Edith Borroff

Biography: 

Edith Borroff (b. 1925) received her education at Oberlin Conservatory, the American Conservatory of Music and the University of Michigan. She has taught at Hillsdale College, University of Wisconsin at Milwaukee and has been professor of music at Eastern Michigan University since 1966. Her areas of research have centered on 17th-century French chamber music, American and contemporary music. Borroff also holds an interest in education and has contributed to many educational journals. She became the contemporary music critic for the Ann Arbor News in 1966. She authored the book Three American Composers (Pub. Univ Press of America, 1986) which traces the power shift from the apprentice/conservatory system of training composers to the university system, which took place in the United States from 1925 to 1975. Borroff focuses on how this change influenced the works of three renowned American composers: Irwin Fischer, Ross Lee Finney, and George Crumb.

(Bio below by Lynn Vought, All Music Guide)

Edith Borroff (b. 1925) was born in New York City, the daughter of Marie Bergersen and Ramon Borroff, both well-known professional musicians. Trained in music from babyhood, she composed songs and piano pieces before she was six. In 1941 the family moved to Chicago; there, Borroff, who already knew she wanted to be a composer, earned a B.Mus. (1946) and M.Mus. (1948) in composition at the American Conservatory of Music, with an undergraduate minor in organ (including two years at Oberlin with Claire Coci) and a graduate minor in voice with the redoubtable singer Frances Grund.

It was not easy for American women composers to be taken seriously at that time. In 1954 Borroff went to Ann Arbor, where she earned her Ph.D. in the history of music at the University of Michigan in 1958. Since then, she has taught music history and composed music, retiring from the State University of New York at Binghamton in 1992. She now lives in Durham, North Carolina.

From 1950 to 1954 Borroff taught at Milwaukee-Downer College, which was then a school for women students only. There she composed several choral pieces for women's voices, including "The Christ-Child Lay on Mary's Lap". The poem, by G.K. Chesterton, had long been a favorite, and it was natural for her to set it to music. In composing it, Borroff tried to incorporate both the form and the mood of the poem in the music. 

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ACE Publications

1 AN HISTORICAL ANAGRAM (1991)
2 recorders: each with sop, alt, ten instruments

2 ARIA (1993)
org

3 CAROL (1950)
ssa a capella

5 CHANGELING (1990)
sop,ob,bsn,pf

6 CHORAL TRILOGY (1983)
ssaattbb

9 CONCERTO FOR MARIMBA & SMALL ORCH (1981)
Marimba Solo, cham orch:2-2-2-2,2-2-0-0,perc,str, or Marimba Solo&pf

10 DIPTYCH (1985)
org

13 FANTASY FOR TWO PIANOS (1985)
2 pf

14 FEED MY SHEEP (1953)
Voice, piano

16 FIVE PIECES FOR VIOLA & PIANO (1989)
Viola, piano

17 FIVE WHITMAN SONGS (1990)
Tenor, piano

19 GAME PIECES: A Suite for Woodwind Quintet (1980)
Flute, oboe, clarinet, bassoon, horn

20 GOODBYE BABY (A Rock Song) (1978)
Voice, piano

22 A HOLY THING (1991)
3 male voices or male choir

24 A HOUSE OF LOVE 5 Songs (1986)
Baritone, piano

25 HYPERBOLE (1987)
Harpsichord

27 INTERNATIONAL SUITE (1994)
Piano

29 A JOYFUL NOISE (1991)
Soloists, chorus, trumpet (3), piano

32 LOVE AND LAW (1990)
Tenor, baritone, bass

33 LOVE SONG OF THE EIGHTIES, A (1988)
voice, pf

34 MADRIGALS (1953)
3 treble voices

35 MEDITATION & TOCCATA (1989)
Organ

36 MISSA PATRINAE RERUM DOMINI (1966)
Soprano (or unison choir), organ

38 MOTTOES: A SUITE FOR EIGHT SAXOPHONES (1989)
Saxophone (8)

39 PEACE I LEAVE WITH YOU (1945)
SATB soli & choir, organ

40 POET, THE (1973)
SSAA, piano

41 POPULAR SONG (1949)
Treble voice, piano

42 PYGMALION(Incidental Mus) (1955)
Soprano solo, SATB, flute, oboe, clarinet, bassoon, horn, percussion

43 PYGMALION, Incidental music to Shaw's 'Pygmalion' (1955)
Soprano solo, chamber choir, flute, oboe, clarinet, bassoon, horn, percussion (2)

44 QUERULOUS MUSIC TEACHER, THE (1987)
Voice, piano

45 RONDELAY (1992)
Violin (2)

46 SEVEN EARLY SONGS (1950)
Voice, piano

47 SONATA FOR CELLO AND PIANO (1949)
Cello, piano

48 SONATA FOR CELLO AND PIANO, NO.2 (1994)
Voice, piano

49 SONATA FOR GUITAR (1983)
Guitar

50 SONATA ON ENGLISH FOLK SONGS (1978)
Piano (4-hands)

51 SONATINA GIOCOSA (1953)
Version 1: viola, piano; Version 2: violin, piano

54 STRING QUARTET NO 3 in E Minor (1943)
Violin (2), viola, cello

57 SUITE FOR RECORDER AND PIANO (1998)
Recorder, piano

58 SUMMUM BONUM (1948)
Voice, piano

59 SUN AND THE WIND, THE; A MUSICAL FABLE (1976)
Oboe (2), bassoon, horn (2), percussion (2), piano, harpsichord, string quartet (x2 if possible)

61 THEME, VARIATIONS, AND CODA (1997)
cl, vln, vla, vc, pf

65 THREE MADRIGALS FOR WOMEN'S VOICES (1951)
Soprano, alto (2)

66 TRILOGY (1989)
Baritone, horn, piano

67 TRIO FOR TENOR SAXOPHONE, PIANO, AND PERCUSSION (1982)
Tenor saxophone, piano, percussion

68 TRIO FOR VIOLIN, CELLO, AND PIANO (1983)
Violin, cello, piano

69 TRIO FOR VIOLIN, VIOLA, AND CELLO (1943)
Violin, viola, cello

70 TRUTH (1973)
Medium voice, piano

71 TWO 2-PART MADRIGALS (1953)
SA

72 TWO PIECES FROM THE OLD RAG BAG (1989)
Saxophone quartet: AATB (or SATB)

73 TWO RAGS
Piano

74 TWO two-part MADRIGALS (1953)
2 voices

75 VARIATIONS FOR BAND (1968)
band: pic-2-2-eh-Ebcl-3-acl-bcl-cbcl-2-2asax-tsax-barsax-bs sax; 4-2-3cor-2fhn-3-euph-tba; hp; timp, xyl, perc; cb

76 VARIATIONS ON A TRILL (1985)
Piano

79 VORSPIEL UBER DAS THEMA 'IN DULCI JUBILO'
Flute (2), horn (2), piano

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