sign in sign up
<<
Home , Amelia Goes to the Ball, Claramae Turner, Joy Clements, Labyrinth (opera), Lawrence Tibbett, Lee Hoiby

New World Records NEW WORLD RECORDS 701 Seventh Avenue, New York, New York 10036; (212) 302-0460; (212) 944-1922 fax email: [email protected] www.newworldrecords.org

Toward an American , 1911-1954 New World NW 241

he search for the Great American Opera is publicized, and it is a failure, for whatever rea- T analogous in its futility to the search for the son, then he cannot be blamed for taking his tal- Great American Novel, so aptly symbolized by ent elsewhere, while the impresario, ever mind- Moby Dick, the elusive Great White Whale that ful that success is the key to his own future, will stars in one of the prime candidates for the return to the tried and true. honor. In fact, the futility with respect to opera is This situation existed in the United States at even greater, for until very recently opera has not least until very recent times. The production of enjoyed anything like the importance that the was limited to a handful of companies in novel has had in American society. Both were major cities that preferred to put on museum imports from abroad, but the novel established works from the European repertory or novelties itself much more securely than opera did. from abroad that stood a chance of attracting top Opera—and by this term what was meant was singers and critical and audience enthusiasm. A “grand opera”—looked to Europe for its roots very few American operas were programmed and its aesthetic, and the native touches were either as a duty or for the publicity the perfor- essentially cosmetic. mances would engender. It is no wonder that lit- The complex nature of opera had much to do tle memorable work was created. with this situation. Because of the length of time But these obstacles did not prevent critics from often needed for its creation and because of the envisioning an indigenous school of opera, sepa- breadth of forces (vocal—both solo and rate from Europe and, if not as successful, yet choral—orchestral, scenic, and even balletic) part of the American musical and cultural scene. needed for its presentation, we tend to think of The question was: what would set this American opera as a separate enclave in the musical land- opera apart? Critics usually emphasized the scape, and this conception is usually reinforced superficials: American subjects and the use of by the ballyhoo attendant on first performances native American musics (first Indian music, later of new operas. But opera, no less than any musi- American Negro music—see notes to New World cal form, must grow from fertile soil; and opera, Records 80542-2, Works by Arthur Farwell, because of the specialized demands it makes on Preston Ware Orem, , composer and librettist to fashion a work that is and 80228-2, Works by John Alden Carpenter, dramatic and stageworthy, needs a soil different Henry F. Gilbert, Adolph Weiss, and John from that of other musical forms. Most great Powell). Yet, of course, the mere use of opera composers served an apprenticeship in Americanisms did not guarantee success, either the field, learning from their failures and from at the box office or as an “American”product. the direct experience of working under theatri- Although Victor Herbert’s Natoma, written on cal conditions. If there are few theaters in which an American subject and employing Indian to work, the composer wishing to write opera themes, garnered many more performances than will be to a significant extent hobbled before he Horatio Parker’s non-nationalistic Mona, this was begins. If, nevertheless, he chooses to write an not because of its Americanisms but because opera, is lucky enough to see it produced and Herbert was a far better-known composer who

1 had worked extensively in the theater. Herbert for the study of the subject: on the first side, virtu- wrote operettas. Here we come to another aspect ally all the recordings of American opera made of opera (and one not confined to the United before World War II, and on the second, representa- States): its inborn snobbery. “Grand opera” has long tive excerpts from three later recordings of impor- been considered something separate and distinct tant works. The Discography lists many other from “musical comedy,” something artistically more recordings of works both central and peripheral. elevated. Since grand opera was a thing apart, clos- The choice of excerpts on Side One was, in er to a symphony or an oratorio in its artistic seri- effect, made for us by the managers of Victor ousness, it followed that a composer trained in that Records at the time and thus does not necessarily music and versed in those forms could create a represent the musically or historically most inter- work of an order denied to the denizens of Tin Pan esting passages (although, in partial compensation, Alley. This assumption was justified by a number of they do document original protagonists and con- specifics, familiar to those who have studied the temporary performing styles). Obviously, the stratified concepts of opera versus operetta versus excerpts from Natoma were recorded because of comedy-mixed-with-arias that have marked the his- the composer’s fame and because Herbert himself tory of the form in France. If it’s light in tone, it’s as composer-conductor made a number of record- not opera; if there is spoken dialogue, it’s not ings during his career (see Side One, Band 1, of opera; if it’s by a composer of musicals, it’s not New World Records NW 272, ... And Then We opera—unless, like Natoma, it apes the outward Wrote: American Composers and Lyricists Sing, forms to the point of fossilism. Play, and Conduct Their Own Songs). But This dichotomy persists through the century. Herbert’s biographer, Edward N. Waters, calls the According to some, is not an two arias “tedious and boring” and “bloated and opera, merely an inflated Broadway show; A Little pompous” respectively, and not representative of Night Music cannot be seriously considered by the the merits of the work. Similarly, critics were unani- (the composer, good , mous in praising the choral writing of Howard did not even orchestrate the score!); Marc Hanson’s , which is indeed superior Blitzstein’s Regina is an opera, but his The Cradle to the excerpt recorded at the time.We owe much Will Rock is not. And what is one to say about of what recorded performance we do have not to such a hybrid as ’s stage-piece, any decision to present the strengths of individual Mass? American operas but to the sales potential—rein- As long as the obstacles of categorization and forced by film celebrity—of a genuine American lack of outlets for what could be termed “main- opera star, , and the Act I close of stream opera” persist, the form, however narrowly ’s The King’s Henchman reflects this or broadly defined, will not prosper. Recent devel- star-turn mentality. opments, outlined below, suggest that today’s audi- ence is not as finicky about categories as its prede- * * * cessors. Just as ballet broke free of the story line and elaborate productions developed in the nine- The first important impetus for the gestation and teenth century, opera is breaking free. If these presentation of American opera was the appoint- trends continue, we may see a truly indigenous ment of Giulio Gatti-Casazza as general manager of opera, reflective—in the sense that ’s the Metropolitan Opera. Gatti came from an Italian music was—of its European roots but at the same impresario tradition that still believed in repertory time wholly a product of the New World. as an amalgam of revivals and new works. At the turn of the century, major Italian composers like * * * Puccini, Mascagni, Leoncavallo, and Giordano and lesser ones like Italo Montemezzi, Alberto In considering the excerpts from American opera Franchetti, and Riccardo Zandonai were regularly from 1910 to 1954 on this album, it must be producing works for the lyric theater, and Gatti stressed that this record does not represent, nor is tried to carry over this tradition and implant it in it intended to represent, the full range or the quali- the New World, not only by producing new ty of American opera of those years. Rather, it European works in the United States (the world supplements the considerable number of recent premieres of Puccini’s La Fanciulla del West and Il American operas currently available on disc by Trittico being the leading examples) but by restoring to circulation some important material encouraging indigenous opera. The first American opera the Met produced was 2 Frederick Converse’s one-act The Pipe of Desire, Nevin’s A Daughter of the Forest (January 5, on March 18, 1910. At the time, the Met was also 1918), Hamilton Forrest’s Camille (December 10, sponsoring a contest for an American grand 1930), Gruenberg’s Jack and the Beanstalk opera, with a prize of ten thousand dollars for (November 14, 1936), and, more recently, Raffaello the winner, to be judged by a panel composed of de Banfield’s Lord Byron’s Love Letter (November the conductor-composer Walter Damrosch, the 21, 1955) and Vittorio Giannini’s The Harvest composers George W. Chadwick and Charles (November 25, 1961). Martin Loeffler, and the Metropolitan Opera con- After Gatti, American operas presented at the ductor Alfred Hertz. The winning entry was Met were Richard Hageman’s Caponsacchi (pre- Mona (which was presented on March 14, 1912), miered in Germany in 1932 but given in English for although Damrosch—and, one suspects, the the first time at the Met on February 4, 1937— other judges—expressed privately “a feeling of again with the indefatigable Tibbett), Damrosch’s chagrin that all our travail should have brought The Man Without a Country (May 12, 1937), Gian forth such a tiny mouse. Carlo Menotti’s one-act Undaunted by Damrosch’s chagrin, Gatti contin- (March 3, 1938, a year after its world premiere at ued to present American works: Damrosch’s own the Academy of Music in ), another Cyrano de Bergerac (February 27, 1913), Herbert’s Menotti one-acter, The Island of God (February 20, one-act Madeleine (January 24, 1914), Reginald de 1942), and Bernard Rogers’ The Warrior (January Koven’s The Canterbury Pilgrims (March 8, 1917), 11, 1947). A long hiatus followed until Barber’s Charles Wakefield Cadman’s (March 23, Vanessa (January 15, 1958), the American premiere 1918), Joseph Breil’s and John Adams of Menotti’s (January 23, 1964), Hugo’s The Temple Dancer (both March 12, 1919), Barber’s Antony and Cleopatra (September 16, Henry Hadley’s Cleopatra’s Night (January 31, 1966), and Marvin David Levy’s Mourning 1920; on the previous evening, the Chicago Opera Becomes Electra (March 17, 1967). had presented De Koven’s Rip Van Winkle at the But by this time the Met was hardly the cradle Lexington Avenue Opera House in New York). of American opera—if it ever had been. Leaving aside Natoma, the first relative hit came Individual works had been presented elsewhere, with The King’s Henchman (February 17, 1927), not only by established companies but as sepa- which the Met commissioned in 1925. Its success rate productions. Two of the most influential of (fourteen performances in three seasons) led to a the latter were ’s Four Saints in further commission for Taylor, with help from the Three Acts (Hartford, February 8, 1934, ,and Juilliard Foundation, and his ’s Porgy and Bess (Boston, (February 7, 1931) racked up sixteen perfor- September 30, 1935). mances in four seasons. With these two operas, The Opera, first at City Center and Taylor holds the record for an American compos- later in , provided a focus for new er for number of performances at the Met American opera. In many cases the company did ( is second). not originate the works, but its commitment to ’s (January 7, American opera enabled pieces premiered else- 1933), ’s Merry Mount (February where to be staged in New York. The list is long, 10, 1934), and John L. Seymour’s In a Pasha’s attesting to the continuing vitality of a form that Garden (January 24, 1935) rounded out Gatti’s has been denigrated as minimal in importance to contributions to American opera—and, notably, American music. The following partial list (world Tibbett appeared in all these and the Taylor operas. premieres are asterisked) gives a sample of the Until the advent of the , richness: ’s The Old Maid and Gatti’s largely Sisyphean labors were the main sus- the Thief and Amelia Goes to the Ball (April 8, tained effort at encouraging American opera, and in 1948), William Grant Still’s Troubled Island* this effort he utilized the best American singers and (March 31, 1949), Menotti’s (April 8, stage designers (of the latter, Joseph Urban, 1949), David Tamkin’s * (October 4, Norman Bel Geddes, and Jo Mielziner). 1951), Menotti’s Amahl and the Night Visitors The only competition to Gatti’s string of (April 9, 1952) and (October 8, 1952), American operas was the various attempts by the Marc Blitzstein’s Regina (April 2, 1953), Aaron Chicago company. Besides De Koven’s Rip Van ’s * (April 1, 1954), Winkle (January 2, 1920), Chicago produced ’s (September 27, 1956), Hadley’s Azora (December 26, 1917), Ethelbert Douglas Moore’s (April 3,

3 1958), Leonard Bernstein’s Trouble in Tahiti (April The Bicentennial celebrations also saw the cre- 6, 1958), ’s Lost in the Stars (April 10, ation of a number of operas, and today opera is 1958),Vittorio Giannini’s The Taming of the Shrew probably more active than at any other time in (April 13, 1958), Robert Kurka’s The Good Soldier American history. Marvin David Schweik* (April 23, 1958), Menotti’s Maria Levy, Thomas Pasatieri, Dominick Argento, Alva Golovin (March 30, 1959), Weill’s Street Scene Henderson, Conrad Susa, Stanley Silverman—com- (April 2, 1959), ’s The Scarf and Moore’s posers who devote most of their time to working The Devil and Daniel Webster (both April 5, 1959), in the theater or writing operas rather than com- Floyd’s Wuthering Heights (April 9, 1959), Robert posers who produce an occasional opera—attest Ward’s He Who Gets Slapped (April 12, 1959), to the new vitality of the form. Part of this activity ’s The Triumph of St. Joan (April is doubtless because composers no longer consid- 16, 1959), Hugo Weisgall’s Six Characters in er “opera” to mean “grand opera” or a work tailored Search of an Author* (April 26, 1959), Moore’s for established repertory companies.The free-form The Wings of the Dove* (October 12, 1961),Ward’s concept, heralded most notably by Thomson’s Four * (October 26, 1961), Abraham Saints in Three Acts and The Mother of Us All Ellstein’s The Golem* (March 22, 1962), Floyd’s (New World Records 80288-2), has meant that The Passion of Jonathan Wade* (October 11, opera can be performed by small ensembles with 1962), Jerome Moross’ Gentlemen, Be Seated* minimal sceney, so that the crushing burden of (October 10, 1963), Hoiby’s Natalia Petrovna* costs entailed for a limited number of perfor- (October 8, 1964), Jack Beeson’s Lizzie Borden* mances has been to an extent obviated. If a work (March 25, 1965), Ned Rorem’s Miss Julie* like Robert Wilson and Philip Glass’s Einstein 0n (November 4, 1965), Giannini’s The Servant of Two the Beach still requires a substantial outlay, pieces Masters* (March 9, 1967), Weisgall’s Nine Rivers like Susa’s Transformations and Silverman’s from Jordan* (October 9, 1968), Menotti’s The Elephant Steps can be produced on a shoestring. Most Important Man* (March 7, 1971), and Leon Kirchner’s Lily* (April 14, 1977). The impetus for much of this activity came from Patrick J. Smith is the editor/publisher of Musical Newsletter and a freelance music critic. He is author of The Tenth Muse: A Historical the Ford Foundation, which from 1958 to 1960 Study of the Opera . made about a million and a half dollars available, first to the New York City Opera and then to com- panies throughout the United States, for com- missioning and performing American operas. In the case of the New York City Opera, the Ford Foundation also provided money for the company to tour American operas.

4 THE RECORDINGS Side One only as composer and conductor California Indian musical themes for but as a recording artist for the the work. Although stoutly defend- Bands 1 and 2 fledgling phonograph. He used his ed by Herbert, the libretto was well position to foster a society to guar- characterized by Musical America VICTOR HERBERT antee royalty payments to all com- as “one of the most futile, fatuous, posers, not only for the sales of halting, impotent, inane and puerile NATOMA sheet music but for performances. ever written.” It deals with a noble (Libretto Joseph Deighn Redding He and a small group founded the Indian maiden, Natoma, who saves American Society of Composers, from abduction her lifelong friend, I List the Trill Authors and Publishers (ASCAP) the white girl Barbara, by killing the Alma Gluck, ; orchestra informally at a famous dinner in villain Alvarado. Natorna is spared conducted by Victor Herbert. Luchow’s restaurant in October, retribution by converting to Recorded June 10, 1912, in New 1913, and more formally at a meet- and becoming a nun, York. Originally issued on Victor ing in the Hotel Claridge in while Barbara is betrothed to 74274 (mx # C-12103). February, 1914. ASCAP’s early years Lieutenant Paul Merrill, a young were a time of near-failure because American naval officer. No Country Can My Own Outvie of united opposition from, among In the tradition of individual arias, John McCormack, ; orchestra others, hotels and restaurants with the two excerpts (both from Act II) conducted by Victor Herbert. dance bands, but the Supreme have nothing to do with the plot.“I Recorded April 3, 1912, in New Court, in an opinion by Justice List the Trill” is sung by Barbara as York. Originally issued on Victor Oliver Wendell Holmes, upheld an apostrophe to springtime. The 74295 (mx # C-11822). ASCAP in the landmark case of music, clearly intended for an Herbert v. Shanley (1917). Herbert ingenue operetta soprano—Barbara Victor Herbert (born February 1, was not alone in his efforts but is supposed to be eighteen—is sung 1859, in Dublin; died May 26, 1924, because of his prestige as a national in an overripe “operatic” fashion by in New York) is one of the major fig- figure and his untiring work on Alma Gluck. Paul’s salute to ures in American music, both seri- behalf of his fellow artists, he is con- Columbus, an entrance aria, is well ous and popular. He studied cello at sidered the founder of the organiza- put forward by McCormack. the Stuttgart Conservatory and in tion. (For other performances by Alma 1886 came to the United States, Herbert wrote only two operas, Gluck and John McCormack see where his wife had been engaged the second of which, Madeleine, is New World Records NW 247, When by the Metropolitan Opera. He generally considered closer to I Have Sung My Songs: The became a cellist in the Met orches- operetta. Natoma, his sole grand American Art Song 1900-1940; and tra and also composed serious opera, came about through Oscar for Victor Herbert conducting see works. From 1889 to 1891 he was Hammerstein’s interest. Hammer- NW 272, ... And Then We Wrote: associate conductor of the stein had set up the Manhattan American Composers and Lyricists Worcester Festival, from 1893 to Opera Company to challenge the Sing, Play, and Conduct Their Own 1898 he led the Twenty-second Metropolitan and wanted an Songs. Regiment Band, and from 1898 to American work for it; but before 1904 he was conductor of the Herbert had finished, Hammerstein’s I List the Trill Pittsburgh Symphony. company was dissolved through an Herbert made his most important agreement with the Met. Herbert BARBARA contribution in operetta. From 1894 offered the work to the Met, which to 1917 he wrote thirty-five, the declined, and it was taken by the I list the trill in golden throat most notable being Babes in newly formed Philadelphia-Chicago Of yonder bird on wing afloat, Toyland (1903), Mlle. Modiste Opera Company. Mary Garden was Bearing the message far and near, “Awake, my love, the Spring is here!” (1905), The Red Mill (1906), selected to sing the title role, with a Naughty Marietta (1910), and cast that included John McCormack, The tiny rill adown the vale Sweethearts (1913). These were in and the work was first presented in Unto the brooklet tells the tale; the tradition of the Viennese Philadelphia on February 23, 1911, Singing together, on they go operetta, and Herbert (along with and brought to the Met in New York To join the river far below. and Rudolf three nights later. Friml) is considered to have formed Natoma’s libretto was confected Across the field of ripening grain the basis from which composers by Joseph Deighn Redding (1859- The zephyrs bear the same refrain, like , Irving Berlin, 1932), a wealthy California lawyer From every bough, from every tree, I hear again the melody. George Gershwin, and Richard who dabbled in the arts—even to Rodgers developed the American the extent of writing an opera, Fay- The wind that plays within the sheaf equivalent. Yen-Fah, which was performed in Carries the tale to silver leaf; From 1900 on, Herbert was a pow- Monte Carlo in 1925. Besides the The drowsy poppy hears the bee erful force in American music, not story, he gave Herbert some Humming the song in ecstasy. 5 Fly forth, ye minions of the sky! Recorded April 5, 1928, in New Aethelwold, his friend and foster Our happiness sing out on high, York. Originally issued on Victor brother, who is a confirmed misogy- Bearing the message far and near: 8103 (mx # CVE-43613). nist. Aethelwold reluctantly goes. “Awake, my love, the Spring is here!” Aelfrida finds him asleep under a Nay, Maccus, Lay Him Down tree, and they instantly fall in love. Copyright © 1911 G. Schirmer, Inc. Reprinted by Permission. Same as above. (mx # CVE-43614.) Aethelwold sends back a message to the King that Aelfrida is not beauti- Joseph Deems Taylor (born ful enough, but can he (Aethelwold) No Country Can My Own Outvie December 22, 1885, in New York; wed her? They are married, and died July 3, 1960, in New York) is Aethelwold wishes to leave for the PAUL better known for his other musical Continent but is forestalled by the activities than for his composing. He arrival of the King. Aethelwold (RECITATIVE) My commander as studied at New York University and instructs his wife to look her ugliest envoy bids me come, to tender you was at various times a music critic, but on being informed for the first his compliments and ask you to the editor of Musical America, a time that she could have been accept the good-will of his govern- consultant on music for the queen of , Aelfrida comes ment. Here upon this far-off shore, Columbia Broadcasting System, a to the King in all her beauty. where Nature spreads with open well-known commentator for Eadgar immediately perceives the arms the treasures of her fields, we Metropolitan Opera and New York treachery of his henchman, and would salute your sovereign flag, Philharmonic broadcasts, president Aethelwold kills himself. the noble pennant of historic Spain! of ASCAP, and the narrator of the In fact this tale is some distance Walt Disney movie Fantasia. While from the Tristan myth, despite its No country can my own outvie with CBS he was involved in com- superficial resemblance.The distinc- In tribute to the one missioning music for them. Besides tion lies in the character of Aelfrida, Who held the flag of Spain on high his operas he wrote a number of whom Millay clearly sees as a beauti- Toward the setting sun. works, the most famous of which is ful, vain, and rather empty-headed the suite Through the Looking girl taking her pleasure where she His noble figure stands apart Glass (chamber version 1917-19, finds it and not thinking or caring In sacred trust to hold; orchestral version 1922), after Lewis about its consequences. Upon our shield, upon our heart Carroll’s book. “Oh, Caesar” (the Act I finale), a His name is stamped in gold. Taylor’s first two operas, The canny bit of stagecraft by both Columbus! Led on by hand divine! King’s Henchman and Peter Millay and Taylor, is a vaguely folkish Columbus! My country’s love is thine! Ibbetson, are discussed in the intro- drinking song with choral refrain. In duction to these notes. His third the final stanza Aethelwold’s horse The sail that fills with fav’ring wind opera, Ramuntcho, was premiered is brought onstage; the henchman Is guided by command by the Philadelphia Opera Company mounts and rides off to the choral Of some immortal Goddess kind, on February 7, 1942. farewell. The catchiness and swing Who bids us where to land. Though hardly original, Taylor’s of the tune is one of Taylor’s best operas reveal a definite theatrical inspirations, and its deliberate sim- The spirit that directed thee, Great Captain, safe to shore, flair. This is most evident in Peter plicity is appropriate for the Is Goddess of our Liberty, Ibbetson, but the adroit ending of moment. One critic attacked the Whose name we all adore. Act I of The King’s Henchman, piece as obvious in its modulations, recorded here, is a good example but surely this is the point. Columbia! Bright Goddess of the free! of his abilities. A certain amount of the finale’s Columbia! We pledge our love to thee! The noted American poet Edna St. impact is sacrificed by the concert Vincent Millay (1892-1950) provid- version used in the recording, with Copyright © 1911 G. Schirmer, Inc. Reprinted by Permission. ed the libretto. Its unfortunate close all the solo material assigned to resemblance to that of Tristan und Tibbett—whose voice is, however, Isolde was immediately evident to in splendid shape. The recording is Bands 3 and 4 operagoers, and its larding of Anglo- an excellent example of his early, Saxonisms (the opera is set in tenth- more lyrically free singing, and one DEEMS TAYLOR century England) makes for trying can sense how important he was, reading. But behind the hedge of the both as a voice and as an American THE KING’S HENCHMAN syntax lurks a strong libretto, not singer, to the Met. The Metropolitan (Libretto Edna St.Vincent Millay) least because of its emphasis on men’s chorus sounds like a cryptful Oh, Caesar, Great Wert Thou characterization. of Bela Lugosis. King Eadgar of England wishes to The second excerpt is a scena Lawrence Tibbett, ; Metro- wed Aelfrida, the daughter of the with chorus from Act III, the close politan Opera Chorus and Orch- thane of Cornwall. Eadgar cannot of the opera, after Aethelwold’s estra, Giulio Setti conducting. leave his duties, however, and sends death. Here Taylor’s deficiencies are 6 more evident, for he cannot give the Fare thou well, and God be with thee! threnody for a mighty warrior suffi- Fair weather and good roads! ALL MEN and WOMEN cient weight to cap the opera. God keep thee from all fear! God be with thee! Wo—lo—woe! Farewell! Hearest thou the wind in the tree? Oh, Caesar, Great Wert Thou He that spoke but now is no longer in * * * the room. MACCUS Nay, Maccus, Lay Him Down Forth-faréd is he. Oh, Caesar, great wert thou! EADGAR Copyright © 1926 by J. Fischer & Bros. Copyright And Julius was thy name! renewed. Used with permission.All rights reserved. That furrowed thy way through a fallow Nay, Maccus, spray, Lay him down. And to stormy Britain came! What man hath met the thrust of But I would not stand in thy stead, Band 5 Æthelwold, For I’d liefer be quick than dead! And spoke again? LOUIS GRUENBERG He will not answer thee. LORDS Nor me. Not ever. THE EMPEROR JONES But I would not stand in thy stead, (Libretto Kathleen de Jaffa, For I’d liefer be quick than dead! Have done, Ælfrida. founded on the play of the same Thou hast not tears enow in thy narrow [EADGAR] name by Eugene O’Neill) heart To weep him worthily. Oh, Caesar, great wert thou! Standin’ in the Need of Prayer Nor all of us here, Lawrence Tibbett, baritone; Nor all of England weeping, [ÆTHELWOLD] Metropolitan Opera Orchestra, Should weep his worth, That was so young and blithe and fair, Wilfred Pelletier conducting. And Claudius was thy name! Whom the thorn of a rose hath slain. Recorded January 19, 1934, in Wherefore let us save our tears for a lit- New York. Originally issued on EADGAR and ÆTIIELWOLDJ tle sorrow, Victor 7959 (mx # CS-81087-1). And weep not Æthelwold at all. That said,“To be rid Of what Julius did, Louis Gruenberg (born August 3, The axe ringeth in the wood. I’ll go and do the same!” 1884, near Brest Litovsk, Russia; died But I would not stand in thy stead, June 9, 1964, in Beverly Hills, LORDS For I’d liefer be quick than dead! California) came to the United And thou liest here. States as an infant, but later returned LORDS to Europe to study piano and com- EADGAR position with Ferruccio Busoni. In But I would not stand in thy stead, 1919 he gave up the piano to For I’d liefer be quick than dead! The boat shoves off from shore.The become a full-time composer and child of the boatman [ÆTHELWOLDJ returned to the United States. He Dippeth her hand in the sunny water of wrote a number of operas and the sea. Oh, Ceasar, great wert thou! operettas (including The Witch of Brocken, The Bride of the Gods, LORDS [EADGAR] Jack and the Beanstalk, and Queen And thou liest here. Helena), the most famous of which And Hadrian was thy name! is his setting of Eugene O’Neill’s ALL MEN and WOMEN play The Emperor Jones (libretto [EADGAR, ÆTHELWOLD] and LORDS adapted by Kathleen de Jaffa). Wo—lo—woe! Thine eye did itch Gruenberg edited several books of Was it the wind in the tree? Till a Roman ditch Negro spirituals and was a founder He that spoke but now is no longer in Was dug in British shame! of the League of Composers and the room. But I would not stand in thy stead, president of the American section of Forth-faréd is he. For I’d liefer be quick than dead! the International Society for EADGAR Contemporary Music. He settled in [EADGAR, ÆTHELWOLD,] LORDS and California and wrote several film LADIES So. Bear him softly hence. scores, but his concert and stage Caesar, thy day is done! And bury him deep, with his warm Whiles ours is but begun! works were rarely performed after sword beside him. World War II. At his death he left Doughty of heart was he. LORDS and LADIES the manuscript of an opera, Antony This day hath he dared two kings:— and Cleopatra. Myself and Death. Farewell! The Emperor Jones was to have 7 had its premiere in Berlin under Lawd , heah my prayer. I’se a He remained there for forty years Erich Kleiber, but Germany’s unset- po’ sinner, a po’ sinner! I knows I and shaped it into one of the lead- tled political climate forced its post- done wrong, I knows it. When I ing conservatories in the United ponement, and it was first given at catches Jeff cheatin’ wid loaded dice States. But his influence went the Metropolitan Opera at the mati- my anger overcomes me, and I kills beyond the administrative. nee of January 7, 1933, under Tullio him dead. Lawd, I done wrong. Beginning the year after he came Serafin, on a double bill with When dat guard hits me wid de to Rochester, Hanson presented Leoncavallo’s . It was pre- whip, my anger overcomes me, and I festivals of American music both sented in Amsterdam the next year kills him dead. Lawd, I done wrong. new and old at the school. and, after the war, at , again And down heah whar’ dese fool Hanson is one of the best-known under Serafin. bush niggers raises me up to the conservative composers. His music Largely because of Lawrence seat O’ the mighty, I steals all I could derives strongly from Scandanavian Tibbett’s recording, “Standin’ in the grab. Lawd, I done wrong. I knows and Russian composers like Sibelius Need of Prayer” is certainly the most it. I’se sorry. Forgive me, Lawd. and Mussorgsky. His long list of com- famous aria from any American pre- positions includes chamber and World War II opera and arguably one (Then, with overpowering reli- choral music, several symphonic of the half-dozen most famous gious fervor) poems and concertos, six sym- excerpts in all American opera.This phonies, and one opera. is ironic, for the song is not It’s a-me, Merry Mount, commissioned by Gruenberg’s at all but a spiritual he It’s a-me, Oh, Lawd, standin’ in the need the Metropolitan Opera, was pre- inserted just before the final scene. of prayer. miered at the Met at the matinee of Brutus Jones, an escaped slave, has It’s a-me, February 10, 1934, although a con- It’s a-me, Oh, Lawd, standin’ in the need set himself up as emperor of a tropi- cert version had been given in Ann of prayer. cal island, but the natives have Arbor, Michigan, on May 20, 1933. rebelled against his erratic rule. He It’s not my brother, Contrary to its title, the opera is has taken to the forest in an attempt It’s a-me, Oh, Lawd. decidedly serious. The libretto, by to escape.The encircling natives and Standin’ in the need of prayer. Richard Stokes, is based on the ghosts of Jones’s past drive him It’s not my sister, ’s story “The beyond civilization back to savagery, It’s a-me, Oh, Lawd. of Merry Mount” and and he sings his pietà in a final lucid Standin’ in the need of prayer. involves and sexual moment before he is hunted down. obsession among Puritan settlers in Copyright 1921 and 1949 by Eugene O’Neill. The opera’s last line, spoken over Reprinted from The Plays of Eugene O’Neill, by per- . In this version, the Jones’s dead body by Henry mission of Random House, Inc. straitlaced are set against Smithers, a Cockney trader, stands as the Stuart Cavaliers. The story cen- Jones’s epitaph: “Dead as a ‘erring. Band 6 ters around Wrestling Bradford, the Well, God blimey, yer died in a grand fanatic clergyman who heads the style any’ow.” HOWARD HANSON Puritan congregation. His faith is Tibbett sings the piece in a con- being tested by wild, strongly sexual cert version, with a third chorus MERRY MOUNT dreams, and although he is advised added to make a strong climax.The (Libretto Richard Stokes) to get married, his urges cannot be orchestra here omits the offstage so simply satisfied. He believes the ostinato drumbeats that made so ’Tis an Earth Defiled (Act I) demon Ashtoreth, who haunts him, powerful an impression in both the Lawrence Tibbett, baritone; to be incarnate in Lady Marigold play and the opera. Metropolitan Opera Orchestra, Sandys, who is to be married to the Wilfred Pelletier conducting. Cavalier Sir Gower Lockland. The BRUTUS JONES Recorded January 19, 1934, in hedonism of the Cavaliers conflicts New York. Originally issued on with the puritanism of Bradford’s (Jones is seen running wildly. His Victor 7959 (mx # CS-81086). congregation and results in Bradford pants are in tatters, his shoes cut killing Lockland. Indians raid the vil- and misshapen, flapping about his Howard Hanson (born October lage and destroy it, and Bradford, in feet. He gradually slows up and 28, 1896, in Wahoo, Nebraska) stud- a frenzy, equates the destruction looks about him with hunted, fear- ied at the Institute of Musical Art in with Ashtoreth’s possession of ful glances, then sits down in a New York and at Northwestern Marigold. To the horror of his fol- tense position with his face toward University in Evanston, Illinois. An lowers, he renounces his religion, the audience, ready for instant American Prix de Rome took him to seizes Marigold, who longs to die flight. He holds his head, and rocks that city from 1921 to 1924, after now that her fiancé is dead, and car- back and forth, moaning to him- which he became head of the ries her into the flaming church, self miserably.) Eastman School of Music in where they are immolated as the Rochester, New York. populace intones the Lord’s Prayer. Oh, Lawd, Lawd. Oh, Lawd, Lawd! The overwrought passions of the 8 libretto are mirrored in the modal- hornèd moon! logue of American operas shows oriented music. She spoke:“Belovèd, come, and taste how many have been written in the The excerpt is from Act I, when with me past few decades. The prototypes Bradford confesses his obsession to The Vine of Life!” were Paul Hindemith’s Wir bauen The kisses of her mouth Praise-God Tewke. Tewke’s brief eine Stadt and Bertolt Brecht and Were as the lightning and the clash of interjections are here omitted. swords; Kurt Weill’s Der Jasager (both Hanson’s scena is more strongly pro- And with the dulcet agony thereof, 1930); more recent examples jected than Taylor’s but is not as I awoke in tears! include, from England, Benjamin memorable as his choral writing else- Ah, dear God, save me, Britten’s Let’s Make an Opera where in the opera.The development Save me from Evil Spirits, (1949) and Noye’s Fludde (1957) of Tibbett’s voice from lyric to dra- Or else my soul is damned forevermore! and, from America, Weill’s Down in matic baritone is clearly evidenced. the Valley (1948). Note: Bracketed lines not included in The Second Hurricane, written recording. BRADFORD for the

Copyright © 1933 Warner Bros. Inc. Copyright Music School, is moreover a good Oh,‘tis an earth defiled whereon we renewed.All rights reserved. Used by permission. example of the didactic work so live! popular in the twenties and thirties. The instruction here has two aims: There is no leafy bow’r, no dale or grot, Side Two But is a sty for most pernicious devils; Band 1 teaching the music and teaching the No flow’ry mead but wafts a stench of moral of the piece. Brecht’s plays brimstone, and his for Kurt Weill, and No cloud but is a nest of hellish vul- American social dramas of the thir- tures! THE SECOND HURRICANE ties form the soil from which (Libretto Edwin Denby) Copland’s “play opera” sprang, and [TEWKE] the somewhat naive optimism of its Two Willow Hill. Sextet. Jeff’s Song. message is perfectly in tune with [The God of Peace the New Deal and the WPA projects Under our foot shall bruise the Serpent’s Queenie’s Song head!] Soloists and Chorus of the High of that time.The libretto is by Edwin School of Music and Art; New York Denby, one of the first and most dis- BRADFORD Philharmonic, Leonard Bernstein tinguished American dance critics. conducting. Recorded April 30, The story is very simple. A hurri- By night I hear them post upon the 1960, in New York. Originally cane has devastated a region, and a wind issued on Columbia MS-6181. group of schoolchildren has volun- To clang of arms and yelp of demon teered to help out by flying into a laughter. flood-stricken area (the implausibil- Anon the cursed rout besets my cham- The contributions of Aaron ity of this is ignored by the libret- ber, Copland (born November 14, 1900, And there with blazing iron and lash of in Brooklyn) to American music tist and composer). The plane scorpions have been detailed in the notes to develops engine trouble, sets the They harrow me to sign the Devil’s New World Records NW 277, Aaron children down on a hill, supposedly Book, Copland: Works for Piano 1926- in safety, and flies off. On the hill The which I spurn, for love of Christ, 1948. Although forms a the group meets another child lost our Lord! relatively small part of Copland’s in the storm. But a second hurri- Then of a sudden is the dark aflame oeuvre, he has written two operas. cane is approaching, and the chil- With execrable shapes, dren, cut off, are forced to rely on The fair lascivious concubines of , The Second Hurricane (1937) is a their own resources. At first they With dewy flanks and honey-scented good example of a genre that has breasts, had an important vogue, particularly behave irresponsibly, refusing to fix Who tug away the covers, prick my in the twentieth century. This is the radio transmitter and eating up flesh opera for a school or workshop— their food supplies, but the reality With hands of fire. simply set and performable for, and of their danger forces them to usually by, amateurs, music students, group and work together. Thus the [TEWKE) or those interested in learning about “dignity and importance of collec- opera. Though rarely given produc- tive heroism” win out, and the chil- [Softly, softly!] tions by professional companies, dren mature through their ordeal and emerge triumphant. BRADFORD these works have received far more performances than more celebrated The excerpt here is from Act II, Hear me, or I go mad! operas because they are within the after the hurricane has struck. The Last night came One resources of schools or conservato- Grown-ups’ Chorus acts as a Greek That paced adown the stairway of the ries. The list of such pieces is long, chorus, commenting on the plight of sky, and the Central Opera Service cata- the children. (As recorded, there is a Like unto Ashtoreth, Queen of the short cut in this opening chorus.) 9 One of Copland’s most personal— Two Willow Hill We don’t see it.— and lasting—gifts is his ability to They passed without seeing us. — write elegantly in what could be GROWN-UPS’ CHORUS But we know it’s there in the dark. — termed a “folk” style. This ability, We’re waiting, we’re hoping, Butch, Fat, Gyp and Lowrie, We’re hoping for a plane. which he shares with his colleague Gwen, Queenie and Jeff, they’re safe on Will another come before morning? Virgil Thomson, is clearly evidenced Two Willow Hill. in his ballet scores of enduring pop- Safe in the midst of the flood. GYP ularity (, , Safe together, together in the dark of Will we last till another can find us? ). The style is night. descended from certain nationalistic FAT styles of the early twentieth century Safe? No, they are not safe, they are not and the sonic landscapes of Sibelius, safe yet. Well, we’re safe together here for a but with a French sense of refine- Nobody knows where they landed, while. Nobody knows where they are. ment. Nobody knows yet that they’re in the LOWRIE The unadorned elegance of the midst of the flood, Second Hurricane extracts is an That around them a flood is rising, ris- We’re sitting together, excellent example of a type of writ- ing, rising in the dark of night. Safe for a while, ing that appeals to both the amateur Safe here together. and the seasoned composer. * * * * * * * * * * Butch, Fat and Gyp, Copland’s deft part writing is MEN’S CHORUS Gwen and Queenie and Jeff and me. accomplished with cunning ease, Safe for a little while in the rising flood. and not the least felicity is the way Butch, Fat, Gyp and Lowrie, Gwen, Queenie and Jeff. QUEENIE the Sextet moves from its opening Waiting in the midst of the flood, triadic simplicity to more complex Waiting on Two Willow Hill. Let’s pretend we’ve saved our radio. writing. The insinuation of the They talk a little now and then, perhaps. Lowrie could have fixed it, dance rhythm, which arrives with We all would have helped. Queenie’s “We’d be tuning in on a GROWN-UPS’ CHORUS We’d be sending out calls, dance band” but is signaled earlier We’d be hearing from the rescue planes. by the dotted rhythms, is typical of But it’s their thoughts that sing together We’d be tuning in on a dance band. Copland’s total assimilation of the in the dark of the night. Ta ta ta ta, etc. popular into his compositional style The thoughts of their hearts that sing in the dark. Jeff’s Song (and is perfectly in tune with Leonard Bernstein’s style as well, as SEXTET JEFF evidenced by the relish with which GYP he conducts it). The succession of We’re sitting together, You was all mighty mean when you first Jeff’s and Queenie’s songs is like- We’re cold, hungry and tired. come; wise well judged in terms of the We can’t make a fire to show where we I’se mighty scared of you all. overall continuity. Indeed, the long are, Now you’se all mighty nice and I’se not flowing lines of Queenie’s song We haven’t a match for a fire. scared at all. form the ideal contrast to the earlier I’se not scared with you aroun’, GWEN I’se not scared that we can drown, anxiety and exhilaration, ending the Come on, river, show what you can do. excerpts on a moment of other- They’ve sent out planes to find us, Jefferson Brown ain’t scared of you. worldly repose. (I wonder whether We heard one, but it was too far off. Denby and Copland were aware of ALL SIX the “Crane Duet” in the Weill-Brecht QUEENIE Mahagonny, for both words and FAT I’se not scared with you aroun’, music recall it.) I’se not scared that we can drown. Way off over there. Come on, river, show what you can do, All of us together ain’t scared of you. GYP All we have is a rubber boat we can’t Queenie’s Song blow up, And a single flashlight. QUEENIE

TOGETHER I never knew that I could feel the way I do and have it real. All around us, — It’s like a dream of floating in the sky, They didn’t see us. — A lovely dream when you seem to fly. The flood’s there.— You dream along the sky with others, We don’t hear it — too. It doesn’t make a sound.— It’s so easy to fly, and all of us do. 10 In the dream we meet we’re side by composition of lyric works. Amahl central portion that steadily builds side, and the Night Visitors (written for in power (through the repetition of It’s so strange and sweet the way we television and first produced in 1951) word and phrase as much as glide. has become a Christmas classic. through the surge of the music) to I’ll keep my dream, you can have it too, But opera is only part, if a major the cabaletta “Oh! the day will It’s a wonderful dream, and I know it’s true. part, of his creative work. He has come.” The scene is intensified written other music (for example because the audience is aware of Somehow it’s clear, I don’t know how, violin and piano concertos and the the plight of Magda Sorel, who is Just sitting here as we are now. ballet scores Sebastian and The trying to leave the tyranny of an It’s like a dream of floating in the sky, Unicorn, the Gorgon and the unnamed country to join her fugi- A lovely dream when you seem to fly. Manticore), the librettos for tive husband but is constantly foiled You dream along the sky with others Vanessa and for by the bureaucracy of an unnamed too, Samuel Barber, two plays, and film consulate.At this point in the opera Da da da dee da, etc. scripts. He has directed plays and her patience, weakened by anxiety

© Copyright 1938 by Aaron Copland. Renewed is widely known as a director both and emotional exhaustion, finally 1965. Reproduced by permission of Aaron Copland of his own and of other operas, snaps, and the unloosed flood of her and Boosey & Hawkes, Inc. Sole Publisher. and he conceived and still directs anger spills from the stage and car- the Festival of Two Worlds at ries the audience with it. Indeed, Band 2 Spoleto in , which in 1977 this excerpt is so powerful a state- expanded to Charleston, South ment that, although carefully placed GIAN CARLO MENOTTI Carolina. He is one of the most in the context of the story, it tran- astute judges of young artistic tal- scends the bounds of the melodra- THE CONSUL ent and has fostered dozens of matic plot and can legitimately (Libretto Gian Carlo Menotti) careers through his contacts. stand as a protest against all bureau- Aside from the operas mentioned cratic injustice.The twentieth-centu- To This We’ve Come above, he has written Amelia Goes ry orientation adds to this power, , soprano; orchestra to the Ball (1937), The Old Maid for Magda Sorel is not contending conducted by Lehman Engel. and the Thief (1939), The Medium with a villain like ’s Pizarro Recorded April 11, 1950, in New (1946), (1947), The or ’s Scarpia but with faceless York. Originally issued on Decca Consul (1950), The Saint of and amorphous rules and regula- DAU-769 (transferred to LP DX- Bleecker Street (1954), Maria tions, in the manner of Kafka’s 101). Golovin (1958), (for tele- Joseph K. in the novella The Trial. vision, 1963), Martin’s Lie (1964), The excerpt, from the recording of Librettist and composer Gian Carlo Help! Help! The Globolinks (1968), the original Broadway production, Menotti (born July 7, 1911, in in the features the American soprano Cadegliano, Italy) has been one of the World (1970), Tamu-Tamu (1973), Patricia Neway, one of the most major forces in opera in the United and (1976). active protagonists in the service of States, certainly in the years 1946 to American opera, in the role that cat- 1960. Although he is the quintessen- This scena from The Consul is apulted her into stardom. She has tial conservative composer, he has probably the most famous excerpt also appeared as Leah in Tamkin’s not restricted his output to the major from a Menotti opera. Menotti’s The Dybbuk and Nellie in Floyd’s opera houses. The Metropolitan, for method is obviously based on Italian Wuthering Heights; later she instance, has produced only two of verismo models of Puccini and oth- appeared on Broadway in Rodgers his works, (1941), ers, and although the music is less and Hammerstein’s The Sound of one of his very few failures and clearly separable into individual Music. Lehman Engel has had a long which he has withdrawn from his numbers, he, like Puccini, always and fruitful career as composer, catalogue, and The Last Savage (pre- retains the forms, be they ensembles choral conductor, administrator, and miere , 1963; Met production, or arias, that are so integral a part of author of books on the musical the- 1964), a satire on contemporary civi- repertory opera. ater as well as musical director for lization that reflects the beginnings of Magda Sorel’s cry from the heart, numerous shows and operas. Menotti’s polemically solipsistic later which occurs at the end of Act II, libretto—if not musical—style. He has Scene 2, is a splendid example of written grand operas and simple the individual utterance that is at operas, operas for radio and for televi- the same time wedded to the sion, and has been one of the very unfolding of the story. Menotti’s few opera composers whose works form is a free adaptation of the nine- have held the stage on Broadway. As teenth-century cavatina-cabaletta, such, Menotti has blazed a path for but with an extended accompanied American composers by taking the recitative in the middle. The softly stigma of “grand opera” out of the begun cavatina develops into a long 11 MAGDA ment must be made in advance... Color of eyes: the color of tears. You can begin by filling this form Occupation: waiting. To this we’ve come: and then I’ll see what I can do for Waiting, waiting, waiting! that men withhold the world from men. you. Sign here. I said... sign here. Waiting, waiting, waiting!

No ship nor shore for him who drowns MAGDA at sea. Oh, the day will come, I know, (Magda snatches the paper from her when our hearts aflame No home nor grave for him who dies on hand.) will burn your paper chains! land. Papers! Papers! Papers! Warn the Consul, Secretary, warn him. But don’t you understand? That day neither ink nor seal To this we’ve come: What shall I tell you to make you under- shall cage our soul. that man be born a stranger upon God’s stand? That day will come! earth, My child is dead... John’s mother is that he be chosen without a chance for dying... (She stumbles back to her place on the choice, My own life is in danger. I ask you for bench.) that he be hunted without the hope of help. refuge. And all you give me is... papers! Copyright © 1950 G. Schirmer, Inc. Used by Permission. To this we’ve come; What is your name? Magda Sorel. (to the Secretary) Age? Thirty-three. Band 3 and you, you, too, shall weep. Color of eyes? Color of hair? Single or married? Religion and race? AARON COPLAND If to them, not to God, we now must Place of birth? Father’s name? Mother’s pray, name? THE TENDER LAND tell me, Secretary, tell me, Papers! Papers! Papers! who are these men? (Libretto Horace Everett) (Tearing the paper she holds in her If to them, not to God, we must pray, hand, Magda rushes to the desk, It Promises To Be a Fine Night. tell me, Secretary, tell me! takes up a great stack of papers The Promise of Living from there, and hurls them about , soprano; Claramae Who are these dark archangels? the room.) Turner, mezzo-soprano; Richard Will they be conquered? Will they be Cassilly, tenor; Richard Fredericks, doomed? Papers! Papers! Papers! baritone; , ; New Look at my eyes, they are afraid to sleep. York Philharmonic, Aaron Copland Is there one—anyone behind those Look at my hands, at these old woman’s doors hands. conducting. Recorded July 31, to whom the heart can still be 1965, in New York. Originally explained? (after a long pause, to the Secretary) issued on Columbia MS-6814. The Tender Land is a pastoral Is there one—anyone who still may Why don’t you say something? work, akin to Copland’s ballet care. scores and Virgil Thomson’s music Tell me, Secretary, tell me! Aren’t you secretaries human beings for the film . The like us?. story of a young girl’s graduation, (She questions the Secretary in desper- her falling in love with an itinerant ate earnestness, with almost a (with mounting anguish) touch of madness in her voice.) harvester (who leaves her rather What is your name? Magda Sorel. than commit himself), and her Have you ever seen the Consul? Does he Age? Thirty-three. escape from the farm to the outside speak, does he breathe? What will your papers do? world has points of contact with Have you ever spoken to him? They cannot stop the clock. Gustave Charpentier’s city-oriented They are too thin an armor against a bul- Louise, but here the focus remains (She breaks down and turns away to let. as much on the world of the family control herself) as on the story of Laurie. In some What is your name? Magda Sorel. respects, The Tender Land (libretto VERA BORONEL, MR. KOFNER Age? Thirty-three. What does that matter? by Horace Everett) is spiritually Oh, do we hope and wait in vain? Sec- All that matters is that the time is late, close to William Inge’s pastoral play retary, speak! Is there no one in that that I’m afraid and I need your help. Picnic (1953): both works involve room? Secretary, speak! What is your name? What is your name? the growing up of older and What is your name? younger sisters in summertime, and SECRETARY in both the ambience of rural life is This is my answer: vividly set forward. I don’t know what you’re talking about! My name is woman. The excerpt is the close of Act I. Of course you can see the Consul... But Age: still young. The folk-like theme and words he’s a very busy man...The appoint- Color of hair: gray. (“The promise of living”), derived 12 from hymns and akin to Copland’s use of the Shaker tune “The Gift to For many a year I’ve known this field Give thanks there was sunshine, Be Simple” in Appalachian Spring, And know all the work that makes her Give thanks there was rain, are an apotheosis of the values of yield. Give thanks we are here to deliver the Are you ready to lend a hand? grain. living close to the land and thus Oh, let us be joyful, form a fitting end to this record. For TOP Oh, let us be grateful to the Lord for His in The Tender Land Copland dis- blessing. tilled the qualities of Americanism I’m ready to work, I’m ready to lend a Oh, let us sing our song, and let our that so obsessed early critics of hand. song be heard. American operas and that com- We’ll bring in the harvest, the blessings Let’s sing our song with our hearts, and posers as disparate as Herbert, of harvest. find a promise in that song. Damrosch, Taylor, Hanson, and Moore strove to realize. GRANDPA MARTIN,TOP, GRANDPA By working together we’ll bring in the The promise of ending GRANDPA harvest, In right understanding The blessings of harvest. Is peace in our own hearts and peace It promises to be a fine night. We plow and plant each row with seeds with our neighbor. of grain MARTIN Bring out from the land, TOGETHER Bring out the blessings of harvest. (begins to sing as if to himself, with The promise of living, simple dignity) MARTIN The promise of growing, The promise of living with hope and The promise of ending is labor and shar- thanksgiving We plant each row with seeds of grain ing and loving. Is born of our loving our friends and our And Providence sends us the sun and labor. the rain; By lending a hand, by lending an arm, Copyright 1960 by Aaron Copland. Reproduced by LAURIE, MARTIN Bring out, bring out from the farm, permission of Aaron Copland and Boosey & Hawkes, Inc. Sole Publisher. Bring out the blessings of harvest. The promise of growing With faith and with knowing LAURIE (exalted) Is born of our sharing Our love with our neighbor. Oh, let us be joyful, Oh, let us be grateful, LAURIE, MA, MARTIN Come join us in thanking the Lord for his blessing. The promise of living Oh, let us sing our song, and let our The promise of growing song be heard. Is born of our singing Let’s sing our song with our hearts, a In joy and thanksgiving. promise in that song. GRANDPA MA MOSS (exalted)

13 SELECTED BIBLIOGRAPHY

General Bloomfield, Arthur. The Opera 1925-1961. New York:Appleton-Century-Crofts, 1961. Davis, Ronald L. A History of Opera in the American West. Englewood Cliffs, N.J.: Prentice-Hall, 1965. ____. Opera in Chicago:A Social and Cultural History 1850-1965. New York:Appleton-Century, 1966. Eaton, Quaintance. The Boston Opera Company:The Story of a Unique Musical Institution. New York: Appleton-Century, 1965. ____. Opera Caravan: Adventures of the Metropolitan on Tour, 1883-1956. New York: Farrar, Straus & Cudahy, 1957. Gatti-Casazza, Giulio. Memories of the Opera. New York:Vienna House, 1973 (reprint of 1941 edition). Gerson, Robert A. Music in Philadelphia. Westport, Conn.: Greenwood, 1970 (reprint of 1940 Theodore Presser edition). Hamm, Charles.“Opera and the American Composer,” in The American Composer Speaks, ed. Gilbert Chase. Baton Rouge: Louisiana State University Press, 1966. Hipsher, Edward E. American Opera and Its Composers. Philadelphia: Theodore Presser, 1927. Johnson, H. Earle. Operas on American Subjects. New York: Coleman-Ross, 1964. Kobbé, Gustave. The Complete Opera Book. Revised edition. New York: Putnam, 1935. ____. The New Kobbé’s Complete Opera Book, ed. and rev. the Earl of Harewood. New York: Putnam, 1976. Kolodin, Irving. Metropolitan Opera. Revised edition. New York: Knopf, 1966. Krehbiel, Henry Edward. More Chapters of Opera. New York: Holt, 1919. Mattfeld, Julius. A Handbook of American Operatic Premieres. Detroit: Information Services, 1963. Rosenfeld, Paul. Musical Chronicle (1917-1923). New York: Blom, 1971 (reprint of 1923 Harcourt, Brace edition), pp. 54-60;“The Fate of Mona.” Seltsam, William H. Metropolitan Opera Annals: A Chronicle of Artists and Performances. New York: Wilson, in association with the Metropolitan Guild, 1947. ____. Metropolitan Opera Annals... First Supplement: 1947-1957. New York:Wilson, in association with the Metropolitan Guild, 1957. ____. Metropolitan Opera Annals... Second Supplement: 1955-1966. New York: Wilson, in association with the Metropolitan Guild, 1967. Sheehan,Vincent. Oscar Hammerstein I: The Life and Exploits of an Impresario. New York: Simon & Schuster, 1956.

Aaron Copland Mellers,Wilfred H.“The Tender Land,”Musical Times, CIII (1962), 245.

Howard Hanson Tuthill, B. C.“Howard Hanson,”Musical Quarterly, XLII (1956), 140.

Victor Herbert Waters, Edward N. Victor Herbert:A Life in Music. New York: Macmillan, 1955.

Gian Carlo Menotti Grieb, Lyndal C. Operas of Gian Carlo Menotti, 1937-1972: A Selective Bibliography. Metuchen, N.J.: Scarecrow, 1974. Gruen, John. Gian Carlo Menotti New York: Macmillan, 1978. Sargeant,Winthrop.“Orlando in Mount Kisco,”The New Yorker, XXXIX, 11 (1963), 48-89. Tricoire, R. Gian Carlo Menotti: L’Homme et Son Oeuvre. Paris, 1966.

Deems Taylor Howard, J.T. Deems Taylor. New York: J. Fischer, 1927. Porte, J. F.“Deems Taylor, an American Hope,”Sackbut, IX (1929), 193.

14 SELECTED DISCOGRAPHY

Antheil, George. The Wish. Members of Kentucky Opera Association and Louisville Orchestra, Bomhard conducting. Louisville 56-4. Banfield, Rafaello de. Lord Byron’s Love Letter. Farrell; Boston Symphony, Munch conducting.Victor LM- 2255. Barber, Samuel. Antony and Cleopatra (two arias). Price; New Philharmonia, Schippers conducting. RCA LSC-3062. ____. A Hand of Bridge. Neway, Alberts, Lewis, Maero; Symphony of the Air, Golschmann conducting. Vanguard VSD-2083. ____. Vanessa. Steber, Elias, Resnik, Gedda, Tozzi; Metropolitan Opera Orchestra, Mitropoulos conduct- ing. RCA ARL2-2094. Beeson, Jack. Captain Jinks of the Horse Marines. Wilcox, Jones, Green; Kansas City Lyric Theater, Patterson conducting. RCA ARL2-1727. ____. Hello Out There! Gabriele, Reardon,Worden; Columbia Chamber Orchestra,Waldman conducting. Desto 6541. ____. Lizzie Borden. Faull, Lewis, Beattie, Krause, Elgar;A. Coppola conducting. Desto 6455/7. ____.The Sweet Bye and Bye. Kansas City Lyric Theater, Patterson conducting. Desto 7179/80. Bergsma,William. The Wife of Martin Guerre (extracts). Judd, Harbachick, Sarfaty;Waldman conducting. CRI 105. Bernstein, Leonard. Mass. Scribner; Berkshire Boys’ Choruses, Ailey American Dance Theater, Bernstein conducting. Columbia M2-31008. ____. Trouble in Tahiti. Williams, Butler, Patrick, Clarke, Browne; Columbia Wind Ensemble, Bernstein conducting. Columbia KM-32597. Blitzstein, Marc. The Cradle Will Rock. Kingsleys conducting. CRI SD-266. ____. Regina. Lewis, Carron, Brice, Hecht; New York City Opera, Krachmalnick conducting. Columbia 03S-202. Bowles, Paul. The Wind Remains. Renzi, Driscoll; MGM Chamber Orchestra, Surinach conducting. MGM- 3549. Bucci, Mark. Tale for a Deaf Ear. Addison, Payne, Lee. CRI 147. Chanler,Theodore. The Pot of Fat. Stewart, Burrows,Abel; CRI Chamber Orchestra, Mester conducting. CRI 162. Claflin, Avery. La Grande Bretêche (extracts). Brinton, Blankenship, Owens; Vienna Orchestra, Adler conducting. CRI 108. Copland, Aaron. The Second Hurricane. New York City High School of Music and Art Chorus, , Bernstein conducting. Columbia MS-6181. ____. The Tender Land (slightly cut). Clements, Turner, Cassilly, Treigle, Fredericks; New York Philharmonic, Copland conducting. Columbia MS-6814. Foss, Lukas. The Jumping Frog of Calaveras County. After Dinner Opera Company, Flusser conducting. Lyrichord LL-11. Gershwin, George. Porgy and Bess. Dale, Albert, Smith; Houston Grand Opera, De Main conducting. RCA ARL3-2109. Mitchell, White, Boatwright, Quivar; Cleveland Orchestra and Chorus, Maazel con- ducting. 13116. Williams, Matthews, Long,Winters; Engel conducting. Odyssey 32360018E. Giannini, Vittorio. The Taming of the Shrew. Kansas City Lyric Theater, Patterson conducting. CRI SD- 272. Glanville-Hicks, Peggy. Nausicaa (extracts). Stratas, Modenos, Ruhl, Steffan; Athens Symphony Chorus and Orchestra, Surinach conducting. CRI 175. ____.The Transposed Heads. Nossaman, Harlan, Pickett,Anderson, Suppon; Kentucky Opera Association Chorus, Louisville Orchestra, Bomhard conducting. Louisville 545/6. Hanson, Howard. Merry Mount (choral and vocal excerpts). Crawford, McDevitt, Fleck, Cullen; Eastman School of Music Chorus, Eastman-Rochester Symphony, Hanson conducting. Mercury 90524. Herrmann, Bernard. Wuthering Heights. Beaton, Bowden, Bambridge,Ward, Bell, Rippon, et al.; Pro Arte Orchestra, Herrmann conducting. Unidorn UNB-400. Hoiby, Lee. Beatrice. Kentucky Opera Association, Louisville Orchestra. Louisville 603.

15 Joplin, Scott. Treemonisha. Balthrop,Allen,White; Houston Grand Opera, Schuller conducting. Deutsche Grammophon 2707083. Kirchner, Leon. Lily (extract). Hoagland; Columbia Chamber Soloists, Kirchner conducting. Columbia M- 32740. Kurka, Robert. The Good Soldier Schweik. Candide CE-31089. Levy, Marvin David. Mourning Becomes Electra (aria). RCA LSC-3076. Menotti, Gian Carlo. Amahl and the Night Visitors. King, Yaghjian, McCollum, Patterson; chorus and orchestra, Grossman conducting. RCA LSC-2762. ____. Amelia al Ballo (in Italian). La Scala Chorus and Orchestra, Sanzogno conducting.Angel 35140. ____. The Consul. Powers, Neway; Engel conducting. Decca DX-101. ____. Help! Help! The Globolinks (excerpt, in German). Electrola C-195-29107/9. ____. Maria Golovin. Chookasian, London; New England Conservatory Chorus, Boston Symphony, Leinsdorf conducting. RCA LM-6142. ____. The Medium. Resnik, Blegen, Derr, Patrick, Carlson;Washington Opera Society, Mester conducting. Columbia MS-7387. ____.The Saint of Bleecker Street. Poleri, Lane, Ruggiero; Schippers conducting. RCA LM-6032. The Telephone. Keller, Powers, Dame, Mastice, Cotlow, Rogier; Balaban conducting. Columbia OSL-154. Mohaupt, Richard. Double Trouble. Riesley, Pickett; Kentucky Opera Association, Bomhard conducting. Louisville 545/12. Moore, Douglas. The Ballad of Baby Doe. Sills, Bible, Cassel; New York City Opera, Buckley conducting. Deutsche Grammophon 2709061. ____. Carry Nation. Wolff, Patrick; New York City Opera, Krachmalnick conducting. Desto 6463/5. ____. The Devil and Daniel Webster. Festival Orchestra and Chorus,Aliberti conducting. Desto 6450. Nabokov, Nicolas. The Holy Devil. Kentucky Opera Association, Louisville Orchestra, Bomhard conduct- ing. Louisville 594. Silverman, Stanley. Elephant Steps. Soloists and ensemble,Thomas conducting. Columbia M2X-33044. Thomson,Virgil. Four Saints in Three Acts (extracts). Matthews, Greene, Bethea, Robinson, Dorsey; cho- rus and orchestra,Thomson conducting. RCA LM-2796. ____.The Mother of Us All. Godfrey, Dunn,Vanni,Atherton, Booth; Santa Fe Opera, Leppard conducting. New World Records 80288-2. Ward, Robert. The Crucible. Bible, Ludgin, Brooks; New York City Opera, Buckley conducting. CRI SD- 168. Weill, Kurt. Down in the Valley. Drake,Wilson,Atkins; Levine conducting. Decca 74239. Weisgall, Hugo. The Stronger. Meier; Aeolian Chamber Players,Weisgall conducting. CRI SD-273. ____. The Tenor. Young, Coulter, Cassilly, Kuhn, Ludgin, Cross; Vienna State Opera Orchestra, Grossman conducting. CRI 197.

Side One Total time 25:37

VICTOR HERBERT: NATOMA

1 “I LIST THE TRILL” ...... 3:11 (publ. G. Schirmer, Inc.) Alma Gluck, soprano; orchestra conducted by Victor Herbert.

2 “NO COUNTRY CAN MY OWN OUTVIE” ...... 3:29 (publ. G. Schirmer Inc.) John McCormack, tenor; orchestra conducted by Victor Herbert.

DEEMS TAYLOR: THE KING’S HENCHMAN

3 “OH, CAESAR, GREAT WERT THOU” ...... 4:05 (publ. Belwin-Mills Publishing Corp.) Lawrence Tibbett, baritone; Metropolitan Opera Chorus and Orchestra, Giulio Setti conducting.

16 4 “NAY, MACCUS, LAY HIM DOWN” ...... 4:32 (publ. Belwin-Mills Publishing Corp.) Same as above.

5 LOUIS GRUENBERG: THE EMPEROR JONES— “STANDIN’ IN THE NEED OF PRAYER” ...... 5:01 (Copyright held by Mrs. Louis Gruenberg) Lawrence Tibbett, baritone; Metropolitan Opera Orchestra,Wilfred Pelletier conducting.

6 HOWARD HANSON: MERRY MOUNT— “’TIS AN EARTH DEFILED” ...... 4:46 (publ.Warner Bros. Music) Lawrence Tibbett, baritone; Metropolitan Opera Orchestra,Wilfred Pelletier conducting.

Side Two Total time 24:42

1 AARON COPLAND: THE SECOND HURRICANE— “TWO WILLOW HILL”;“SEXTET”;“JEFF’S SONG”;“QUEENIE’S SONG”(Stereo Recording) ...... 10:53 (publ. Boosey & Hawkes, Inc.) Soloists and Chorus of the High School of Music and Art, New York Philharmonic, Leonard Bernstein conducting.

2 GIAN CARLO MENOTTI: THE CONSUL— “TO THIS WE’VE COME” ...... 7:50 (publ. G. Schirmer, Inc.) Patricia Neway, soprano; orchestra conducted by Lehman Engel,

3 AARON COPLAND: THE TENDER LAND— “IT PROMISES TO BE A FINE NIGHT”;“THE PROMISE OF LIVING” (Stereo Recording) ...... 5:40 (publ. Boosey & Hawkes, Inc.) Joy Clements, soprano; , mezzo-soprano; Richard Cassily, tenor; Richard Fredericks, baritone; Norman Treigle, bass; New York Philharmonic, Aaron Copland conducting.

Full discographic information and a list of the performers for each selection may be found within the individual discussions of the works in the liner notes.

ACKNOWLEDGEMENTS Our thanks to RCA Records for “I List the Trill”;“No Country Can My Own Outvie”;“Oh, Caesar”;“Nay, Maccus, lay him down”; “Standin’ in the need of prayer”; and “‘Tis an Earth Defiled”; to CBS Records for “The Second Hurricane”; and “It promises to be a fine night”; to MCA Records for “To This We’ve Come.” We wish to thank David Hall for his invaluable assistance.

Program consultant: David Hamilton Rerecording engineer: Jerry Bruck, Posthorn Recordings Cover art: Reginald Marsh.“Grand Tier at the Metropolitan.”Engraving. Private collection. Cover design and calligraphy: Elaine Sherer Cox Library of Congress Card No. 78-750046

LINER NOTES © Recorded Anthology of American Music, Inc. q 1978 © 1978 Recorded Anthology of American Music, Inc. All rights reserved.

For additional information and a catalogue, please contact:

New World Records 701 Seventh Avenue, New York, New York 10036 (212) 302-0460 • (212) 944-1922 fax email: [email protected]

www.newworldrecords.org

17