan a high compliment during his Eastman School visit in 1925, leaving an appreciative inscription in the School\u2019s guest book that ended with the words, \u201cLong may she continue her work.\u201d Mr. Downes and Miss Duncan were on first-name basis thereafter. Guest Book, Eastman School of Music. Eastman School of Music Archives. \u00a0<\/span><\/p>\n

[6]<\/a>\u00a0 The synopsis for the ballet had been provided by Harold Clurman, with whom Mr. Copland had shared a flat in Paris.\u00a0 Some other sections of the ballet were later fashioned by Mr. Copland into his Dance Symphony, <\/em>which was premiered in Philadelphia under Leopold Stokowski\u2019s direction in 1931.\u00a0 Oliver Knussen conducted a revision of Grohg <\/em>in London in 1992.<\/span><\/p>\n

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In this week\u2019s \u201cWeekly Dozen\u201d we recognize a program of American music sponsored by the Eastman School\u2019s Alpha Nu chapter of the Phi Mu Alpha fraternity (signifying that Eastman students were climbing aboard Howard Hanson\u2019s American music bandwagon); a ballet performance from the years when dance was regularly performed in the Eastman Theater; a rousing program of marches conducted by Frederick Fennell, but this time performed by the Eastman Philharmonia and not <\/em>the Eastman Wind Ensemble; a world premiere by Eastman Opera Theater of an Eastman student composer\u2019s opera;\u00a0 and finally, some superlative student performances such as grace the Eastman concert calendar each week of the semester.<\/p>\n

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\u25baApril 28, 1926<\/strong><\/p>\n

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\u25baApril 29, 1938<\/strong><\/p>\n

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\u25baApril 30, 1948<\/strong><\/p>\n

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\u25baApril 24, 1960<\/strong><\/p>\n

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\u25baApril 26, 1960\u00a0<\/strong><\/p>\n

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\u25baApril 26, 1960<\/strong><\/p>\n

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\u25baApril 28-29, 1979<\/strong><\/p>\n

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\u25baApril 29, 1981<\/strong><\/p>\n

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\u25baApril 30, 2003 <\/strong><\/p>\n

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\u25baMay 1, 2008<\/strong><\/p>\n

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\u25baApril 29, 2012 <\/strong><\/p>\n

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\u25baApril 30, 2016 <\/strong><\/p>\n

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On May 1st, 1925, a \u201cConcert of New Works by American Composers\u201d took place in the Eastman Theater, marking the first of what would be named the American Composers\u2019 Concerts at the Eastman School<\/p>\n","protected":false},"author":276,"featured_media":13562,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[18],"tags":[26,27],"coauthors":[3],"class_list":["post-13552","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-this-week-at-eastman","tag-april","tag-may"],"acf":[],"_links":{"self":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/13552","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=13552"}],"version-history":[{"count":1,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/13552\/revisions"}],"predecessor-version":[{"id":22976,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/13552\/revisions\/22976"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media\/13562"}],"wp:attachment":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=13552"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=13552"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/tags?post=13552"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=13552"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}