THE UNITED STATES ARMY FIELD BAND SOldiers’ CHORUS The Legacy of R ANDALL T HOMPSON Washington, D.C. “The Musical Ambassadors of the Army” ften referred to as the “voice” of the diversity provides so much programming Field Band, the Soldiers’ Chorus is flexibility that concertgoers might enjoy Ocomposed of 29 highly talented vocalists. Broadway selections, an operatic aria, a Originally consisting of instrumentalists, barbershop quartet, and patriotic numbers the chorus first utilized bandsmen all on one program! who doubled as vocalists. By 1965, the Besides its primary mission of instrumentalists were replaced by vocally appearing with the Concert Band, trained musicians, and in 1974 the first the chorus has also performed at the female members arrived, beginning the Esplanade in Boston, the Mormon development to a mixed chorus. Tabernacle in Salt Lake City, Utah, and Today the Soldiers’ Chorus performs at various State Department functions. a variety of musical styles, ranging from Other notable performances by the Tin Pan Alley to jazz, from Broadway Soldiers’ Chorus include such events past and present to opera. The musical as the 750th anniversary of Berlin, the backgrounds of the individual vocalists rededication of the Statue of Liberty range from opera and musical theatre to in 1986, and the Bob Hope ninetieth music education and vocal coaching. This birthday television special in 1993. The Legacy of Randall Thompson About this Recording The Soldiers’ Chorus of The United States Army Field Band is pleased to present this first in a series of recordings honoring the lives and music of individuals who have made significant contributions to choral music and education. Designed primarily for educational assistance, these recordings are a means of making accessible and preserving America’s choral heritage for young musicians now and in the future. Knowledge of and appreciation for professionals such as Randall Thompson are sure to inspire those charged with the important and gratifying task of carrying on our great choral traditions. This compact disc was recorded March 22–30, 1995, in the John Addi- son Concert Hall, Harmony Hall Regional Center, 10701 Livingston Road, Fort Washington, Maryland 20744. This recording was reprinted in 2008. The Legacy of Randall Thompson The Formative Years Although born in New York City, Randall Thompson (1899–1984) grew up in the small town of Lawrenceville, New Jersey. His father, an editor of poetry and English instructor at the Lawrenceville School, fos- tered in young Randall a deep interest in the literary arts. This influence is evident in the well-crafted verse and prose which Thompson sought as the basis of his choral music. Thompson’s earliest substantive musical training started in 1911, when he entered the Lawrenceville School. There he studied with Francis Cuyler van Dyck, the school’s organist and math teacher. Later, at the age of 15, his first experience as a professional musician began when he assumed the duties of his gravely ill teacher. His tenure as school organist lasted only a few months, but the $150 stipend helped to nurture profes- sional ambitions, and in 1916, he entered Harvard University to pursue a career in music. He returned in 1948 to teach at his alma mater as one of this nation’s preeminent composers and music educators. Harvard: Shaping His Philosophy Thompson’s musical mentor at Harvard was the renowned choral editor and conductor, Archibald T. Davison, who introduced him to the early choral masterworks of Palestrina, Monteverdi, and Bach. While these composers were to have a great impact on Thompson’s choral art, more important at that time was his encounter with George Herbert Palmer, an aging professor emeritus whose discipline was philosophy and moral ethics. Palmer taught that individuality expressed in art or any other human endeavor, rendered outside of the societal structure, is morally invalid. The proper moral course is followed when one uses his individual talents within a social system to ensure that system’s survival. Randall Thompson absorbed this ethic and demonstrated it with uncanny continuity throughout his life. This is profoundly evident in both the development of his choral art and his reputation as an educator. His aesthetic creed: “A composer’s first responsibility is, and always will be, to write music that will reach and move the hearts of his listeners in his own day . .”1 His commitment, however, went well beyond his listeners’ hearts, as his primary audience was the musician, for whom he composed. Nearly all of his choral works were commissioned, or otherwise requested, by amateur choral groups and it was to them that he remained ardently loyal in his art. This was abundantly clear in his 1949 address to the Intercollegiate Music Council when he stated that “many of the greatest composers’ greatest works are choral, and they can all be sung by amateurs. What would be the good of writing a choral piece that only professionals could sing? If a piece is too difficult for amateurs to sing, the chances are that it is not good enough.”2 Italy: Finding His Artistic Voice After Harvard, Thompson won a three-year study grant to the Ameri- can Academy in Rome (1922–25). While in Italy, he received lessons in composition from Gian Francesco Malipiero, who influenced Thompson’s work in several significant ways. Malipiero believed that choral music as an art form was worthy of the highest concentration in one’s creative out- put—an opinion which ran counter to the prevailing trend toward “absolute music.” He also immersed the young American in the works of the early contrapuntal masters, thereby encouraging a neoclassical approach in his developing style. As in his study at Harvard, Thompson was exposed to the well-honed techniques of Palestrina and Monteverdi. Their expertise in the expressive setting of text, crafted within the narrow parameters of their cul- tural aesthetic, resonated well with Thompson’s own view of the composer in society. One finds their influence in his connective voice-leading, traditional harmonic language, and wide emotional scope. While other composers of his day advocated serial techniques and other modern idioms, Thompson worked and taught from the writings of early theoreticians such as Gioseffo Zarlino (1517–1590), Johann Josef Fux (1660–1741), and Giovanni Battista Martini (1706–1784), whose teachings were immortalized by Bach, Handel, Haydn, and Beethoven. Contrary to modern trends, Thompson’s rules were time-honored: “Above all, place the voices where they will sound. Avoid inappropriate chromaticism. Avoid extreme ranges. Avoid unnecessary divisi in the individual parts. And finally sing the individual parts to yourself. If you can sing them, it doesn’t necessarily mean that they are good; but if you can’t sing them, there’s something wrong, and you had better do some serious re-touching.”3 Such teachings made him something of an anachronism among his peers, yet highly revered by the people for whom he composed. Conclusion The majority of Thompson’s choral compositions are extended works and song groups, slightly weighted toward the a cappella medium and sacred verse. Much of his compositional output has declined in popular- ity, but as with all important composers, there are a handful of works that endure. Alleluia is perhaps the most widely known American choral composition in history—a staple in choral libraries everywhere. The song group Frostiana continues to find favor with choral singers of all abilities and The Peaceable Kingdom stands as a model for its dramatic text painting and exceptional compositional technique. These truly are milestones in the American choral arts, yet this great legacy may be superseded by the aes- thetic idea that lies within. In 1980 he wrote, “. the farther we move from the natural limitations of the human voice, the farther we move from the nature-given laws of music.”4 This principle is the cornerstone of his work and the basis of his success in reaching those listeners of his own day, and moving our hearts today. Program Notes O fons Bandusiae, splendidior vitro (To the fountains of Bandusia, 1925) While at the American Academy in Rome, Thompson became friends with Huntington Brown, a linguist studying Latin. Brown challenged him to read the works of Quintus Horatius Flaccus (Horace, 65–8 B. C.), from which he took this text. The two of them made excursions into the countryside surrounding Rome, both to Horace’s farm and to the “alleged site of the Fountain of Bandusia.”5 Written under the close supervision of his teacher Malipiero, this piece is one of the Five Odes of Horace composed between April 1924 and January 1925. At the time, Malipiero had just begun his editions of the music of Monteverdi, whose influence is seen here. (Note: the pronunciations used are those of classical Latin rather than church Latin.) O Fount Bandusia, brighter than crystal, worthy of sweet wine and flowers, to-morrow shalt thou be honoured with a firstling of the flock whose brow, with horns just budding, foretokens love and strife. Alas! in vain; for this offspring of the sportive flock shall dye thy cool waters with its own red blood. Thee the fierce season of the blazing dogstar cannot touch; to bullocks wearied of the ploughshare and to the roaming flock thou dost offer gracious coolness. Thou, too, shalt be numbered among the far- famed fountains, through the song I sing of the oak planted o’er the grotto whence thy babbling waters leap. Translation by C. E. Bennett Americana (1932, excerpts) The American Mercury was a controversial magazine edited from 1924 to 1933 by the famous Baltimore satirist H. L. Mencken (1880–1956). Aimed at young intellectuals, it was a combination of political and literary commentary that could be compared to the Harold Ross editions of The New Yorker.