serious orchestral compositions, Adagio and Allegro, first performed in New York in 1944, and Jubilation: An Overture, which was written mostly on Okinawa, Japan, in 1945, and was premiered at Carnegie Hall by the National Orchestral Association the following spring. After being discharged from military service at the end of the war, Ward returned to Juilliard, earning postgraduate certificate in 1946 and immediately joining the faculty, teaching there until 1956. He served as an Associate in Music at Columbia University from 1946 to 1948. Ward wrote his Second Symphony, dedicated to his wife, in 1947, while living in Nyack, New York. It was premiered by the National Symphony Orchestra conducted by Hans Kindler. This symphony was quite popular for a few years, in part thanks to Eugene Ormandy playing it with the Philadelphia Orchestra several times and even taking it on tour to Carnegie Hall in New York and Constitution Hall in Washington, D.C. Andrew Stiller, in his article on Ward for The New Grove Dictionary of Music and Musicians, describes Ward's musical style as deriving "largely from Hindemith, but also shows the considerable influence of Gershwin". Ward conducted the Doctors Orchestral Society of New York from 1949 to 1955, wrote his Third Symphony and his First Sonata for Violin and Piano in 1950, the Sacred Songs for Pantheists in 1951, and was music director of the Third Street Music School Settlement from 1952 to 1955, and wrote the Euphony for Orchestra in 1954. He left Juilliard in 1956 to become Executive Vice-President of Galaxy Music Corporation and Managing Editor of High Gate Press in New York, positions he maintained until 1967. Ward wrote his Fourth Symphony in 1958, the Prairie Overture in 1957, the cantata Earth Shall Be Fair and the Divertimento in 1960. Ward wrote his first opera to a libretto by Bernard Stambler, He Who Gets Slapped, and it was premiered in 1956. His next opera, The Crucible, based on Arthur Miller's play, premiered in 1961, became Ward's best known work. For it Ward received the 1962 Pulitzer Prize for Music. It is frequently produced around the world. After the success of The Crucible, Ward received several commissions for ceremonial works, such as Hymn and Celebration in 1962, Music for a Celebration in 1963, Festive Ode in 1966, Fiesta Processional in 1966, and Music for a Great Occasion in 1970. During those years he also wrote the