THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC NICHOLAS PHAN MYRA HUANG Saturday, October 17, 2015 ~ 2 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions and performances of contemporary music. loc.gov/concerts facebook.com/libraryofcongressperformingarts youtube.com/libraryofcongress Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Saturday, October 17, 2015 — 2 pm THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC NICHOLAS PHAN, tENOR MYRA HUANG, pIANO • Program NED ROREM (b. 1923) "O Do Not Love Too Long" (1951) ROBERT SCHUMANN (1810-1856) Dichterliebe, op. 48 (1840) "Im wunderschönen Monat Mai" "Aus meinen Tränen sprießen" "Die Rose, die Lilie, die Taube, die Sonne" "Wenn ich in deine Augen seh'" "Ich will meine Seele tauchen" "Im Rhein, im heiligen Strome" "Ich grolle nicht" "Und wüßten's die Blumen, die kleinen" "Das ist ein Flöten und Geigen" "Hör' ich das Liedchen klingen" "Ein Jüngling liebt ein Mädchen" "Am leuchtenden Sommermorgen" "Ich hab' im Traum geweinet" "Allnächtlich im Traume" "Aus alten Märchen" "Die alten, bösen Lieder" iNtermission 1 BENJAMIN BRITTEN (1913-1976) Winter Words, op. 52 (1953) "At Day-close in November" "Midnight on the Great Western (or 'The Journeying Boy')" "Wagtail and Baby (A Satire)" "The Little Old Table" "The Choirmaster's Burial (or 'The Tenor Man's Story')" "Proud Songsters (Thrushes, Finches, and Nightingales)" "At the Railway Station, Upway (or 'The Convict and Boy with the Violin')" "Before Life and After" NED ROREM (b. 1923) Selected Walt Whitman settings (1954-1989) "As Adam Early in the Morning" "That Shadow, My Likeness" "Are You the New Person?" "Youth, Day, Old Age and Night" PAUL BOWLES (1910-1999) Blue Mountain Ballads (1946) "Heavenly Grass" "Lonesome Man" "Cabin" "Sugar in the Cane" • About the Program NED ROREM, "O Do Not Love Too Long" "Song has always bridged the gap between poetry and speech by combining two effects like a double exposure. Song is sound—a sound of greater magnitude than its separate components. Of course the sound of music—as opposed to rustling leaves or words of love—is sensual only secondarily. First it must make sense." —Ned Rorem1 Ned Rorem is a son of the American Midwest. Born in Indiana and raised in Chicago, he pursued piano and composition studies at Northwestern University, Curtis, Juilliard, Tanglewood and at the École Normale de Musique in Paris. His principal composition teachers included Rosario Scalero, Aaron Copland, and Arthur Honegger, and he spent a period as a copyist and assistant to Virgil Thomson. Rorem has successfully maintained 1 Ned Rorem, "Song and Singer" in Setting the Tone: Essays and Diary (New York: Limelight Editions, 1984), 312-313. 2 dueling careers as a composer and a writer. He spent extended periods living and working in Paris and Morocco, developing a sense of place in the posh intellectual circles that included Francis Poulenc, whose songs are often perceived as a model for Rorem's. As a writer, Rorem has published sixteen books, including a series of diaries that cover topics from his sexual proclivities to performances of his music. In the preface to Rorem's The Paris Diary & The New York Diary 1951-1961, Robert Phelps uses several descriptors to convey Rorem's personality as it appears in the diary entries: "gifted," "good-looking," "an imaginative social climber," "an earnest narcissist," "an excessive drinker," and "a lover."2 The diaries offer a glimpse inside Rorem's mind, though readers should be wary of the fact that these were likely written with the intention of their eventually becoming a primary source of biographical information on the composer. The diaries also gave Rorem status within the gay community after the Stonewall Riots, for he was (uncharacteristically for the time period) open about his homosexuality in his public life. Rorem is additionally renowned as a provocative commentator on the arts in society, and for a period wrote for The New York Review of Books. One particular essay, "The Music of the Beatles," has attracted derision from some musicologists. Rorem, who has held a grudge against musical academia in the United States—despite holding professorships at the University of Buffalo, University of Utah, and Curtis—is perceived by some as over-glorifying the music of the famed Liverpudlians "...as a weapon in his own battle of revenge with the academic avant-garde." Richard Taruskin associates Rorem's negativity with the fact that the "prewar American 'pastoralist' idiom" he exercises in his compositions was largely out-of-fashion when serialism exploded in the mid-twentieth century.3 Rorem's compositional style is largely influenced by the early twentieth century French style of neoclassicism and the Franco-Russian extension of this style evidenced by Igor Stravinsky. His musical tastes were entrenched enough to motivate his public impatience with serialism, on occasion connecting academia's obsession with Germanic music to the American military-industrial complex, which was at its height during the Cold War era.4 Rorem's output includes upwards of 500 songs, several symphonies and concertos, chamber works, eight operas (the most recent of which, Our Town (2005), was met with great critical acclaim), and choral music. These works have resulted in Rorem's receipt of Fulbright and Guggenheim fellowships and the 1976 Pulitzer Prize in Music for Air Music (1974), an orchestral commission from the Cincinnati Symphony that was premiered under the baton of conductor Thomas Schippers in December 1975. While his Pulitzer was awarded for an orchestral work, Rorem is best-known for his massive output of songs that is comparable in quantity to the gargantuan song output by Franz Schubert (totaling over 600 songs). In Setting the Tone: Essays and Diary, Rorem includes himself in a line of composers that were responsible for reviving the genre of art song composition, which he considered to be somewhat of a response to a "critical decline of [the] song recital." This list of composers includes Samuel Barber, Marc Blitzstein, Paul Bowles (whose Blue Mountain Ballads are also featured on this program), Aaron Copland, Daniel Pinkham 2 Robert Phelps, "Preface to The Paris Diary" in Ned Rorem, The Paris Diary and The New York Diary 1951- 1961 (New York: Da Capo Press, 1998), xiv. 3 Richard Taruskin, The Oxford History of Western Music: Music in the Late Twentieth Century (Oxford: Oxford University Press, 2010), 325-326. 4 An account of this attitude is described in Alex Ross, The Rest is Noise (New York: Picador, 2007), 436. 3 and Roger Sessions.5 The popularity of Rorem's songs, in the context of American art song repertoire, earns him a place on this program that features some of the most important song composers of the past two hundred years. By Rorem's own estimation, American composers exhibited a penchant for British poets during the 1930s and 1940s, including Chaucer, Shakespeare, Donne, Blake, Yeats, and Joyce. The main American exceptions to this Anglophilia were e.e. Cummings and Walt Whitman.6 Of direct interest to Library of Congress concertgoers is the fact that Rorem set poetry by Archibald T. MacLeish, who served as Librarian of Congress during World War II (1939-1944). In an essay on composing songs, Rorem explains his process of selecting the poems he sets musically. He states "Yes, I am drawn to poetry which, as we Quakers say, speaks to my condition; and whatever my songs may be worth, I've never used a bad poem."7 As his compositional process matured, he would select a poem and the fundamentals of the song (tempo, etc.) based on who would receive or perform the work. The context of the setting, whether it would be an independent song or part of a collection/cycle, would also inform the poetry selection. Rorem's song "O Do Not Love Too Long" features a poem by William Butler Yeats. Rorem completed the song in Marrakech on April 20, 1951. The original Yeats poem was part of the collection of poems In the Seven Woods (1904). In his musical setting Rorem divides the short song into the three stanzas of the poem. Each section is based on the same theme that is introduced in the opening four bars. The piano is sparse in the first phrase, and gradually develops a heartier sound progressively through each section. Rorem keeps the harmony tightly-knit around a minor key. The original version was composed in C minor and the current published version for high voice is in D minor. Yeats conveys the phases of love over time, from the intensity of youthful love, to its dissipation and growing "out of fashion / Like an old song" over time. Rorem marks the tempo Molto lento and the mellifluous vocal line carries the listener on a sentimental journey through memories of loves lost.