JAVS Fall 2007

Shulman began composing at the age of ten, first composing simple charts for the family piano trio to play, which included his brother Sylvan and sister Violet, a pianist. Growing up in Baltimore, Maryland, he was exposed to numerous musical events: the large theatre orchestras that accompa nied silent films, evening band concerts, and performances of the Baltimore Symphony.• Shulman considered himself to have "sponge-ability," the ability to "soak up" the various musical styles to which he was exposed, whether it was classical or jazz, incorporating many of these ele ments into his compositions.s

string orchestra, chamber ensem bles, documentary films, and works for piano, violin, viola, and cello. His first complete composi tion , incidental music for Hans Christian Anderson's Chinese Nightingale, was completed in 1934; a critic for ~riety described the music as possessing "humor, mood, and taste. " 6 His principal compositions include the Theme and ~riations for viola and piano (1940) and A Laurentian Overture for full orchestra (1951). Another composition worth noting is the Concerto for Cello and Orchestra (1949), dedicated to the People of Israel and premiered by Leonard Rose. These works embody many of the characteristics of Shulman's compositions, including a strong Hebraic feel; others incorporate

elements of classical, jazz, and pop ular song. He knew the great American composers Jerome Kern, George Gershwin, and Cole Porter and was further influenced by the sounds of Igor Stravinsky, Maurice Ravel , Ernest Bloch, and Paul Hindemith, to name a few.' Composing during the height of the radio era, Shulman's music was intended for the radio listening audience, setting himself apart from the serial and minimalist composers. He describes his musi cal style as follows: In my youth, I was tremendously taken by French Impressionists. Subsequently, I have been influ enced by many national schools. I feel that the fewer notes I put into a score, the better I like ir. I do not

Shulman's compositional output includes works for full orchestra,

VIOLA FACULTY Pamela Goldsmith John Hayhurst, orchestral repertoire Donald Mcinnes

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CONTACT: USC Thornton School of Music Office of Admission Los Angeles, CA 90089-2991 800-872-2213 uscmusic@usc.edu

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www.usc.edu/music

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