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George Antheil
Person · male · United States · Trenton · born 1900 · died 1959 · recording since 1955
American avant-garde composer, pianist, author and inventor (1900–1959)
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Also known as George Carl Johann Antheil · 喬治·安塞爾
Timeline
38 events▣ Album 32✦ Award 3◦ Birth 1★ Debut release 1† Death 1
1900s
1930s
1950s
· Debut release
Debut release: George Antheil: Ballet mécanique / Henry Brant: Signs & Alarms / Galaxy 2 (1954)
First documented Album in the MusicBrainz discography.
source: musicbrainz
· Album
Album: George Antheil: Ballet mécanique / Henry Brant: Signs & Alarms / Galaxy 2 (1954)
Album
source: musicbrainz
· Album
Album: Ballet Mécanique / Toccata For Percussion / October Mountain / Sketch For Percussion
Album
source: musicbrainz
1960s
1970s
1990s
2000s
· Album
Album: Ballet Mécanique and Other Works for Player Pianos, Percussion, and Electronics
Album
source: musicbrainz
2010s
· Album
Album: Symphony no. 4 "1942" / Symphony no. 5 "Joyous" / Over the Plains
Album
source: musicbrainz
· Album
Album: Symphony no. 3 "American" / Symphony no. 6 "After Delacroix" / Spectre of the Rose Waltz / Archipelago / Hot-Time Dance
Album
source: musicbrainz
· Album
Album: Symphony no. 1 “Zingareska” / Suite from “Capital of the World” / McKonkey’s Ferry / Nocturne in Skyrockets / The Golden Bird
Album
source: musicbrainz
2020s
Biography
English biography3,538 words · 10 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1370826194
Biography
George Johann Carl Antheil ( AN-tyle; July 8, 1900 – February 12, 1959) was an American avant-garde composer, pianist, author, and inventor whose modernist musical compositions explored the sounds – musical, industrial, and mechanical – of the early 20th century. Spending much of the 1920s in Europe, Antheil returned to the United States in the 1930s, and thereafter composed music for films, and eventually, television. As a result of this work, his style became more tonal. A man of diverse interests and talents, Antheil was constantly reinventing himself. He wrote magazine articles, an autobiography, a mystery novel, and newspaper and music columns.
In 1941, Antheil and the actress Hedy Lamarr developed a radio guidance system for Allied torpedoes that used a code (stored on a punched paper tape) to synchronize frequency changes, referred to as frequency hopping, between the transmitter and receiver. It is one of the spread spectrum techniques that became widely used in modern telecommunications. This work led to their induction into the National Inventors Hall of Fame in 2014.
Early life
Antheil was born George Johann Carl Antheil, and grew up in a family of German immigrants in Trenton, New Jersey. His father owned a shoe store. Antheil got his education in the Trenton public schools. He was raised bilingually, writing music, prose, and poetry from an early age, and never formally graduated from high school or college, flunking out of Trenton Central High School in 1918. According to Antheil's autobiography, The Bad Boy of Music (1945), he was "so crazy about music", that his mother sent him to the countryside where no pianos were available. Undeterred, George simply arranged for a local music store to deliver a piano. His somewhat unreliable memoir mythologized his origins as a futurist, and emphasized his upbringing near a noisy machine shop and an ominous prison. George's younger brother was Henry W. Antheil Jr.; he became a diplomatic courier and died on June 14, 1940, when his plane was shot down over the Baltic Sea.
Antheil started studying the piano at the age of six. In 1916, he traveled regularly to Philadelphia to study under Constantine von Sternberg, a former pupil of Franz Liszt. From Sternberg, he received formal composition training in the European tradition, but his trips to the city also exposed him to conceptual art, including Dadaism. In 1919, he began to work with the more progressive Ernest Bloch in New York. Initially, Bloch had been skeptical and had rejected him, describing Antheil's compositions as "empty" and "pretentious"; however, the teacher was won over by Antheil's enthusiasm and energy, and helped him financially as he attempted to complete an aborted first symphony. Antheil's trips to New York also permitted him to meet important figures of the modernist movement, including the musician Leo Ornstein, journalist and music critic Paul Rosenfeld, painter John Marin, photographer Alfred Stieglitz, and Margaret Anderson, editor of The Little Review.
At age 19, Antheil was invited to spend the weekend with Anderson and a group of friends; he stayed six months, and the close-knit group, who included Georgette Leblanc, former companion of Maurice Maeterlinck, were to become influential in Antheil's career. Anderson described Antheil as short with an oddly shaped nose, who played "a compelling mechanical music", and used "the piano exclusively as an instrument of percussion, making it sound like a xylophone or a cymballo". Intensely engaged in his music, during this period, Antheil worked on songs, a piano concerto, and a work that came to be known as "The Mechanisms".
Around this time, von Sternberg introduced Antheil to his patron of the next two decades: Mary Louise Curtis Bok, later the founder of the Curtis Institute of Music. Assured by von Sternberg of Antheil's genius and good character, Bok gave him a monthly stipend of $150, and arranged for him to study at the Philadelphia Settlement Music School. Though she came to disapprove of his behavior and his work, for the next 20 years, she continued to respond favorably to his letters. As her financial support enabled Antheil to maintain a degree of independence in his work, many observers believed he should have given her more credit in his autobiography for the length and extent of her contribution to his career.
Antheil continued his piano studies, and the study of modernist compositions, such as those by Igor Stravinsky and members of the Les Six group of French composers. In 1921, he wrote his first in a series of technology-based works, the solo piano Second Sonata, "The Airplane". Other works in the group included the Sonata Sauvage (1922–23) and subsequently Third Sonata, "Death of Machines" (1923), "Mechanisms" (c. 1923), both composed in Europe. He also worked on his first symphony, managing to attract Leopold Stokowski to premiere it. Before the performance could take place, Antheil left for Europe to pursue his career. This may have diminished his chances for success in his native country.
Berlin and Paris
On May 30, 1922, at the age of 21, Antheil sailed for Europe to make his name as "a new ultra-modern pianist composer" and a "futurist terrible". He had engaged Leo Ornstein's manager, and opened his European career with a concert at Wigmore Hall. The concert featured works by Claude Debussy and Stravinsky, as well as his own compositions.
He spent a year in Berlin, planning to work with Artur Schnabel, and gave concerts in Budapest, Vienna, and at the Donaueschingen Festival. As he had desired, he achieved notoriety, but often had to pay the concert expenses out of his own pocket. His financial situation was not helped by Mrs. Bok's reduction of his stipend by half, though she often responded to requests to fund specific aspects of his concerts. He met Boski Markus, a Hungarian and niece of the Austrian playwright Arthur Schnitzler, who became his companion and whom he married in 1925.
In the fall of 1922, Antheil took advantage of a chance meeting to introduce himself to his idol Stravinsky in Berlin. They established a warm intimacy and the more established composer encouraged Antheil to move to Paris. He went as far as arranging a concert to launch Antheil's career in the French capital, but the younger man failed to show up, preferring to travel to Poland with Markus. The Antheils finally arrived in Paris in June 1923, in time to attend the premiere of Stravinsky's ballet Les Noces, but the relationship with Stravinsky did not survive for long. Stravinsky snubbed the younger man, having discovered that Antheil had boasted that "Stravinsky admired his work". The breach devastated Antheil, and was not ultimately repaired until 1941, when Stravinsky sent the family tickets to a concert he was giving in Hollywood.
Despite the inauspicious beginning, Antheil found Paris, at the time, a center of musical and artistic innovation, to be a "green tender morning" compared to the "black night" of Berlin. Like George Gershwin, Antheil was among the few young American composers in Paris not to study with Nadia Boulanger.
The couple lived in a one bedroom apartment above Sylvia Beach's bookshop Shakespeare and Company. Beach described him "as fellow with bangs, a squished nose and a big mouth with a grin in it. A regular American high school boy." She was very supportive, and introduced Antheil to her circle of friends and customers including Erik Satie, Ezra Pound, James Joyce, Virgil Thomson, and Ernest Hemingway. Joyce and Pound were soon talking of an opera collaboration. Pound, in particular, was to become an extravagant supporter and promoter of Antheil and his work, comparing him variously to Stravinsky and James Cagney, and describing him as breaking down music to its "musical atom". Pound introduced Antheil to Jean Cocteau, who in turn helped launch Antheil into the musical salons of Paris; Pound also commissioned Antheil to write three violin sonatas for his mistress, Olga Rudge. In 1924, Pound published Antheil and the Treatise on Harmony, as part of his campaign to boost Antheil's reputation. The book may have done Antheil more harm than good, and the composer was to distance himself from it in his memoir. Natalie Barney helped produce some original works, including the First String Quartet in 1925.
Antheil was asked to make his Paris debut at the opening of the Ballets suédois, an important Paris social event. He programmed several recent compositions, including the "Airplane Sonata", the "Sonata Sauvage", and "Mechanism". Halfway through his performance, a riot broke out, much to Antheil's delight. According to Antheil, "People were fighting in the aisles, yelling, clapping, hooting! Pandemonium! ... the police entered, and any number of surrealists, society personages, and people of all descriptions were arrested ... Paris hadn't had such a good time since the premiere of Stravinsky's Sacre du Printemps." The riot was filmed and may in fact have been engineered, as the Marcel L'Herbier movie L'Inhumaine needed a riot scene set in a concert hall. In the audience were Erik Satie, Darius Milhaud, Man Ray, Pablo Picasso, Jean Cocteau, and Francis Picabia. Antheil was delighted when Satie and Milhaud praised his music.
Reactions to his first performances were cool at best. His technique was loud, brazen, and percussive. Critics wrote that he hit the piano rather than played it, and indeed he often injured himself by doing so. As part of his "bad boy" behavior, Antheil provocatively pulled a revolver from his jacket and laid it on the piano.
Ballet Mécanique and later work in Europe
Antheil's best-known composition is Ballet Mécanique. The noise music "ballet" was originally conceived to be accompanied by the film of the same name by experimental filmmakers Fernand Léger and Dudley Murphy (with cinematography by Man Ray), although the nature of the collaboration is mysterious. The first productions of Antheil's work in 1925 and 1926 did not include the film, which turned out to last around 19 minutes, only half as long as Antheil's score.
Antheil described his "first big work" as "scored for countless numbers of player pianos. All percussive. Like machines. All efficiency. No LOVE. Written without sympathy. Written cold as an army operates. Revolutionary as nothing has been revolutionary." Antheil's original conception was scored for 16 specially synchronized player pianos, two grand pianos, electronic bells, xylophones, bass drums, a siren and three airplane propellers, but difficulties with the synchronization resulted in a rewrite for a single pianola and multiple human pianists. The piece consisted of periods of music and interludes of silence set against the roar of the airplane propellers. Antheil described as "by far my most radical work ... It is the rhythm of machinery, presented as beautifully as an artist knows how." The Léger-Murphy film and Antheil's score were finally performed together at the Museum of Modern Art, New York, in 1935.
Antheil assiduously promoted the work, and even engineered his supposed "disappearance" while on a visit to Africa, so as to get media attention for a preview concert. The Paris première in June 1926 was sponsored by an American patroness who at the end of the concert was (according to Antheil) "tossed in a blanket by three baronesses and a duke." At the official première at the Théâtre des Champs-Élysées, Antheil's music enraged some of the concert-goers, whose objections were drowned out by the cacophonous music, while others vocally supported the work, and the concert ended with a riot in the streets.
On April 10, 1927, Antheil rented New York's Carnegie Hall to present an entire concert devoted to his works, including the American debut of Ballet Mécanique in a scaled-down version. He commissioned elaborate backdrops of skyscrapers and machines, and engaged an African American orchestra to premiere his A Jazz Symphony. The concert started well, but according to the concert's promoter and producer, when the wind machine was turned on, "all hell, in a minor way, broke loose." During the gale, audience members clutched their programs and their hats, one "tied a handkerchief to his cane and waved it wildly in the air in a sign of surrender." Much to the amusement of the audience, the untested siren failed to sound on cue, despite frantic cranking and reached its climax only after the end of the performance, as the audience was clapping and leaving the hall. American critics were hostile, calling the concert "a bitter disappointment" and dismissing the Ballet Mécanique as "boring, artless, and naive" and Antheil's hoped-for riots failed to materialize. The failure of the Ballet Mécanique affected him deeply, and he never fully recovered his reputation during his lifetime, though his interest in the mechanical was emulated by other prominent composers such as Arthur Honegger, Sergei Prokofiev, and Erik Satie. In 1954, Antheil created a modified version of the work for percussion, four pianos, and a recording of an airplane motor.
In the late 1920s, Antheil again moved to Germany, where he worked as assistant musical director of the municipal theatre in Berlin, and wrote music for the ballet and theatre. In 1930, he premiered his first opera Transatlantic. This work, which involved American politics, gangsters, a bathtub scene and a Childs Restaurant was a success at the Frankfurt Opera. In 1933, the rise of the Nazi party made Antheil's avant garde music unwelcome in Germany, and in the depths of the Depression, he returned to the US and settled in New York City.
He re-entered American life with enthusiasm, organizing concerts, working on committees with Aaron Copland and Wallingford Riegger, and writing piano, ballet, and film scores, as well as an opera Helen Retires about Helen of Troy; the latter proved a flop. His music had moved away from more extreme aspects of modernism, and more tonal, neoromantic aspects were by now discernible in his work.
Hollywood
In 1936, Antheil travelled to Hollywood, where he became a sought-after film composer, writing more than 30 scores for such directors as Cecil B. DeMille and Nicholas Ray, including The Scoundrel (1935) and The Plainsman (1936). The Antheils' only child, a son named Peter, was born in 1937. Antheil found the industry hostile to modern music, complaining that it was a "closed proposition", and describing most background scores as "unmitigated tripe". He became increasingly dependent on more independent producers such as Ben Hecht to give him work, such as Angels Over Broadway (1940) and Specter of the Rose (1946). He also wrote the score for the independent film Dementia (1955) and In a Lonely Place (1950) starring Humphrey Bogart. Antheil was confident in the ability of his music to save a weak film. "If I say so myself, I've saved a couple of sure flops".
Besides writing scores for movies, he continued to compose other music, including for ballet and six symphonies; his later works were in a more romantic style and influenced by Prokofiev and Shostakovich, as well as American music including jazz. Works such as Serenade No. 1, Piano Sonata No. 4, Songs of Experience and Eight Fragments from Shelley, written in 1948 showed a self-described desire "to disassociate myself from the passé modern schools of the last half-century, and to create a music for myself and those around me which has no fear of developed melody, real development itself, tonality, or other understandable forms." His 1953 opera Volpone was premiered in New York in 1953 to mixed reviews, while a visit to Spain in the 1950s influenced some of his last works, including the film score for The Pride and the Passion (1957). He also accepted a commission from the CBS Television network to compose a theme for their newsreel and documentary film series The Twentieth Century (1957–1966), narrated by Walter Cronkite.
Other interests
Apart from music, Antheil had many other pursuits. In 1930, as Stacey Bishop, he wrote a murder mystery called Death in the Dark with a character based on Ezra Pound. He was the film music reporter and critic for the magazine Modern Music from 1936 to 1940, writing columns considered lively and thoughtful, noting the comings and goings of musicians and composers during an era when the industry was flirting with more "modern" scores for films. He was disappointed, however, and wrote that "Hollywood, after a grand splurge with new composers and new ideas, has settled back into its old grind of producing easy and sure-fire scores."
Before World War II, he participated in the Hollywood Anti-Nazi League, putting on exhibits of artworks banned in Nazi Germany such as those by Käthe Kollwitz. He also published a book of war predictions, entitled The Shape of the War to Come.
In 1945, he published a memoir called Bad Boy of Music, which became a bestseller.
Antheil wrote a nationally syndicated newspaper relationship advice column, as well as regular columns in magazines such as Esquire and Coronet. He considered himself an expert on female endocrinology, and wrote a series of articles about how to determine the availability of women based on glandular effects on their appearance, with titles such as "The Glandbook for the Questing Male". Another book of "glandular criminology" was titled Every Man His Own Detective.
Antheil's interest in this area brought him into contact with the actress Hedy Lamarr, who sought his advice about how she might enhance her upper torso. He suggested glandular extracts, but their conversation then moved to torpedoes.
Frequency-hopping radio invention
During World War II, Lamarr realized that a single radio-controlled torpedo could severely damage or sink enemy ships causing irreparable damage. However these radio-controlled torpedoes could easily be detected and jammed, by broadcasting interference at the frequency of the control signal, thereby causing the torpedo to go off course.
Antheil and Lamarr developed the idea of using frequency hopping: in this case using a player piano roll to randomly change the signal sent between the control center and torpedo at short bursts within a range of 88 frequencies on the spectrum (88 black and white keys are on a piano keyboard). The specific code for the sequence of frequencies would be held identically by the controlling ship and in the torpedo. This basically encrypted the signal, as it was impossible for the enemy to scan and jam all 88 frequencies because this would have required too much power. Antheil would control the frequency-hopping sequence using a player-piano mechanism, which he had earlier used to score his Ballet Mécanique.
On August 11, 1942, U.S. patent 2,292,387 was granted to Antheil and "Hedy Kiesler Markey", Lamarr's married name at the time. This early version of frequency hopping, though novel, soon met with opposition from the U.S. Navy and was not adopted.
The idea was not implemented in the US until 1962, when it was used by U.S. military ships during a blockade of Cuba after the patent had expired. The patent was little known until 1997, when the Electronic Frontier Foundation gave Lamarr a belated award for her contributions. In 1998, an Ottawa wireless technology developer, Wi-LAN, acquired a 49% claim to the long expired patent from Lamarr for an undisclosed amount of stock. Lamarr and Antheil's frequency-hopping scheme shares some concepts with modern spread-spectrum communication technology, such as Bluetooth, COFDM used in Wi-Fi network connections, and CDMA used in some cordless and wireless telephones. Blackwell, Martin, and Vernam's 1920 Secrecy Communication System (U.S. patent 1,598,673) was a predecessor to Kiesler and Antheil's patent, which employed the techniques in the autonomous control of torpedoes.
Death
Antheil was just 58 when he died of a heart attack in 1959 in the New York City borough of Manhattan. His legacy included three accomplished students, Henry Brant, Benjamin Lees, and Ruth White. He is buried in Riverview Cemetery, in Trenton, New Jersey.
In literature
"Antheil's my man." Mrs. McKisco turned challengingly to Rosemary, "Antheil and Joyce. I don't suppose you ever hear much about those sort of people in Hollywood, but my husband wrote the first criticism of Ulysses that ever appeared in America." (F. Scott Fitzgerald, Tender Is the Night)
Listening
Art of the States: George Antheil Second Sonata for Violin (1923) and Dreams (1934–35)
Piano Music Archived July 25, 2008, at the Wayback Machine Fourth Sonata, Sonate Sauvage, Woman Sonata performed by Guy Livingston
American Mavericks: Program 3 – Oh to Be Popular Three works performed by the San Francisco Symphony
New Music Jukebox: George Antheil Three works performed by the American Composers Orchestra
From Other Minds Antheil Plays Antheil
Del Sol Quartet: George Antheil The Complete Works for String Quartet by Del Sol Quartet, New Jersey
Giuseppe Galante – George Antheil: Sonata for Trumpet: I. Allegretto on YouTube, II. Dolce – espressivo on YouTube, III. Scherzo – Vivace on YouTube, IV: Allegretto on YouTube
The Original American in Paris – text of a programme written for BBCr3 by Michael Maxwell Steer in 1988
Antheil by Paul Lehrman
George Antheil and a modern-day performance of Ballet Mécanique Wired
Antheil and Futurpiano at LTM
Antheil's life and works curated by Les amis de George Antheil (Paris)
Guy Livingston talks about the Ballet mécanique broadcast by ConcertZender Radio, Utrecht
Marcel Quillévéré broadcast in five episodes Life, works, and context of George Antheil on Radio Suisse Romande (2015)
Hearing Antheil's 'Lost Sonatas' Again NPR interview with pianist and musicologist Guy Livingston. May 23, 2014
Bad boy of music: the rise and fall of George Antheil ABC broadcast. February 24, 2015
Audio (18:00) on YouTube, George Antheil interview by Truman Fisher (KPPC-FM Radio; 1958)
Interview with Benjamin Lees about George Antheil, 1970 Other Minds Archives
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 33 | 91.9th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 37 | 92.1th |
| Studio albums | 32 | 98.4th |
| Awards recorded | 3 | 95.4th |
| Timeline events | 38 | 97.9th |
| Recording span (years) | 4 | 17th |
| Genres | 9 | 95.7th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (37 release groups · 32 studio albums)
Albums · 32
George Antheil: Ballet mécanique / Henry Brant: Signs & Alarms / Galaxy 2 (1954)
1955 · studio album
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Tracklist · 3 tracks · 31:34
1Ballet mécanique17:152Signs and Alarms9:033Galaxy 2 (1954)5:16Ballet Mécanique / Toccata For Percussion / October Mountain / Sketch For Percussion
1959 · studio album
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Tracklist · 4 tracks · 40:30
1Ballet Mécanique17:482Sketch For Percussion3:513Toccata For Percussion Instruments11:224October Mountain7:29Maxwell Davies: St. Thomas Wake / Antheil: Symphony no. 5
1969 · studio album
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Tracklist · 2 tracks · 42:57
1St. Thomas Wake: Foxtrot for Orchestra20:572Symphony no. 522:00Ballet Mécanique / A Jazz Symphony / Violin Sonatas no. 1 & 2
1977 · studio album
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Tracklist · 4 tracks · 35:24
ABallet mécanique15:02B1A Jazz Symphony6:32B2Violinsonate Nr. 1 (Finale)6:20B3Violinsonate Nr. 27:301994 · studio album
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Tracklist · 23 tracks · 1:17:39
1The Tides of Mamaunaun (1912)3:502The Hero Sun (1922)2:593The Voice of Lir (1920)4:334Aeolian Harp (1923)2:475Banshee (1925)2:466Anger Dance (1913)2:207Dynamic Motion (1913)3:408What's This (1913)3:409Amiable Conversation (1917)0:5010Advertisement (1914/59)0:5911Antinomy (1914)1:3912Time Table (1914/15)3:5313Tiger (1928)4:1414Second Sonata "The Airplane" (1922): 1st Movement3:0815Second Sonata "The Airplane" (1922): 2nd Movement2:4216Sonata Sauvage (1922/23): 1st Movement4:1117Sonata Sauvage (1922/23): 2nd Movement5:1918Sonata Sauvage (1922/23): 3rd Movement1:1119Jazz Sonata (1922)2:1620Suicide in an Airplane (ca. 1915)5:2421Impressions de Notre-Dame, op. 16: No. 1 (ca. 1915)6:1222Impressions de Notre-Dame, op. 16: No. 2 (ca. 1915)5:4623Wild Mens Dance, op. 13 no. 2 (ca. 1914)3:201995 · studio album
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Tracklist · 36 tracks · 1:12:40
1Synthèses, op. 16: 1. Lent2:552Synthèses, op. 16: 2. Modérément animé2:123Synthèses, op. 16: 3. Vite (Aigu)2:344Synthèses, op. 16: 4. Assez vite, mais toujours mesuré1:235Synthèses, op. 16: 5. Mesuré1:566Formes en l'air (À Pablo Picasso): 1.2:547Formes en l'air (À Pablo Picasso): 2.3:038Formes en l'air (À Pablo Picasso): 3.3:499Suicide in an Airplane3:4110Three Moods: 1. Anger2:2011Three Moods: 2. Grief3:2912Three Moods: 3. Joy2:5913À la chinoise4:0014Mechanisms: 1.5:5915Mechanisms: 2.3:4516Mechanisms: 3.2:5217La Femme 100 têtes (after Max Ernst): 1. Thoughtfully, Not Too Slow1:2318La Femme 100 têtes (after Max Ernst): 2. Thoughtfully, Not Too Slow1:1219La Femme 100 têtes (after Max Ernst): 3. Faintly Energetic1:1120La Femme 100 têtes (after Max Ernst): 5. Furioso0:1821La Femme 100 têtes (after Max Ernst): 6. Floating0:5722La Femme 100 têtes (after Max Ernst): 7. Sad0:5823La Femme 100 têtes (after Max Ernst): 8. Electrical, Spiccato0:4824La Femme 100 têtes (after Max Ernst): 9. Sad1:3825La Femme 100 têtes (after Max Ernst): 10. Slightly, Brutal Tempo0:3526La Femme 100 têtes (after Max Ernst): 13. Nostalgic, Twisted, Slowly1:5427La Femme 100 têtes (after Max Ernst): 15. Slowly1:5428La Femme 100 têtes (after Max Ernst): 16. Lights Flashing1:0529La Femme 100 têtes (after Max Ernst): 25. Minuet?0:4530La Femme 100 têtes (after Max Ernst): 26. Onward Christian Soldiers1:2931La Femme 100 têtes (after Max Ernst): 32. Sad1:1832La Femme 100 têtes (after Max Ernst): 33. Mystic Tempo2:1633La Femme 100 têtes (after Max Ernst): 35. Furioso0:1934La Femme 100 têtes (after Max Ernst): 40. Nostalgic1:0135La Femme 100 têtes (after Max Ernst): 44. A Machine1:1436La Femme 100 têtes (after Max Ernst): 45. Cruel, Quick0:341995 · studio album
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Tracklist · 10 tracks · 50:48
1String Quartet No. 1 String quartet in one movement15:402String Quartet No. 2 "For Sylvia Beach, With Love": I. Larghetto3:063String Quartet No. 2 "For Sylvia Beach, With Love": II. (Part 1) Lento4:314String Quartet No. 2 "For Sylvia Beach, With Love": II. (Part 2) Fuga2:215String Quartet No. 2 "For Sylvia Beach, With Love": III. Rondino Scherzino; Allegro vivace4:226String Quartet No. 2 "For Sylvia Beach, With Love": IV. Cadenza Finale; Presto1:207String Quartet No. 3: I. Allegro5:468String Quartet No. 3: II. Largo6:019String Quartet No. 3: III. Scherzo; Quasi presto2:3410String Quartet No. 3: IV. Allegro giocoso5:071996 · studio album
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Tracklist · 13 tracks · 1:19:02
1Printemps I1:122Ballet mécanique14:253Fighting the Waves14:334A Jazz Symphony6:355Lithuanian Night: I. Moderato2:306Lithuanian Night: II. Presto1:127Jazz Sonata2:038Concerto for Chamber Orchestra14:299Violin Sonata No. 1: I. Allegro moderato9:0910Violin Sonata No. 1: II. Andante moderato2:0711Violin Sonata No. 1: III. Funebre: Lento expressivo4:2712Violin Sonata No. 1: IV. Presto5:1313Printemps II1:071999 · studio album
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Tracklist · 27 tracks · 1:13:28
1Stehende Musik3:092Cinq marches caractéristiques: Energico ed animato2:313Cinq marches caractéristiques: Andante tranquillamente2:284Cinq marches caractéristiques: Con fuoco ed energia2:285Cinq marches caractéristiques: Marcia funebre3:526Cinq marches caractéristiques: Vivo e sereno2:187Adagio Nr. 57:478Variation1:379Tango3:4010Nomos, op. 2: I2:1711Nomos, op. 2: II1:3912Nomos, op. 2: III1:5913Nomos, op. 2: IV3:0614Nomos, op. 2: V1:3615Tanz, op. 105:1216Phantasie, op. 174:3517Zwölftonspiel Weihnachten 19464:5218nature vivante - six pieces expressionnistes: Strophe d'album0:5919nature vivante - six pieces expressionnistes: Prélude gris2:1920nature vivante - six pieces expressionnistes: Nettement désagréable1:2621nature vivante - six pieces expressionnistes: Morceau poétique1:3222nature vivante - six pieces expressionnistes: Lasse et plaintif1:4523nature vivante - six pieces expressionnistes: Joyeux1:3824einsames getröpfel1:4625Sonatina "Death of the Machines"1:4826Shimmy1:0927Marsch Alexander des Großen über die Brücken von Hamburg4:00Ballet Mécanique and Other Works for Player Pianos, Percussion, and Electronics
2000 · studio album
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Tracklist · 7 tracks · 59:45
1Double Music6:462Shoot the Piano Player4:363Mister 5286:494Rítmica no. 52:425Rítmica no. 61:576Saltarello - Presto from Symphony no. 4 "Italian"6:027Ballet pour instruments mécaniques et percussion30:53Symphony no. 4 / Symphony no. 6 / McKonkey's Ferry
2000 · studio album
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Tracklist · 8 tracks · 1:07:41
1McKonkey's Ferry (Washington at Trenton), A Concert Overture9:142Symphony no. 4 "1942": I. Moderato – Allegretto9:503Symphony no. 4 "1942": II. Allegro9:074Symphony no. 4 "1942": III. Scherzo: Presto5:285Symphony no. 4 "1942": IV. Allegro non troppo7:586Symphony no. 6: I. Maestoso – Allegro molto; Marcato8:577Symphony no. 6: II. Larghetto9:118Symphony no. 6: III. Allegro7:562000 · studio album
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Tracklist · 8 tracks · 1:02:34
1Symphony no. 1 "Zingareska": Innocènte7:472Symphony no. 1 "Zingareska": Vivo, alla zingaresco, poi "ragtime"9:353Symphony no. 1 "Zingareska": Doloroso elevato7:394Symphony no. 1 "Zingareska": Ragtime6:095Symphony no. 6 "after Delacroix": Allegro molto marcato7:586Symphony no. 6 "after Delacroix": Larghtetto10:317Symphony no. 6 "after Delacroix": Allegro7:258Archipelago (Rhumba)5:302000 · studio album
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Tracklist · 8 tracks · 1:03:02
1Symphony No 4 "1942": Moderato10:382Symphony No 4 "1942": Allegro9:293Symphony No 4 "1942": Scherzo5:204Symphony No 4 "1942": Allegro non troppo8:095Decatur at Algiers7:156Symphony No 5 "Joyous": Allegro7:447Symphony No 5 "Joyous": Adagio molto8:058Symphony No 5 "Joyous": Finale. Allegretto6:222001 · studio album
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Tracklist · 19 tracks · 38:48
1Two-Part Study no. 1: Presto1:092Two-Part Study no. 2: Andantino2:033Two-Part Study no. 3: Allegro0:534Prelude1:245Blues2:226Sonatina für Radio, W. 584:037Piano Sonata no. 2, W. 40 "Airplane": I. To be played as fast as possible2:368Piano Sonata no. 2, W. 40 "Airplane": II. Andante moderato2:209Mechanisms, W. 509:5210La Femme 100 Têtes, W. 60 no. 44: A Machine0:3011Piano Sonata no. 3, W. 42 "Death of the Machines": I. Moderato0:2312Piano Sonata no. 3, W. 42 "Death of the Machines": II. Accelerando0:1313Piano Sonata no. 3, W. 42 "Death of the Machines": III. Accelerando0:1914Piano Sonata no. 3, W. 42 "Death of the Machines": IV. Accelerando0:3815Piano Sonata no. 4, W. 43 "Jazz Sonata"1:3116Sonata sauvage, W. 41: I. Allegro Vivo2:5117Sonata sauvage, W. 41: II. Moderato3:5518Sonata sauvage, W. 41: III. Moderato / Xylophonic, Prestissimo0:5419Little Shimmy, W. 450:522001 · studio album
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Tracklist · 8 tracks · 59:22
1Ballet Mécanique (1953 revision), W. 156c16:062Serenade for String Orchestra no. 1, W. 189: I. Allegro3:333Serenade for String Orchestra no. 1, W. 189: II. Andante molto7:364Serenade for String Orchestra no. 1, W. 189: III. Vivo4:345Symphony for Five Instruments (second version) "Quintette":, W. 129b: I. Allegro5:056Symphony for Five Instruments (second version) "Quintette":, W. 129b: II. Lento4:197Symphony for Five Instruments (second version) "Quintette":, W. 129b: III. Presto2:318Concert for Chamber Orchestra, W. 17015:382003 · studio album
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Tracklist · 15 tracks · 1:06:47
1Fifth Sonata: I. Andante - Allegro molto7:062Fifth Sonata: II. Minuet5:163Fifth Sonata: III. Allegro6:244Sonate Sauvage: I. A la nègre3:395Sonate Sauvage: II. Serpents3:596Sonate Sauvage: III. Ivoire1:087Woman Sonata: I. Woman (Langour)5:028Woman Sonata: II. Tree (Prestissimo)0:279Woman Sonata: III. Flower (Moderato)0:4310Fourth Sonata: I. Allegro giocoso5:1311Fourth Sonata: II. Andante5:4112Fourth Sonata: III. Vivo3:3913Third Sonata: I. Allegro5:1214Third Sonata: II. Adagio8:4715Third Sonata: III. Diabolic 'Cartoon'4:31Symphony no 3 "American" / Tom Sawyer / Hot-Time Dance
2004 · studio album
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Tracklist · 10 tracks · 1:01:27
1Symphony No 3 "American": Allegro8:512Symphony No 3 "American": Andante7:103Symphony No 3 'American": 'The Golden Spike' Andante4:044Symphony No 3 "American": 'Back to Baltimore' Presto5:075Tom Sawyer, "California Overture"5:306Hot-Time Dance4:297McKonkey's Ferry, Overture9:078Capital of the World Suite: The Tailor Shop5:219Capital of the World Suite: Meditation7:3210Capital of the World Suite: Knife Dance4:16The Complete Works for String Quartet
2005 · studio album
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Tracklist · 17 tracks · 1:03:14
1Lithuanian Night: I. Moderato2:172Lithuanian Night: II. Presto1:163Quartet No. 1 for Strings in One Movement14:324Quartet No. 2 for Strings (Original Version, 1927), "For Sylvia Beach, with Love": I. Larghetto - Allegro subito7:515Quartet No. 2 for Strings (Original Version, 1927), "For Sylvia Beach, with Love": II. Lento4:076Quartet No. 2 for Strings (Original Version, 1927), "For Sylvia Beach, with Love": III. Rondino scherzino - Allegro vivace6:297Quartet No. 2 for Strings (Original Version, 1927), "For Sylvia Beach, with Love": IV. Presto - Cadenza finale1:118Six Little Pieces for String Quartet, "For Mary Louise Bok": 1. Moderato expressivo1:149Six Little Pieces for String Quartet, "For Mary Louise Bok": 2. Allegro0:5110Six Little Pieces for String Quartet, "For Mary Louise Bok": 3. Andante (Six Little Pieces for String Quartet (1931))1:3911Six Little Pieces for String Quartet, "For Mary Louise Bok": 4. Allegro0:4412Six Little Pieces for String Quartet, "For Mary Louise Bok": 5. Vivo (Six Little Pieces for String Quartet (1931))0:4513Six Little Pieces for String Quartet, "For Mary Louise Bok": 6. Adagio2:4214Quartet No. 3 for Strings: I. Allegretto5:3115Quartet No. 3 for Strings: II. Largo5:1716Quartet No. 3 for Strings: III. Scherzo - Quasi presto2:1417Quartet No. 3 for Strings: IV. Allegro giocoso4:34Piano Concertos nos. 1 & 2 / A Jazz Symphony / Jazz Sonata
2006 · studio album
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Tracklist · 10 tracks · 1:05:33
1Piano Concerto no. 121:402Piano Concerto no. 2: I. Moderato9:493Piano Concerto no. 2: II. Largo5:184Piano Concerto no. 2: III. Allegro4:465A Jazz Symphony8:036Jazz Sonata1:477Can-Can4:558Sonatina4:209Death of Machines3:0410Little Shimmy1:512010 · studio album
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Tracklist · 45 tracks · 39:58
1La Femme 100 têtes : I. Thoughtfully, not too slow1:142La Femme 100 têtes : II. Thoughtfully, not too slow0:533La Femme 100 têtes : III. Faintly energetic0:544La Femme 100 têtes : IV. Floating0:395La Femme 100 têtes : V. Furioso0:216La Femme 100 têtes : VI. Floating0:547La Femme 100 têtes : VII. Sad1:128La Femme 100 têtes : VIII. Electrical, spiccato0:299La Femme 100 têtes : IX. Sad2:0810La Femme 100 têtes : X. Slightly brutal tempo0:2911La Femme 100 têtes : XI. Bawdy; ferocious tempo0:2012La Femme 100 têtes : XII. Brilliant; clean, fast0:4813La Femme 100 têtes : XIII. Nostalgic, twisted, slowly1:3714La Femme 100 têtes : XIV. Brilliant, fast, tricky0:2315La Femme 100 têtes : XV. Slowly1:2416La Femme 100 têtes : XVI. Lights flashing0:1917La Femme 100 têtes : XVII. Brilliant0:3618La Femme 100 têtes : XVIII. Banged, an even forte throughout0:4919La Femme 100 têtes : XIX. Fast, an even piano throughout0:2320La Femme 100 têtes : XX. Faster0:1321La Femme 100 têtes : XXI. Slower0:3822La Femme 100 têtes : XXII. Faster, an even fortissimo throughout0:3223La Femme 100 têtes : XXIII. Well articulated0:2724La Femme 100 têtes : XXIV. Slowly1:4225La Femme 100 têtes : XXV. Minuet ?0:3626La Femme 100 têtes : XXVI. Onward Christian soldiers0:5627La Femme 100 têtes : XXVII. Dreaming thoughtfully1:3628La Femme 100 têtes : XXVIII. Knocked and brilliant0:3829La Femme 100 têtes : XXIX. Nostalgic, slowly2:1730La Femme 100 têtes : XXX. Brilliant0:3631La Femme 100 têtes : XXXI. Not too slow: Fairly good tempo0:3932La Femme 100 têtes : XXXII. Sad1:3133La Femme 100 têtes : XXXIII. Mystic tempo1:2234La Femme 100 têtes : XXXIV. Brilliant0:2035La Femme 100 têtes : XXXV. Furioso0:1736La Femme 100 têtes : XXXVI. Glittering, fast0:5637La Femme 100 têtes : XXXVII. Subtle, tender1:0538La Femme 100 têtes : XXVIII. Broad1:4539La Femme 100 têtes : XXXIX. Brilliant and naked0:3440La Femme 100 têtes : XL. Nostalgic1:4041La Femme 100 têtes : XLI. Brilliant0:3042La Femme 100 têtes : XLIII. Brilliant, not too fast1:0243La Femme 100 têtes : XLIV. A machine0:3144La Femme 100 têtes : XLV. Cruel, quick0:3045La Femme 100 têtes : Percussion Dance1:132011 · studio album
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Tracklist · 14 tracks · 54:09
1The Brothers, Op. 1, Scene 1: And in the Process of Time (Mary)4:072The Brothers, Op. 1, Scene 1: Good Morning, Folks (Ken)3:473The Brothers, Op. 1, Scene 1: Dad Willed It to You (Ken)2:334The Brothers, Op. 1, Scene 1: Aria: Once, Years Ago (Ken)3:445The Brothers, Op. 1, Scene 1: The Bus! (Tutti)1:556The Brothers, Op. 1, Interlude - Scene 2: Abe, Is That You? (Mary)3:257The Brothers, Op. 1, Scene 2: I've Got to Talk to You (Mary)2:248The Brothers, Op. 1, Scene 2: Aria: My Love's a Ghost (Mary)3:179The Brothers, Op. 1, Scene 2: Well? Why Don't You Call Your Husband? (Ran)4:4610The Brothers, Op. 1, Scene 2: Mary, My Precous Lovely One (Abe)5:3211The Brothers, Op. 1, Scene 2: Yes, Yes, It Was One of My Dreams! (Mary) - What, Mary? [Abe]3:4212The Brothers, Op. 1, Interlude - Scene 3: And the Lord Said Unto Cain (Mary)7:0513The Brothers, Op. 1, Scene 3: You … You … You Monster! (Mary)3:3414The Brothers, Op. 1, Scene 3: Mary Dear - Have You Turned Out the Light? (Abe)4:182014 · studio album
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Tracklist · 2 tracks · 39:51
1A Jazz Symphony (original version, 1925)13:142Ballet pour instruments mécaniques et percussion (original version, 1924)26:372016 · studio album
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Tracklist · 32 tracks · 2:30:37
Disc 11Fireworks and the Profane Waltzes 14:302Concert Pianist (Narr.)3:433Jazz Sonata 11:484Beginnings (Narr.)8:235Sonatina "Death of the Machines" 12:036Scandal in Paris! (Narr.)5:257Second Sonata "the Airplane": To Be Played as Fast as Possible 13:018Second Sonata "the Airplane": Andante Moderato 12:239Ballet Mécanique (Narr.)7:0810Sonatina Für Radio 13:5811Vienna in the Spring (Narr.)7:3812Little Shimmy "Für Mein Nur Einziger Böski" 11:2413Hollywood (Narr.)4:4814The Golden Bird, After Brancusi 14:0615Hedy Lamarr and I Invent and Patent a Radio Torpedo (Narr.)9:30163rd Movement from Piano Sonata No. 4 (Finale. Presto) 13:32Disc 21Fireworks and the Profane Waltzes 24:322Konzertpianist (Narr.)4:003Jazz Sonata 21:474Anfänge (Narr.)10:345Sonatina "Death of the Machines" 22:046Skandal in Paris! (Narr.)5:167Second Sonata "the Airplane": To Be Played as Fast as Possible 23:018Second Sonata "the Airplane": Andante Moderato 22:239Ballet Mécanique (Narr.)8:5010Sonatina Für Radio 23:5611Wien Im Frühling (Narr.)7:3812Little Shimmy "Für Mein Nur Einziger Böski" 21:2313Hollywood (Narr.)4:3914The Golden Bird, After Brancusi 24:0415Hedy Lamarr Und Ich Erfinden Ein Funkgesteuertes Torpedo Und Lassen Es Patentieren (Narr.)9:38163rd Movement from Piano Sonata No. 4 (Finale. Presto) 23:32Symphony no. 4 "1942" / Symphony no. 5 "Joyous" / Over the Plains
2017 · studio album
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Tracklist · 8 tracks · 1:05:40
1Over the Plains7:422Symphony no. 4 "1942": I. Moderato - Poco più mosso - Poco meno - Più mosso - Allegretto - Poco più mosso - Poco meno marcato - Poco più mosso - Poco più mosso - Poco a poco meno mosso - Più mosso - Meno mosso - Più mosso - Più mosso - Poco più mosso - (Poco meno) - Più mPoco più mosso - Poco più mos10:593Symphony no. 4 "1942": II. Allegro - Poco meno mosso - More mysterious, slower than before - Andante - A tempo (Allegro, twice as quickly as before) - Half as fast - Andante - Agitato - Poco meno mosso - più mosso - Poco meno mosso - A tempo (Allegro) - Agitato (Or about half as fast) - A tempo I (Al9:334Symphony no. 4 "1942": III. Scherzo. Allegro molto - Marcato - Poco meno mosso - Marcia lento - A tempo (Presto)5:245Symphony no. 4 "1942": IV. Allegro non troppo - Più mosso - Meno mosso - Più mosso - Meno mosso - A tempo I - Poco meno mosso - Più mosso - Poco meno mosso - A tempo con tutta forza8:006Symphony no. 5 "Joyous": I. Allegro - Molto marcato - Più mosso, poco più animato - Poco meno, più marcato - Molto marcato - Poco meno mosso, molto marcato sempre - Poco più - Più mosso, molto marcato - Molto marcato, a tempo I - Poco più mosso9:097Symphony no. 5 "Joyous": II. Adagio molto - Poco più mosso - A tempo I - Poco più mosso, molto cantabile e espressivo - Poco più mosso (Poco a poco più agitato) - Agitato - Ancora più mosso (molto agitato) - A tempo I - A tempo I, ma perdendosi7:598Symphony no. 5 "Joyous": III. Finale. Allegretto (maestoso) - Allegro giocoso (Più mosso) - Poetico, misterioso - Teneramente, dolce - Poco più mosso - Cantando - Poco più mosso - Accelerando - Misterioso (Poco meno mosso) - Poco meno mosso, molto marcato - A tempo Allegro giocoso (Poco più mosso)6:542017 · studio album
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Tracklist · 6 tracks · 57:25
1A Jazz Symphony12:282Concerto for Piano and Orchestra no. 121:403Capital of the World Orchestral Suite: I. The Tailor Shop5:404Capital of the World Orchestral Suite: II. Meditation7:345Capital of the World Orchestral Suite: III. Knife Dance and Farruca4:216Archipelago, "Rhumba"5:42Piano Music, Volume One: Late Works, 1939-55
2018 · studio album
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Tracklist · 32 tracks · 1:08:46
1Mother's Day Piece1:392The Ben Hecht Valses5:033Musical Picture of a Friend4:254Carnival of the Beautiful Dresses: I. Opening Choral0:565Carnival of the Beautiful Dresses: II. À la valse1:546Carnival of the Beautiful Dresses: III. Mexicali1:017Carnival of the Beautiful Dresses: IV. Valse Passion1:368Carnival of the Beautiful Dresses: V. Habañera - Rhumba2:069Carnival of the Beautiful Dresses: VI. Love Affair Valse0:5810Carnival of the Beautiful Dresses: VII. Autumn Fancy1:0111Carnival of the Beautiful Dresses: VIII. Gamin Valse1:4412Carnival of the Beautiful Dresses: IX. Martinique0:5913Carnival of the Beautiful Dresses: X. Grand Climax5:2214Carnival of the Beautiful Dresses: XI. Valse of the Female Gamin Who Fell in Love Hopelessly for a Time2:4615Carnival of the Beautiful Dresses: XII. Gay American Valse0:3616Carnival of the Beautiful Dresses: XIII. Finale Rhumbetta1:17172 Toccatas: No. 1,2:04182 Toccatas: No. 2,2:2819Valentine Waltzes: No. 1,2:0220Valentine Waltzes: No. 2,1:3621Valentine Waltzes: No. 3,1:3322Valentine Waltzes: No. 4,0:5523Valentine Waltzes: No. 5,1:1924Valentine Waltzes: No. 6,0:3825Valentine Waltzes: No. 7,1:4226Valentine Waltzes: No. 8,2:1127Valentine Waltzes: No. 9,1:1328Valentine Waltzes: No. 10,1:4229Valentine Waltzes: No. 11,2:2730Piano Sonata No. 5: III. Allegro4:3131Waltzes from Volpone6:4432Berceuse for Thomas Montgomery Newman2:18Dementia aka Daughter of Horror
2019 · studio album
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Tracklist · 8 tracks · 1:14:25
1Dementia aka Daughter of Horror: Dementia9:132Dementia aka Daughter of Horror: More Dementia8:343Dementia aka Daughter of Horror: The Return of Dementia11:444Dementia aka Daughter of Horror: The Dementia Continues9:345Dementia aka Daughter of Horror: Dementia: The Final Chapter8:506Piano Concerto: First Movement9:527Piano Concerto: Second Movement7:038Piano Concerto: Third Movement9:352019 · studio album
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Tracklist · 10 tracks · 1:06:49
1Archipelago (Rhumba)6:092Symphony no. 3 "American": I. Allegro8:283Symphony no. 3 "American": II. Andante6:394Symphony no. 3 "American": III. The Golden Spike. Andante4:185Symphony no. 3 "American": IV. Back to Baltimore. Presto5:276Hot-Time Dance4:387Symphony no. 6 "After Delacroix": I. Allegro molto marcato8:538Symphony no. 6 "After Delacroix": II. Larghetto9:429Symphony no. 6 "After Delacroix": III. Allegro7:4210Spectre of the Rose Waltz4:53Violin Sonatas (Complete Violin Music Vol. 1)
2019 · studio album
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Tracklist · 9 tracks · 1:18:53
1Violin Sonata No. 1: I. Allegro moderato11:532Violin Sonata No. 1: II. Andante moderato3:223Violin Sonata No. 1: III. Funebre, lento esperessivo5:024Violin Sonata No. 1: IV. Presto7:005Violin Sonata No. 2: Allegro9:136Violin Sonata No. 3: Allegro moderato18:027Violin Sonata No. 4: I. Scherzo-Asonata-Allegro - Allegro giocoso8:218Violin Sonata No. 4: II. Passacaglia-Variatuions - Larghetto8:599Violin Sonata No. 4: III. Toccata-Rondo - Allegro comodo7:012019 · studio album
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Tracklist · 11 tracks · 1:10:27
1McKonkey’s Ferry9:242Capital of the World: I. The Tailor Shop5:253Capital of the World: II. Meditation8:264Capital of the World: IIIa. Knife Dance & Farruca. Allegro con fuoco1:315Capital of the World: IIIb. Knife Dance & Farruca. Allegro molto2:466Golden Bird4:277Nocturne in Skyrockets5:408Symphony no. 1 “Zingareska”: I. Innocènte8:529Symphony no. 1 “Zingareska”: II. Vivo, alla zingaresco, poi “ragtime”9:1610Symphony no. 1 “Zingareska”: III. Doloroso elevato8:5311Symphony no. 1 “Zingareska”: IV. Ragtime5:47Serenades 1 & 2 / The Golden Bird / Dreams
2019 · studio album
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Tracklist · 16 tracks · 1:14:02
1Serenade no. 1 for String Orchestra: Allegro3:412Serenade no. 1 for String Orchestra: Andante8:253Serenade no. 1 for String Orchestra: Vivo4:404Serenade no. 2 for String Orchestra: Moderately fast – Poco più mosso8:555Serenade no. 2 for String Orchestra: Adagio7:486Serenade no. 2 for String Orchestra: Quite fast5:597The Golden Bird4:128Dreams: Introduction0:509Dreams: Andante – Allegro molto (Sonatina) – Andante2:1710Dreams: Polka1:0411Dreams: Rat1:3612Dreams: Acrobate3:0813Dreams: King’s March4:1714Dreams: Can-Can5:0215Dreams: Valse lent6:1016Dreams: Finale: Presto5:582023 · studio album
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Tracklist · 9 tracks · 1:08:29
1Violin Sonata no. 1: I. Allegro moderato10:212Violin Sonata no. 1: II. Andante moderato3:333Violin Sonata no. 1: III. Funebre, lento espressivo4:324Violin Sonata no. 1: IV. Presto5:515Violin Sonata no. 28:526Violin Sonata no. 314:227Violin Sonata no. 4: I. Scherzo7:168Violin Sonata no. 4: II. Passacaglia Variations7:129Violin Sonata no. 4: III. Toccata-Rondo6:30
Album · 4
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 1957 | The Pride and the PassionSearch SpotifySearch YouTube MusicTracklist · 12 tracksA1Main Title A2Juana-Flamenco A3The British Captain A4Windmill Camp at Night A5The Knife Fight A6Juana's Love Theme A7Rescue of the Gun B1Juana's Choice B2The Pride and the Passion-Bolero B3Miguel's Theme B4The Procession B5Fulfillment and End Title | Soundtrack | 1957 | |
| 1992 | Ballet mécaniqueSearch SpotifySearch YouTube MusicTracklist · 6 tracks · 1:00:561A Jazz Symphony12:43 2Second Sonata for Violin, Piano and Drum8:16 3String Quartet no. 113:04 4Ballet pour instruments mécanique et percussion: Roll One7:53 5Ballet pour instruments mécanique et percussion: Roll Two10:56 6Ballet pour instruments mécanique et percussion: Roll Three8:04 | Live | 1992 | |
| 2012 | Antheil Plays Antheil: The Rare SPA Recordings & Private Audio DocumentsSearch SpotifySearch YouTube MusicTracklist · 34 tracks · 2:24:27Disc 1 1Valentine Waltzes Part 12:11 2Valentine Waltzes Part 21:28 3Valentine Waltzes Part 31:11 4Valentine Waltzes Part 40:44 5Valentine Waltzes Part 51:33 6Valentine Waltzes Part 60:46 7Valentine Waltzes Part 71:36 8Valentine Waltzes Part 81:53 9Valentine Waltzes Part 91:13 10Valentine Waltzes Part 101:48 11Valentine Waltzes Part 112:35 12Eight Fragments from Shelley: When Soft Winds1:39 13Eight Fragments from Shelley: To the Moon1:17 14Eight Fragments from Shelley: When the Lamp Is Shattered4:59 15Eight Fragments from Shelley: I Stood Upon a Heaven Cleaving Turret2:43 16Eight Fragments from Shelley: A Dirge3:11 17Eight Fragments from Shelley: To-Morrow1:24 18Eight Fragments from Shelley: Sonnet to Byron2:02 19Eight Fragments from Shelley: I Faint, I Perish With My Love4:14 20McKonkey's Ferry Overture10:21 21Symphony No. 5: Joyous - Allegro8:25 22Symphony No. 5: Joyous - Adagio molto8:09 23Symphony No. 5: Joyous - Allegretto giocoso7:59 Disc 21Two Odes of John Keates: Ode on a Grecian Urn4:10 2Two Odes of John Keates: To a Nightingale7:06 3“The Prostitute” From the Ballet Capital of the World1:28 4Story for Peter: Peter Pokes a Pig3:10 5Story for Peter: Mu-Uh-Uch in the Moonlight3:29 6Prediction of Allied Invasion of North Africa: Part One: Signposts to the Future2:03 7Prediction of Allied Invasion of North Africa: Part Two: The Defense of Stalingrad4:30 8Story for Peter: Biggest Muscles Waltz3:29 9Story for Peter: Captain Peter Shoots Down Nazi Air Ship3:35 10George Antheil Speaks: Interview at Antheil's home conducted by Truman Fisher for KPPC FM Radio, Pasadena, California (1958)18:00 11The SPA Interview: Charles Amirkhanian interviews Hannah M. Adler and Norman Fox20:06 | Compilation | 2012 | |
| 2022 | A French Connection: Chausson, Debussy, FranckSearch SpotifySearch YouTube MusicTracklist · 11 tracks · 1:18:551Concerto for Violin, Piano and String Quartet in D major, op. 21: I. Décidé – Calme – Animé14:25 2Concerto for Violin, Piano and String Quartet in D major, op. 21: II. Sicilienne4:26 3Concerto for Violin, Piano and String Quartet in D major, op. 21: III. Grave10:22 4Concerto for Violin, Piano and String Quartet in D major, op. 21: IV. Finale. Trés animé11:02 5Préludes, Book 2, L. 123 (Arranged for Violin & Piano by Craig White): X. Canope3:45 6Préludes, Book 2, L. 123 (Arranged for Violin & Piano by Craig White): V. Bruyères2:59 7Préludes, Book 2, L. 123 (Arranged for Violin & Piano by Craig White): III. La Puerta del Vino3:32 8Violin Sonata in A major, FWV 8: I. Allegretto ben moderato6:16 9Violin Sonata in A major, FWV 8: II. Allegro8:03 10Violin Sonata in A major, FWV 8: III. Recitativo fantastia7:46 11Violin Sonata in A major, FWV 8: IV. Allegretto poco mosso6:19 | Compilation | 3 June 2022 |
Single · 1
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 2012 | Ballet méchaniqueSearch SpotifySearch YouTube MusicTracklist · 1 track · 16:561Ballet méchanique16:56 | 16 April 2012 |
Stats & PK
Percentile within all 23,672 published artists.Put George Antheil head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 33 | 91.9th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 37 | 92.1th |
| Studio albums | 32 | 98.4th |
| Awards recorded | 3 | 95.4th |
| Timeline events | 38 | 97.9th |
| Recording span (years) | 4 | 17th |
| Genres | 9 | 95.7th |
Awards & honours
| Year | Award | Category | Result |
|---|---|---|---|
| 1932 | Guggenheim Fellowship | won | |
| 1997 | EFF Award | won | |
| 2014 | National Inventors Hall of Fame | lifetime |
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Antheil_1927.jpgaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/5a0e065d-67ae-402b-97a3-19372b1b0c1ddiscography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/5a0e065d-67ae-402b-97a3-19372b1b0c1dcore—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q137739genre—wikidata · CC0 · retrieved 11 October 2026
https://www.wikidata.org/wiki/Q137739seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/George_Antheilbiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/George_Antheil
Why this artist is in the database
- List of composers by name
Tier rule: historic figure (33 language versions, career ended)
Image: Berenice Abbott · Public domain · Wikimedia Commons
Wikidata: Q137739 · MusicBrainz: 5a0e065d-67ae-402b-97a3-19372b1b0c1d
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