Introduction Biographical Data hroughout much of the twentieth century, musi Randall Thompson, eminent American composer and cians have recognized Randall Thompson as a choral teacher, was born in New York City on April 21, 1899. He composer of high stature. In the rarest of cases would received his early schooling in Boston and at Lawrenceville there be any knowledgeable choral artisan who has not per School in New Jersey. He graduated from Harvard with a B.A. formed some of Thompson's wonderful choral works. Despite in 1920 and an M.A. in 1922. His teachers included Edward B. his having lived while many new directions and innovations in Hill, Walter Spalding, and Archibald T. Davison. By the time twentieth-century music evolved, his style remains fairly dia he completed his master's degree, he had also studied privately tonic and conservative. This is not to suggest that his music is with Ernest Bloch. l In 1922, he received a fellowship at the simple, by any means. Much of it is difficult, especially his American Academy in Rome, and was subsequently awarded an compositions employing double chorus. Although many of his American Prix de Rome. From 1927 to 1929, he was assistant contemporaries also have created masterful compositions, Th professor of music at Wellesley College.2 In 1929-30, he held ompson remains true to his musical style, so based on the Gugenheim Fellowships and appointed lecturer at Harvard. contrapuntal writings of the Renaissance composers in his own Shortly thereafter, he was appointed Director for a study of idiom that propounds Neo-Classical form and Neo-Romantic college music instigated by the Association of American Col harmonic design. leges. As a result of that investigation, College Music (funded by When other composers were experimenting with the Carnegie Foundation), was published in 1935. From that dodecaphonic writing and folk-song influences, Thompson was time forward, teaching was an important part of his life.3 never enticed to write in these gentes. He never wrote or set any In 1937, Randall Thompson was appointed professor of melody resembling folk influences. (The closest to this would music and Director of the University Chorus at the University be his interest in Sacred Harp music.) Moreover, other peers of California in Berkeley. From 1939-41,4 he was Director of and music contemporaries wrote important choral music the Curtis Institute of Music in Philadelphia.5 Between the Harris, Copland, Hanson, Malipiero, Vaughan Williams, Brit years 1941-45 he was head of the music division of the School ten, Stravinsky, KodaIy, Poulenc, et al. Randall Thompson's of Fine Arts at the University ofVirginia. In 1946, he joined the compositions are considered to be among the finest of his time. Faculty of Music at Princeton University as professor of music. He excelled at what he knew best-how to effectively set texts, He was appointed to the faculty of the Department of Music at
whether humorous, sacred, or patriotic, in a vocally conceived, Harvard University in 1948. Thompson served as chairman for melodic context to produce works of great worth. four years, and later was made the Walter Bigelow Rosen Pro- ~----~This·-artiGle· is-a.. foGus-on-biographical-aspects-oLRandalL .fessorofMusic.§"InJ.965,-he retiredfromteaching,_andBanrard __ Thompson's and his music, emphasizing the compositional com- bestowed upon him the tide of Professor Emeritus. Although he ponents of his style and influences. In addition to a chronologi- retired from teaching officially, he continued to compose and cal discussion of his major works, several of his masterworks will remained active as a conductor. be discussed and analyzed. He received many honors and awards throughout his career. Earlier, in 1933, Thompson was awarded a Doctor of Music (honoris causa) by the University of Rochester. The University of Pennsylvania awarded him an honorary doctorate in 1969, as did Allegheny College in 1973 and the New England Conser- Joseph Thomas Rawlins is professor emeritus of vatory of Music in 1975. In addition to these honorary doctor music at the University of West Florida in Pensacola. ates, the earlier-mentioned Gugenheim Fellowships and the
by Joseph T. Rawlins
Shortly after his study with Bloch (1920-21), Thompson While absorbing the music of the past, and having a pro submitted his orchestral prelude, Pierrot and Cothurnus (in found understanding and deep reverence for the music of many spired by Aria da Capo by Edna St. Vincent Millay), for consid of the great masters, Thompson felt a need to break away from eration for an American Prix de Rome. On the strength of that the hold of the nineteenth century. His music still reflects an composition, he received a grant; he conducted that composi awareness and mastery of the modal counterpoint of Palestrina tion with the Rome Symphony at the Santa Cecilia Academy on and di Lasso, and the tonal counterpoint of Bach and Handel. May 17, 1923, and the performance received an enthusiastic However, "Thompson has advocated and practices use of con reception and critical acclaim. His compositional career was on ventional sounds in a fresh context, freed as much as possible of its way. their nineteenth-century connotations."12 Although Randall Thompson composed in many media, it is Although most of Thompson's compositions are lacking in his choral music which towers above all the rest, and for which extreme dissonance, such as found in much of the music of he is most noted. As Alfred Mann observes: '~t every turn, his many of his contemporaries, his style remains fairly conservative music has its true roots in the great vocal polyphony of the in light of the changes that composers such as Ives, Schoenberg past."9 Mann's observation supports the earlier stated premise and Stravinsky (to cite a few) would initiate. His compositions that his study with Bloch was an important factor in Randall have amalgamated nonetheless a unique blend of music of the past with the modern influences in Ameri writing could also be said of his instru Odes of Horace (1924) he can music. Some of his compositions have mental: "harmonically both his instru established the qualities of vocal shown the influence of composers such as mental and choral music are prevailingly writing which distinguish all his Palestrina and Bach. Other compositions diatonic." 13 music written for this medium: lines have used fuguing-tunes reminiscent of As Forbes observes, Randall Thomp which by their shape are grateful Billings, while others have used jazz influ son is more widely known as a choral and rewarding to sing, individual ences. (Thompson was a great admirer of composer. choral colours to serve the successive jazz, and particularly the music of Duke word sound, care for the natural Ellington, as his Second Symphony so viv Thompson is best known for his rhythm of the spoken word, and an idly shows.) Yet, within this apparent di choral music, almost all of which exquisite sensitivity to literary chotomy, his individual uniqueness is has been written for a commission organization reflected in his musical evident. What could be said of his choral or other specific need. With the Five phraseology. 14
His Pierrot and Cothurnus Prelude of 1922 (first performed in Rome in 1923), The Wind in the. Willows for String Quartette (1924), an Orchestral Prelude, The Piper at the Gates ofDawn (written in 1924, performed in Rome, May, 1924), and the Five Odes to Horace (first perfor mance on May 16, 1925) introduced Thompson's choral style to musicians and audiences. On February 20, 1930, his First Symphony had its premiere in Roch ester with Howard Hanson conducting. Rosemary, a choral work for four women's voices, was performed in New York on December 18, 1930. Forbes illuminates:
During this period Thompson met Stephen Vincent Benet and was stimulated to read his Tiger Joy. When he received a commission to write something for the Women's University Glee Club of New York, Thompson found that there were four poems about Rosemary scattered through this collection. Here was the chance to create a cycle of American verse by a single
He continues:
In Rosemary, a fusion has been established of Renaissance song,
Thompson's own melodic harmonic gifts, along with his own rhythmic response to textual accents. This fusion provides an ideal means for the setting of words, verse or prose; it constitutes the heart of Thompson's style, and the wonder is that he can malce it work as well for slow movements as for fast, and as effectively for portraying humor, action, patriotism, or devotion. 16 20 CHORAL JOURNAL VOL. 45 ISSUE 10 This composition, along with the next composition will be discussed at greater orchestra, with alternate versions for pi two, have been labeled Thompson's depth during the course of this article. ano (or organ), or band. The Last Words- of 'mnericana," works which are typically After String QJtartette No. 1 in 1941, David also was written in 1949 and first American. With his Second Symphony his next important work is the opera performed on .August 12 by the Boston (performed in Rochester with Howard Solomon and Balkis, performed first over Symphony for the BerlRobert Frost. This This repeated fifth (0) echoes the tech the Requiem. 19 lovely setting of seven songs that incorpo nique used in the beginning, when the rates selections for men's, women's, and soprano sustains the repeated 0 5 as an Two other vocal works followed shortly mixed voices, first performed at Amherst, inverted pedal, while the other voices navi after the Requiem-Glory to God in the Massachusetts, on October 18, has be gate around the sustained note (Figure Highest for Four VOices in 1958, and The come a favorite of American audiences. 1). Gate ofHeaven, performed at Hollins Col Of particular note is the striking be An important work, The Nativity Ac lege in Virginia on February 22, 1959. ginning to Choose Something Like a Star, cording to St. Luke, a dramatized musical (The latter work uses the opening of Psalm when Thompson uses word-painting in presentation, was first performed at Cam 112, with verses from Habakkuk and the accompanying melodic line as it rises bridge, Massachusetts, on April 14" 1961, for the rwo-hundredth anniversary of the dedication of Christ Church, Cambridge. Forbes calls this work an opera,20 but The Annual Festival of the Arts invites choirs to sing in
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22 CHORAL JOURNAL VOL. 4S ISSUE 10 rallentando Molto Iento 89 ppp ,...=- ""'"" . 7 _____7 ,'" ~- --~ 7 u staid, ---'"'--- And __ be staid. ppp ,...=- "" .., u_ ..__v__.. ---~ ?J: _____?J: ?J: u staid, And __ be staid. ppp ,...=- "" ___ u ____ ,; u_ --'!' "" -----.;;,,~ "" u staid, And __ be staid. ppp ,...=- : l' r staid, And----- __ be staid. Molto Iento
""~ I I - j J ~ d ~ 0 .., I ,,0 !I!" ~ ~ dim. I I rm.s. 1 ~ j'- tr r ppp pp r ~ i'~II. I I I ~I J .J J 1-- ,... : / r -
------Figure 1. Randall Thompson, Choose Something Like a Star, mm. 89-95.
most sources cite only one opera for Th significant Passion settings to the choral ofthe Blest, New York (1969); Two Herbert ompson, that being his Solomon and repertoire. Motets, composed in 1970; The Mirror of Balkis. Other scholars have labeled The Thompson wrote a number of other St. Anne (1972); two versions of A Hymn Nativity as an oratorio. The Nativity is works, predominately choral, prior to his for Scholars and Pupils (1973); and Fare unique, however, in that "it is the death in Boston on July 9, 1984. Among Well (1973). composer's first major scenic work-after these compositions were: The Lord Is My To complete this overview of Randall the miniature opera Solomon and Balkis Shepherd, composed in 1962, first per Thompson's significant choral composi (1942)-and it is the first work for which formed in New York in 1964; A Psalm of tions, is a discussion of three·ofhis choral he chose the text from the New Testa Thanksgiving (1967), written for four works: Alleluia, The Last Wordr ofDavid, ment (as did Handel in Messiah)."21 voices with children's choir, premiered in and The Testament ofFreedom. The sequel to The Nativity was The Boston on November 15, 1967; The Place Passion According to St. Luke, an oratorio, which premiered in Boston on March 28, 1965. Thompson chose to use the chorus for the crowd and the narrator, because the narrative of Saint Luke's text offers International Choral extended solo parts only for male chorus, and since the traditional assignment of Kathaufllixw the Evangelist's role to a tenor "would July4-8,2006 have deprived the score of contrast and Powell River, British Columbia, Canada balance."22 Although Thompson's choice Join choirs from around the world in 20 concerts, was necessitated by textual and formal seminars, common singing, social events and competitions, considerations, the choral part became on the shores of Canada's magnificent Pacific Coast. the predominant driving force in the Guest artists, international jury. work. It is noteworthy to add that since Extension tours are available July 9-15 the time of Bach and his dominant mas tery of the Passion settings, few compos ApPLY ONLINE OR CONTACT us AT: Powell River Academy of Music ers have attempted to write Passions. It is 7280 Kemano St, Powell River, BC, Canada V8A 1M2 possible to speculate that in the twentieth century, only the Polish master Penderecki Tel +1 604.485.9633 [email protected] and American Randall Thompson are the www.kathaumixw.org Apply before Nov 1,2005 rare ones to have succeeded in adding CHORAL JOURNAL VOL. 4S ISSUE 10 23 pp-==p pp -== p ===~- pp
"---" ~ '-..-/ '-----' 1/'" ~ ~ 1/"',-,,"' .. #,-" al - Ie - lu - ia, _ al - Ie - lu - ia, _ al - Ie -- lu - ia, __ dim. "" mp doicissilllo
. I I --r ~ ~' ~ ~' lu ia, al - Ie - lu - - ia, al - Ie - lu - - - pp -== p =====- pp-==p pp ....--... ------. - r Iooo...J ~ I r r al Ie - ---lu - -ia,_ al - Ie - Iu - la, _ al - Ie -- lu - ia, __ pp , lu ia, al
pp -== p ===~- Of pp -== p =====-
pp -== p ===~- pp -== p =====-
Figure 2. Randall Thompson, Alleluia
Allel uia and holds that pitch over into the final ofDavid is reminiscent of his earlier Alle- Alleluia, written for SATB unaccom- G-major chord at the conclusion of the luia. This section begins in a fogato-like panied choir in 1940, demonstrates pIece. manner, with an eighth note, followed by Thompson's inventiveness as a composer. a sixteenth note, two eighths and a quar- This composition is replete with parallel The Last Words of David ter (the "alleluia theme). The theme is thirds, fifths, sixths, parallel triads, and The Last Words- of David, first per- augmented, with doubled values at the full chords moving in parallel motion over formed on August 12, 1949, at Lenox, conclusion that reinforce the restful aura pedal points or chorale-like foundation. Massachusetts, by the Berkshire Music that eventually concludes with a pastoral This technique is' evident throughout Al- Center Chorus and Boston Symphony finale. The Last Words ofDavid, for SATB leluia and is exemplified strikingly in mea- under the noted conductor Serge choir, can be performed with piano, or sures 20-22 (Figure 2). Koussevitzky, is a powerfully written, poi- gan, or orchestra. If orchestra is used, the ----In-measures-§7-62,-meparalld ,sixths ,--gnant.compositionthat_uses.as.a text Sec- _ ,jnstmmentatioR-calls_foc1:W.o_flures,_p-LQ: between the tenor and bass lines, followed ond Samuel, chapter twenty-three, verses colo, two oboes, English horn, two clari by the octave-plus a-fourth sequences be- three and four. To these verses, Thomp- nets, bass clarinet, two bassoons, tween the bass and soprano lines, add son adds "alleluia." The opening section contrabassoon, four horns, three trumpets, thickness tq the musical texture. In mea- employs marcato, declamatory choral writ- two tenor trombones, bass trombone, sures 63-64, Thompson's implementation ing style, contrasted by the flowing, legato tuba, kettledrums, triangle, suspended of imitative stretto between the tenor, so- "alleluia" section for the latter part. Of cymbal, cymbals, gong, harp, and strings. prano, anchdtocreates-excitemendonhe-particular-interest-is-1'hompson's-use-of-1'he-voeal-writing-of-this-eeffipesitien-is-- cIImactic-pclill.i oFtnecompo-sii:ion. The the whole-tone scale in theascencliITg so- idiomatic for thevoice-arrd-the-impacds ending of the piece bears some resem- prano melody in measures 15-21 of the tremendous. blance to The Last Words- of David. In composition. His changing harmonies Alleluia, Thompson uses the word "alle- support the ascending whole-tone me luia" sounded in the alto, followed by the lodic line and buttress the ascent with The Testament of other voices' rest. The featured voice car- solid, heroic chords at the phrase, 'i\nd Freedom ries the low A4 pitch over into the final he shall be as the light of the morning, This gigantic composition was written D-major chord. This is a forerunner of when the sun riseth." And the ascending to commemorate the two-hundredth an the same general technique used in The whole-tone line is the ultimate word niversary of the birth ofThomas Jefferson. Last Words- of David, written some nine painting, depicting the sun rising (Figure The Testament ofFreedom uses the texts of years later, when the tenor sounds the 3). Jefferson, tal(en from A Summary View of word "alleluia" on an inverted pedal D4, The "alleluia" section in The Last Words the Rights of British America (1774) for
24 CHORAL JOURNAL VOL. 45 ISSUE 10 pp mj' .-3-, ..;,,~ - -
oj ~ And he shall be us the light of the mom - iog, when the sun ris - - cth, c-vell n pp mj' "" . 3 oj .... ' ...... - And he shall be as the light of the morn - ing. when the sun ris - cth, c-ven a pp - - mj' .-3-, 'V And he sholl be as the light ~he morn - ing, when the sun ris -- eth, c-ven a pp .-3-, ~ hn-----"'! h.. : ...... , ---- And he- shall be as the light of the morn - ing. when- the sun ris - - clh, c-ven n ' .... p , ltp $ Iri' -pc ...... i i mj' cresco ~ p~~~- r.l. r :. P I.h. --== mp =-/ I I " I I I I ~ L h. h. : .. ..- ...... 1>* (pP.)j'( :rv~ r :d .. I I I I I I I I I I Figure 3. Randall Thompson, The Last Words of David movement one, Declaration a/Causes and 12, 1821) for the fourth and final move Tuttle and accompanied at the piano by Necessity a/Taking Up Arms (July 6, 1775) ment. The first performance was at the the composer. The initial rendition was for movements two and three, and a Let University of Virginia on April 13, 1943. written for male chorus; a SATB version ter to John Adams, Monticello (September The premiere was conducted by Stephen was completed from August 7-31, 1975. JULIUS HERfORD PRIZE CAl.l. FOR NOMINATIONS The subcommittee for the Julius Herford Prize, given annually by the American Choral Directors Association, is now accepting nominations for the outstanding doctoral terminal research project in choral music for 2004. Projects are eligible if they comprise the principal research component of the degree requirements, whether the institution defines the project as a "dissertation," a "document," a "thesis," or "treatise," etc. Eligibility is limited to doctoral recipients whose degrees were conferred during the period January I tlu'ough December 31,2004. The winner will receive $1000 in cash and a plaque. Nominations must be approved by the dean, director, or chair of the music unit. An institution may submit only one document. In the event that there are two nominations of equal merit from one school, the administrative head of the unit must submit a letter justifying the additional nomination. A letter of nomination signed by the administrative head of the music unit and one unbound copy of the dissertation must be submitted no later than July 1, 2005, to: Dr. Hilary Apfelstadt Chair, Julius Herford Prize Subcommittee School of Music The Ohio State University 1866 College Road Columbus, OH 43210-1170 phone: 614-292-9926; fax: 614-292-1102; e-mail: CHORAL JOURNAL VOL. 45 ISSUE 10 2S All music analysis references here refer to harmony. A deceptive cadence in F-sharp The second movement of the set, "We the latter version. major precedes an interlude which trans Have Counted the Cost of this Contest," The Testament ofFreedom opens with a forms the tonal center back to F for a starts out with a passacaglia-like figure in stirring theme, one that is repeated sev rousing conclusion to this movement. the accompaniment. This figure, -with eral times as an Urkeim throughout the This first movement is in strophic form variation, is used extensively throughout composition (Figure 4). and employs the compositional inventive this movement. The words, "We cannot The opening theme in F major modu ness of the composer to fuse the voices endure the infamy and guilt," uses the lates to the key of D major and is re and accompaniment into an impressive same accompanying figure, this time an peated by the male voices in four-part blending of text and music. octave higher, then as a variation with the LargoJ =60 Moderato, rna con Cuoco J = 72 ,.."" f > S -.J 41- .. I The God who gave us life gave us i f > A " -.J 41- .. I The God who gave us life gave us f > T " 41- .. I " The God who gave us life gave us f ~ B : I " The God who gave us life gave us LargoJ =60 Moderato, rna con Cuoco J = 72 " ~I ;;; ;;; ~ .---=--""-----.it '1..- --- t!J > L.....I I I r' i 1 r r if " ,~~. } t I I ~: I ~ : :;j. ~> I > ~! ~:J 8vb col Pedale 6 ~. * CD -'" > - - -.J lib- - er - ty -at tbe same time, -at the same time; tbe hand of force may de - " > -----~- -"'- -+ -r: ------~ ---lib-er-ty at tbe same time, at tbe same time; the hand of force may de - -" > - -= lib-er-ty-- tbe same time, at tbe same time; the hand of force may de - " at - ~ -iii- ? .,.. .,. ? .,.. .,. ? ii. : .. ~ --lib---er---ty at-tbe-same-time,------at-the.. same_time; ____tbe __ .---hand _____oLforce __ may_de - _. CD -- >~ ~ ~ -~ ""f--i I I I I I~ -.J j ... -6>1_ I ,... .. ~ -!.. ~. ~ /_~ ... > '--V-~ ~ r ~ I I I - I I I I I I I ~ I : 41- 41- 41- 41- .. I -~ !t - !t I~ ~ 0 Figure 4. Randall Thompson, The Testament of Freedom, First Movement, ffiffi. 1-9. 26 CHORAL JOURNAL VOL. 4S ISSUE 10 same motivic suggestion. There follow sev opening of movement four, which begins octaves. An interlude leads back to the eral sections whereby the composer quietly and slowly with the words, "I shall original theme and tempo of the first changes the rhythmic accents to conform not die without a hope." movement with a return to the same to the patter-type declamation of the text, The impressive theme from the first words: "The God who gave us life gave us using meter changes (4/4, 3/4, 3/8, 3/4, movement begins quietly and peacefully liberty at the same time .... " This time 3/8,2/4,3/4, and 4/4, consecutively). At in the orchestral prelude. Eventually the the words "the hand of force may de measure 78 of this movement, the same theme is heard in the voices and stroy" are treated differently, with the passacaglia-like figure returns with the continued in the accompaniment. Sev melody in the bass and alto, and a marking Come prima, ma senza trascinare eral sequences are treated as canons, and countermelody in the soprano and tenor. [Like the first, but without dragging]. The the usual Thompsonian doubling of so On the word "cannot," the climax is a figure changes with slight harmonic and pranoltenor and bass/alto is presented in high b~6 in the upper voice. The codetta melodic variation, ending on the climac tic utterance-"resolved to die free men, rather than to live slaves." Movement three begins with another martial, passacaglia-like accompanying pattern that pervades the movement. The excitement of this movement is intensi fied through the use of faster and faster tempi. The initial marking is J =76; subsequent markings indicate poco pilt mosso J = 84, J = 92, J = 96, J = 1 ~O, J= 104, J= 108,d= 112,d= 116,d= 120, J = 126, mosso assai J = 132, and broaden ing for effect- meno mosso, largamente J= 84, followed by movendo, J=92. The final markings are allegro J=108, ritenuto J = 66, and Tempo I. The section, "We have tal{en up arms," is treated both imi tatively and sequentially (vocally and in the accompaniment) with the accelerando implemented to intensifY the mood and to augment excitement. Throughout this section, Thompson often doubles all voice Featuring parts to create a full spectrum of sound (a technique used by many twentieth-cen tury composers). The ending to this move Weston Noble ment is forceful, contrasting with the with Sandra Snow and Linda Spevacek ParDclpale In Reading Sessions you are Become acquaintedwith newmusicthatvoucanuse with vourchoirsl conducting, Allend Interest Sessions teaching, listening or Sharpen your conducting skills composing. Observe Rehearsals Toll Free 1-888-803-6287 EnloJ Concens [email protected] Hearsomeoflhegreatchoral groups/rom theareaanden/ova /inalconcen/eaturinga Children's Honor Choir and SATBlestival Chorus ~ind ~t ~ast! with EnloJ fun and fesOVe www.allthingsmusical.com social gatherings with Jour choral colleaguesl The Complete Music Education Resource Web Site All Music Products, Services, Events, Visit www.acdamddc.org for details and registration Classifieds - on Searchable Databases! Toll Free 1-888-803-6287 CHORAL JOURNAL VOL. 45 ISSUE 10 27 combines the words "liberty" and "life" Conclusion music evinces a direct relationship with in dramatic juxtaposition, resulting in a For eighty years the music of Randall the great choral music of the past. He majestic conclusion to this magnificent Thompson has been part of the Ameri learned from the masters, even those of composition (Figure5). can and international music scene. His his own generation, and developed a @ Sostenuto, quasi largo J =63 154 if .-' 11:::'--- 0 "- -- life, ______life, ______ II If > > " > > > " > > -.J - lib - er - ty, life, lib- - er - ty, life, lib er - IIff~ "- - life, ______life, ______life, ______ff > > > > > > " I' lib - er - ty, life, lib - er - ty, life, life, ______@ Sostenuto, quasi largo J = 63 ~------, ro ~ y-i=> > ;;;::"pre alfine ~ - I....!-J 3 3 3~ >...... ::;- J r-4-1 ~ • t ·1" ~ 3 3. :':':- - ~------ div.~_ life! ______-,- ______" lib - er - ty! ______ > > > lib - er - ty! ______ > ~--:L.r--3:::: _~3---::! v :::(~) E~------<-e) ~ v *~. *~. * Figure 5. Randall Thompson, The Testament of Freedom, Conclusion, mm. 154-160. 28 CHORAL JOURNAL VOL. 4S ISSUE 10 unique style that has placed him at the independently active four-voice texture."25 Randall Thompson," American Choral forefront as one of the most beloved com He brought the use of the double chorus Review, XVI, no. 4, (October, 1974), posers of his time. He was always con (cori spezzatz) back into vogue, especially p.6. scious of form that was impressed upon in the last movement to The Peaceable 10 James Harr, "Randall Thompson and the him by the study of composers such as Kingdom and in the Requiem. Music of the Past," American Choral Ockeghem, Bach, Handel, Lassus, Randall Thompson's role in twentieth Review, XVI, no. 4, (October, 1974), Palestrina, and others. Randall Thomp century music has been significant. Al p.7. son, a gifted teacher, was constantly study though he wrote in various media, it is his 11 Ibid., p. 9. ing the counterpoint of musical periods, choral repertoire that is recognized as the 12 Ibid., p. 10. and was involved in teaching this art to most important. In that genre, he reached 13 Forbes, op. cit., p. 784. his students. (One of his outstanding stu the forte of his compositional endeavors. 14 Ibid., p. 784. dents at the Curtis Institute was Leonard From 1928 to 1973, he created a steady 15 Elliot Forbes, "Americana," American Choral Bernstein.) This ongoing study indubita stream of outstanding choral music writ Review, Vol. XVI, no. 4, (October, bly made an indelible impression, and his ten for American choirs. The result is "mu 1974), pp. 41-42. emerging mature style was a fusion of the sic that is consistently singable and suited 16 Ibid., p. 43. better qualities of the music of the past, to the text at hand .... In the writing of 17 Nicolas Slonimsky, ed., Baker's Biographical mixed with his own native ability. These this choral music, he has performed, with Dictionary of Musicians, seventh ed., amalgamated qualities, especially in the dedication, a great service to his country (New York and London: G. Schirmer choral genre, resulted in unique composi men."26 He is an American choral icon, Books, Division of Macmillan Publishing tions of the highest order. In the area of indeed. Co., 1984), p. 2304. choral music, he was able to demonstrate 18 Forbes, op. cit., ("Americana"), p. 45. a commanding ability to transform texts ENDNOTES 19 Randall Thompson, "The Choral Music of with melody to create original musical Randall Thompson: Notes by the expression. He never experimented with 1 Elliot Forbes, "Randall Thompson," The New Composer," American Choral Review, extreme dissonance, as did many of his Grove Dictionary ofMusic and Musicians, Vol. XVI, no. 4, (October, 1974), pp. contemporaries; he stayed within the neo ed. By Stanly Sadie, Vol. XVII ((London: 19-20. classical concepts of form, blended with a Macmillan Publishers, 1980), p. 784. 20 Forbes, op. cit. (The New Grove Dictionary neo-romantic harmonic design. He pos 2 Oscar Thompson, editor-in-chief, The ofMusic andMusicians),p. 784. sessed a gift for composing melody. A International Cyclopedia of Music and 21 Alfred Mann, "The Music of Randall predominant characteristic of his style was Musicians (Bruce Bohle, ed. Eleventh ed.), Thompson: Editorial," American Choral parallel triadic movement.23 As one mu eleventh ed. (New York: Dodd, Mead and Review, Vo!' XVI, no. 4, (October, sic scholar observed, "Thompson pre Co.), 1985), p. 2270. 1974), p. 35. served and cultivated the melodious 3 Forbes, op. cit., p.784. 22 Mann, Ibid., p. 36. poetry of American speech, set in crystal 4 Ibid., p. 784. 23 Forbes, op. cit., ("Americana"), p. 54. line tonal harmonies judiciously seasoned 5 Thompson, op. cit., p. 2270 says the dates 24 Slonimsky, op. cit., p. 2304. with euphonious discords, while keeping are 1938-1940. 25 Harr, op. cit., "Randall Thompson and the resolutely clear of any modernistic ab 6 Forbes, op. cit., p. 784. Music of the Past," p. 25. stractions." 24 7 Ibid., p. 784. 26 F or b es, op. Cit., . ("Am'encana, ") p. 25 . The music of Randall Thompson is 8 Suzanne Bloch, "Ernest Bloch-Student of replete with seventh-chord progressions. Choral Music," American Choral Review, According to Harr, these harmonies "give X, no. 2, (Winter, 1968), p. 51. a twentieth-century sound. plus a certain 9 Alfred Mann, "Preface: The Choral Music of bittersweet flavor; but they also enor mously facilitate the writing of full yet Attend the Creative Motion® Allinnce SSdaAnnllll1 Windswept Music Workshop July 24·July 30, 2005 lI$petilllizing in Perlormllnte lind Edutlllionlli Tours 10 Pllrlldise" William Jewell College Bring your Liberty, Missouri Artistry ~ to life! v' Educational Tours & Exchange Concerts Free the body for expression Inspire your audIences Earn v' Music Festivals & Parades Study.Creative Motion and explore the Graduate connection between energy and music. Credit v' Year-Round Performances orCEU'sl For morc information contact v' Hawaii based, local contacts Marilyn Alcala, workshop director (316) 686·4175 or [email protected] www.creativemotion.org Website: www.hawaiimusicfestivals.com E-mail: [email protected] Phone: 1-800-366-7486 CHORAL JOURNAL VOL. 45 ISSUE 10 29