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featured work
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Jerome Moross Clarinet Choir (1966)
The composer writes: "In 1966 I was asked by my then-publisher, Chappell & Co., to write a piece for clarinet choir. I had never heard of the clarinet choir before, but I was assured that clarinet choirs were springing up all over the country and that there was a dearth of literature. I was charmed with the idea of writing for a sextet of clarinets; the tonal possibilities were exciting, ideas began to flow, and very quickly I found myself embarked on the Sonatina for Clarinet Choir.
"When I brought it in, there was a moment of consternation. What had been expected was a 3 or 4 minute work of elementary technique for school groups and I had written a 10 minute piece, quite demanding technically, and meant for concert performance. But they gallantly published the work, anyway."
"When I brought it in, there was a moment of consternation. What had been expected was a 3 or 4 minute work of elementary technique for school groups and I had written a 10 minute piece, quite demanding technically, and meant for concert performance. But they gallantly published the work, anyway."
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Jerome Moross, composer
London Symphony Orchestra
JoAnn Falletta, conductor
Symphony No. 1 The Last Judgement Variations on a Waltz for Orchestra
Symphony No. 1 The Last Judgement Variations on a Waltz for Orchestra
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Music by Jerome Moross, composer
Sonata for Piano Duet and String Quartet in G MajorNancy Weems, John Sensen, piano, Kenneth Goldsmith, Albert Muenzer, violins, Lawrence Wheeler, viola, Terry King, cello
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Jerome Moross, composer
New Zealand Symphony Orchestra, JoAnn Falletta, conductor
Frankie and Johnny Ursula Allen, Wendy Thomson, Amanda Winfield Biguine A Tall Story for Orchestra
Concerto for Flute and String Orchestra Alexa Still, flute
Frankie and Johnny Ursula Allen, Wendy Thomson, Amanda Winfield Biguine A Tall Story for Orchestra
Concerto for Flute and String Orchestra Alexa Still, flute
Interview with JoAnn Falletta, Music Director of the Buffalo Philharmonic Orchestra and a champion of the music of Jerome Moross. Here she talks about recording his many symphonic works.
the complete classical works
JEROME MOROSS was in the vanguard of composers who realized that there was a music of America, for America and written by Americans. Moross grew up with and listened to jazz bands, played in theater pits and found that his own composing style was totally, spontaneously conditioned by it. Having found his métier relatively early in life, he stuck to it through thick and thin to the end. And perhaps because he was so young when he found his voice, his music sounds young—always, early and late. His music is exciting and always fresh but uniquely his own.