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Vincent Persichetti was born in Philadelphia and began piano lessons when he was five. At the age of nine he enrolled in college Music Theory courses and at 14 gave his first recital of his own compositions. He played tuba and double bass. He received his Master's degree from the Philadelphia Conservatory at age 25 and subsequently taught at.the Juilliard School of Music in New York City; among his students were Philip Glass and Peter Schickele (P.D.Q. Bach). Persichetti described his music as "having a combination of 'grit' and 'grazioso'." He wrote at least 175 compositions and many important works for Concert Band.

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  • Psalm for Band
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  • Vincent Persichetti was born in Philadelphia and began piano lessons when he was five. At the age of nine he enrolled in college Music Theory courses and at 14 gave his first recital of his own compositions. He played tuba and double bass. He received his Master's degree from the Philadelphia Conservatory at age 25 and subsequently taught at.the Juilliard School of Music in New York City; among his students were Philip Glass and Peter Schickele (P.D.Q. Bach). Persichetti described his music as "having a combination of 'grit' and 'grazioso'." He wrote at least 175 compositions and many important works for Concert Band.
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  • Vincent Persichetti was born in Philadelphia and began piano lessons when he was five. At the age of nine he enrolled in college Music Theory courses and at 14 gave his first recital of his own compositions. He played tuba and double bass. He received his Master's degree from the Philadelphia Conservatory at age 25 and subsequently taught at.the Juilliard School of Music in New York City; among his students were Philip Glass and Peter Schickele (P.D.Q. Bach). Persichetti described his music as "having a combination of 'grit' and 'grazioso'." He wrote at least 175 compositions and many important works for Concert Band. The Psalm for Band dates from 1952 and was commissioned by Pi Kappa Omicron National Band Fraternity. It is divided into three parts. Part one consists of short phrases and focuses on the different colors of the ensemble. Part two is chorale-like in nature and is presented at a faster tempo. Part three consists of short rhythmic motives, imitative counterpoint, and thematic use of rhythms in the tenor and bass drums. --James Huff 17:45, March 27, 2007 (EDT) (from the program notes of The Claremont Winds, submitted with permission)
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