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The reemergence of Buck and his music, in both this volume of Music in the United States of America (MUSA), as well as Orr's article "Dudley Buck and the Secular Cantata" (American Music 21, no. 4 [Winter 2003]: 410-43) and his forthcoming monograph for the University of Illinois Pres...

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Bibliographic Details
Published inMusic Library Association. Notes Vol. 64; no. 1; p. 138
Main Author Gayle Sherwood Magee
Format Book Review
LanguageEnglish
Published Philadelphia Music Library Association 01.09.2007
Subjects
Classical music
Education
Music
Musical performances
Musical recordings
Organ music
Public works
States
Teachers
New York
United Kingdom > UK
United States > US
England
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Summary:The reemergence of Buck and his music, in both this volume of Music in the United States of America (MUSA), as well as Orr's article "Dudley Buck and the Secular Cantata" (American Music 21, no. 4 [Winter 2003]: 410-43) and his forthcoming monograph for the University of Illinois Press's American Composers series, signals welcome recognition of the popular teacher, organist, and composer who wrote choral, organ, and instrumental works intended primarily for amateur performance. Orr's essay begins with a provocative quotation from Barbara Owen's liner notes to Richard Morris's recorded anthology of nineteenth-century American concert organ music Fugues, Fantasia & Variations Recorded Anthology of American Music, New World Records NW 280 [1976], LP, p.\n Enter the competition, and another strike against Buck's posthumous popularity.
ISSN:0027-4380
1534-150X