Louis Gesensway
Composer and Violinist; Philadelphia
"The greatest thing you can do for life or culture is to develop a sense of appreciation."
Louis Gesensway
Philosophy between violin and composition lessons.
Louis Gesensway of Phildelphia, Pa. was Born: February 19, 1906 in Dvinsk, Latvia. Died: March 13, 1976 in Philadelphia, Pennsylvania (USA) Louis Gesensway was born in Dvinsk, Latvia, and grew up in Toronto, Ontario. He played in the Academy String Quartet and he studied violin at the Toronto Conservatory, Now the Royal Conservatory of Music, (where he was instrumental in organizing the present Toronto Symphony) and the Curtis Institute of music in Philadelphia, he joined the Philadelphia Orchestra at the age of nineteen in 1926. an association which was to last 45 years.
Following studies in Budapest with the eminent Hungarian composer Zoltan Kodaly, Mr. Gesensway began a period of intensive research into the color properties of existing tonalities, and evolved a system of composition he called "Color Harmony." The term "color" is used to denote pitch variants, and by employing the old diatonic, or 8 tone, scale. Color Harmony are actually the projection of a forty-tone scale. Concomitants of Color Harmon are new development in form and counterpoint.
Louis Gesensway received the C. Hartman Kuhn Award for outstanding achievement from the Philadelphia Orchestra in 1945; a member of ASCAP since 1956, and was recorded by Columbia Records. His chamber works have been performed world-wide. His Orchestral works have been performed by the Philadelphia Orchestra, the New York Philharmonic, the Chicago Symphony, the Helsinki Symphony, Orchestra Society of Philadelphia and many others. He has taught composition, harmony and counterpoint and has written a book on Violin Technique and a book on Harmony.
To encourage increased individual participation in our musical culture, Mr. Gesensway has written many works which combine woodwinds, brass, and percussion instruments in small ensembles with string instruments. He original works and arrangements provide challenges and opportunities for student, amateur and professional musicians.
Major Works:
Opera: The Great Boffo and his
Talking Dog (1953) A one act
comic opera for children
Orchestral: **
Five Russian Pieces - full
orchestra (1936)
Three Movements for Stings and
Percussion (1939)
Concerto for 13 Brass
Instruments (1942)
Concerto for Flute and Orchestra
(1944)
Suite on Jewish Themes - full
orchestra (1944)
Eight Miniatures for Solo Flute,
Percussion and Tympani (1949)
Four Squares of Philadelphia, a
Symphonic Tone Pome(1951)
Double Portrait (1952)
Tone Poem for Orchestra, "Let
the Night be Dark for
All of
Me" (1953)
All of Me:
(1953)Second Symphonic
Poem,
"Ode to Peace" (1959)
March (1963)
Revery for String Orchestra
(1964)
Commemoration Symphony (1968)
Two Silhouettes for Flute, Harp,
Tympani & String Chamber
Orchestra (1971)
A Pennsylvania Overture (1972)
Concerto for Cello and Orchestra
(1974)
** Fleisher Collection, Free
Library of Philadelphia
Chamber Works (Contact Horowitz
Music; 626 Spruce St.
Philadelphia, Pa. 19106)
Sonata for Piano (1937)
String Quartet #1 in G (1938)
Five Russian Pieces for String
Quartet; Piano Solo; Flute,
Violin & Viola;
Two Violins & Piano; Violoncello
& Piano (1939)
Fantasy
for Organ (1941)
Duo for Violin & Viola (1941,
Rev 1967)
Quartet for
English Horn, Flute, Violin and
Violoncello (1942)
Suite on Jewish Themes for
String Quartet; Piano, Clarinet
& Bassoon Trio;
Piano
Horn and Violin Trio; Piano
Violin And Violoncello Trio;
Violin, Violoncello and Piano
for the left hand only Trio;
Violin, Viola and Piano Trio; Two
Bassoons & Piano Trio; Oboe, Bassoon
& Piano Trio; Horn, Viola & Piano
Trio; Flute, 2
Violins & Viola (1948)
Eight Miniatures for Solo Flute,
Percussion and Timpani (1949)
Sonata for Solo Bassoon (c.
1950)
"Aria" for Cello & Piano (1950)
Quartet for Clarinet, Violin,
Viola & Violoncello (c. 1951)
Duo for Clarinet and Flute
(1952)
Three Cadenzas for
the Mozart Flute Concerto in D
(1952)
Duo for Violin & Flute (1953)
All of
Me" (1953)
String Quartet # 2 in F# (1954)
Twelve Rounds for Four
Percussion Instruments (1955)
Quartet for Oboe, Bassoon,
Violin & Viola (1956)
Quartet for Tympani, Violin,
Viola & Violoncello (1957)
Duo for Violin & Guitar (1959)
Duo for Violin & Bassoon (1960)
Interlude for Harmonium (1961)
Revery for String Quartet (1964)
Wedding March for Harmonium or
Organ (1968)
Suite of Dance Music for Solo
Harp (1968)
Divertimento for
Flute, Two Violins and Viola
(1969)
Divertimento for Flute,
Clarinet, Oboe, Clarinet &
Bassoon (1969)
Duo for Violin & Violoncello
(1970)
Duo for 2 Violincelli (1970)
Two Silhouettes for Flute &
Piano: Flute, Harp, and timpani
and Chamber String Orchestra (1971)
Arrangements:
Mozart Theme and Variations.
A Major,
arranged for String Bass and
Orchestra (1940)
Mozart Fantasia in C Minor
arranged for Orchestra (1946)
Zipoli Suite arranged for String
Orchestra (1943)
J.S. Bach Chaconne
Transcribed for Large
Orchestra (1956)
JS Bach Violin Solo Sonatas (4)
arranged for Violin, Flute &
Cello; Flute, Violin & Viola;
Violin, Viola & Cello
P. Rode Caprices arranged for
Violin, Flute & Cello; Flute,
Violin & Viola;
Violin, Viola & Cello (1955-7)
String Quartet Arrangements of
(ca. 1956-7) (Reductions
of the following Orchestra
Accompaniments:
Boccherini Cello Concerto
Mozart Piano Concerto in d
Duo Concertante for Violin and
Viola
Mendelssohn Violin Concerto
Offenbach - Orpheus Overture
arranged for Flute, 2 Violins &
Viola; Violin, Viola & Cello
Rossini Semiramidi Overture
arranged for Flute, 2 Violins &
Viola (1968)
Notes on the Commemoration Symphony
From Louis Gessensway's Memorial service.
The Drawings are from the cover,
the front, with I believe Louis at the piano, by Ben May 30, 1946. and the hand at peace from the back
by Judy (Louis's daughter) March 13, 1976.
The “Commemoration
Symphony”, composed in the
years 1964-1966, was first
performed on February 25th,
1971 by the Philadelphia
Orchestra in an abridged form.
A hearing of this work, written
at the height of his musical
powers and embodying his
philosophy of life, seems a
fitting
tribute to the man and the
musician.
Although the symphony is
constructed in the classical
symphonic style, the harmony is
new and the rhythms unusual. The
system of “Colour Harmony”,
first introduced in a concert of
chamber music on March 13th,
1944, is here represented in its
mature fulfilment. The composer
put all of his art into it and,
fully cognizant of the
difficulties it would pose for
his audience on first hearing,
realized that it would win him
no immediate popularity. As much
as he would have enjoyed the
accolades of success, he held no
illusions about the fact that
for all artists of merit only
future generations have the
perspective to judge and
appreciate.
But first and foremost he wrote
for you, his friends, pupils and
associates, and he asked only
that you listen and be
thoughtful and realize that he
was speaking from his heart in
the idiom he knew best.
For Louis Gesensway the
foundation of music was rhythm
and counterpoint, and he tried
to perfect his technical skill
so as to give his works meaning
and permanence. As with poetry,
painting and crafts, to which he
often referred, music was for
him a means of expressing
emotional, physical and
intellectual experiences.
The “Commemoration Symphony” is
scored for large symphonic
orchestra including piano,
celesta and a large complement
of percussion. Although the work
was written in four movements,
at the premiere, the second
movement was not played and the
first movement was shortened to
meet the requirements of the
conductor. You will be hearing a
recording of this performance
Of his “Commemoration Symphony”,
Louis Gesensway wrote:
“The underlying theme is life
and death. We come into this
world with a cataclysmic force.
We are thereby set into motion
until we leave abruptly and
sometimes violently. The mode of
our existence depends entirely
on the way we develop through
all of our experiences. These
are the resuits of a continuous
struggle with the forces of
nature, the emotions within
ourselves, and the conflicts
within society. The struggle,
however, is not always intense.
The mood changes within each
movement suggest man’s frequent
frustrations and his occasional
realization of attainment. The
close of the symphony,
representing death, comes with a
crescendo in the percussion and
with a timpani roll which dies
away to the end.”
First Movement (Allegro, Molto
Agitato) opens with a crash in
the percussion and short,
rhythmic pulses. It is in the
basic sonata form.
[Second Movement (Vivace, Molto
Ritmico) is written in a lighter
mood, with rapid and unusual
rhythmic dance motifs. A feeling
of jazz prevails.]
Third Movement (Sostenuto,
Andante Lugubrioso) is slow,
expressing feelings of
tenderness and sadness.
Prominent oboe solos occur in
the opening and closing
sections. The movement ends very
quietly with a timpani solo.
Final Movement (Allegro Giusto)
is constructed on three
principal themes, playful in
spirit, which are developed and
then recapitulated with varied
orchestrations. The third theme
is broken off suddenly; a drum
roll and crash slowly die away
to the end.
***
This Information was given to
me personally by Louis Gesensway
& his
family during my time that I
studied Violin and Composition
with him, while living in the
Philadelphia, New Jersey area.
Louis was a wonderful man full of
Philosophy and cheer I believe I
was one of his last students. I
visited his home and to my
surprise he visited mine. He
treated me as a friend, He had
faith in me he let me tune his 2
pianos. They were my first
public tunings. He told me "This
is wonderful you can do this
thing, because you can do
this you will never have to put
up with mediocrity, if you have
knowledge you will never be
bankrupt." I
will always miss him. He
left a great impression on me
about music but more about life.
This is my way of saying;
"Thank
you". Paul J. Campise
Links to other Sites
Louis Gesensway 4 Squars Of Philadelphia, Sample, U-Tube
Louis Gesensway (Bach-Cantatas.com)