The Serenade, composed when I was fourteen, built on a chorale melody written at nine, was one of the contraband pieces of the period. I wrote it away from the [Combs] Conservatory, but under the unofficial eye of Russell King Miller. I was allowed to compose this kind of music as a reward for double assignments in stylistically severe chorale harmonization and cantus firmus contrapuntalizations. I poked fun at the predictably academic and often got in trouble with my teachers. The Serenade was first performed at a concert for alumni on December 21, 1929, by instrumental colleagues interested in music after Tchaikovsky. I managed to round up a violinist to play the flute part, a fine oboist, and a questionable tubist; the remaining seven parts I had to cover myself on a tracker organ. (I’d started organ at eleven, as soon as my legs were long enough to reach the pedals.)
Program note provided by the composer
Vincent Persichetti (1915–1987) was an American composer, educator, and influential figure in 20th-century classical music. Known for his versatile compositional style, Persichetti integrated elements of neoclassicism, polytonality, and free atonality. He composed across various genres, including symphonies, choral works, chamber music, and solo piano pieces. A key figure in American wind ensemble repertoire, his works such as Symphony No. 6 for Band remain staples. Persichetti was also a respected teacher, mentoring composers like Philip Glass and Thea Musgrave during his tenure at the Juilliard School.
Composer note researched and written by Elisabeth Jackson