Bibliography and discography






When the thought of compiling a bibliography on the late Thomas Beversdorf occurred to me, I was struck by two realizations. The first was that I could personally extend the boundaries of my own understanding about this man whom I greatly admired.  The second was that others might niore easily share in the benefits derived through the understanding and performance of his music as a result of this preliminary research.  While this project only makes a beginning in this direction, perhaps others so inclined, students, colleagues and friends will join with me.


Beversdorf was a man of vision, the ultimate musician. It is with profound gratitude that I extend my personal thanks to him and his wife Norma for the important influences they had on my life.


Randall Scott Ruback

December, 1981


SCOPE:        While it was my desire to be as comprehensive as possible, the limitation of time restricted the ability to acquire more diver­sified information. I relied heavily upon the Northwestern University Library, Mrs. Norma Beversdorf, as well as my own musical sources.  I must particularly thank Mrs. Beversdorf for her help.


My information is multi-dimensional, covering all genres of com­position and material related to his works. First performances, subsequent performances, reviews, recor­dings, instrumentation, articles, and personal impressions are included in my listings whenever possible.


ORGANIZATION:  The bibliography project is divided up under three headings.


I.   BOOKS (Biographical Dictionaries, Encyclopedias)

II.  PERIODICALS (Magazines, Newspapers, and Journals)


A.Orchestral Works

1.  Symphonies

2.  Concerti

3.  Winds and Percussion


B.Chamber Works


1.  Trios of Groups of 3 Players


2.  Quartets or Groups of 4 Players


3.  Quintets and ~roups of 5 or more Players


4.  Sonatas


C.Vocal Works


D.Piano Works


E.Arrangements for the Trombone


F. Editing










METHOD OF RESEARCH: Standard research tools of The Northwestern University Library were utilized. Major encyclopedias of music, as well as other materials proved to have little informative value. The Biographical Dictionaries, although general, were good start­ing points for my research. I proceeded from there to magazines and periodicals listed in the various periodical indexes and like indexes of periodical information.


Mrs. Norma Beversdorf provided invaluable assistance by sending lists of published works, recorded compositions, reviews, a chron­ological list of compositions, and a checklist of music by Thomas Beversdorf. The information was reorganized, updated, added to, and compiled in such a way as to make the selection of works for per­formance more accessible. In addition to the above, music publishers and their addresses were made available to the user. Dates of publi­cation are given, while for the unpublished works included, dates of completion are mentioned.


It is my hope that future compilers of information about Doctor Beversdorf will one day aspire to a biography of some sort, including more personal information about the man himself. This would require a major effort, but no project is more worthy of such an effort.









a.  American Society of Composers, Authors and Publishers (ASCAP 1965). New York: R. R. Bowker Co., 1980.(Page 41).

Historical background as composer, performer, and teacher. Lists choral works not found in the other biographical listings presented below. Additional instrumental works are represented that are not listed in Baker’s (see below). Dates, Guest conducting appearances mentioned.

Note:      Standard Award from A. S. C. A. P. 1966-1977.


b.  Anderson, E. Ruth. Contemporary American Composers A Biographical Dictionary. Boston: G. K. Hall and Company, 1976.(Pages 38-39).

Includes references to compositions and compositional in­fluences not previously cited in the above sources. Reference is made to articles on trombone technique.


c.   Baker, Theodore. Baker’s Biographical Dictionary of Musicians. Sixth edition. Edited by Nicolas Slonimsky. New York: G. Schirmer1 1978.(Pages 166-167).

Provides a brief overview of Beversdorf’s background, his training in composition, and his positions as a professional performer and teacher. A list of his works is also provided as well as dates of completion.


d.  Eagon, Angelo. Catalog. of Published Concert Music ~ American Composers. Metuchen, N. J.  Scarecrow Press, 1969.(Pages 254, 311). Also in the 1974 Second Supplement to the Second edition (pages 14, 75, 8O, 85, 95, 99, lO1).

Provides information as to composer, title and publisher, instrumental ensemble or chorus, solo/soloists, accompaniment, author of text, as well as any combination of the above.


e.  Gaster, Adrian. International Who’s Who In Music And Musicians Directory. Eighth edition. Cambridge: Melrose Press, 1977

A more abbreviated biography than the above listings, but nevertheless offers additional professional background infor­mation as well as descriptions of personal activities and hob­bies.


f.   Jacobi(y), Hugh Wm. Contemporary American Composer.’ 5 based at American Colleges and Universities. California: Paradise Arts Publisher, 1975.(Page 18).

Awards and/or prizes, along with various commissioned works by various symphonies and institutions, organized memberships, and major works are mentioned.


g.  La Musica. Parte seconda dizionano /part 2 dictionary/. Edited by Guido M. Gatti. Turin: Unione Tipografico – Editrice Torinese, Volume 1, 1968.(Page 210).

General information about musical training, teaching, and compositions (with dates). Spanish.


h.  Marquis. Who’s Who In America. Forty-first edition. Chicago:

Marquis Who’s Who, Inc., 1980-1981.

Adjoining The Baker’s , Who’s Who In America offers addi­tional historical and compositional references of importance. Concluding the citation, very brief and yet personally reveal­ing and illuminating remarks are given by Beversdorf himself.


i.   Yust, Walter. Britannica Book Of The Year 1955. Chicago: William Benton, 1955.  (Page 532).

Symphony No. 3 for Winds and Percussion is the only work of its kind to be mentioned in Encyclopedia Britannica (Year­book 1955). T. Beversdorf.





a.  “BU Celebrates 125th Anniversary – Over 2,000 See ‘Vision of Christ,’”

Daily Item, (Monday, May 3, 1971).

Activities of The Bucknell Universities’ 125th Anniversary, one of which was the performance of ‘Vision of Christ.’ Librettist, composer (T. Beversdorf), conductor, director of staging, choreo­grapher, as well as supporting departments are acknowledged.


b.  “BU [Bucknell University] Composer-In-Residence Has Composition Release.” Daily Item/Sunbury, Pennsylvania, 1971.

Discusses Beversdorf1s “Divertimento ‘da Camera” for flute (piccolo), oboe (English horn), double bass, and harpsichord. In addition, his forth­coming work “Vision of Christ,” a 20th century mystery play based on the writings of William Langland’s 15th century work is also mentioned.


c.   Beversdorf, Thomas. “Problems Influencing Trombone Intonation,” The Instrumentalist, VII no. 2 (Oct. 1952), pages 24,25,47.

Very helpful for the professional performer and/or conscientious student. Beversdorf discusses inherent intonation problems in brass instruments, instrument design and modifications, and the adjustments necessary for the successful acquisition of perfect intonation.


d.  Knowles, John C., and Bach, Vincent. “From Our Readers,” The Instrumentalist  VII (Jan.-Feb. 1953), pages 9, 57.

Complimented on his explanation of the acoustical pro­perties of the trombone, but corrected on certain points:

(1) his reference as to the expansion and contraction of metals, and (2) acknowledges the error.


e.  The Instrumentalist. XX’ no. 3, (Oct. 1965), page 14.

Premieres in Paris and the Bayreuth Festivals of the

orchestral work “Generation with a Torch,” a work commis­sioned by the Houston All – City Symphony Orchestra.


f.   “Dr. S. Thomas Beversdorf Receives 1979 I.T.A. Award,” “Thomas Beversdorf Retires from Trombone Teaching(An Interview- A

Tribute) by Buddy Baker. VI, No. 4, (Sept. 1979), page 4.

“Presented to S. Thomas Beversdorf in grateful apprecia­tion for his many years of service and inspiration as an ar­tist/trombonist and master teacher of the low brass instru­ments.” Photo.


g.  Kyle, Marguerite Kelly. “The Composer America Allegro,”

Pan Pipes of Sigma Alpha Iota, Volume 65, no. 2 (Jan. 1973),

page 46.

Information about premieres, performances, publications, recordings, as well as other news. An in-depth look at Beversdorf’s pursuits during the years 1970-1972.


h.  Music Journal, Volume 24, (Jan. 1966), page 12.

“An orchestral work, Generation With a Torch, by Thomas

Beversdorf was premiered in Paris by the Houston (Texas)

All-City Symphony Orchestra in August and received a second

European performance at the Bayreuth Festival.”


i.   Wilson, Judy. “I. U. professor receives award as outstanding

music composer,” The Indiana Daily Student, (Friday, November

3, 1967), p. 5.

Important reading. Beversdorf discusses creativity, the avant-garde stream emerging, the ways in which great art might emerge, novelty in music, but not being overwhelmed by it.


Somehow symphonies got left out of this list.


Symphony #1 1945

Symphony #2 1950

Symphony #3 listed below

Symphony #4, performance 1960 by Indiana University Philharmonic, Tibor Kozma conducting



2.  Concerti:


a.Concerto, “Danforth” for violin and orchestra, MS, 1959.

First performance: Eastman-Rochester Symphony, John Colontano, violin, Howard Hanson conductor.


b.Concerto grosso for oboe and chamber orchestra, MS & Fleischer Collection,


First performance: Pittsburgh Symphony Orchestra, V. Bakaleinikov, conductor. Indianapolis Philharmonic, 1951, composer conducting.


  1. c.     Concerto For Tuba, /Hollywood, Ca./ Indiana Music Center****(198l), 1975.

Commissioned by Harvey Phillips (Indiana University). “This Concerto  may be performed by Solo Tuba with Winds, Brasses, Percussion, and Double-basses of the Orchestra or with Symphonic Winds.” Instrumentation: 2 Flutes, 2 Oboes, English Horn, 2 Clarinets in B flat, Bass Clarinet in B flat, 2 Bassoons, and Contra Bassoon. I. Allegro con moto half-note=12O-128. II. ‘Lied’, Andante ma non troppo. III. L’stesso Tempo. Movements I and III:

Technically demanding, very serial-like in character. Movement II: Some very

beautiful cantabile-like passages.


d.Concerto for Two Pianos and Orchestra, MS, 1951.

Commissioned:Teltschick duo pianists. First performance: Indianapolis

Symphony, March 1967, Izler Solomon, conductor. State Symphony Orchestra of Arkansas, April 8, 9, 1967, composer conducting. Indianapolis Symphony

Orchestra, Izler Solomon conducting, May 22,23, 1969. Alfonso Montecino & Charles Webb, pianists.



3.  Winds and Percussion:


a.Divertimento Concertante for band, Residence, 1970.


b.Murals, Tapestries and Icons for symphonic band, with electric bass and electric piano, Residence, 1975.


c.Serenade for winds and percussion, MS, 1957.

Re-named Diversions for Winds and Percussion. First performance:

Eastman Wind Ensemble, F. Fennell, conductor, 1958. MIT Wind

Ensemble, Cambridge, MA, Dec. 1957, and at Brooklyn Museum, Jan.

1958, Scarsdale, NY., February 1958, John Corley, conductor. Indiana

University Wind Ensemble, April 1958, composer conducting.


d.Symphony No. 3 for Winds and Percussion, Southern Music Co.*, ~54. Composer conducting, Indiana Univ., 1954. W. N. Y. C. – F. M. New

York (broadcast) February 1955. University of Texas, March 27, 28, 1955, Bernard Fitzgerald, conductor. Massachussets Institute of Technology, Cambridge, Mass., Nov. 1955, John Corley, conductor. Yale University, New Haven, Conn., Nov. 1956, John Corley, conductor M. I. T. Band. East­man Wind Ensemble, Fennell, cond.: 1956. The U. S. C. Concert Band 1958.

Recordings: Faculty Wind Ensemble, composer conducting. (Century Records, limited edition (presently available through Southern Music Co.), and

M. I. T. Wind Ensemble, John Corley, conductor M. I. T. Contemporary Music Series #005.




1.  Trios or Groups of 3 Players:


a.Corelliana Variations, Flute 1 (piccolo), Flute 2 (piccolo, alto flute), violoncello, Indiana Music Center****, Forthcoming, 1980.

Recording: Kyril Magg, flute; Rebecca Magg, flute; Fritz Magg, violoncello 1982


b.Suite on Baroque Themes, clarinet, violoncello, piano, MS & Fleischer Collection, 1947.

First performance: Univ. of Houston, Earl Bates, Harry Lantz, Williard Elliot. An all-Beversdorf concert Oct. 14, 1965 with Earl Bates, Leopold Teraspulsky, Joseph Rezits.


2.  Quartets or Groups of 4 Players:


a.Divertimento da Camera for Flute (piccolo), Oboe (English Horn), Double bass, and Harpsichord, G. Schirmer**, 1968.

“BU (Bucknell University) Composer-In-Residence Has Composition Release.” Daily Item, Sunbury, Pennsylvania, 1971.

Discusses Beversdorfts newly released composition ‘Divertimento da Camera.’

Review by William Cerny, Notes XXIX/2 (Dec. 1972) page 331. Describes the ways in which Beversdorf’s piece reflects conservatism, and the ways in which these factors “plus the composer’s craftsmanship… combine to assure the work an immediate appeal.” Discusses how the various instrumental mediums function dependently or independently at various times to create some very special moments. Suggests that “this composition seeks to please, not to over­whelm. In this regard it is quite successful.”

Written for The Baroque Chamber Players first performance: Hanover College, Nov. 14, 1968.

Reviewed by Mary Nic Shenk, St. Petersburg Times, Florida: “Offered sub­stance and interest…featured more varied qualities and characteristics of the four instruments..”

Reviewed by Frederick Black, Terre Haute Star, Indiana: “This modern work showed a real understanding by the composer of how to write for the baroque group as delightfully as the composers of the period associated with this style of music.”

Indiana University, Bloomington, Indiana Nov. 20, 1968, as well as other performances across the country.


b.Quartet, no. 1 for strings, MS & Fleischer Collection, 1952. Berkshire Quartet 1952, Bloomington, Indiana; also, 1955 at Music Mountain,

Radio Broadcast station DXYZ (Houston), bY The Fine Arts String Quartet, and for the dedication of the I. U. fine arts building plus many other performances.

Reviewed by Raymond Ericson, N. Y. Times: “The Beversdorf is a strong tight piece, relatively dissonant.. It is ingeniously developed, particularly in the unorthodox and tricky chaconne that forms the middle movement, and its taut power makes it a worthy contribution to the literature.”

Reviewed by J  D. Post, New Plymouth, New Zealand: “The music of the American composer, Thomas Beversdorf, was a contrast in moods and style. His was the hustling, automatic, sometimes discordant sound of a modern country, but not without sweetness tone and depth.”

Reviewed by Maloney in The Auckland Star, New Zealand: “It is clearly written and has a life of its own.”


c.  Quartet, no. 2 for strings, MS, 1955.

Berkshire Quartet, Bloomington, Ind., May 1956, and at Music Mountain, July 1956.


d.Three Epitaphs, in memory of Eric De Lamarter, brass quartet, Southern Music Company*, 1955.

Instrumentation: 2 Trumpets, 2 trombones (Horn in F, alternate for 1st Trombone). I. Moderato maestoso quarter note=126, II. Andante quarter note =144, and III. Andante maestoso.

Impressions: Chordal harmonic technique utilized, as a result, the piece could appear very staunch and stiff – box-like – from the first rehearsal. However; subsequent rehearsal with an emphasis upon the inherent balances of the piece, dynamic markings and all specified tenuto and phrase markings, will result in a most well sculptured work. Must be approached with an open-mind realizing that the piece’s limitations work in its favor, and that it is up to the performer to bring the music to life. Highly recommended.


Coe, John w. (U. of Akron, Ohio, USA). A study of five selected contemporary compositions for brass (DM diss., Brass Literature and Pedagogy: Indiana U., 1971) 210 p. (typescript). Music, bibliog.

Three Epitaphs by Thomas Beversdorf, Animus I for Trombone and Tape by Jacob Druckman, Quintet for Brass Instruments by Alvin Etler, Music for Brass Quintet by Gunther Schuller, and Eonta by Iannis Xenakis are analyzed and their performance problems discussed. Changes between 19th-and 20th-century music are considered, including the crucial issue of the relationship of performer to composer. Recommendations for further study of present-day brass music are offered in a concluding summary. (Author, abridged)



3.  Quintets and Groups of 5 or more Players:


a.Cathedral Music arranged for Brass Choir, Southern Music Company*, 1950. First performance: Indiana Univ. Brass Choir 1950, 1951, 1952, 1954, 1955,

1956, 1957, etc. Cincinnati Conservatory, 1952, San Francisco State College,

1953; The Houston Symphony Orchestra, Interlocken, National Music Camp,

University of Hawaii, University of Texas, Music Educators National Convention, Oberlin College, Eastman School of Music, Brass Chroi 1957, Texas Music Educators Conference, University of Texas Brass Choir, Northwestern University, 1981, and many other performances.

Houston Chronicle, review of Houston Symphony presentation: “Full of stir­ring movement and vigor.”

Review by Paul Hume, Washington Post: “(he) balances the instruments with a skilled hand, achieving contrasting moods of devotion and praise. The sonor­ities are exploited, but never blatantly.”


b.Cathedral Music for Brass and Organ, Robert King Music Company, 1953. Performances across the country include Stetson U., Deland, Florida,

1957,1959; Washington, D. C. 1961 at Saint Stephen the Martyr Church, Ithaca

College, Ithaca, N. Y. 1961. In addition: Syracuse U., 1963, and Youngstown U. 1968, etc.


c.La Petite Exposition, solo violin (ossia solo clarinet) and eleven strings (3,3,2,2,1), Seesaw Music Company*****, 1977


d.Prelude and Fugue, woodwind quintet, MS, 1950.

First performance: American Quintet, Indiana U., 1950.

Also performed by Quinteto do Sopros de Universidade de Brasilia, 1965 and tour with same group.


e.Suite on Baroque Themes, clarinet, violoncello, strings, MS & Fleischer Collection, 1949.

First performance: Houston Summer Symphony, 1949, composer conducting.



4.  Sonatas:


a.Sonata for Horn and Piano, (Christmas 1945), Southern Music Company, 1949. First performance: Eastman School of Music, 1946. Many subsequent perfor­mances, including: Tanglewood Music Festifal 1947, Ray D’Intinnis, horn (presently with N. Y. Philharmonic), with Claude Frank, piano; Houston, Texas, 1947, John Moyse, horn, Williard Elliott, piano; Nurnberg, Germany, 1965, Lowell Crist, 1st horn Nurnberg Philharmonic.

A Masters thesis dealing with an analysis of this work is in the University of Texas Library.

Recording: (by the above title) Coronet #3009, Thomas Beversdorf, hornist with Charles Webb, pianist. Program notes by Chappie White: The early Sonata for Horn and Piano, Op. 1, was written in 1945, when the composer was a student, and it served as a whimsical Christmas gift to his friend Conrad Bohn. Amateur “tune detectives” will find reference to the holiday season in the third movement, where the second theme concludes a subtle quotation of “Hark, the Herald Angels Sing.” The spirit of this “Christmas sonata”is vigorous and youthful, its form is clear, its communication direct. In the present performance, the composer, who is a noted trombonist, demonstrates his ver­satility by providing an authoritative interpretation of the horn part.

Reviewed by Gunther Schuller, Woodwinds Magazine, 1949: “one of the few worthy additions to contemporary American horn literature…”

Reviewed by Wendall Hoss, Los Angeles, California: “A very talented composer… a spunky and provocative piece.


b.Sonata for Flute and Piano, Southern Music Company*  1966.

First concert performance: Pan American Festival of Contemporary Music,

J.   Pellerite, L. Klein, pianist, 1965. Other performances: Karen Adrian,

1965, Indiana University; W. Montgomery and R. Johnson, Washington, D.C.,

1966, as well as many other performances.

Recording:(by the above title) Golden Crest #7023, James Pellerite, flute, Charles Webb, piano, (“The Flutists Showcase”).

Review by Paul Hume of the Washington Post, July 20, 1966: “Beversdorf is a member of the faculty of the University of Indiana. His sonata was written last year, and should rapidly become popular not only with flutists and pianists who do not mind its hazards, but with audiences for whom its skilled construction conceals an exciting array of virtuoso writing for both instruments. Diatonic scales are far from dead in Beversdorf’s hands as he makes them take on new coloring. Rapid outer movements surround a highly expressive andante that begins in recitative manner but develops into an arioso of great power.”



c.   Sonata for Piano, MS, 1944.

First performance: University of Texas, 1945, Ronald Boothe, pianist.


d.  Sonata for Trumpet and Piano, Southern Music Company*, 1962.

First performance: Indiana University, 1962, C. Smith, as well as many other performances.

Reviewed in Brass Quarterly, VII, No. 2 (Winter 1963), page 82. Compares elements of Beversdorf1s compositional style to that of his tuba sonata. Describes the harmony, form, textures, as well as the technical requirements to be expected by both trumpeter and pianist. “It can be profitably studied by college trumpet players, both to appreciate its strong points and as an object lesson for its weak ones.”


e.  Sonata for Bass Tuba and Piano, Southern Music Company*, 1956. First performance: U. of Oregon, 1956; Eastman School of Music, Roger

Bobo, 1957 and many other performances.

Recording:(by the above title) Coronet Recordings #1721, Robert LeBlanc, tuba, Charles Webb, pianist.


f.   Sonata for Violin and Harp, Residence, 1976-1977. Written for Jacques and Gail Israelievitch.


g.  Sonata for Violin and Piano, Southern Music Company*, 1966. First performance: Festival of American Music, Rochester, N. Y.,

J. Celentano, 1964. Subsequent performances: National Gallery of Art, Wash­ington, D. C., 1965, J. Celentano; All-Beversdorf concert with J. Gingold and C. Webb, Oct. 14, 1965, IU; All-Beversdorf concert with J. Calabrese and A. Montecino, April 17, 1966, Springfield, Missouri; Belgische Radio en Televisie broadcast. FebI 1969, J. Calabrese; UNESCO Concert, Paris, May, 1969, J. Calabrese.

Recording: (by the above title) Orion Records ORS # 75170, Jacques Israel­ievitch, violin, Henry Upper, piano. Program notes: The Sonata for Violin and Piano (1964) was written of the suggestion of Andre Gertler, is dedicated to Josef Gingold, and was first performed by John Celentano. Subsequent per­formances have been given in the principal cities of the U. S. and Europe. N.P. The first movement, rondo in spirit, exhibits a synthesis of the com­poser’s neo-classical training with more recent styles and techniques. The calm contrast of the slow movement demonstrates his subtle treatment of thematic variation and development  while his contrapuntal skills are par­ticularly manifest in the vigorous finale.

Reviewed by Harvey Southgate, Rochester, NY.: “a work of much vitality.” Reviewed by John Haskins, Washington Evening Star: “The Sonata is a fine,

solid work of three movements, showing its best face during a moderately slow first and fast last movement.”

Reviewed by Cecelia H. Porter, The Washington Post: “…impulsiveness and harmonic concentration sustain interest, particularly in the two final movements.”


h.  Sonata for Violoncello and Piano, Indiana Music Center****, 1974. Premiere performance: Andor Toth, San Francisco, Jan. 14, 1970.

Arturo Gonzalez, cellist: ‘Festival of Contemporary Music,’ Guadalajara, Mexico, 1970.

Recording: (by the above title) Coronet Recordings #3009, Andor Toth, cello, Marilyn Thompson, piano.

Reviewed by Heuwell Tirenil in The San Francisco Chronicle,(January 14, 1970): Premiere of Thomas Beversdorf’s “serial oriented three-movement sonata.” Described as “heroic, dramatic,.. while sustaining interest and attentiveness.”


i.    Walruses, Cheesecake and Morse Code for tuba and piano, Residence, 1973.





a.  Libretto: “Amphitryon 99” or, “I Hope it Isn’t a Cold Marble Couch” on Plautus’ legend and the play by Jean Giraudoux, “Amphitryon 38”, Residence



b.  “The Hooligan,” opera in one act, freely adapted from “The Boor” by Anton Chekhov, Residence, 1969. (Overture recorded)

1964 Libretto completed, 1965 Music Completed, 1968 Piano reduction,

1969 Orchestra score.


c.   Libretto, “Metamorphosis”, three-act opera, freely adapted from story of the same name by Franz Kafka, Residence, 1968.


d.  Mini Motet from Micah, S.A.T.B., solo soprano, baritone, and organ, Residence, 1968.


e.  The Rock, oratorio (T. S. Eliot), MS, 1958.

First performance: Composer conducting, Bloomington, Indiana, April 1958. Subsequent performances: Belgian National Orchestra, Brussels, 1959. Wash­ington, D. C., First Baptist Church, Jan. 1962, composer conducting.


f.   Seventeen Antiphonal Responses, chorus and organ, MS, 1949. Various portions performed: First Baptist Church, Pittsburgh, Pennsylvania;

Cincinnati Conservatory, 1952; First Baptist Church, Bloomington, Indiana, (most recent, 1968).


g.  Three-fold Amen, Four-fold Amen, chorus, organ, Residence, 1969.


h.  Three Songs For Soprano And Piano, on Poems of E. E. Cumming~: 1.”for also then’s until,” 2. “love is a place”, and 3. “chansons innocentes”, see below, 1955

First performance: 1957 in Munich, Nurnberg, Hamburg, Djarmstadt, Germany:

in 1959 in Frankfurt, Heidelberf, Cologne, Stuttgart, Erlangen, Saabrucken, Berlin, Salzburg. Wiesbaden, Augsburg, Detmold1 and German National Radio and many other performances; Sharon Binfiell, Indiana University, Aug. 1966; Vera Scammon, De Pauw U., October 1966; Anderson, Indiana, Sept. 1966; Indianapolis 1965; Bloomington, 1963; Dorothy Rosenberger, Buffalo, N. Y. 1967, and many other performances.

Recording: (by the above title) Coronet Recordings #3009, Elizabeth Wrancher, soprano, Charles Webb, pianist. Program notes: “Three Songs for Soprano and Piano,” poems by E. E. Cummings were written in 1955 at the request of Elisabeth Wrancher. She had just won the Munich International Young Artists Competition and was rapidly becoming one of Germany’s leading sopranos. During the next few years, Miss Wrancher introduced the songs to virtually every major German city. Of one performance, the Heidelberger Tageblatt re­ported, “The three charming songs of Thomas Beversdorf have something that is particularly and completely typical of America. Their playful nature allows for an abundance of coquetish nuances.” Publisher: EDITIONS LOGOS, P.O. Box 582, Bloomington, Indiana 47401.

Reviewed by John Dwyer, Buffalo Evening News: “Soprano Dorothy Rosenberg sang three Beversdorf songs… Two of these were in the pleasant, wide spaced style, and the third was a delightful children’s song, all well done.”

i.   Vision of Christ, a 20th century mystery play based on the writings of William Langland’s 15th century work, with libretto by John Wheatcroft, Residence1 1971

First Performance: Bucknell University, Pennsylvania, May 3, 1971.

Reviewed by Michael Payne in The Bucknellian, (May 3, 1971): Described as “a work of poetic revelation.” Discusses aesthetic risks involved, exper­iences of myth and ritual, the three series of transformations, personal observations, and instrumentation. Strong points: “A subtly well-written piece of music.”





a.  Six Short Pieces for piano, MS, 1950.

Many performances – teaching pieces.


b.  Theme and Variations, Thomas Moore: “A Pretty Maid”, MS, 1959.

Commissioned by Bela Borzormenyi-Nagy. First performance: Bela Borzormenyi­ Nagy:     C.B.C. and many other performances in Canada & U. S., 1959,1962, 1965, and 1966 in South American tour. A. Montecino: for all-Beversdorf concerts:  (1)  Indiana U., Oct. 14, 1965, (2) Springfield, Missouri, April 17, 1960; 1967 European tour: Salzburg, Hamburg, etc.; most recent performances: Jan. 1969, Bloomington, Indiana, and many other performances.

Reviewed by Herald Telephone, Bloomington, Indiana: “The variant sections which follow proceed in a logical and well organized fashion… The work has clarity of form, contrapuntal dexterity, and consummate grasp of the techniques of writing for the piano.

Reviewed by Ed Costello, Portland, Oregon: “The work contains delicate harmonic beauty despite its assertive, sometimes atonal, and always virile modernity.”


c.   Toccata, two pianos, MS, 1953.

Teltschik duo pianists: Town Hall 1953, Music Hall, Houston Texas 1953, Teltschik duo-pianists west coast tour, 1954.


d.  Two Short Pieces, piano, MS, 1956.

Piano teaching pieces, many performances.






a.  Bach, Johann Sebastian. “Endure! Endure!”, Air from Passion Saint Mathew, (55-50) Southern Music Company*, 1961.

Very suitable for the trombone. Explores lyric style.


b.  Bach, Johann Sebastian. “Haste, ye Shepherds”, Air from “Christmas Oratorio”, Southern Music Company*.

Beautiful setting for the trombone. To be played light and delicately.


c.   Bach, Johann Sebastian. “‘Tis Thee I Would Be Praising”, Air from “Christmas Oratorio”, (SS-49) Southern Music Company*, 1961.

Sprite and exciting piece involving properly executed slide technique.


d.  Handel, G. F. “The Enemy Said”, Air from Israel in Egypt, (SS-52) Southern Music Company*, 1961.

Like the above in that it is very well suited to the trombone.


e.  Handel, G. F. “Ev’ry Valley”1 Air from “The Messiah”, (55-53) Southern                                Music Company*, 1961.

Beautiful arrangement for the trombone.


f.  Handel, G. F. “From Celestial Seats Descending”, Air from Hercules, (55-                         51) Southern Music Company*, 1961.

Larghetto alla Siciliana quarter note = 56


g.  Haydn, Joseph. “And Now Revived He Springs”, Air from “The Seasons”,           (SS-56) Southern Music* 1961

Every facet of this Air from “The Seasons” can be realized through the                     trombone.





a.Giffels, A. Sonata For Trombone and Piano. Edited by Thomas Beversdorf. San Antonio: Southern Music company*, 1964.

In three movements: I. Allegro ~116, II. Adagio, and III. (Rondo) Vivace quarter note–216. A wonderful work for the trombone. A piece contrasting both the very lyrical and cantabile qualities of the trombone with its very punctuating side. Beversdorf’s editing assists the trombonist through difficult and often trying technical passages. Encouraging the free use of various slide combinations, this sonata is not only a fine concert work, but a learning device as well.


b.Korsakoff, Rimsky. Concerto for Trombone. Edited by Thomas Beversdorf. See standard indexes of trombone literature.

Includes a new piano reduction.





*                  Southern Music Company, San Antonio, Texas


**                 G. Schirmer, Inc., New York, New York


***                Robert King, Music for Brass, Northeaston, Massachusetts


****              Indiana Music Center, Inc., 5626 East 2nd, Bloomington, Indiana


*****             Seesaw Music Company, 1966 Broadway, New York, New York


Residence    Norma Beversdorf, 4950 East Cedar Crest, Bloomington, Indiana 47401


MS              Available in photo reproductions from composer.