S.A.T.O.

Sunrise is not mentioned in the Memos or in the lists of works. The date is given in the memo on p. 3 of R.: "Taken from chords e[tc] & parts of an II [nd] S.Q. & put / into this Song August 1926 - but not a good job - the / words are N. G. but better than the music. This was apparently Ives's last fresh composition.

"Sunrise"
A light low in the East, -
As I lie there, it shows but does not move -
A light - as a thought, forgotten, comes again.

The forest world is waking,
A thousand leaves are beginning to gleam.

Later on, as I rise,
It shows through the trees
And lights the dark grey rock
And something in the mind
And brings the quiet day.

And tomorrow - tomorrow -
The light as a though forgotten comes again -
And with it ever the hope of the New Day.

Lista utworów:
Sunrise (Ives Charles)

"I left aside all the unfinished work and got down to (...) a little story for violin and orchestra", a wrote Michał Spisak in his letter of 7th December 1953 to Grażyna bacewicz, informing her of the start of work on a new composition. Initially meant to be a Capriccio, the work eventually saw the light of day as Andante and Allegro for violin and string orchestra. The commissioned by Nadia Boulanger for the purpose of a course taught by Yehudi Menuhin in summer 1954 in Fontainebleau. It is worth nothing that the course curriculum also included compositions by D. Milhaud, G. Auric, H. Dutilleux and I. Strawinsky, all of them commissioned by nadia Boulanger. Though Spisak did not treat Andante and Allegro seriously enough, calling the work "a trifle" or an "odd piece" in letters to his friends, Nadia Boulanger valued the work highly, herself conducting its performance of 16th November 1954 at the concert celebrating 50 years of her teaching career. Kenneth Gordon, the soloist, was accompanied by the RTF Chamber Orchestra.

Lista utworów:
Andante and Allegro (Spisak Michał)

Publikacja zawiera cykl 24 Preludiów wiosennych o pogodnym brzmieniu stworzonych przez polskiego kompozytora współczesnego - prof. Bronisława Kazimierza Przybylskiego. Liczne są tu zmiany metrorytmiczne, np. 3/8 - 2/8 - 3/8. Każdy utwór zawiera inną technikę wykonawczą, np. w Preludium 22 każda nuta jest z przednutką, a Preludium 13 opiera się na triolach szesnastkowych. W prezentowanej publikacji utwory opracowane zostały na skrzypce z fortepianem.