SOUTH CAROLINIANA LIBRARY
MANUSCRIPTS
Louie L. White Papers,
1941-1978
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Volume: 2.5 linear feet (2 cartons)
- Preferred Citation: Louie L. White Papers, South Caroliniana Library, The University of South Carolina
- Accession Numbers: 9016, 9107, 9932, 11370.
- Location: Annex (Materials stored offsite; advance notification required).
Annex (Materials stored offsite; advance notification required).
Biographical Note
Born 1 Aug. 1921 at Spartanburg, composer Louie L. White began his collegiate studies in 1939 at Converse College's co-educational School of Music. His studies there were interrupted by World War II, during which time White served with the 332nd Air Force Fighter Control Squadron in China, Africa, and India, and was decorated with the Bronze Star and Purple Heart. He also directed the Army Choristers in Kunming, China. At the close of the war, White continued his education at Converse, majoring in voice and minoring in composition. He was graduated in 1947 with the degree of Bachelor of Music. While in Spartanburg, White was a member of the Spartanburg Lyric Opera Company and served as bass soloist at the Church of the Advent, 19401942 and 1946-1947. He received the degree of Master of Music from Syracuse University, Syracuse, New York, in 1949.During his early years in New York, Louie White was bass soloist at the Church of the Ascension and also a member of the American Savoyards, a Gilbert and Sullivan company. He held faculty positions at Syracuse University, the Greenwich [Conn.] Academy, and New York's Brearley School. In addition, he lectured on composition at the School of Sacred Music at Union Theological Seminary in New York for eight years and conducted the Greenwich [Conn.] Choral Society for eighteen years. In 1970, White joined the faculty at Rutgers University, Newark, N. J., as an associate professor of music. There he taught composition, conducting, orchestration, voice, and the history of opera as well as serving as acting chairman of the Department of Music during the 1975-1976 academic year.
From 1948, when his cantata, "Praise to the Risen Lord," won the first Church of the Ascension competition for its Ascension Day Festival, Louie White was a major contributor to the world of church music. To quote Vernon de Tar, with whom White was associated at the Church of the Ascension, "Louie White's music is marked by fine melodic lines, warm and conservatively modern harmonies, rhythms that are strong but subservient to the text, and an increasingly masterful craftsmanship, employing all the contrapuntal devices, but always to musical ends." In addition to choral and organ works White wrote sonatas and concertos for piano, harpsichord, oboe, flute, trumpet, organ and harp, organ and brass, a piano quintet, a chancel opera - "Jephthah," and numerous art songs. Among the honors accorded Louie White's compositions during his lifetime was a performance in June 1960 of his Concerto for Harpsichord at the Festival of Two Worlds in Spoleto, Italy, sponsored by JeanCarlo Menotti. He received nationwide recognition in Oct. 1978 when operatic soprano Leontyne Price sang his "Psalm 150" during a televised recital from the White House.
Mr. White died 3 Jan. 1979 while visiting his native Spartanburg on a sabbatical leave of absence designed to allow him the opportunity to write uninterruptedly.
Scope and Content
Two and one half linear feet of manuscripts documenting the creative talents of South Carolina born composer Louie L. White are comprised chiefly of penciled or penned holographs of Mr. White's anthems, cantatas, musical dramas, incidental music, and compositions for various instruments. Included in the collection also are early-state photoduplications of his music manuscripts and seventeen tape recordings featuring various presentations of his compositions. In addition, three newspaper clippings, c. 1962, concern the premier performance of Louie White's "Missa Brevis" by the Converse College Chorus.A number of compositions represented in the collection were written for and dedicated to individuals and organizations with which Louie White was associated during his early years in Spartanburg. They include: "Jubilate Deo," written for the ordination of Marion Hatchett at Spartanburg in June 1952; "Missa Brevis," written for, dedicated to, and first performed by the Converse College Chorus and its director, Alia Ross Lawson; "Stabat Mater," written in honor of Converse College's seventy-fifth anniversary; and "The Brave Volunteer" and "He's Gone Away," arranged for and dedicated to the women's chorus of the Philharmonic Music Club of Spartanburg.
Collection Inventory
Collection Inventory:
| Choral |
| Vocal |
| Instrumental |
| Organ |
Contents List:
............................................Choral
--Benedictus es, Domine (n.d.) [SATB chorus and organ]
one ink manuscript copy
--The Brave Volunteer (Dec. 1951) [arranged by Louie L. White for SA chorus,
soprano solo, and piano duet]
(written for and dedicated to the women's chorus of the philharmonic Music
Club, Spartanburg, S. C .)
one ink transparency (full score)
one photocopy from ink transparency (full score)
--By Cool Siloam's Shady Rill (30 July 1974) '[SATB chorus, a cappella] (for Elizabeth)
one photocopy from ink transparency
--The Chambered Nautilus (n.d.) [three SATB choirs, three trumpets, three trombones, tuba, violin, and organ] (for Lowell Lacey and the choir of the Second Congregational Church, Greenwich, Conn., on the occasion of the rededication of the sanctuary)
one Xerox copy from original manuscript copy
--Gloria in Excelsis (n.d.) [SATB chorus and organ]
one ink manuscript copy
--Gloria in Excelsis (1974) [unison voices, keyboard, strings, handballs, and flute/oboelrecorder] (for the Brearley School)
published by Concordia 11974)
one printed copy (full score)
--Greenwich Academy School Prayer (n.d.) [unison voices and keyboard] (dedicated to the Academy)
one Xerox copy from manuscript copy
Madrigal (13 June 1950) [SATB chorus, a cappella]
one ink manuscript copy
--He's Gone Away (Nov. 1951) [arranged by Louie L. White for SA chorus, soprano cola, and piano duet]
one ink transparency (full score)
one photocopy from ink transparency (full score)
--How Far Is It To Bethlehem? (n.d.) [unison voices and organ]
one ink manuscript copy
--How Like a Winter (Dec. 1950) [SATB chorus, a cappella]
one ink manuscript copy
--Prayer is the Soul's Sincere Desire (n.d.) [SATB chorus, violin, and organ] one ink manuscript copy (full score)
one ink manuscript violin part one ink manuscript vocal score
--A Hymne to Christ (Aug. 1978) [SATB chorus, tenor solo, and organ] (dedicated to the memory of Benjamin Britten)
one pencil working score (dated 10 Aug. 1978, Spartanburg, S.C.)
one photocopy from ink transparency (full score)
--I Sing of a Maiden (1951) [SATB chorus, a cappella, tenor solo] (for Vernon de Tar and Choir, Church of the Ascension, New York City)
published by Mercury (1955)
one printed copy
--Jephthah ( 1971) (commissioned by, written for, and dedicated to The Westminster Presbyterian Church, Dayton, Ohio, Robert M. Stofa, Choir Director)
one pencil working score
--Jubilate Deo (1952) [SATB chorus and organ] (for Marion Hatchett at his ordination, Spartanburg, S.C., June 1952)
published by Abingdon (1962)
one printed copy
--Madrigal (13 June 1950) [SATB chorus, a cappella] one ink manuscript copy
--Missa Brevis (Dec. 1961) [SSA chorus, mezzo-soprano solo, flute, oboe, clarinet, bassoon, and piano (four hands)
(written for and dedicated to The Converse College Chorus and its director,
Alla Ross Lawson)
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one pencil working score one ink transparency (full score)
one photocopy from ink transparency
--Noel (30 June 1949) [SATB chorus, a cappella] (for Vernon de Tar and choir, Church of the Ascension, New York City)
one ink manuscript copy
--On the Immensity of the Supreme Being (1964) [SATB chorus and organ] (to Vernon de Tar in honor of his 25th anniversary as organist and choir director of the Church of the Ascension, New York City)
published by H. W. Gray (1966)
one printed copy
--Pastorals (1974) [SATB chorus, a cappella, and soprano solo] [dedicated to The Rutgers-Newark Chamber Chorus and Evelyn Green, soprano)
one pencil working score
one ink manuscript copy
one ink transparency (full score)
one photocopy from ink transparency (full score)
--Prayer is the Soul's Sincere Desire (n.d.) [SATB chorus, violin, and organ] one ink manuscript copy (full score)
one ink manuscript violin part one ink manuscript vocal score
--Prayer of St. Francis of Assisi (1971) [SSAA chorus, harp (or keyboard), and cello] (written for and dedicated to The Schubert Club Chorale, Stamford, Conn., and its Director, Marie Merkle)
published by H. W. Gray (1971)
one printed copy
--Psalm 150 (Oct. 1952) [unison voices, keyboard, and optional brass and percussion] (for Marjorie Schloss)
one ink manuscript copy arranged for unison voices and keyboard one photocopy from ink transparency arranged for unison voices and keyboard one ink manuscript copy arranged for mixed voices, two trumpets, tw-o trombones, timpani, and keyboard
--The Queen of Sheba Visits Solomon (n.d.) [SSA chorus, contralto solo, flute, and harp] two photocopies from ink transparency (full score)
--Saint Teresa's Book Mark (1965) [SATB chorus, a cappella] (for Rene)
published by H. W. Gray (1965)
two printed copies
--Sing Alleluia Forth (n.d.) [SATB chorus and organ] (written for and dedicated to the choir and director, J. Wilkins, Church of the Advent, Spartanburg, S.C.)
one ink manuscript copy
--A Song for St. Cecilia's Day (n.d.) [SATB chorus, solo quartet, flute, trumpet, horn, timpani, percussion, harp, strings, and organ] one pencil working score
--Stabat Mater (n.d.) [SSA chorus, strings, and piano duet] (to Converse College on the occasion of her 75th anniversary)
one pencil working score
--Sursum Corda (1977) [SATB chorus, tenor solo, three trumpets, two trombones, tuba, percussion, harp, and organ]
(commissioned by and dedicated to The Church of the Ascension, New York City,
in praise to God for the church's 150th anniversary, 1977)
one pencil working score
one photocopy from ink transparency (full score)
one set of individual brass parts (photocopies from ink transparencies)
--Tibique, Domine (1968) [SSATB chorus, brass quintet, timpani, and organ] (commissioned by and dedicated to the Greenwich [Conn.] Choral Society)
one photocopy from ink transparency (full score with keyboard reduction)
--A Wonderful, Wicked World (n.d.)
one ink transparency (full score)
one photocopy from ink transparency (conductor's score in two volumes)
............................................Vocal
--It's All I Have To Bring Today (1957) [soprano solo and piano] (for EBJ)
one photocopy from ink transparency
--Peter Quince (n.d.) [tenor solo, string quartet, and piano] one pencil working score
--Sand and Moss (n.d.) [vocal solo and piano]
one ink manuscript copy
--There Is a Lady (n.d.), "folk song vignette" [vocal solo and piano]
one ink manuscript copy
--Three Divine Epigrams (n.d.) [vocal solo, flute, and organ]
one pencil working score--"On the Prodigal," dated 22 Feb. 1954
one photocopy from ink transparency (full score)
--Three Songs (1961) [soprano solo and oboe] (for Virginia Babikian)
one photocopy from ink transparency
--This Son So Young (Jan. 1952) [tenor solo, harp, and organ] (for-Russell Oberlin)
one photocopy from ink transparency (full score)
............................................Instrumental
--At the Gate of Heaven (July 1970), Mexican folk tune arranged by Louie L. White for cello and piano (for Paula)
-one ink transparency
one photocopy from ink transparency
--Concertino for Viola and Chamber Orchestra (3 July 1967)
one pencil working score
one ink manuscript score (second movement) with orchestral reduction
--Concerto for Harpsichord and Chamber Orchestra (1960) (for Paul Wolfe)
one pencil working score
one ink transparency (full score)
one photocopy from ink transparency (full score)
one set of instrumental parts fink transparencies)
--Concerto for Piano and Strings (n.d.) (for Frank Martori)
one pencil working score (third movement) dated 26 July 1967
one ink manuscript score (second movement)
one ink transparency (first/second movements)
one photocopy from ink transparency (second movement)
two sets of manuscript instrumental parts (second movement)
--Dance (n.d. ) [cello and piano]
one pencil/ink working score
--Dialogue (n.d.) [cello and pianol one ink manuscript score
--The Gospel Train (n.d.) [two pianos]
one ink manuscript copy
--John Brown Had a Little Injun (n.d.) [piano]
one ink manuscript copy
--Music for Clarinet and Strings (n.d.)
one ink manuscript score
--Overture for a Three-Minute-Egg (n.d.) [oboe, violin, viola, and cello]
one complete set of ink manuscript instrumental parts
--Passacaglia for Trumpet and Piano (1975)
(written for and first performed by Robert Nagel and Frank Martori)
one pencil score one ink transparency (full score)
one photocopy from ink - transparency (full score)
--Pavane (n.d.), for orchestra and chorus (ad lib.) by Gabriel Faure, Op. 50, re-scored by Louie L. White for strings, harp, and horn one pencil working score
--Piano Quintet (28 Oct. 1976)
(dedicated to and first performed by Frank Martori and the Stirling String Quartet)
one complete pencil score
one ink transparency (full score)
one photocopy from ink transparency (full score)
one complete set of ink manuscript instrumental parts
--Recitative and Aria for String Orchestra (l973) (for Arnold Kram)
--one pencil working score one ink transparency one photocopy from ink transparency
--Rhapsody in F Major (Spring 1942) [two pianos]
one ink manuscript copy
--Rondo in C (n.d.) [piano]
one ink manuscript copy
(1956) (for Frances Blaisdell)
one ink transparency (full score)
one ink transparency (flute part)
one photocopy from ink transparency (full score)
--Sonata for Oboe and Piano (1959)
one ink transparency (incomplete)
--Sonatina for Oboe and Piano (n.d.) (written for and first performed by Donald Bender and Ernest Ulmer)
one pencil working score
one complete pencil score (final draft)
one ink transparency (full score)
--Sonatina for Piano (June 1954) (for Paul Wolfe)
one ink transparency
--Sonatina for Trumpet and Piano (n.d.)
one pencil score
--Sparkin' in Central Park (Spring 1942) [piano]
two ink manuscript copies (one with variant title--A Spartan in Central Pa rk, "with appologies to George Gershwin" )
--Three Preludes for Piano (16 June 1964, 27 June 1964, and 2 July 1964) (for Frank Martori)
one ink manuscript copy
one ink transparency
two photocopies from ink transparency
............................................Organ
--Introduction and Chorale (May 1958) [brass quintet and organ] (for Leonard Raver)
one photocopy from ink transparency (full score)
--Prelude on "In the Quiet Consecration" (n.d.)
one pencil working score
one photocopy from ink transparency
--Reflections on Southern Hymn Tunes (1973) (for John Rose) published by Belwin Mills (1976)
two photocopies from ink transparency
one printed copy
--Suite for Organ and Piano (n.d.)
one incomplete ink manuscript copy
--Toccata on "London Tune" (1961) (for National Council of Churches Commission on Worship and the Arts) published by Hinshaw ( 196 1 )
two photocopies from ink transparency
Administrative Notes
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URL http://www.sc.edu/library/socar/mpc/white.html