Gail Thompson Kubik (1914-1984) was born in Oklahoma, educated at the Eastman School of Music, Chicago’s American Conservatory (where he studied with Leo Sowerby), and Harvard (where he studied with Walter Piston). He is also among the long list of composers who studied with Nadia Boulanger.
Kubik joined NBC radio in 1940 and was music director for the Office of War Information where he composed and conducted music for their Motion Picture Bureau. He taught at Monmouth College, Columbia Teacher’s College (now Columbia University), and Scripps College.
To this writer’s ears his style is similar to that of Aaron Copland (14 years his senior) and contemporaries who included jazz influences in a mid-century post romantic tonal fabric. The pieces recorded here are roughly contemporary with Stravinsky’s neoclassical era and similar gestures can be heard in them. Carl Stalling’s music is also a likely influence.
Doubtless Kubik’s film work for the war department helped contribute to his success in a basically populist style which served him well. And also like Copland, he wrote for the concert hall producing 3 Symphonies, Violin Concertos for Jascha Heifetz and Ruggiero Ricci along with other orchestral works, chamber music, and two operas.
The present recording is focused on his post war concert music. Four works are presented here, from his Dr. Seuss collaboration of 1950 for narrator, orchestra, and percussion, “Gerald Mc Boing Boing” (possibly the only example from this era in which the music preceded the cartoon film), his two Divertimenti for diverse chamber groups (1958 and 1959), to his best known work, the Symphony Concertante for Piano, Trumpet, and Viola which won him the Pulitzer Prize for Music in 1952. (Without doing any research I would venture to say that this is a unique combination of solo instruments). Soloists Vivian Choi (piano), Terry Everson (trumpet), and Jing Peng (viola) handle the challenging solo parts with confidence and skill. This new realization alone is a reason to purchase this disc.
Like Copland and other film composers Kubik repurposed some of his film music as a source for his concert music. Without getting too much into the musicological analysis, the composer himself has related that the Symphony Concertante was repurposing of the music he wrote for the low budget noir film, “C-Man” (1949) which starred Dean Jagger and John Carradine, among others.
The two divertimenti for diverse chamber ensembles are like baroque suites consisting of brief pithy movements. They are analogous to works like Copland’s too seldom heard Music for the Theater (1925) with jazzy rhythms and harmonies throughout. Their unusual groupings of instruments likely limit the occasions on which they might be performed live so these recordings are very welcome.
The “Gerald Mc Boing Boing” cartoon took on a life of its own following its concert presentation, spawning a series of shorts furthering the myth of the title character. And during the research for this review I was fascinated to learn that the famed film sound designer, Walter Murch, once revealed that he was sometimes known by the nickname of that character due to an analogous childhood affectation. In addition, many actors voiced the narrator in the the many recordings that have been made of the purely audio recording as heard here. The demands of the narration are similar to those of the soloists in the concertante work. Narrator Frank Kelley delivers a performance that makes this very much his own, using it as a springboard to which he applies his skills as a voice actor. He really seems to enjoy himself here.
Much of Kubik’s music has been recorded before but not for some time, so this release by masterful curator and conductor Gil Rose and his incredibly talented ensemble, the Boston Modern Orchestra Project is a very welcome revival of this very talented and technically skilled composer. The four works on this recording may be a reasonable sampling of some of Kubik’s best work but it would be hard to say that it is a complete portrait without hearing some of the composer’s other large concert works. Mr. Rose and his musicians have shown a tendency to release more than one disc of one of these nearly forgotten composers so listeners charmed by these may anticipate more such gems in, the future, that is, if other ensembles don’t beat them to the punch. Either way this is a very welcome installment in BMOP’s ongoing survey of music that simply deserves to be heard because it’s good.
Were it not for the wishes of some of my valued readers I would not produce such a list. It has no more validity other than, “These are my personal choices”. But there is some joy to be had in contemplating these past 12 months as I have lived them on this blog. So here goes.
First I have to tell everyone that March, 2022 will mark the 10th anniversary of this blog, a venture which has been a rich and exciting one. Future blogs will soon include, in addition to album/concert reviews, some articles on subjects which I hope will be of interest to the select group of people who read this material and who share my interest in this music (which I know can be anywhere from difficult to repulsive to many ears). But I have deduced that my readers are my community, a community of kindred spirits freed from the boundaries of geography, a number rather larger than I had imagined was possible and one that I’ve come to cherish. Bravo to all of you out there.
COVID 19 has reduced the number of live performances worldwide and I have not attended a live performance since early 2020. But, happily, musicians have continued to produce some amazing work, some of which gets sent to me, and a portion of that gets to be subjected to the analytic scrutiny of my blog.
My lack of attention to any music should never be construed as deprecatory, rather it is simply a matter of limited time to listen. So if I have provided a modicum of understanding or even just alerted someone to something new I am pleased and if ever I have offended, I apologize. All this is my personal celebration of art which has enhanced my spirit and which I want to share with others. Look what Ive found!!!
So, to the task at hand (the “best of” part):
The formula I’ve developed to generate this “favorites retrospective” has been to utilize WordPress’ useful statistics and look at the top viewed posts. From these most visited (and presumably most read) articles I produce a list of ten or so of my greatest hits from there. Please note that there are posts which have had and continue to have a fairly large readership from previous years and they’re not necessarily the ones I might have expected but the stats demand their inclusion here.
Following that I then toss in a few which are my personal faves (please read them) to produce what I hope is a reasonably cogent and readable list. Following my own description of my guiding principles I endeavor to present the perspective of person whose day job and energies are spent in decidedly non-musical efforts but whose interest and passion for new music drives this blog where I share those interests.
As a largely self taught writer (and sometime composer) I qualify my opinions as being those of an educated listener whose allegiances are to what I perceive as pleasing and artistically ideal based on my personal perception of the composer’s/performer’s intent. I am not a voting member for the Grammys and I receive no compensation for favorable reviews. I have the hope/belief that my blogs will ultimately garner a few more listens or performances of art that I hope brings my readers at least some of the joy I feel.
New Music Buff’s Best of 2021
As of this writing I have published 37 blog posts in 2021. COVID, job and personal stressors have resulted in my failing to post at all in December, 2020, January, June, and July of 2021. And only one post in February, 2021. Surprisingly I have managed to get just over 9300 views so far this year (a little more views than last year actually) and it is my plan to publish 4-5 blogs per month going forward into my tenth year.
Not surprisingly, most of my readers are from the United States but I’m pleased to say that I’ve had hits from 192 countries at last count. Thanks to all my readers, apologies to the many countries who didn’t make the cut this year (you’re all welcome to try again in 2022). So, following the United States here are the subsequent top 25 countries who have viewed the blog:
Canada, United Kingdom, Germany, China, France, Netherlands, Spain, Australia, Ireland, India, Italy, Turkey, Nigeria, Japan, Brazil, South Korea, Denmark, Belgium, Sweden, Finland, Russia, Poland, Philippines, Ghana, Norway.
Top Ten Most Read of 2021
The following are the most seen articles of 2021. Some of these are articles whose popularity surprise me as they were written some time ago and are not necessarily, in my opinion, my best work. But readership is readership and I am grateful for that.
Top article, Linda Twine, a Musician You Should Know. Twine is a musician and composer who has worked for some years in New York theater. I chose to profile her and I guess she is well liked because this article from 2018 is one of my top performers. Kudos, Ms. Twine.
Next up is, The Three Black Countertenors, an article suggested by my friend Bill Doggett whose website is a must visit for anyone interested in black classical musicians. This one, from 2014, continues to find readers. It is about the first time three black countertenors appeared on the same stage. Countertenors are themselves a vocal minority when considered in the company of sopranos, baritones, tenors, contraltos, and basses. Being black adds another level of minority in the world of operatic voices so this was indeed historic.
Art and the Reclamation of History is the first of the articles written this year to make the top ten most read. It is about a fabulous album and I hope more people read about it. This Detroit based reed quintet is doing something truly innovative. You really need to hear this.
Number four is another from this past year, Kinga Augustyn Tackles the Moderns. This album, kindly sent to me by the artist is worth your time if you like modern music. This young Polish/American violinist has both technique and vision. She is definitely an artist to watch.
Number five is a truly fabulous album from Cedille records, David Schrader Plays Sowerby and Ferko. This double CD just fires on all cylinders, a fine artist, excellent recording, interesting and engaging repertoire, amazing photography, excellent liner notes, and love for all things Chicago. This one is a major classic release.
The Jack Quartet Plays Cenk Ergun was a pleasant surprise to this blogger. The Jack Quartet has chosen wisely in deciding to release this recording of new string quartet music by this young Turkish composer of serious substance. I’m glad that many folks read it.
Number seven on this years hit list among my readers is another album sent directly to me by the artist, one whose work I had reviewed before.
Catherine’s Oboe: Catherine Lee’s New Solo Album, “Alone Together” is among the best of the COVID lockdown inspired releases that flooded the market this year. It is also one of the finest examples of the emerging latest generation of “west coast” composers. Dr. Lee is a master of the oboe and related instruments and she has been nurtured on the artistic ideas/styles that seem to be endemic among composers on the west coast of the United States. She deserves to be heard.
Number Eight is an article from 2014, Classical Protest Music: Hans Werner Henze’s “Essay on Pigs” (Versuch uber Schweine). This 1968 noisy modernist setting of leftist political poetry combines incredible extended vocal techniques with the dissonant modernism of Hans Werner Henze’s work of that era. Also of note is that his use of a Hammond Organ and electric bass guitar was allegedly inspired by his having heard the Rolling Stones. It’s a classic but warn anyone within earshot lest they be terrified.
As it happens there is a three way tie for the number ten spot:
Black Composers Since 1964: Primous Fountain is one of a short series of articles I wrote in 2014. I used the date 1964, 50 years prior to the date of the blog post, because it was the year of the passing of the (still controversial) voting rights act. As a result of this and a few related articles I have found myself on occasion categorized as a sort of de facto expert on black music and musicians. I am no expert there but I have personally discovered a lot of really amazing music by black composers which is way too little known and deserves an audience.
I am pleased to tell you that this too little known composer (and fellow Chicagoan) is being recognized by no less than Michael Tilson Thomas who will conduct an entire program of his works in Miami next year. If my blog has helped in any way then I am pleased but the real honors go, of course, to Mr. Fountain and Mr. Thomas (who first conducted this composer’s music many years ago). Stay tuned.
And the third contender for my tenth most read of 2021 is, Kenneth Gaburo, the Avant-Garde in the Summer of Love. This is among the first volley of releases on the revived Neuma label with Philip Blackburn at the helm. Blackburn’s instincts guided Innova records to release many wonderful recordings of music rarely on the radar of larger record companies and this first volley was a harbinger of even more wonderful releases to come. Just do a Neuma search and see what I mean.
The Ones That Didn’t Make the Top Ten
I would be negligent and boringly formulaic to simply report on these top ten. This is not a democratic blog after all, lol. So here are my choices for the ones that many of my dear readers may have missed and should definitely check out. It is anything but objective. They are, in no particular order:
Dennis Weijers: Skill and Nostalgia in an Auspicious Debut Album is a sort of personal discovery for me. This reworking of Philip Glass’ “Glassworks” and Steve Reich’s “Variations for Winds, Strings, and Keyboards” scored for solo accordion and electronics pretty much knocked me over as soon as I heard it. Read the blog to see why but you have to hear this. This is NOT your granddaddy’s accordion.
Vision, Virtuosity, and Interpretive Skill: Igor Levit’s “On DSCH” is an album I just can’t stop listening to. I raved about his earlier set of piano variations by Bach, Beethoven, and the late Frederic Rzewski and I look forward to this man’s musical vision as he expands the concert repertoire with works you probably haven’t heard or at least haven’t heard much. You owe it to yourself to watch this artist.
Black Artists Matter: The Resurrection of the Harlem Arts Festival, 1969 is one of the relatively few times when I write about so called “pop” music. It is wholly unconscionable that these filmed performances from 1969 (many of which predated Woodstock) languished for 50 years in the filmmaker’s basement and were nearly lost. One of the recurring themes in this blog is the lament over unjustly neglected music and this is a glaring example. I was delighted to see that the filmmaker Questlove received an award at the Sundance Festival for his work on this essential documentary of American music.
Less “flashy” but sublimely beautiful is Modern Tuning Scholarship, Authentic Bach Performance: Daniel Lippel’s “Aufs Lautenwerk”. This is a masterpiece of scholarship and a gorgeous recording on a specially made Well-Tempered Guitar played with serious passion and interpretive genius by a man who is essential to the productions of New Focus recordings as well as being a fine musician himself. Read the review or the liner notes for details but just listen. This is another one that I can’t stop listening to.
Unheard Hovhaness, this Sahan Arzruni album really rocked my geeky world. Arzruni, a frequent collaborator with Hovhaness turns in definitive performances of these previously unheard gems from the late American composer. A gorgeous physical production and a lucid recording make this another disc that lives on my “frequently played” shelf.
New Music from Faroese Master Sunleif Rasmussen with soloist Michala Petri is an album of world premieres by this master composer from the Faroe Islands. It is also a tribute to the enduring artistry of Michala Petri. I had the honor and pleasure of meeting both of these artists some years ago in San Francisco and anything they do will demand my attention, they’re that good.
Last but not least, as they say, Robert Moran: Points of Departure is another triumph of Philip Blackburn’s curation on Neuma records. I have personally been a fan of Moran’s music since I first heard his work at the Chicago iteration of New Music America in 1982. Blackburn’s service to this composer’s work can be likened to similar service done by David Starobin at Bridge Records (who have embarked on complete works projects with several contemporary composers) and Tom Steenland’s work with Guy Klucevsek and Tod Dockstader at Starkland records. Blackburn had previously released the out of print Argo recordings of Moran’s work and now, at Neuma has released this and a few other new recordings of this major American composer’s work.
My apologies to the albums I’ve reviewed which didn’t make it to this year’s end blog but I have to draw a line somewhere. Peace, health, and music. And thank you for reading.
The Chicago based Lincoln Trio turns their creative radar to chamber music by two now virtually unknown Chicago composers, Ernst Bacon (1898-1990) and Leo Sowerby (1895-1968). (Sowerby’s music has enjoyed no fewer than 7 CD releases on this label.) Both of these composers were rather prolific and well known during their lifetimes but, for whatever reason, they are no longer household names. These are composers who wrote in a largely post-romantic idiom which one might translate as “audience friendly” and one might suggest that their home grown romanticism was eclipsed by modernism but these guys aren’t only audience friendly, these works have the weight of substance. This is not ear candy, this is serious music that reveals more depth and significance with each hearing.
On the surface these are simply two piano trios, a form which emerged in the early classical era and which continues today as a sort of genre on its own and generally is a work of three or four separate movements much like the form of a symphony or sonata. The first piece on the disc is Bacon’s trio from 1987, a late work in his oeuvre which is cast in no fewer than 7 movements, so there goes my generalization already.
The first movement, the longest of the seven, is marked “Lento” and is a slowly evolving movement which goes through many moods from quiet to intense. The second which is actually part of the first is a rather brief march tune and is followed by a slightly longer second movement entitled, “an easy walk”. The more somber mood returns in movement three entitled, “Gravely expressive”. It is followed by a more sprightly Allegro, a brief movement marked, “commodo”, and a finale which gets the blood flowing entitled, “Vivace, ma non presto.” It is difficult to characterize this piece in the context of Bacon’s other work since I’ve heard very little of his significant output but this work suggests that there’s more gold to be had in his compositional vaults.
The Sowerby Trio is from 1953 and is a large work clocking in at nearly 40 minutes. It is cast in the more or less classical tradition of three movements. The first two are large Brahmsian movements which are followed by a (somewhat) shorter finale. Cedille has revealed much of the rich legacy that Sowerby has left us and this trio serves to validate the choice of focusing on getting more of this man’s work to the ears of eager listeners. It is a major addition to the repertoire and this reviewer hopes that this recording may help this work to be a more regular part of live programming.
The trio discharges its duties with an amiable virtuosity which demonstrates their passion for this work. As usual, the recorded sound is top notch. This is a great chamber music recording as well as another fine document of Chicago’s rich musical history, world class music by world class performers.
From the gorgeous photography of the cover, to the choices of the musical selections, their interpretation, and recording this is a love song to two fine Chicago composers, Frank Ferko and the late great Leo Sowerby. Here are two full discs of eminently listenable and fulfilling organ music by two of the best composers to write for that instrument in the 20th and 21st centuries.
Organs, at least the types of organs you’ll hear in this recording, are unique instruments built specifically for the site (usually a church) in which they will be used. As such they are a part of the architecture and are themselves works of art. If you’re a fan of organ music you have to have this disc. It is sonically beautiful and full details and specifications of each of the instruments recorded here are provided in the excellent liner notes and the Chicago born David Schrader is a truly fine organist (as well as harpsichord and fortepiano player). He has no less than 26 releases on this label alone, all worthy of a place in any serious collector’s library. One of the great added values of this release is its attention to providing the technical specs of the instruments involved (every one of these instruments is a unique construction) and those with an interest in such details will be thrilled with the liner notes which do justice to listeners who crave such details (this listener included of course).
Cedille Records has already done much to bring Sowerby’s music to listeners in several previous releases but this is the first recording they’ve released of his organ music. Frank Ferko, a well known working composer in Chicago (and points beyond), was also previously represented on this label by the release in 2000 of his fine Stabat Mater.
The first disc (of two) is dedicated to the music of Frank Ferko (1950- ) and all of these are world premiere recordings. While Ferko is a church musician this music is not typical liturgical fare. His work echoes the traditions of the great romantic church organist/composers like Marcel Dupre, Olivier Messiaen, Cesar Franck, Charles Marie Widor, Louis Vierne, etc.
All of the music on these discs is for organ alone and titles like “Mass for Dedication” fall into the category of “organ masses” (generally a French tradition) in which music is used liturgically but does not accompany choral settings of the texts generally associated with the sections of the mass in what is known as “alternatim practice” where the organ plays during moments that would normally contain sung texts. It is almost like incidental or film score music which is intended to create a mood for the ritual on stage or on screen.
Ferko, trained as an organist and studied composition and music history. He has worked as a church musician in various Chicago area churches and his compositions have gotten worldwide acclaim and performances. His Stabat Mater (1999) was released on CD by Cedille and his “Hildegard Organ Cycle” (1995) based on the music of Hildegard von Bingen (ca. 1098-1107) are major works worth your time.
The works on this recording are a wonderfully representative selection of Ferko’s compositional achievements and will doubtless want the appreciative listener wanting more. He clearly understands how to write for the organ. His basically tonal style is very listener friendly but clearly a style that represents the composer’s vision.
Leo Sowerby (1895-1968) was a Chicago composer, church musician and teacher. This disc presents a nicely chosen selection of Sowerby’s solo organ compositions. This is another in a series of releases presenting the too little known compositions of a man who was pretty well known during his lifetime, especially in Chicago where he taught for years at the American Conservatory of Music and served as organist at St. James Episcopal Church. Cedille has presented the world premiere recording of Sowerby’s Pulitzer Prize winning cantata, “The Canticle of the Sun” (1944), the composer’s second (of five) symphonies, and some of his orchestral tone poems. Cedille takes its mission seriously as it methodically documents the work of Chicago composers and musicians.
Unlike the Ferko disc, the selection of Sowerby’s compositions is decidedly non-liturgical and reflects his skills as a composer for the concert hall (of course the church becomes the concert hall here). In fact it was Sowerby’s Violin Concerto of 1913, premiered by the Chicago Symphony that brought the composer early recognition in his career.
The selection of Sowerby pieces, with the exception of a couple of tracks only available in online versions of this album, are a fair assessment of his organ works and a very good introduction to the composer’s style and compositional skills. The Organ Symphony in G Major from 1930, which occupies the last three tracks on the disc, is without doubt one of Sowerby’s most enduring masterworks. It has received numerous recordings of which this is the finest this reviewer has heard. The first four tracks are shorter but no less substantial works showing Sowerby’s mastery of this medium and his ability to engage his listeners in convincing and compelling essays which will have the listener returning again and again.
This double disc set has the feel of a landmark recording and, though many of Sowerby’s organ compositions have been recorded, many are out of print and/or difficult to find and this is one very satisfying collection. It is definitively performed, beautifully recorded, and satisfyingly documented. This one is a classic release!
The recent passing of conductor James DePreist is a great loss to the world of classical music. I first encountered this man’s work when I bought a New World CD containing music by Milton Babbitt (Relata I), David Diamond (Symphony No. 5) and Vincent Persichetti (Night Dances). All performances are by the Julliard Orchestra under three different conductors of music by three different composers of about the same generation of east coast American Composers. De Priest conducts the Night Dances piece. He had studied under Persichetti at the Philadelphia Conservatory.
De Preist had a fondness and a feel for contemporary music. Among his fifty some recordings (no reliable discography is available online just yet) he recorded music by Paul Creston, George Walker, Gunther Schuller, Ellen Taaffe Zwilich, Easley Blackwood, Aulis Sallinen, Giya Kancheli, Alfred Schnittke, William Walton, Nicholas Flagello and Joseph Schwantner among other more familiar names as well.
He was the nephew of Marian Anderson and cared for her in his home in Portland, Oregon until her death in 1993. De Preist was the conductor of the Oregon Symphony and served as it’s music director from 1980 until 1993. He conducted nearly all of the world’s major orchestras and was awarded the National Medal of Arts in 2005.
His passing this February, Black History Month in the United States, got me thinking about the legacy of black classical conductors. There have been a few luminaries that also deserve attention and I will attempt a short survey a few of those whose art has touched my own life.
Paul Freeman (1936- ), now retired, was the founder and music director of the Chicago Sinfonietta, an alternative orchestra to the Chicago Symphony which played a distinctly different program from them introducing a great deal of new music by young composers along with an unusual selection of older music and some classical warhorses. His 9 LP survey recorded 1974 to 1979 and released by Columbia Records in 1986 of music by black composers is a landmark set of recordings surveying music by black composers from various countries with some emphasis on American Composers. He followed this in 2003 with 3 CDs of music by black composers on Chicago based Cedille records and has continued to give exposure to these unjustly neglected artists. Along with his promotion of black composers Freeman has recorded a great deal of 20th century music by other unjustly neglected masters such as Leo Sowerby, Meyer Kupferman, Bohuslav Martinu, Tibor Serly, Robert Lombardo, William Neil, Richard Felciano to name a few. He recorded a delightful complete set of Mozart Piano Concertos with frequent collaborator, pianist Derek Han (the set was incorporated into the Complete Works of Mozart released on the Brilliant Classics label).
Michael Morgan (1957- )
Michael Morgan who I recall as having been the assistant conductor of the Chicago Symphony from 1986 to 1990 under both George Solti and Daniel Barenboim. I had the pleasure of hearing him conduct the Chicago Symphony’s fine training ensemble, The Civic Orchestra, on several occasions.
Currently he is the music director of the Oakland East Bay Symphony, a post he has held since 1990. In that time he has done much to strengthen the orchestras standing artistically and financially and he has forged alliances with the Oakland Youth Orchestra and the Oakland Symphony Chorus.
Unfortunately Morgan has made few recordings but his choice of repertoire and championing of new music continues to endear him to critics and to bay area audiences.
Thomas Wilkins (1956- )
In 2011 Thomas Wilkins became the first black conductor appointed to the Boston Symphony (a city historically resistant to integration in the 1960s). He is the conductor of that city’s youth orchestra.
He was appointed music director of the Omaha Symphony in 2005 and has held appointments with the Richmond Symphony, the Detroit Symphony and the Florida Orchestra.
Henry Lewis (1932-1996)
California born Henry Lewis was the first black musician to join a major symphony orchestra when, at the age of 16, he joined the double bass section of the Los Angeles Philharmonic. He became the first African-American to lead a major symphony orchestra when Zubin Mehta appointed him assistant conductor of that same Los Angeles Philharmonic in 1961, a post he held until 1965. He is credited with founding the Los Angeles Chamber Orchestra as well
Lewis is probably better known in the media for having been married to soprano Marilyn Horne from 1960-1979.
Carl Van Vechten’s 1961 portrait of Marilyn Horne with her husband Henry Lewis.
Horne credits Lewis with her early development as a singer.
Charles Dean Dixon (1915-1976)
Dean Dixon, as he was known, was born in Harlem and studied at Julliard and Columbia University. He formed his own orchestra when racial bias prevented him from working in most settings and in 1941 gave a concert at the request of Eleanor Roosevelt who in 1939 famously arranged for Marian Anderson to sing on the steps of the Lincoln Memorial after she had been prevented by racial bias (and the Daughters of the American Revolution) from singing in any concert venue in Washington D.C.
While he did guest conduct the NBC Symphony, the New York Philharmonic, the Philadephia Orchestra and the Boston Symphony he left the United States in 1949 to further his career in overseas. He conducted the Israel Philharmonic Orchestra during 1950-51, was principal conductor of the Gothenberg Symphony from 1953-60 (by popular demand), the HR Sinfonieorchester in Frankfurt from 1961-74, the Sydney Symphony Orchestra from 1964-67.
Dixon returned to the United States and had various guest conducting engagements with major orchestras. And he conducted the Mexico City Orchestra during the 1968 Olympics. His legacy includes quite a few recordings made in the 1950s, some of standard repertoire, but some of American music like that of Randall Thompson, Leo Sowerby and fellow black American William Grant Still among many others. These were some of the first recordings I ever heard of much of that repertoire.
He, like those who followed him, did a great deal to promote the music of Americans and of the 20th Century in general. And his recordings are an important part of his legacy that remains largely untapped (though Naxos historical has reissued some on CD, bless their hearts). The racial bias he encountered is our American legacy. Dixon once defined three phases of his career by the way he was described. First he was the “black American conductor”. Then he was the “American conductor” and, finally he simply, “the conductor Dean Dixon.”