During recent decades, scores emerging from Leslie Bassett’s studio have brought him the Pulitzer Prize (1966), the Prix de Rome (1961-63), Guggenheim Fellowships (1973, 1980), a Fulbright Fellowship to Paris (1950-51), the Naumburg Recording Award (1974), awards from the Koussevitsky Music Foundation (1971, 1991), the National Endowment for the Arts, publications, recordings, and membership in the American Academy of Arts and Letters. There have been performances by the orchestras of Philadelphia, New York, Cleveland, Boston, Los Angeles, Chicago, Baltimore, Detroit, Florida, Indianapolis, Syracuse, Zurich, Rome, Oporto, Grand Rapids, Netherlands Radio, Seattle, Laval (Montreal), Toledo, and by regional orchestras, concert bands, professional ensembles, choruses, soloists, and civic and university ensembles.
received the 1966 Pulitzer Prize in Music for his Variations
for Orchestra, premiered in Rome in 1963 by the RAI Symphony Orchestra under
Feruccio Scaglia, followed two years later by the Philadelphia Orchestra’s US
premiere under Eugene Ormandy. Variations,
which represented the U.S. at the
1966 International Rostrum for Composers in Paris, has been widely performed.
A recording by the Zurich Radio Symphony Orchestra, conducted by Jonathan
Sternberg for Composers Recordings (CRI 677), was hailed by Saturday
Review as one of music’s
finest classical releases.
Bassett is the University of Michigan’s Albert A. Stanley Distinguished
University Professor Emeritus of Music and was the 1984 Henry Russel Lecturer,
the University's highest faculty honor. He has received the Distinguished Artist
Award from the State of Michigan, was named Distinguished Alumnus by his
California alma mater, Fresno State,
and by the University of Michigan School of Music.
He was awarded the major composer award and membership in the American
Academy of Arts and Letters, and has twice been composer-in-residence at the
Rockefeller Foundation's Bellagio Center. Boston held its “Leslie Bassett
Week" in March, 1990.
Born in Hanford, CA, (January 23,
1923), Bassett subsequently studied piano, trombone, cello and other
instruments, then served as trombonist, composer and arranger with the 13th
Armored Division Band in the US and Europe during World War II.
Graduate study at Michigan with Ross Lee Finney was followed by work in
Paris as a Fulbright fellow with Arthur Honegger at the Ecole Normale de Musique
and with Nadia Boulanger at her home. He
later studied with Mario Davidovsky in electronic music and with the
Spanish-British composer Roberto Gerhard. The
family lived in Rome, 1961-63, during the Rome Prize at the American Academy.
For the U.S.
Bi-centennial, the Philadelphia Orchestra and Eugene Ormandy commissioned Echoes from an Invisible World as part of a major project initiated
by America's six finest orchestras and funded by the National Endowment for the
Arts. Each orchestra commissioned a work and performed all six.
Echoes has received over 60 performances to date, a recording by the
Baltimore Symphony Orchestra under Sergiu Comissiona (CRI 677), and selection by
the League of Composers and the International Society for Contemporary Music to
represent the US at the World Music Days in Tel Aviv.
Koussevitsky Music Foundation in the Library of Congress commissioned Mr.
Bassett’s Concerto for Orchestra, as well as the Sextet for Piano and Strings. The Concerto for Orchestra, jointly commissioned by the Detroit Symphony
Orchestra, was premiered by Detroit in 1992 under Neeme Jarvi, with a second
series of performances in October, 2003. The Concerto has been recorded by the Seattle Symhony Orchestra under
Gerhard Schwarz (MMC 2090). The Sextet,
premiered in the Library of Congress by the Juilliard Quartet with John Graham
and William Masselos, received the Naumburg Recording Award for its recording by
the Concord Quartet with Gil Kalish (CRI 677).
In 1997 the Detroit Symphony premiered Thoughts
That Sing, Breathe and Burn under Lan Shui’s direction (MMC 2090). Mr.
Bassett’s Concerto for Alto Saxophone
and Orchestra, a commission from the Institute for American Music, received
its premiere in Montreal in July, 2000, at the International Saxophone Congress
by Clifford Leaman with the Orchestre Symphnique de Laval, conducted by Louis
Lavigueur (Equlibrum Records).
From a Source Evolving was commissioned by the
Nat. Endowment for the Arts for three Michigan orchestras. Concerto
Lirico, (MMC 2090) for trombone
and orchestra, was a commission by the Toledo Symphony. The Concerto
for Two Pianos and Orchestra, another commission by the National Endowment
for the Arts, received its premiere by the Midland Symphony Orchestra.
Colloquy was for the Fresno
Philharmonic, while Forces
(solo violin, ccllo, and piano with orchestra) was for Drake University.
Sounds Remembered, a score for violin and piano, (Eq 51) was a commission by the McKim Foundation in the Library of Congress; A Ring of Emeralds (SATB, piano) was commissioned by the Cork International Choral Festival of Ireland. Colors and Contours (KCD 11091) was for the College Band Directors National Assn., and the Trio for Violin, Clarinet and Piano (Le 326) was commissioned by the Verdehr Trio. Some other commissions include the Brass Quintet (Troy 233) for the Chestnut Brass Co., the Duo Concertante (alto saxophone and piano, Eq 21) for the Concert Artists Guild of New York, Temperaments (solo guitar) for Michael Lorimer, Arias for clarinet and piano, (Troy 11) for the International Clarinet Association, and the Pierrot Songs for the Schoenberg Institute.
Concerto Grosso (brass
quintet with wind ensemble) received a prize from the John Philip Sousa
Foundation; Five Pieces for String Quartet
won the publication award from the Society for the Publication of American
Music. The First String Quartet received the James Phelan Prize as well as another
award from the Concours International pour Quatuors a Cordes (Liege).
Wood and Reed Transformed, a
work for solo bassoon with wind
ensemble, recently received its premiere.
Mr. Bassett was one of the founding members of the University of Michigan’s Electronic Music Studio. Most of his music is published by C. F. Peters Corporation, New York, with other editions available from Merion Music (Theodore Presser), Alphonse Leduc (Robert King Catalog), E. C. Schirmer (Highgate Press, Galaxy), World Library of Sacred Music, Autograph Editions, Brass Press, Alfred Publications, Mel Bay (Roseanne), Philharmusica, and several early scores at the American Composers Alliance. Recodings are with New World, Composers Recordings, MMC, Crystal, Albany, Opus One, Advance, Mark, Golden Crest, Fermat, Desto, Leonarda, ACA Digital Atlanta, Equilibrium, Summit, and Klavier.
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