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By Percy A. Grainger

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By Percy A. Grainger Love Verses from the “Song of Solomon” by Percy A. Grainger by Robert J. Ward Robert J. Ward is director of choral activities at The Ohio State University <[email protected]>. "Song of Solomon" Engraving by Julius Schnorr von Carolsfeld (March 26, 1794 - May 24, 1872) Percy Aldridge Grainger (1882–1961) Louis Symphony Orchestra invited him to was the quintessential embodiment of the be its music director. artistic spirit and, in many ways, he lived Born in Australia, Percy Grainger pro- a charmed existence. He was a celebrated claimed himself a loyal Australian—but musician with a reputation for exotic he was actually a product of the world. mannerisms, curious personal habits, and Always ahead of his time, Grainger was seemingly far-fetched ideas about the a self-trained ethnomusicologist. He vis- future of music. He was also a musician ited nearly every corner of the planet and who, at his prime, earned as much as fi ve always strove to understand the soulfulness thousand dollars per week as a concert of a culture through its music. But, for him, pianist. He met every prominent musical knowing about the culture and its music fi gure of his time and his skills as a pianist was only a means to an end. What he truly won him the admiration of all of them. He wanted to glean was the spiritual message was a man who declined honorary doc- from a new style and type of music. toral degrees and who said no when the St. CHORAL JOURNAL Volume 52 Number 2 9 Love Verses from the “Song of Solomon” There has been a tremendous have appealed to his sense of humor amount written about Percy Grainger. and his natural predilections. For Love Much of it centers on his work as a pia- Verses, the composer selected verses nist, folk-song collector, or a wind-band 9–17 from the fi rst chapter and composer. In comparison, relatively little verses 1–7 from the second. A note scholarship has been devoted to his on the fi rst page of the printed score choral music, even though early in his indicates that he used the authorized life, Grainger considered himself to be English translation of the Vulgate. primarily a choral composer. His choral When considering Grainger’s oeuvre contains a wealth of styles, dif- choral music, it is important to re- fi culty levels, and novel combinations of member that Grainger wanted his performing forces. music performed; it was his desire His choral compositions divide to make quality music available to as into three categories: original works, many performers and circumstances folk-song settings, and transcriptions. as might be interested in playing it. This article is a discussion of one of his He writes: original works—Love Verses from the “Song of Solomon”—to highlight aspects My music is intended to of the composer’s history and his com- encourage music lovers of positional style. Although no article can all kinds to play together in do justice to Grainger as a composer, groups, large or small, and to performer, or music philosopher, this promote a more hospitable author hopes to inspire the reader to attitude towards inexperienced investigate and perform this largely un- music makers. It is intended tapped treasure of choral compositions. to play its part in weaning music students away from too Composed in 1901 (rescored in Grainger around 1922. 1931), Love Verses is the only original much useless, goalless, soulless, Reproduced by permission of the selfish, inartistic soloistic composition by Grainger on a sacred Estate of Percy Aldridge Grainger. text. The biblical Song of Solomon tells a technical study, intended to coax them into happier, richer well-known love story. The protagonists musical fields—for music are a woman and a man, and the poem Grainger may have been intrigued by the should be essentially an art of suggests movement from courtship to allegorical nature of the poetry. Replete with self-forgetful, soul-expanding fulfi llment. Far from being a religious man, innuendo and double entendre, the text may communistic cooperation in harmony and many-voicedness.1 To that end, he developed what he termed “elastic” or “fl exible” scoring. On the title page of Love Verses he writes, “for mezzo Our Campus is Diverse. soprano solo (tenor solo ad lib) and mixed chorus, or for 4 single voices (SATB) singing ,WVFDOOHG'HWURLW the parts for solo voices and the parts for chorus accompanied by a chamber orches- $PODFSU$IPSBMFt$IPSBM6OJPOt4ZNQIPOJD$IPSVT tra, the chamber orchestra consisting of 0QFSB8PSLTIPQt8PNFOT$IPSBMFt.FOT$IPSVT fl ute, oboe, clarinet, bassoon, horn, trumpet Choose from seven undergraduate Qualify during your audition for harmonium (singly or massed) or pipe- and six graduate degree programs talent-based scholarships valued up to $8,400 a year organ with strings (the string parts singly or Study privately with the Detroit massed), or by a pipe organ (or harmonium Civic Symphony and the Detroit Audition dates for 2012 Symphony Orchestra November 11, 2011 singly or massed) and piano duet (4 hands).” February 3, 2012 For Grainger, timbre was important but not Perform in the heart of Detroit’s March 2, 2012 * at the expense of tonal balance. If the piece Midtown Cultural Center, a vibrant * Deadline for talent-based area of concert halls, museums, scholarship consideration could sound with seven or seventy saxo- art galleries and festivals phones, then that scoring had validity, given music.wayne.edu a proper balance. He continues: 10 CHORAL JOURNAL Volume 52 Number 2 My music tells its story mainly by his future compositions. Here, the orchestral providing a harmonic and rhythmic comple- means of intervals and the liveliness parts weave a contrapuntal web that is sat- ment to (without ever doubling) the voice of the part-writing, rather than isfying and complete unto itself while always parts. Grainger had a working knowledge of by means of tone-color, and is therefore well fi tted to be played by almost any small, large or medium- sized combination of instruments, provided a proper balance of tone is kept.2 One of his favorite instruments was the harmonium. In many choral pieces, there is some indication in the score that the harmo- nium would be a valuable resource—either as a teaching tool or as a performance instrument: If I were forced to choose one instrument only for chamber music I would choose the harmonium (reed-organ) without hesitation; for it seems to me the most sensitively and intimately expressive of all instruments. It is unique as a refi ning musical infl uence, for it tempts the player to tonal subtleties of gradation as does no other instrument. Both in chamber music and in the orchestra it provides the ideal background to the individualistic voices of the woodwinds.3 On the title page of Love Verses, he gives detailed information about the harmonium’s use: The harmonium part is intended for a harmonium with a strong 16 foot tone; it is written one octave higher than the predominant tone is intended to sound. If played on a pipe organ (or a harmonium lacking the 16 foot tone), the part should be played one-octave lower than it sounds. The sound-strength markings in the harmonium part are gauged for the weak tone-strength of a harmonium. This should be borne in mind when the part is played on a pipe organ.4 Elastic scoring notwithstanding, Grainger’s orchestration for Love Verses reveals an in- sight into what timbre would characterize all CHORAL JOURNAL Volume 52 Number 2 11 Love Verses from the “Song of Solomon” almost all instruments, including Grainger frequently wrote the human voice, and his feeling about his thoughts regarding for line is everywhere apparent. the limitations of pitch and From the three simple opening rhythm of traditional Western of chords for harmonium and music. Love Verses is a fi ne ex- strings, to the sonorous paint- ample of his commitment to ing of the text, “Behold, thou making rhythmic and metric art fair, thy eyes are as those of notation match the natural doves, Our bed is fl ourishing” in fl ow of spoken words. In the measures 29– 34, to the duet for preface to the full score of tenor, clarinet, and fl ute in mea- Love Verses, he writes: sures 96– 99, Grainger creates a combination of color that would In 1899, I became have impressed Berlioz and satis- interested in the rhythms fi ed the artistic goals of the great of prose and speech. I got French Impressionists. my fellow composers to Love Verses also displays read prose and “poetical Grainger’s penchant for har- prose” aloud to me while monic adventure. Though many I noted down the rhythms would use the terms “unresolved in musical notation. Theses seventh chords” and “chords with investigations led to added tones,” Grainger would passages such as the have avoided such terminol- following from Love ogy. In his mind, seventh chords Verses.5 are independent entities unto themselves and need not bear In Figure 1, one can see the burden of resolution, and how Grainger attempted to “added tones” implies a basic give the melodic declamation chord structure with a unique the same rhythmic elasticity Grainger playing the harmonium Reproduced by permission of expressive quality by virtue of its as the recitation. Note that the Estate of Percy Aldridge Grainger. intervallic content. In examining Grainger makes a distinction the score of Love Verses, one fi nds between 2.5/4 and 5/8, 1.5/4 many V– I progressions where I is reinter- of many keys.
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