6/10- CLASSICAL DELIGHTS

a column by

Kristen Kozub

Susan Graham: Songs of Ned Rorem

Often times, when we think of composers who have contributed to the musical world, we think of names including-- but not limited to-- Bach, Beethoven, Debussy, Chopin, and Mozart. Although prolific, not one of these composers was American, or has lived in the last century.  In recent years, recognition for contemporary American composers has dwindled. With that said, allow me to bring to your attention the song stylings of American composer, Ned Rorem (1923 - ). For years, Rorem's gorgeous song settings have been incessantly praised.  Mezzo-soprano Susan Graham is added to the mix, resulting in the 2000 release of Songs of Ned Rorem, featuring Malcolm Martineau on piano and the Ensemble Oriol string quartet. This 32-track compilation is sure to be a delight for all who choose to give it a listen.

What is it, you ask, that make Rorem's compositions so distinctly beautiful? At the start of the first track, "Sonnet", the listener will understand why he receives the praise he does. Featuring the entire ensemble, this piece exhibits an unparalleled delicacy, and transports to a place of musical bliss. Of course, the compilation is only a taste of the hundreds of compositions that have graced the world over the last half a century or so, but the ones on this disc are undoubtedly an excellent representation. Much of the time, composers use the same compositional techniques, resulting in similar-sounding songs. While Rorem's work is distinctly his, each of the tracks has something specific that sets it apart from the others.

As far as the text is concerned, Rorem has chosen a group of lyric poetry whose themes seem to center on death, love, nature, and the passage of time. A good majority of the poets are American, but, interestingly enough, the chronological gap is quite large.  Rorem features poetry spanning from the Elizabethan era to Walt Whitman. His chosen texts (and his music, for that matter) are stunningly, sometimes startlingly, dazzling, and honest.

Upon first listen, it is quite obvious that Rorem draws much of his inspiration from setting. Having spent much of his life in both New York and Paris, these two places seem to recur frequently throughout his compositions. The third track, "Early in the Morning", is often hailed as Rorem's most famous work.  The text, by Robert Hillyer, paints a tourist's picture of Paris. Similarly, the twentieth track, "The Lordly Hudson", uses a backdrop of the majestic Hudson river.

Mr. Rorem could not have picked a better vessel for his work than the lovely Susan Graham. In recent years, Ms. Graham has become one of the most acclaimed and sought-after mezzo-sopranos of our time. Her milky, rich tone enhances the music in ways no one else's possibly could. As with many of her other works, she executes the songs beautifully, making them seem effortless. Even twenty or thirty tracks in, it is impossible to tire of her voice and what she brings to the music. Martineau and the chamber ensemble deliver a sparkling performance as well.  

Some listeners may find a few of the tracks on this disc rather abrupt, as some of them last only thirty seconds or less. Many times, however, their brevity is appropriate, and directly relative to the texts. 

Other highlights include a setting of Walt Whitman's "Look Down, Fair Moon", and Robert Frost's "Stopping by Woods on a Snowy Evening"; perhaps the most beautiful setting of it I have ever heard. In both pieces, Rorem establishes setting with excellent use of the piano. The unpredictable melodic lines are sure to leave the listeners with something different to sink their teeth into.

Rorem brings an unprecedented eloquence to the field; one that is sure to stand the test of time.  This compilation serves as a fantastic taste of Rorem's work, and an excellent example of a prolific contemporary American composer. If nothing else, consider it as a great way to brush up on British and American poetry. For something that will leave you enlightened and enchanted, I encourage you to seek out this collection.

Track Listings for Songs of Ned Rorem:

1. Sonnet [Bynner] 
2. Clouds [Goodman] 
3. Early In The Morning [Hillyer] 
4. The Serpent [Roethke] 
5. Now Sleeps The Crimson Petal [Tennyson] 
6. Opus 101 [Bynner] 
7. I Strolled Across An Open Field [Roethke] 
8. To A Young Girl [Yeats] 
9. Jeanie With The Light Brown Hair [after Foster]
10. Ode [de Ronsard]
11. For Poulenc [O'Hara] 
12. Littlle elegy [Wylie] 
13. Alleluia
14. Look Down, Fair Moon [Whitman] 
15. O You Whom I Often And Silently Come [Whitman] 
16. I Will Always Love You [O'Hara]
17. The Tulip Tree [Goodman]
18. The Wintry Mind [Bynner]
19. I Am Rose [Stein] 
20. The Lordly Hudson [Goodman] 
21. O Do Not Love Too Long [Goodman]
22. Far - Far - Away [Tennyson]
23. For Susan [Goodman] 
24. A Journey [Glaze] 
25. Sometimes With One I Love [Goodman]
26. Love [Lodge] 
27. Orchids [Roethke] 
28. Stopping By The Woods On A Snowy Evening [Frost] 
29. Do I Love You More Than A Day [Larson]
30. Ferry Me Across The Water [Rossetti] 
31. The Sowers [Bynner] 
32. That Shadow, My Likeness [Whitman] 

Here is a video featuring Susan Graham's recording of "Look Down, Fair Moon."

6/10- CLASSICAL DELIGHTS

5/31- CLASSICAL DELIGHTS

a column by 

Kristen Kozub

Eric Whitacre: Cloudburst

When first introduced to the works of American composer Eric Whitacre, it is hard to believe that the creator of such rich compositions and thick harmonic textures received no formal training until the age of eighteen. A mere twenty years later, Whitacre has become one of the most sought-after contemporary composers, by professional and amateur choirs alike. When listening to the most recent addition to his discography, entitled Cloudburst, it is not hard to understand why audiences adore his work, and are left aching for more. This recording has that same effect.

It opens with the majestic "I Thank You God for Most This Amazing Day," a setting of the E.E. Cummings poem. Whitacre seems to match the bold nature of the text with the music he chooses to complement it. The heavy layering of parts and frequent occurrences of what are affectionately known as "Whitacre chords" make this an appropriate introduction to the sound that is distinctly his.Another notable piece is the third track, entitled "Sleep," which has become one of Whitacre's signature and most famous works, and my personal favorite. Not only is the text exquisite, but the music is extraordinarily beautiful, and fitting for its text. The strong dissonances and lush harmonies allow the listeners to enter the dreamlike state that the character in the poem experiences. The piece eerily concludes after its climax with a fade out of the voices, as the poem suggests "surrendering" to sleep. What is interesting about this particular work is that the musical setting was written prior to the text. Whitacre originally intended to write a setting of Robert Frost's "Stopping By Woods on a Snowy Evening," but when the Frost estate forbade its publication until 2038, Whitacre enlisted his friend, Anthony Silvestri, to write an alternative text. Since the work's publication in 2000, it has become a favorite of choral directors and audiences throughout the United States.

The title track of the album, "Cloudburst," is perhaps the most artistic and adventurous work on the disc. With the colorful addition of piano and percussion, Whitacre creatively uses the choir to simulate a rainstorm, using wind chimes, thunder sheets, handbells, and body percussion. His energetic and innovative setting of a short poem by Octavio Paz is sure to surface frequently in the years to come.

The concluding track of the disc, "Lux Arumque," is yet another glorious setting of a seemingly simple text, which Whitacre chose to have translated into Latin. He does an excellent job of establishing setting in this one. The mysterious chords in the opening and the way Whitacre layers the voices make it an appropriate conclusion, ending in a way that should leave its audience at peace.

For this recording, Whitacre is joined by the collegiate choir Polyphony, conducted by Stephen Layton, and for the most part, they suit the album wonderfully. My only complaint would be that the soloists did not adequately perform the solos, and that there was not enough depth to them. My feeling is that the soprano was the strongest of the four, and that her voice fit the stylistics of the pieces the best.

Many people have criticized Whitacre for the fact that his pieces sound so similar. I, however, found something distinctly different about each one of the tracks on this disc. The poetry he uses is unbelievably honest and exquisite, and his music follows suit. Although many people believe Whitacre's texts to be heavily rooted in religion, they will find that it is actually quite the contrary. Whitacre has been quoted as saying that he chooses only the texts that he finds, simple, honest, and often quiet, allowing the audience to take what they want from it. Speaking from experience, his music is rangy and painstakingly difficult to learn, but penetrates the souls of its performers and listeners with the onset of the first chord. What is so lovely and different about this work is that, with the exception of the title track, the only instruments used are human voices. There is nothing more miraculous and magnificent. Regardless of whether or not you are a fan of choral music, this is a record that is a feast for the ears and should definitely be given a chance. It will undoubtedly leave its listeners humbled and awestruck.

Track Listings for Cloudburst:

1. i thank You God for most this amazing day (1999, TEXT: e.e. cummings)
2. I hide myself (1991, TEXT: Emily Dickinson)
3. Sleep (2000, TEXT: Charles Anthony Silvestri)
4. Go, lovely Rose (1991, TEXT: Edmund Waller)
5. When David Heard (1999, TEXT: II Samuel 18:33)
6. hope, faith, life, love (1999, TEXT: e.e. cummings)
7. Cloudburst (1993, TEXT: Octavio Paz)
8. With a lily in your hand (1991, TEXT: Federico Garcia Lorca
9. This Marriage (2004, TEXT: Jalal al-Din Rumi)
10. Water Night (1995, TEXT: Octavio Paz)
11. A Boy and a Girl (2002, TEXT: Octavio Paz)
12. Her sacred spirit soars (2002, TEXT: Charles Anthony Silvestri)
13. Lux aurumque (2000, TEXT: Edward Esch/Charles Anthony Silvestri)

Check out his MySpace:  http://www.myspace.com/ericwhitacre

Here is a slideshow to "Sleep":

5/31- CLASSICAL DELIGHTS