A Composer Portrait

Michael Horvit (composer)

Catalog #: TROY0134
Release Date: September 1, 1994
Format: Digital
Chamber

Michael Horvit (b. 1932) is Professor of Theory and Composition at the University of Houston School of Music, where he has chaired that department since 1967. For 25 years he served as Director of Music at Temple Emanu El in Houston. During his studies at Yale, Harvard, Tanglewood and Boston University, his composition teachers included Aaron Copland, Lukas Foss, Walter Piston, Quincy Porter and Gardner Read. His works range from solo instrument and vocal works to large symphonic compositions, choral cantatas and operas, many written specifically for the Jewish liturgy. Among the numerous ensembles and organizations that have commissioned his works are the Houston ballet, the Houston Symphony, the National Symphony of Mexico, the Chicago Chamber Brass, and the Esterhazy String Quartet. He is the recipient of awards from organizations that include BMI, ASCAP, the Martha Baird Rockefeller Foundation, the National Endowment for the Arts, the Fridge Trust, and the University of Houston.

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Track Listing

Title Composer Performer
The Cullen Overture Michael Horvit Texas Music Festival Orchestra, Adrian Gnam, conductor
Duo Fantasy Michael Horvit David Garrett, cello, Timothy Hester, piano
The Prophecy of Amos Michael Horvit Patti Spain, soprano, Robert Jones, organ
God Is With Us. Michael Horvit Travis Franklin, baritone, University of Houston Chorus, Charles Hausmann, conductor, Ivan Benevich, trumpet, Bobby Guess, trombone, Robert Jones, organ
You Shall Love the Lord Your God Michael Horvit Travis Franklin, baritone, University of Houston Chorus, Charles Hausmann, conductor, Robin Hough, oboe, Robert Jones, organ
Three Shakespeare Sonnets Michael Horvit Debra Hayes, soprano, Jeffrey Lerner, clarinet, Timothy Hester, piano
Three Faces of Love Michael Horvit Debra Hayes, soprano, Timothy Hester, piano

Reviews

  • "There is a various selection of music on this disc; a quintessentially American-sounding overture; some powerful liturgical music; charming song-settings of verses by Shakespeare, Byron, and Shelley; and a brooding, rather impressionistic, chamber work. The music is tonal, lyrical, rhythmically interesting, simple enough to enjoy at first hearing, but deep enough to invite a second hearing."

    – Fanfare

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