|ORCHESTRA : Hebrew Melody (for violin and orchestra); Three Poems (for voice and orchestra); Belshazzar; First Violin Concerto; Golem (suite); Second Violin Concerto; Dance Overture; Dance of the Tsadikim; Third Violin Concerto.|
|CHORAL : Salome's Dance; Sabbath Evening Service.|
|CHAMBER MUSIC : Two suites; Four Fantastic Pictures; Chromatic String Quartet; Four Poems; First Volin Sonata; Children's Suite; Sextet; Elegy; Stempenyu Suite (for violin and piano).|
|THEATRE MUSIC : Incidental music to Kiddush Hashem; to Golem; to Stempenyu; to Les Aveugles; to Fartog.|
|Pieces for violin, piano, etc.|
About Joseph Achron:
Bauer, Marion. Twentieth Century Music; Cobbett, W. W. Cyclopedic Survey of Chamber Music.
Important recordings of music by Joseph Achron:
VICTOR : Hebrew Melody ( Heifetz); Romanesca ( Menuhin).
FRANCO ALFANO was born at Posilipo, near Naples, on March 8, 1877. His earliest studies were pursued under de Nardis and Serrao in Naples at the Conservatory, where, altho he was a conscientious pupil who revealed an enormous musical appetite, his talent was late in disclosing itself. From the Conservatory, Alfano went to Leipzig to study under that great theorist, Jadassohn. It was in Germany that his education broadened, and his musical horizon extended enormously. Until then he had been acquainted primarily with Italian music; now, for the first time, the full wealth of the German musical art began to pour down upon him. It filled him with strength, and brought full maturity to his pen. A few piano pieces published in Germany at this time revealed a solidity of form and a wealth of harmonic inventiveness that is more characteristically German than Italian.
Fame came to him at an early age. His first opera, Miranda, failed to arouse either enthusiastic comment among the critics or curiosity among audiences in the composer. But with Resurrezione-- composed in his twenty-seventh year-- Alfano's reputation soared suddenly to the skies. The reception which the opera received upon its initial performance at Turin, in 1904, was electric. While its musical content revealed the fruits of Alfano's German studies, it was drenched with that rich lyricism so dear to the hearts of Italian opera- audiences. With that one performance, an unknown composer was brought into the sunlight of fame and adulation. And the work well deserved the reception it received. For, as Irving Schwerké points out, it is a remarkable opera, distinguished for "some theatrical music, the significant aspects of the score being the utilization of Russian themes without imitative purports, the poetic melancholy which pervades the work as a