Moross: Vibrant and Dynamic

Moross Sym1 JFalletta red 400dpi

JoAnn Falletta, courtesy: Buffalo Philharmonic


The Jerome Moross centennial celebration continues on April 26 & 27, when JoAnn Falletta leads the Buffalo Philharmonic’s performances of Moross’ Symphony No. 1.

“The Buffalo PhilharmonMoross Sym1 BuffaloPhil logo red 400dpiic is celebrating its 100th birthday this season,” Falletta shares, “and we are thrilled to pay tribute to Jerome Moross as one of our country’s most vibrant and dynamic composers. From his iconic music for [the film] “The Big Country” to his ground-breaking [ballet] “Frankie and Johnny,” Moross brought his unique American vernacular to the concert stage and to the silver screen. He is a major force in our country’s music, and his Symphony is a landmark in our orchestral history.”

A prolific composer, Moross wrote music for the concert hall, ballet, theater and film. His Symphony No. 1 turned out to be his only symphony as he abandoned several other symphonies-in-progress and integrated the musical materials into other works. On October 18, 1943, the Seattle Symphony premiered the work conducted by Sir Thomas Beecham.

Christopher Palmer — composer, arranger, orchestrator, biographer and music commentator — provides some insight into the unconventional circumstances of Symphony No. 1’s world premiere. “In the early summer of 1943, Sir Thomas Beecham was conJerome Moross Centennial logoducting in the Hollywood Bowl. Moross (who was then living in California, working at Warner Brothers Moross Sym No. 1 score 2Studios) went round to see him after a concert and gave him a score of the Symphony. That, the young composer confidently expected, would be that. Some months later, [Moross] was astonished to receive a call from the Seattle Symphony to say that Sir Thomas was proposing to give the Symphony its first performance in the 1943-44 season — where were the orchestra parts? There were no parts, so, Moross had a team of studio copyists hurriedly extract them, and the Beecham premiere duly took place [in] October 1943. In November 1944, [cellist and conductor] Alfred Wallenstein conducted three performances with the Los Angeles Philharmonic; and, for the one radio broadcast performance the composer had to substitute at the eleventh hour (without rehearsal) for the regular pianist.”

In addition to Moross’ Symphony No.1, Subito Music represents several other titles including ballet suites along with works for orchestra, chamber ensemble, wind band, and opera.

To learn more about Jerome Moross, visit the official website.

Purchase Jerome Moross’ music here.