A Composer Portrait
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If you like Bloch, Hanson or Piston, Horvit's music is true to this idiom.

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.
Contents:
Michael Horvit, composer
The Cullen Overture
Texas Music Festival Orchestra, Adrian Gnam, conductor


Michael Horvit, composer
Duo Fantasy
David Garrett, cello, Timothy Hester, piano


Michael Horvit, composer
The Prophecy of Amos
Patti Spain, soprano, Robert Jones, organ


Michael Horvit, composer
God Is With Us.
Travis Franklin, baritone, University of Houston Chorus, Charles Hausmann, conductor, Ivan Benevich, trumpet, Bobby Guess, trombone, Robert Jones, organ


Michael Horvit, composer
You Shall Love the Lord Your God
Travis Franklin, baritone, University of Houston Chorus, Charles Hausmann, conductor, Robin Hough, oboe, Robert Jones, organ


Michael Horvit, composer
Three Shakespeare Sonnets
Debra Hayes, soprano, Jeffrey Lerner, clarinet, Timothy Hester, piano


Michael Horvit, composer
Three Faces of Love
Debra Hayes, soprano, Timothy Hester, piano

Review:
"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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