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" ' - 5 '5 ":-'I' "51133:." .n'.“-’-I' LIBRARY ’1thlllllllllllllllll 7 L/ 3 1293 00812 7049 This is to certify that the thesis entitled The Choral Works of Ned Ebrem presented by Deborah Bodwin Davis has been accepted towards fulfillment of the requirements for PhoDo degree in MllSiC mil/(i M Major professor DateQWu/zoi m! 0-7639 © 1978 DEBORAH LOUISE BODWIN DAVIS ALL RIGHTS RESERVED THE CHORAL WORKS OF NED ROREM BY Deborah Bodwin Davis A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1978 ABSTRACT THE CHORAL WORKS or NED ROREM By Deborah Bodwin Davis Ned Rorem is an important twentieth century figure whose musical output includes many genres of composition. Known chiefly for his art songs, he has also written many instrumental pieces and thirty-six choral works. Rorem has been the recipient of many awards, including the 1976 Pulitzer Prize in music. This study provides a general analysis of Rorem's choral works for the purpose of determining style periods. This analysis consists of the identification of trends of technique. It was found that two style periods exist and are divided, with few exceptions, at the year 1961. Choral works in Rorem's early period are more conservative than his later works and contain such techniques as triadic and added-note harmony, simple rhythm, conjunct melodies and a predominance of four-part homophony. Works after 1961 in- clude increased disjunct writing, more use of polyphony, varied rhythms, prolonged dissonance, double inflections, secundal, quartal, quintal or extended tertian sonorities. WOrks in the final period are generally more extended in Deborah Bodwin Davis length and contain more use of instrumental accompaniment. A technique common to both periods is interval or chordal planing. A critical evaluation of each work is provided which identifies specific performance difficulties and sug- gests apprOpriate performance levels. ACKNOWLEDGMENTS The author wishes to acknowledge Dr. Robert Erbes and Mr. Richard Klausli for their assistance in the pre- paration of this study. Warm thanks are extended to Dr. Robert Sidnell for his valuable advice and constant moral support, and Dr. David Liptak, thesis advisor, for his criticism and exceptional cooperation. Special gratitude is due Ned Rorem, whose music pro- vided the inspiration for this study, and whose interest and helpful assistance were most appreciated. To her husband, Phil, the author expresses love and gratitude for his continued encouragement and understanding. His helpful contributions to the study also deserve special recognition. The author's parents, Raymond and Shirley Bodwin, provided a lifetime of encouragement and inspiration. Their contribution to the attainment of this goal is acknowledged with loving thanks. ii TABLE OF CONTENTS LIST OF FIGURES . . . . . . . . . INTRODUCTION. . . . . . . . . . . Chapter I. BIOGRAPHY. . . . . . . . . II. THE FIRST STYLE PERIOD . . Summary . . . . . . . . Transition. . . . . . . III. THE SECOND STYLE PERIOD. . Summary . . . . . . . . IV. USE OF PLANING IN SELECTED FROM BOTH STYLE PERIODS V. SUGGESTED USE OF NED ROREM' WORKS S CHORAL WORKS. Works For Women's Voices. . . . . . . . The Work For Men's Voices . . . . . . . The Unaccompanied Works Mixed Chorus. . . . . For The Accompanied Works For Mixed Chorus. . . . . VI. SUMMARY AND-CONCLUSIONS. . APPENDICES A. Ranges and Tessituras. . . B. Published Choral Works of Ned Rorem. . . . BIBLIOGRAPHY. . . . . . . . . . . iii Page iv 17 53 54 65 154 157 173 173 176 176 187 197 202 217 234 LIST OF FIGURES Figure Page 1. Reduction of Example 145. . . . . . . . . . . . 159 2. Graph of Example 145. . . . . . . . . . . . . . 160 3. Graph of Example 146. . . . . . . . . . . . . . 162 4. Graph of Example 147. . . . . . . . . . . . . . 164 5. Graph of Example 149. . . . . . . . . . . . . . 168 6. Graph of Example 150. . . . . . . . . . . . . . 170 7. Graph of Example 151. . . . . . . . . . . . . . 171 iv INTRODUCTION Ned Rorem is a prolific composer who has gained rec- ognition for accomplishments in many genres. He is the author of eight books, including diaries and critical es- says. Known chiefly for his art songs, he has written ex- tensively in many idioms. His compositional output includes operas, chamber works, large orchestral pieces, ballet, theater music, compositions for piano and organ, and a myriad of choral works. The latter category comprises thirty-six compositions, some of which are large works for chorus and orchestra. The significance of this output and Rorem's stature as a twentieth century composer were the primary factors which prompted this study. The Study All of Ned Rorem's published choral works to 1978 have been included in this study. Four unison works were excluded from analysis but appear in Appendix B. Two Holy Sgggg are only briefly mentioned, as they are transcriptions of solo songs and hence do not represent the choral idiom. A general analysis of all other choral works was performed for the purpose of discerning the presence of style periods. This analysis consisted of the identification of trends of technique. It was found that Rorem's choral works fall into two periods, with several exceptions. Works prior to 1961 comprise the first style period, excluding The Seventieth Psalm, The Poets' Requiem and Miracles of Christ- mas. The first two works are anticipatory of techniques of the second style period, while Miracles of Christmas is a transitional piece belonging in both styles. All works but three written after 1961 show a radical change of technique. Love Divine, A11 Loves Excelling and Shout the Glad Tidings were intended to imitate the composer's earlier style. These works and the second set of Canticles revert to previous style practices. The composer agrees that his music has changed dra- matically in recent years.1 However, he places the date of this change at 1966, and gives the following explanation: After I published my first book, a diary in 1966, in the six months that followed I had more reaction from strangers than I have had in twenty years as a pro- fessional composer. . .my prose writing fulfilled a very different kind of need from my music writing. My music. . .was crystaline and technical, and the prose was messy and bloody and neurotic and spoiled and hysterical and. . .expressing a more diabolical or more infantile side of myself than my music. Ever since that first book became published. . .my prose writing has become more circumspect, a lot more ob- jective. . .the [prose] writing has became more tech- nical, more controlled, more pristine. . .more ele- gant and more clean, and my music meanwhile has be- come hysterical, dissonant. . .2 Techniques utilized in the first period are indeed more conservative than Rorem's later style. Triadic and 1 . . 1978 InterV1ew w1th Ned Rorem, New York City, April 22, added-note harmony are the rule, and rhythmic patterns are simple. Texture rarely varies from four-part harmony, and melodic contour is most conjunct and tonally oriented. Techniques familiar to the second style period in- clude increasingly disjunct writing and more diverse rhyth- mic composition. Prolonged dissonance is a major feature and involves use of double inflections, secundal, quartal or quintal harmony, and extended tertian sonorities. Multi- movement works with elaborate organ or orchestral accompani- ment become more prevalent in this period. Instance of linear writing increases greatly, and choral texture allows for various voice combinations. A technique common to both periods is planing. The technique is less obvious in early works but is used exten- sively in works of the second period. Illustrations of this technique are presented in the fourth chapter. Ranges and tessituras were determined for all ana- lyzed works (Appendix A). This and other aspects of analy- sis were used to determine specific performance difficulties of each work (Chapter V). The critical evaluation includes judgements concerning the apprOpriateness of certain works to specific levels of performance. All works are presented chronologically within each chapter. CHAPTER I BIOGRAPHY Born of Norwegian heritage in Richmond, Indiana, on the twenty-third of October, 1923, Ned Rorem spent his childhood and early adult life in Chicago. His early mu- sical training included standard high school music courses and piano lessons. As a child Rorem composed little pieces, and in his junior year of high school he studied harmony with Leo Sowerby at the American Conservatory in Chicago. Despite poor grades in high school, he entered Northwestern University in 1940. Impressed with Rorem's talent, the dean admitted him to a curriculum of standard music courses, composition and piano. Rorem left Northwestern University after two and a half years. His father, concerned with his son's musical future, submitted a number of Rorem's compositions to the Curtis Institute of Music in Philadelphia. This resulted in the offer of a scholarship, and in 1943, at the age of eighteen, Rorem began study with Menotti at Curtis. He also studied for a short time with David Diamond, whose "French" practice of "clean" writing influenced Rorem at that time.1 1Interview with Ned Rorem, New York City, April 22, 1978. 4 Discontented at the Curtis Institute, Rorem left for Juilliard after only one year. Having passed all the en- trance exams in music, it was only necessary that he study such compulsory subjects as American history, English lit- erature, American literature, hygiene, physical education and sociology. Music studies at Juilliard included a single compulsory course in acoustics, lessons in piano and study in composition with Bernard Wagenaar. The completion of this work resulted in a master's degree from Juilliard in 1948. While studying at Juilliard in 1944 and 1945, Rorem worked as copyist for Virgil Thomson in exchange for or- chestration lessons. In his first diary, Rorem recalled, ". . .I was impressed by his thrift with notes. And so I composed my first songs, with an instinctive formal economy which I've since tried vainly to recapture."2 Aaron COpland was also one of Rorem's instructors during his Juilliard years. Both Copland and Thomson are considered to be among 3 During this time Rorem his most influential teachers. also accompanied Martha Graham's dance classes, and this resulted in a relationship between the two artists which, in 1967, led to the satisfactory premiere of one of his 2Ned Rorem, The Paris Diary of Ned Rorem (New York: George Braziller, 1966), p. 9. 3Dictionary of Contempgrary Music, s.v. "Rorem, Ned," by.James R. Holmes. ballets (Dancing Ground, based on Eleven Studies for Eleven Players). In 1949, Rorem received the Gershwin Memorial Award for his Overture in C. The prize constituted a performance of his work in Carnegie Hall by Mishel Piastro and the New York Philharmonic, and a cash award, which Rorem used for a trip to Europe that same year. Although he intended to visit Europe for the summer only, the excursion turned into an eight year residency. These eight years were perhaps the most important in both the development of his musical style and the recognition of his talent as a composer. Within a month of his arrival in France, Rorem knew and was known by many of the world's most influential musi- cians, artists and patrons. After living in Morocco and Italy for a short time, Rorem returned to Paris in 1951 and gradually became friends with the Vicomtesse de Noailles (Marie Laure). The friendship developed personally as well as professionally, resulting in a patronage under which Rorem worked until 1957. The years in EurOpe were primarily spent in Paris and Hyéres, and proved to be times of both professional and personal growth. Rorem considers 1949-1951 to be his most fruitful period. In Morocco during this time, he created his first compositions in all the large forms.4 4Ned Rorem, The Final Diary (New York: Holt, Rinehart and Winston, 1974), p. 293. Subsequent years in France included studies with Arthur Honegger, as well as friendships and social encoun- ters with the influential artists of the time: Francis Poulenc, Alice B. Toklas, Pierre Bernac, Jean Cocteau, Paul Eluard, Georges Auric, Darius Milhaud, Julien Green, Barbara Hutton, Pierre Boulez, Leonard Bernstein, Aaron Copland, Virgil Thomson, Nadia Boulanger, James Baldwin and many others. Rorem's musical output was significant, and the composer considers this his second most productive period (1951-1957). It included many solo songs and song cycles, seven works for chorus, two works for voice and orchestra, two Operas, a work for two voices and two pianos, solo piano pieces, numerous works for chamber en- semble, two works for large orchestra, incidental theater music, and several ballets. Rorem also participated in concerts and broadcasts of his music and quickly became a prominent figure in the music world. He was awarded a Fulbright at this time, and journalist Glenn Dillard Gunn wrote in 1951, "'Rorem is the first successful modern ro- 5 manticist.'" In that same year, Rorem made the following entry in his diary: The knuckles of my hand and my arm up to the elbow are shot with pains from working so much in the com- poser's cramped position. But never have I been so pleased with my own music: I have a recognizable style.6 SRorem, The Paris Diary, p. 16. 61bid., p. 46. In 1955, he received the supreme compliment when Nadia Boulanger concluded a conversation about the new young composers with, "'Well, after all is said and done, there's really only Ned Rorem!""7 For personal and professional reasons Rorem returned to America in 1957. Since that time he has been able to support himself almost entirely in the role of composer, through commissions, performing rights, royalties and two teaching positions. He was granted a Guggenheim Fellowship in 1957, resulting in the inclusion of his works on programs by Ormandy and Mitropoulos. Premieres of his works were frequently performed by fine orchestras and singers. In 1959, a concert of Music for Voice by Americans, to a stand- ing-room—only audience, included Bill Flanagan and Patricia Neway. His songs were recorded with Patricia Neway in 1958. Two years later, a Rorem-Poulenc recital was presented by Phyllis Curtin. The premiere of his Second Symphony took place in Town Hall under the direction of Authur Lief in 1959. In that same year, the first performance of the Third Symphonijas conducted by Leonard Bernstein with the New York Philharmonic. About the performance of the latter the composer wrote, "It was the best performance of anything I've ever had anywhere: from that score of two million fly- tracks Lenny brought forth sounds I'd not known I'd placed 71bid., p. 202. there."8 In the late fifties, Rorem concentrated on instru- mental composition. Although the Poets' Requiem, one of his most extensive choral works, was first performed in 1957 under Margaret Hillis, his primary compositional ef- forts were directed toward instrumental genres. Works of this period include the orchestral poems Eagles, 1958, and Pilgrims, 1959; a Trio for Flute, Cello and Piano; and Ideas for Orchestra. Outside of the premiere of a 1956 opera, The Robbers (an "ignominious failure"9), the com- position of a short opera (The Last Day, 1959) and several choral works, Rorem eschewed writing for the voice. The following quote from his diary illustrates his feelings about writing for the voice at this time. Today I am thirty-five. Fifteen years ago I had my first public performance of importance: a Psalm for male chorus with wood- winds, played by Bill Strickland with the Army Music School in Washington. I was nineteen. Since then I have written so much vocal music in so many different forms that suddenly the whole effort appears shredded by ridicule and now (for the moment at least) I loathe the human voice, Opera's a mockery, songs a profana- tion. In 1959, Rorem was offered a position as composer- 'in-residence and professor at the University of Buffalo, an 8Ned Rorem, The New York Diary (New York: George Braziller, 1967), p. 183. 9 Ibid. ' p. 126. loIbid., p. 166. 10 appointment he held for one and a half years. It was an ex- perience to which he devoted little of his diary, except to express a certain dissatisfaction with the teaching exper- ience. Back in New York in 1961, Rorem concentrated his ef- forts on a work called King Midas, a cycle for two singers on poems by Howard Moss. Its completion coincided with labors on a Suite of Pieces for Orchestra. The next sev- eral years saw a number of accomplishments in both vocal and instrumental forms: another concert of Music for Voice by Americans, with David Lloyd and Veronica Tyler: Ford Foundation commissions for an Opera, an extended piano- vocal piece for Regina Sarfaty (Poems of Love and the Rain), and a television choral work for Daniel Pinkham; a premiere of his Third Piano Sonata by Herbert Rogers; and a Columbia recording of Rorem's songs with Phyllis Curtin, Donald Gramm, Charles Bressler, Regina Sarfaty and Gianna d'Angelo with Rorem as pianist. The Columbia release was hailed by reviewers as a quality performance of works by "one of the 11 very best contemporary song writers." One reviewer ex- pressed the following: “Definitely this is an important release, and a major contribution to the propagation of the best in American song."12 11Phillip L. Miller, "The Best in American Song: Ned Rorem," The American Record Guide 30 (May l964):864. 12 Ibid., p. 865. 11 1963 to 1965 were years of mixed reviews for Rorem's varied accomplishments. Bill Flanagan's review of Poems of Love and the Rain was most complimentary: Ned Rorem is one of those composers with regard to whom the usual stylistic labels mean nothing what- ever, never have, and very likely never will. Take him or leave him--on his own terms. . .one of the best song cycles to have been composed by a living American. His Third Symphony did not receive the same flatter- ing commentary. After kind words about William Schumann's Seventh Symphony, Royal S. Brown continued with these words about Rorem's work: This is more-~much more--than can be said for the Rorem Third Symphony, an innocuous work that seems to reach for even greater heights than the Schumann and gets maybe an nth degree as far. . .mindless and eventually boring repetition of a four-note theme... 14 Miss Julie, a two act, two hour opera was a production of major concern to Rorem. First performed in 1965, the re- views were acetic at best. A reviewer for Opera News gave the following criticism: Strindberg’s taut story demands a stronger hand than Rorem has learned to wield in his first full-length opera. . .As a result, Miss Julie joins the well- populated limbo of works that are no longer plays and not quite operas. 13William Flanagan, "Poems of Love and the Rain," Musical Quarterly 52 (November l966):536-37. l4Royal S. Brown, "Ned Rorem: Symphony #3," Records in Review (l973):297-98. 15Frank Merkling, "Miss Julie," Opera News 30 (Decem- ber 1965):29. 12 The Times review of the premiere was extremely un- favorable: At 41, Ned Rorem is tall, dark, handsome and un— doubtedly the best composer of art songs now living. "I can put anything to music, including the encyclo- pedia," he once remarked, with an engaging lack of diffidence. . .The overall verdict [of the premiere]: Rorem would have been better off with the encyclo- pedia--and the 0.8. is still looking for its first major operatic composer. In June of that year, Rorem was invited to the White House, where an abbreviated version of his Eleven Studies for Eleven Players was performed by members of the Louis- ville Orchestra. Although the performance received a "pretty rev1ew, Rorem recalls this experience with dismay. The composer felt that those present were incapable of appre- ciating his work, and thus, the logic of his presence was in question. His frustration was summed up in an anecdote of the evening. Having remarked to the Kansas City Symphony president that Virgil Thomson was from that town, he re- ceived the response, "Ah yes? And what's his line?"18 The following year Rorem went to Salt Lake City, Utah as composer-in-residence at the University of Utah. His year stay revived his feelings of frustration with teaching. "Teaching sterilizes. After the first year you repeat your- self, and end up believing what you say."19 However, this 16"Music," Time 86 (November 1965):83-34- 17Ned Rorem, Music and Peeple (New York: George Braziller, 1968), p. 150. 18 Ibid. 19Ned Rorem, Pure Contraption (New York: Holt, Rine- hart and Winston, 1974), p. 134. 13 period proved fruitful in other aspects of his career. A televised all-Rorem concert extended his works to a wide audience. His continued composing resulted in the comple- tion of Hearing (a cycle of Kenneth Koch poems), a premiere of Truth in the Night Season (a psalm for chorus and orches- tra), a work called Sun for SOprano (Jane Marsh) and large orchestra, and the publication of his first book, The PariS' Diary of Ned Rorem. Water Music, for violin and clarinet with small orchestra was also completed in 1966, and the subsequent Desto recording of it in 1969, received a warm review in The American Record Guide: By this time Ned Rorem is so well known to us as a composer of songs that it is easy to overlook his other accomplishments. . .He knows how to write for instruments as he does for voices, and the same melodic vein that makes for lyricism in his songs stands him in good stead elsewhere. . .he never con- cerns himself with novelty and yet manages to achieve a very genuine originality within fairly orthodox limitations. . .It is music of SOphistication. Two new books were released in 1967: The New York Diary and Music From Inside Out, the latter a book of essays on contemporary music, song writing, performance, a composer's point of view, and portraits of Poulenc and Honegger. Martha 'Graham created a choreographed version of Rorem's Eleven Studies for Eleven Players, the results of which pleased the composer considerably. Television interviews and a five-day panel on "Arts and the Press" at Northwestern Uni- versity brought the composer further notoriety. He delved 20Phillip L. Miller, "Music by Rorem Not for Singing," The American Record Guide 35 (January l969):4l6. 14 into the field of criticism with articles on the Beatles for The Village Voice and the New York Review of Books. In the following year a recital in Town Hall with Beverly Wolff, Donald Gramm and Phyllis Curtin proved to be very rewarding to the composer. Another book of essays, Music and PeOple, was also published in 1968. However, Rorem at this time had not composed for over a year. Public reaction to his Paris Diary was very critical and unfortu- nately resulted in a complete lack of commissions for musi- cal compositions. Rorem found it difficult to muster in- centive to write without a commission. The reaction to his book affected him personally and resulted in a drastic change in philosophy and life style. 1969 fortunately brought a turn of events, with com- missions for a piano concerto from Jerome Lowenthal and a song cycle for Gerard Souzay's autumn tour. The latter, War Scenes, was introduced by Souzay at Philharmonic Hall and received what Rorem considers his best review. He also feels that the subsequent recording by Eugene Istomin and Donald Gramm the following year was the most satisfactory performance of his music to date. The early 1970's consisted of a number of premieres and public appearances. Television interviews concerning War Scenes were held in 1970 at Kent State University, iron- ically just as the Kent State murders were occurring, al- though Rorem stated, "I am the last person to admit to the 15 possibility of political music."21 ). The following year Rorem held master classes at the same university. 1970 was also the year of the publication of yet another book-- Critical Affairs--a journal of thoughts on music and musi- cians. The 1971 premiere of Letters From Paris, a choral work on the "Paris Journal" of Janet Flanners, received a favorable review in the Timeg. In addition, concerts of his older works were performed by artists such as Leopold Stokowski and Leontyne Price. A world premiere of Bey Music was performed in 1972, and a rewarding Desto recording of the work featured Jaime and Ruth Laredo. Choral works completed and premiered in 1972 included two choral works: seven Canticles and a 1966 work, PrOper for the Votive Mass of the Holy Spirit. In that same year, Praises for the Nativity, an extensive work for double choir (or soloists and choir) and organ was also performed for the first time. The composer expressed reser- vations about the work, feeling that it was much too diffi— cult: "The work doesn't work."22 Recent years have resulted in other extensive works for chorus, including a Missa Brevis and Little Preyers, for soprano and baritone solos, mixed chorus and orchestra. Instrumental works include Assembly and Fall, Air Music, Book of Hours for flute and harp, Eight Piano Etudes, 21Rorem, The Final Diary, p. 325. 22Ibid., p. 437. 16 Serenade for voice, viola, violin and piano, and Sky Music for solo harp. A new set of songs particularly rewarding to the composer was Women's Voices. Rorem's reputation as a music critic has increased with the publication of numerous articles on the state of contemporary music,-composers and other varied topics. Most of these articles were reprinted in a new book dedicated to Gabis Rhoads and Eugene Istomin, called Pure Contraption (1974). He is currently working on a treatise on song, while his latest book was released in April 1978. An Abso- lute Gift is an unusual combination of criticism and diary. Among other tOpics it contains discussions of the composer's feelings about one of the most significant events of his musical career: the winning of the 1976 Pulitzer Prize for Air Music, commissioned for the Bicentennial by Thomas Schippers for the Cincinnati Symphony: Ironically, it was for an orchestral rather than for a vocal piece. My reputation, such as it is, has always centered around song, or the various tentacles of song: Opera, chorus, cantata. . .It means the kind of honor which allows your basic fee to go up. Be- yond that, it's a joy to play with, like a new sled, which you finally put away and go back to work. . . It's a once-in-a-decade refashioner carrying the de- cree that bitterness is henceforth unbecoming. And if you die in shame and squalor, at least you die Official.2 I 23Ned Rorem, An Absolute Gift (New York: Simon and Schuster, 1978), pp. 53—54. CHAPTER II THE FIRST STYLE PERIOD Works in Rorem's first style period incorporate rela- tively conservative compositional techniques. The charm of most of these choral works is the result of Rorem's mastery of vocal writing rather than of any technical novelties. The composer claims to be no innovator;l the palette of his early style includes simple triadic harmony or triads with added-notes, diatonicism, generally homophonic or slightly imitative, four-part structure, and simple, even rhythms. The first Of these traits, added-note harmony, is described by Vincent Persichetti as ". . .a basic harmonic formation whose textural quality has been modified by the imposition of tones not found in the original chord."2 These tones form major or minor seconds with chord members, rather than the sevenths or ninths of compound sonorities, and are at- tached to chords of "clear directional powers."3 Added- notes thus have a textural or color function rather than a 1Interview with Ned Rorem, New York City, April 22, 1978. 2Vincent Persichetti, Twentieth-Century Harmony: Creative Aspects and Practice (New York: W.W. Norton and Company, Inc., 1961), p. 109. 3 Ibid. 17 18 harmonic function. Rorem's first style period extends through 1960, al- though several later works exist in this style. The Two Holy Songs (1969) are transcriptions of songs for solo voice written in 1951 and will not be discussed here other than to include them in the early style group. Love Divine, All Loves Excelling (1966) was written specifically in imita- tion of his early style and is therefore not representative 4 of Rorem's output in 1966. It will be discussed in rela- tion to the first style period in spite of its later date of composition, as will Shout the Glad Tidings (1978), written under similar circumstances. Canticles, Set II (1972) are therefore the only late pieces written in early style for purely aesthetic purposes. A discussion of this set is included in this chapter. The Miracles of Christmas (1959) poses an interesting problem, for analysis proves this piece belongs in both style periods. Several early works contain techniques found in the last style period, and the reverse is also true. However, this work is unusual in its continuous com- bination of facets of both styles. It is therefore con- sidered a transitional work and is discussed at the end of this chapter. 4Thomas Strickland, "The Sacred Choral Music of Ned Rorem," (M.M. thesis, Yale University, 1978), p. 27. 19 The earliest piece belonging to the first style per- iod is a group of Four Madrigals, written in 1947. In this set Rorem used the voicing and cadence formulas associated with the madrigal genre while at the same time developing his own choral style. The first, "Parting," is basically homophonic with occasional independent entries. The meter changes frequently between 2, Z, i, i, g, and 3. Yet, the effect is not disjunct, but one of rhythmic fluidity and textual consciousness. The rhythm is fairly straightforward throughout, a feature Of most of Rorem's works, and particularly of those in the first style group. Occasional exceptions to this practice are usually achieved through obvious consideration for the rhythm of the words (Example 1). The word "unwil- lingly" is more rapid in speech than are the words "leave" or "you." The use of sixteenth-notes on "unwillingly" in Example 1 expresses the natural tempo Of the spoken word. Such subdivision of the beat is fairly unusual in Rorem's early works, but is found more frequently in the Madrigals. The presence of rests on the first beat of the mea- sure is another prevalent feature of Rorem's style. The composer uses this treatment of rhythm to vary the other- wise "square" quality which is characteristic of the rhyth- mic movement in such works.5 Rorem uses the technique fairly often, particularly in his earlier choral works (Example 2) . 5Interview. 20 7 Sup pho I- leave you most un wining”; tr; e A Sap-p110, I leave you most un willing-Ir". Example 1.--Four Madrigals, pp. 3-4. Man-y nneck~ lace (00 Round your soft throat you threw Mnn- y a neck-lace too Mm - y a neck- lace :00 Round your sofuhront you threw '3:— c: Mun-y a neck-lace too Round your sofnhtouyouducw. Example 2.--Four Madrigals, p. 6. 21 Mild dissonance in the form of triads with added notes or polymodal writing is another feature of Rorem's early works. Polymodal writing contains the use of both the major and minor forms of a single tonality. Example 3 illustrates how Rorem moves effectively between E major and e minor in the first two measures Of the madrigal. This, and the measures immediately following in the same example, also show evidence of mild dissonance through the use of added notes. C 7” Su was her weeping when she said good-bye. P < > J n J] 11 11 I] 1 r Y Y 7 7 V Such was her weep-ing when she said good-bye. fl (“‘- 7 I Such was her weep-ing when she said good-bye. - -l _I_I--I——I—I -tm- 'n—-—'—- -_I_ -_---I-.-"’ I- -=I--.--- . ‘_ - V These words she said to me,‘ What sad ca-lam-i - !. Sappho. I leave you most un- ._.. 7% f ‘ r U'I-l—I_--'-—-- -I-I-I-l -l_:—- _|—---I"I-": Thesewordsshesaid tome. "W a-lam-i- 5y!_ “mépho' [leave youmosr un- }. l'_l JP L [—1 "I mfs . - M -- 1“ AW II II I! :1 5: 11 l I 17' ¥ 7 yr ' v r f 'Wharsad calam-i ry'- Sap-pho. I leave you most un Example 3.--Four Madrigals, p. 3. 22 The second madrigal, "Flowers for the Graces," is a short, homophonic piece. The entire work is based on the Mixolydian scale on C, and it is strictly triadic with oc- casional mild dissonances. "Love" is a madrigal which utilizes free, nonliteral imitation. Changing meter between i and 2 is used with similar effect as that found in the first madrigal. Rorem's gift for melodic line abounds in the unfolding Of the work, used in effective combination with unexpected chromatic al- terations. The f#2 on "bittersweet" (Example 4) comes af- ter an octave leap in the SOpranO line. Here is an early example of the use of wide melodic leaps in a single voice line, a technique which Rorem employs frequently at the be- ginning of phrases in his solo songs as well as his choral works. Although octave leaps are not uncommon in vocal music, Rorem rarely employs large intervals in his choral works. Thus, their occasional use in his music is parti- cularly striking. The following measure illustrates this use of leaps and exemplifies Rorem's early usage of dis- sonance. An example Of Rorem's use of rests on the first beat is found at the end of this madrigal (Example 5). The final work in this group of madrigals{ "An Absent Friend," is a composite example of many Of Rorem's early techniques. In this piece Rorem breaks away from strict homOphony with the use of more independent entries and rhythms. His talent for vocal writing is particularly 23 [’1 Y and my un-malt . I v A mon-ster bit-ter-sweet -—-- 74’ 5:6 M {alksfl A monster bit- ter-sweet and my un—mak- ing. ff dim. R . v ; ALWI l l 1 X I l I 1‘ j v I [-7—— 1 x I V JiI v — 4 ing. A mon~ster bit-ter-sweet.__ Example 4.--Four Madrigals, p. 11. poeomlL A mon-stet bit- ter - sweet and set me shalt - ing. my un- making. _ r011. set me shalt ~ ing. A mon-ster bit~ter - sweet and my un-mak-ing.__ roll. and set me shalt-ing. A mon-ster bit-ter - sweet and my unmask-ing.— >— pacer-all. shalt-ing, A snon-ster bit-ter- sweet and my unvmak-ing._ Example 5.--Four Madrigals, p. 12. 24 evident in the flowing, singable line of the piece. The opening soprano line begins with the leap of a seventh, skipping up another third to an easy, open vowel, achiev- ing the balanced, arched melody for which Rorem is known (Example 6). “M, L n l - - i I I All I 7:: n H u E t: v :::: u v 7 Y A glo- -ri-ous god - dess Example 6.--Four Madrigals, p. 12. A similar line near the middle of the piece utilizes this wide leap in a longer line with two arches, incorpor- ated in a choral framework with graceful, flowing meter changes (Example 7, last three measures). I muf——.—-— I -_ __ _I‘-—I-l' _ -- I. — — l . 4, as when day dies'l'heroa - y - fm-getedmoonex-oels'lhe boat of stamandlight il- ‘p l l =7 ‘ “ T iimf'n—g._-_=fi l l a as when daydies'l‘heros- y - fin-getedmoonex-cels‘l‘he N620! mandlightil- Example 7.--Four Madrigals, p. 14. ' din. ‘ L > $f > ”f “7 :132-=-=E§=:O-1 —- —:=— -:::=l i:-—I----::== .=E=i’ -’_1: lumes The salt_ sea and the corn-land glows_With light upon itsthous-snd blooms -_ is": z.r_=='=s:-Es #52:: 35:55:53.EEEELfi’EEfiEEEEEEfifiH s .-. e I I lumes e salt __ sea and the corn land glowLWith light upon it: thomnd blooms.— ’ ' Jul 1 2—— A r:- lt ‘ I'- — =::-———-—a'—:-::==—‘= -Ea- v-_-_-I EEEEfiEEé.; :\;"—_;.v‘-—l- 7' 1 '9. I... AA -.— .1. - :'I I l lama The salt sea and the corn- land glows_With light upon ttsthous-and blooms- E dim. '- l. .I—IIII—ll- ‘ l The salt and the -land lows-With li ht u itsthous-and blooms- “"1 5: a“ . . P“ Example 7.--(cont'd.). Once again the harmony is basically triadic with added-note chords. Example 7 illustrates a feeling of modulation from D major to Eb major to Db major to Eb major and finally to C major. The modulation occurs in five mea- sures, beginning with the 2 measure at the end of the top score. This work also presents an early and relatively sparse usage of some of Rorem's later techniques. Secun- dal intervallic relationships are occasionally present and point to his later use Of secundal chords. According to Persichetti, these chords built on seconds may be arranged in sevenths, the inversion of the second.6 6Persichetti, p. 122. 26 A quartal chord, ". . .built by superimposing inter— 7 can be found in Example 8. Quartal vals of the fourth," sonorities are used extensively in later works and Often occur in the inverted form of superimposed fifths, known as quintal chords. Harmonic parallelism is an important characteristic in Rorem's later works. Parallelism occurs "when all voices in a succession of chords move in the same direc- tion,"8 and the term is synonymous with planing or har- monic planing.9 The madrigal set contains several brief instances of harmonic parallelism, Often in the form of successive 2 chords. Example 9 illustrates the technique as it is found in the final measures of the work. An earlier and more extensive example Of harmonic planing is discussed in detail in Chapter IV. From an Unknown Past is a 1951 setting of seven anonymous poems. Written for mixed chorus, they are ex- ceptional examples of the early choral writing for which Rorem is most popular. They are simple, four-part, basi- cally triadic works which contain some of the composer's most singable lines. The flowing, undulating representa— tion of the blowing of the western wind in "The Lover in 71bid., p. 94. 81bid., p. 198. 9Richard Delone et al., Aspects of Twentieth-Century Music (Englewood Cliffs: Prentice-HaIl, Inc., 1975), p. 332. 27 songs ' prize... a 4L_——' Example 8.--Four Madrigals, Example 9.--Four Madrigals, p. 13. p. 16. Winter Plaineth for the Spring" is achieved through the gentle rocking of even quarter- and half-note rhythmic units. The unfolding of the long soprano line incorporates the gradual intervallic expansion and quickening of rhythms as it approaches the climax of the line (Example 10) r ”J 80 l LWrest - on wind,— ’, __‘==::::: “‘1’ --===:::: ”yr a I l l h-‘. I lay-4 «mu. 1 l “i Fla up-u "5" ”II Haul 'II . l . I. .1... '.1t_____ thou blow_____. That the small “In I “E,” ::::::===-"' -” '-‘==::::: ”E!:"———_—77 17 r 1 I ‘__‘__--—-“771 fiiéggéééEEEEEZZZZj.¢ T :4 fr ’ l ‘5 l ' ‘7177—<======='4 down— can run? Example 10.--From an Unknown Past, pp. 2-3. 28 The madrigal-like setting of "Hey Nonny No!" employs a harmonic base which is exemplary of Rorem's first choral works. A distinguishing feature of this piece is the de- clamatory Opening line, shown in Example 11 as it appears for SOpranO and alto near the end Of the piece. It is yet another instance of the use of quick, wide leaps which #1 to create a tall, arched melodic line, here rising from f g2 and falling a fifteenth to bfi. Rorem's consciousness of word setting is evidence Of his consideration for the singer. The half step on "Hey" provides a helpful anacrusic spring- board to the high 92. The Open vowel on g2 likewise aids in the successful execution of the line, particularly for altos unaccustomed to such sudden and high tessitura. -=:: f“\ A —\>-' ”If ('5 v \J Hey- non - ny- no; hey_ non . ny... nol V Hey... non - ny_ no; hey. non - It]... not Example ll.--From an Unknown Past, p. 9. Graceful, singable line is the outstanding feature of "My Blood So Red...," the third piece in Unknown. The flowing counterpoint Of this simple, yet very moving work makes this one of Rorem's small masterpieces. The initial sOpranO line is imitated with variation in all other voices. This and a tenor imitation later in the piece illustrate the accomplished art of fine vocal writing (Example 12). 4 l A ’ cm? A f A A _ SOPRANO L: ~a’7 “'7 My blood so ted For Thee wan shed Orzne home a-gain, come ALTO l 5-: ‘ g ' g ' j IK1A pp r I 1 fl I ‘I man '1 ' g; 2 LI 3 a as: e a - v v I Come home, BASS _ f u " E ' % - g l l l 1 1 r I 1 9‘ e {a I :4” I %1 i .1 Yr 1[ I w J 5 :J l _ come home! u—u- mp cypress. crate. You've gone a-stray Out ofyour way,_ come home a~gain, < < mp npreu. My blood so red For... Thee was__ shed, come home, mp cypress. come home Example 12.--From an Unknown Past, pp. 10-11. 3O f poco nt. \ ,— m ,2 J a m [axed < .> a IL I r I I - A i A ‘l ‘ ‘r - A II 1 I I I, I v I r r I y T. I .‘ ' I I" l i 1‘ 71 :‘f i ‘1: V ' 'i home... a - gain! puco rg. D < f > ”If q > my? > pm I I I I J" I fl 1' T - n n I l I I l 41 I] - ! I I I r - T I, 1'- i I - ‘l I I I 'r T| y A I J - I) I II J_ ‘1 ' - L T 11 L V I - I I I II a U I v | J Y home, come home a-gain, come home_ a - gainl In}; . pnro rat. (:1 M \ f x \‘ /_——__( I’m 1 T 1 I - I :I - [A A A J I I A L l r Irfi v P I" l - I A - V L l I Is fl 1] 41 II I I 1 F 1 I T I I II I [I Y I W ' 7 come home_________ r a-gaml 000 r: . mf< f >— Mp ~< PM 53:7 - >7 - \' A l ‘ X I v u I] r y - A I I A H J I I II 7 5 Li l i' J " H i I ‘ T {I N w ’ I a - gain! Example 12.--(cont'd.). The sustained, rising tenor line at the beginning of the piece provides an effective contrast to the more rapidly moving, arched soprano line. Rorem gave the altos equally interesting material, making this one of his finest at— tempts at contrapuntal writing. Homophonic, very tonal composition is again the rule in the fourth and fifth pieces in this set: "Suspiria" and "The Miracle." Rhythm, as in Rorem's other early works, is straightforward, seldom involving patterns more complicated than first-level division of the beat unit. The composer's use of first-beat rests and wide leaps is evidenced in the following excerpts from "The Miracle" (Example 13). 31 —< up espreu. I‘Jj w _, ‘V I \. J r more will- weep For them. that- laugh- "‘9 while! Love now no 3p 1- 4.: i .L s ”AZ—4 - ‘ ? J. I ' T L —1 Love now no- more will weep For them that laugh the while! a :8 ran. < P p 2*: If: r 31 *4 J ft! ti: 5 .4; g I - Love now no more will weep For them that laugh the while! Example l3.--From an Unknown Past, p. 16. A setting of Dowland's text for "Weep You No More, Sad Fountains" is yet another example of Rorem's slow, flow- ing choral style. Like the first piece in this set, "Tears" utilizes even, smooth rhythms, achieved through unobtrusively changing meter for the purpose of adding a beat or more where the composer feels the text demands. Rorem ends the set with "Crabbed Age and Youth," written in a chordal style similar to "Hey Nonny N01," and incorporating the harmonic characteristics exemplary of Rorem's early choral writing. Also present are parallel chord structures which are more representative of later works. Parallelism here involves fourths, fifths, sixths and octaves used in such a way that root movement is obscured (Example 14). A Far Island is the first in a set of two choruses for women's voices. Rorem seldom writes for combinations other than standard mixed chorus (S.A.T.B.). All works for men's or women's voices alone (excluding portions of 32 0, sweet shep- herd 4 0.-——— hie _ theel Example l4.--From an Unknown Past, p. 29. movements of works with nonstandard vocal combinations) were written in 1953. A Far Island typifies Rorem's early, mild treatment of dissonance. In this expressive piece, Rorem employs the frequent use of half steps between two voices. Although the instances are fairly brief and involve immediate reso- lution, their usage nonetheless provides a certain amount of tension, which is sometimes augmented by a sudden leap (Example 15). The semi-contrapuntalstructure of A Far Island is reinforced by the highly imitative form of the second piece in this set of women's choruses. In Gentle Visitations, imitation between the two soprano lines is often literal at first, and, at the same time the altos sing a freer version of the same descending theme. The harmonic structure 33 Hardly moving (J : c. 43) '"P Soprano I Soprano II Alto A fax __. ___.___ is - land Ex - :::==———P hero - i - sphere >p hem - i - sphere >1, fist: in a se - cret hem — i - ephero Example 15.—-A Far Island, p. 2. of this work embodies the tonal characteristics found in other works of this period. Straightforward rhythm, wide leaps, moderate dis- sonance and homophonic or conservative contrapuntal texture are the rule for all of the short pieces for women entitled Five Prayers For the Young. The use of simple syncopation in two of the prayers deviates from Rorem's usual manner of rhythmic composition. The treatment, however, is rela- tively brief and uncomplicated in both cases ("A Dirge" and "Fragment: Wine of the Fairies"). 34 Leaps to high notes frequently employ cpen vowels, as in the following examples from "A Nursery Darling," "A Dirge" and “The Virgin's Cradle-Hymn," respectively (Example 16). . .fbA 4g . v I} fiHHH A voice-less psalm ..-_- an of-fer - ing. 11 IL r; J Lf — storm. \vhosetears an: vain. Bare woods...— ----—-eth. Example 16.--Five Prayers For the Young, pp. 3, 7 and 13. In this rather harmonically conservative set of prayers are several brief, isolated incidents of secundal and quartal harmony characteristic of Rorem's later style. Whole steps between the alto and second SOprano line open "Fragment: Wine of the Fairies." Two measures later, the altos reiterate this same interval at the same pitches for a measure and a half. However, considering the rapid tempo of the piece (J = 138), the dissonance is quickly resolved and is by no means a major feature of the work. Parallel perfect fourths in ”A Nursery Darling" are similarly an isolated incident lasting for only a measure in the two times they occur. However, their usage in the opening mea- sure creates a more powerful impression upon the listener (Example 17) . 35 Tranquil (J. IOO) A Moth-cr's breast: ”I A Moth-cr's breaSt: Example l7.—-Five Prayers For the Young, p. 2. The question of influences is quite subjective and often inaccurate. Rorem claims few as having substantial influence on his writing, but he does admit to borrowing from himself.10 In "A Dirge," from Prayers, the composer borrows a motive from a work for solo voice which was writ- ten only a few months before Prayers, and uses it in the same key with only slight variation. Example 18 shows the motive as written in "Lay," a song for medium voice and piano from Poémes pour la paix, composed in May of 1953. Example 18 also includes the motive as it appears in "A Dirge,” composed in the summer of that same year. Rorem uses the motive in different forms in two other movements from Prayers ("A Nursery Darling" and "Fragment: Wine of the Fairies"). ”if — lki-ons pour a-xmnr paix_. en... Fran. ce; Example lB.--Poémes pour la paix, p. 4, and Five Prayers For the Young, p. 6. loInterview. 36 loud... Grief too sad__. for V' Rough wind. thou moan - est loud... Grief too saa____for Example 18.--(cont'd.). The same year that produced these works for women's voices also saw new tonal developments in Rorem's works. In the medium of mixed chorus and organ Rorem expanded his musical palette to create a work of unprecedented beauty and stature. It was his first accompanied work for mixed chorus, and his most extensive choral work to this point in his develOpment. Rorem has criticized The Corinthians for its lack of continuity, feeling that there are too many tempo changes which interrupt the flow of the music.11 However, because of its harmonic interest, it is an im- portant work in Rorem's output and an interesting piece for study and performance. The Corinthians (1953) is included in the first style group because, although it experiments with techniques em- ployed by later works, the four-voiced structure is repre- sentative of that found in the earlier works. Added-note 11Strickland, p. 30. 37 sonorities are the rule, and although Rorem uses dissonances frequently, they are most often mild and quickly resolved. Example 19 shows a passage in which two or more voices share a whole-tone or semitone relationship. stand all mys-ter-ies, and all- know-ledge; and ? cresc. phe-cy, and der stand un - der-stand mys-ter-lea. and all C‘n'SC. 4 Though I have the gift of pro-phe-cy. Example 19.--The Corinthians, p. 3. Much of the piece is characteristic of Rorem's contrapuntal style. More voice parts are present here than in earlier pieces, but imitations are still only literal for a measure or two, if at all. The most contra— puntal sections are also the most harmonically conservative. The end of the piece demonstrates the most independence of voices. Yet Rorem remains completely diatomic, utilizing very conservative harmony in which a ten-part dominant ninth chord in G major resolves to a tonic eleventh chord (Example 20). Rorem achieves a true integration of styles in many portions of The Corinthians. The combination is often 38 theee______ n, <7“. greet - eat at these to :- PP Meno mosso te i138. til? ty. ocher- l. - ty. Example 20.--The Corinthians, pp. 22-23. 39 - molto rit. Larvo J=52 [LE1 ff f' < - "deim. >P>PPP Faith. hope._ char - - l - ty. Largo J=52 molto rit. f >— Example 20.--(cont'd.). abrupt and surprising, but frequently the very effective— ness of the passage lies in this unusual juxtaposition (for Rorem). Example 21 employs such a combination of techniques. A fairly non-dissonant section in high register suddenly drops to a low, rocking exchange of b minor seventh chords and triads built on thirds and whole steps. Accented syn— copations contribute to the power of the progressions, as does the immediate change back to the previous tonal style. Quartal, quintal and secundal chords are also mani- fest in Rorem's later choral style. Example 22 illustrates the composer's early usage of these harmonic structures in The Corinthians. The rising, lower three voices sustain 40 which is_ per - feet is— f But when that which is_ per-tect is which in per - In when_ that_ which in per-feet. butwhen that Example 21.--The Corinthians, pp. 14-15. 41 ”if they shall cease; they shall cease;— < f they shall .»,..,j-_ :gmmk Pf__g§?§ f4 wheth-er there he.- know wheth-er there he know - wheth-er there he know - Example 22.--The Corinthians, pp. 10-11. 42 notes at intervals of fourths. The organ chord in the fourth measure of Example 22 is a quartal chord of perfect intervals built on F (the choral parts supply the missing db) . Parallel fourths make an early appearance in The Corinthians, near the end of the piece (Example 20, above). Found between soprano, alto and tenor, the use of this technique is brief compared to its presence in subsequent choral works. These closing measures of the work also con- tain an example of Rorem's early use of extended tertian harmony. While the chorus maintains a final G major triad, the organ concludes with a passage that is an embellishment of the final G eleventh chord. A passage earlier in the piece contains a D thirteenth chord (Example 23). I Feel Death is the last piece to date which does not call for a choir of mixed voices. Written for three- part male chorus, it is a unique vocal combination in Rorem's choral output. The use of male voices and Rorem's keen sense of harmonic manipulation make this a powerful expres- sion of John Dryden's words. The use of seconds on accented and/or strong beats are a major feature of the work, the first of these appearing at the word "death" in the bari- tone entrance (Example 24). The connection between the motivic diminution and the textual reference to "shorter compass" seems obvious in the example below, although the composer emphatically 43 V on Example 23.--The Corinthians, p. 16. Strong (J . 76) r, f l > T 1 I ' :f 1 i J Tenor J I A r T Q; r I I r i feel death ris - ing high-er still and f > . i I 1 Baritone 1 1 . j I I I 1 I I I II L r] I l r r r * I feel death ris - ing high - or still and Example 24.--I Feel Death, p. 2. - —__,__—...._,_ 44 12 denies any use of word painting in this piece. with - in a short-er com ~pass \ fetch Shuts UP my lite_ with - in a short-er com-pass >- —_ up my life with - in a short-er com-pass Example 25.--I Feel Death, pp. 2-3. The 1955 group of sacred works, Three Hymn Anthems, have been Rorem's most pOpular choral works for years. His easy church pieces have always been most profitable, with Sing, My Soul, His Wondrous Love selling 15,000 copies 13 yearly. All three are homophonic; the first two, Sing, My Soul and All Glorious God, consist of very even rhythm with few deviations from a steady quarter- or eight-note pattern. Sing, My Soul is almost entirely diatonic, and added-note sonorities are the rule in both. The third hymn anthem, Christ the Lord is Ris'n Today, is somewhat more adventuresome rhythmically. Written in 2 meter, it is set syllabically with one of two rhythm patterns in each measure (Example 26). The latter pattern is usually 12Interview. 13Ibid. 45 reserved for cases in which special words call for the added emphasis of the dotted quarter-note. The short 6 section 4 DJJJUJ or J‘JlJWJ Example 26.--Rhythm Patterns in Christ the Lord is Ris'n Today. which concludes the work is, like the others in this set of hymn anthems, based primarily on added-note harmonies. The hymn-like quality of these three pieces precludes the pre- sence of technical devices that are the trademark of Rorem's choral writing, such as first beat rests and wide melodic leaps. The Prayers and Responses of 1960 are considered here partly because they incorporate several impressive embodi- ments of Rorem's early choral style. They primarily employ simple imitation, or nonliteral imitation or inversion, with occasional homOphonic sections. The tonal structure once again utilizes mild dissonances, particularly secundal rela- tionships. The real interest in these five short Prayers and Responses is found in Rorem's expressive vocal lines, particularly in the final reSponse. Frequent half—steps within a single line illustrate his skill in the manage- ment of tension. The last response also presents another instance of the composer borrowing from his own works. Again from a song in Poémes pour la paix Rorem has taken the primary 46 motive and placed it, basically untouched, into the final "Amen" from Prayers and Responses. Example 27 shows the motive as it appears first in "Sonnet(II)" (1953), and then as the composer has incorporated it into a choral setting (1960). Note also the harmonic similarities of the two passages. p espr. —_‘ "”./"'——'—\ je chenche paix,- et ne trou-ve que- re, Or - es j’ai peur, or . es jc nc trains rien, Example 27.--Poémes pour la paix, p. 17, and Prayers and Responses, p. 4. 47 Moderate A - - - Example 27.-- (cont 'd.) . 48 Love Divine, All Loves Excelling (1966), intention- ally similar in style to the Three Hymn Anthems, is written in a primarily diatonic, strictly homOphonic manner. The steady flow of quarter-notes, the conservative melodic compass and smooth voice leading result in the hymn char- acter. Absence of dynamic markings and the presence of added-note sonorities emphasize the dichotomy of complexity and simplicity. The simple, straightforward form camou- flages some difficulties to be found in the successful performance of the work. Two Holnyongs (1969) are mentioned as illustrations of Rorem's earliest compositional techniques. However, since they are virtually literal four-part transcriptions of two solo vocal works from his 1951 Cycle of Holy Songs, they will not be considered here as original works for chorus. Although written in 1972, at a time when Rorem's choral output was almost exclusively in the style of the second period, the second set of Canticles were composed very much in the manner of his earlier works. While they contain techniques of the second period, all three pieces basically utilize the tonal concepts of the first style group. Added-note chords occur between a surprising num- ber of major and minor triads, and most half— or whole- step relationships are the result of added-note sonorities or occasional suspensions. Harmonic progressions are par- ticularly interesting and exist primarily as the product 49 of enharmonic alterations, as in "Benedictus es Domine" (Example 28). In this example, the E major cadence in the first measure is followed by a phrase beginning with an Eb major chord, which subtly progresses a tritone away to A major (spelled enharmonically) two measures later. A re- turn to an Eb seventh chord is accomplished in the same measure, followed by a short passage centering on d minor. This latter segment is particularly illustrative of the tension created by Rorem's finest melodic writing, made even more powerful by the repeated imitations. glo - rious throne- Child-di - vine. > .4 A r” f > >mf rv Example 34.--The Miracles of Christmas, p. 7. In this movement Rorem breaks away from his tradi- tional four-part chordal structure to include several dif- ferent voice combinations. Octaves between the voices are prevalent, and imitation or vocal independence is more com- mon. The organ part is similarly less pedantic, taking on a function which is more than accompanimental. In spite of these new techniques, the first movement also has many characteristics belonging to the first style period. While the harmonic framework is advanced for Rorem at this time, it poses few problems in comparison with later works. The melodic lines, although difficult to sightread, are quite repetitive, serving as connecting agents between numerous texture, key and tempo changes. 57 The author of the text binds the poetry together by the periodic repetition of "Mary took these things, She took these things And pondered them in her heart." Appear- ing near the end of four movements, Rorem sets these words similarly each time and thus both musical and textual unity are achieved simultaneously. In all cases the texture is a mainly homophonic, often syllabic setting of the text, with one instance beginning imitatively. An even stronger device of cohesion is found in the music alone. At the end of all but one movement ("The White Rose"), the composer injects a short introductory motive on the title of the following movement. Heard first as a simple, three-note pattern of rising fourth and falling minor third, the motive goes through several transforma- tions (Example 35). The motive is also found as a punctua- tion device in the body of the second movement, "The Rooster." THE RODS - TER: -L m l 4 THE mss_ MEN..__ mf< @d libitum (J- : c. 70) 9 \ Example 35.--The Miracles of Christmas, pp. 7, 14, 32 and 40. 58 \‘J TIIE WHITE- ROSE: THE WHITE... ROSE:— -—==: ——-—~~ 1’ 9 fl 1% 1‘ r r 5.. j) THE WHITE... ROSE: em Example 35.--(cont'd.). "The Rooster" is one of two movements in 3 meter which share similar techniques. This movement and the fourth, "In the Stable," contain melodies superimposed on chordal ostinatos. In "The Rooster" this idea involves canonic imitation of a Lydian melody in the vocal parts with an accompanying organ ostinato built on a rocking bass of tritone relationships (Example 36). Planing of fourths over a chordal ostinato of G# and C# sonorities is found in a related passage from "In the Stable” (Example 37). In this movement the voices also occasionally rein- force the shifting sonorities of the ostinato while the up- per voice of the organ embellishes with a Dorian scale 59 f "up" In thesky a- b°"°'_- a man‘s reach the sky 3 . bove.— 1| Example 36.--The Miracles of Christmas, p. 8. bird song joined the Example 37.--The Miracles of Christmas, p. 28. (Example 38). In spite of these self-imposed tonal limi- tations, Rorem is able to create an arched melody in the rising chords of the chorus. Quartal and quintal chords and melodic relationships abound in both of these movements. Use of modal scale forms 60 f> m! burned. Example 38.-—The Miracles of Christmas, p. 24. (Examples 36 and 38) and unusual tonal relationships point to Rorem's second style period. The composer experiments with the rhythmic structure to a minimal degree, but achieves interesting changes in style through varied textures. As in the first movement, the organ has taken on an independent 61 role, and Rorem uses it for a combination of melodic or purely sonorous purposes. The voices have also been mani- pulated to maximize interest through varying textures. Melodic doubling at the octave is common in "The Rooster," canon is used in fair exchange with homophony, and vocal lines have gained much independence through frequent solo lines or sparse harmonic structures. “The Wise Men" (#3) provides an interesting contrast to the two surrounding movements. Like "The Cherry Tree," harmonic relationships are more functional and in the style of early works. The ostinato which begins the piece reminds the listener of the previous movements. However, the slow tempo and thin vocal texture differ greatly from the open- ing of "The Rooster," and the chords of addition with roots a fifth apart provide a sharp contrast to the tritones of the opening ostinato in the former movement. Rorem makes prominent use of solo passages for altos, tenors and basses before the homophonic ending, and each of these passages is punctuated by a brief, delicate treble response relating the actions of the Christ child. After a long and heavy fourth movement there follows another light narrative, "The White Rose." This short move- ment is fairly uncomplicated and is generally in the style of the first and third movements. Immediately following is a spirited interlude for organ which serves as an introduc- tion to the sixth movement, "The Spiders and the Fly." The quintal chords make a bold, triple forte entrance in 62 syncopated rhythm and return at the close of the movement. The interlude also contains tritone relationships and quartal chords, and ends on a chord of fourths with a double inflec— tion (Example 39). A double or split inflection is the simultaneous occurrence of a note and an altered form of that note. In this example the double inflection appears between the bb1 bh in the upper voice of the keyboard and the in the inner voice. Example 39.--The Miracles of Christmas, p. 35. The beginning of the movement is particularly inter- esting in its use of polytonalities. Example 40 exhibits b major and e minor chords with a predom- a combination of D inantly rhythmic function, which develops into a juxtaposi- tion of both melodic and chordal tonal levels. The movement continues in a constant interchange of texture, and is finally resolved in the chordal style of the last movement. "The Land" commences with a tame D major accompaniment. Over this Rorem places an octave doubling of a synthetic scale of mixed modality, in which the first tetrachord is Lydian and the second is Mixolydian (Example 41). ”325...,— ,- é :h===£;:::::--¥:——-—————~—_—.:2_=:anEEEE-_.$:=HE_JEEHE- :.:—-_—:===-—=z_===EEE?EE££E=&EE‘E££EEE&‘ » “I’LL? H I F i' .-, -—, ——— —-— —-- ‘ hile sol-die" mg. _ ...cre he m-fantaHer—od- feared.___.____—_ > pp " ,-—-————-'—— ln—_—.=_—_u—_=======:=—;fi==g=.fl_;=-fiu— ‘— ‘—===- -;——l ___ ’ — land, While aol-dienmu—aa-cred the in-fants a" od fund — '- --I‘_ ___ —-—1 —— —-—-1—— —- -- .— _ ___— — IA.- ——.- --.- ---- -— _- — — — - _ — ___ Example 40.--The Miracles of Christmas, pp. 36-37. .Andantecantabfle(J.70 p molto latte legato Example 41.-~The Miracles of Christmas, p. 41. As in the first movement, this scale works to bind the movement motivically, appearing in the organ as well as in various voice parts. A varied segment of the motive is used in a two-part canon that gradually multiplies to accom- modate four-voice homophony for the climax of the movement. The work is completed with a subdued setting of the repeated stanza, and a return of the beginning motive from the first movement superimposed on a quintal accompaniment (Example 42). 64 pondered them in her Example 42.--The Miracles of Christmas, p. 44. The Miracles of Christmas is unique in its combina- tion of early and late techniques of Rorem's choral writing style. Most early techniques are found in odd-numbered movements: chords of addition, relatively functional har- mony, uncomplicated rhythms, homophonic structure, thinner texture. Intervening movements and brief portions of odd- numbered movements encompass some of Rorem's most experi- mental facets of composition: quartal and quintal chords, tritone relationships, synthetic or modal scale forms, os— tinatos, superimposition of harmonic structures, textural extremes, strict canonic imitation. This perplexing work thus represents a fascinating mixture of ideas; in essence, a hybrid of both style periods. CHAPTER III THE SECOND STYLE PERIOD Rorem's style of choral writing changed considerably in the early 1960's. Beginning with Virelai (1961) there is a noticeable change in technique from his early practice of triadic harmony with mild dissonance. His choral com- positions in the second style period make frequent use of extended tertian sonorities, chords built on seconds, fourths or fifths, double inflections, and parallel fourths, fifths and octaves between voices. Rorem's use of rhythm during this period is somewhat more varied than his earlier practice. He experiments more freely with numerous voice parts, and soloists often play an extensive role in these works. The voice parts share more dissonant interrelation- ships, such as intervals of seconds and tritones. Another feature of Rorem's later period is the more frequent inclusion of instrumental accompaniments. The Corinthians and The Miracles of Christmas are the only two early style group works to utilize accompaniments. In both cases, the accompaniments are for keyboard, and The Miracles of Christmas is a transition piece which cannot be considered within either style period. After 1961 Rorem expands his range of colors through use of accompaniments of varied 65 66 instrumentation. Letters From Paris (1966), for example, calls for an ensemble of winds, strings, brass, timpani, a battery of percussion instruments, harp, harmonium, celesta and piano. Rorem's most extensive choral works are included in this period. The Poets' Requiem, for example, contains nine movements and is almost thirty minutes in length. Little Prayers is a few minutes longer and contains fif- teen movements on texts by Paul Goodman. In addition, Rorem has written a Missa Brevis (1973) and his Praises for the Nativity requires a chorus with four soloists or a double choir. Two works written before 1961 are included in the second style period. The Poets' Requiem was composed seven years earlier than Virelai of 1961. However, the techniques employed in this work are representative of Rorem's later practices. The Seventieth Psalm was the first choral piece composed by Rorem. Written as early as 1943, this work is tonally and rhythmically illustrative of the composer's second style period. The Seventieth Psalm is a striking conglomeration of some of Rorem's most experimental techniques. It is the only orchestrated choral work prior to The Poets' Requiem (1954). The instruments often dominate the voices with their thicker texture and more rapid melodic line. Voice parts are widely spaced and thin in texture; the women's voices are often an octave or more above the men, and 67 double octave or wider intervals are found in several pas- sages (Example 43). A of._—_ their Shanna—___. that say: ___—_..I. p turn 1):|('k.__.,_.:‘f;_ n _' —J : A » ,_“__ .. " 1— ;—':£ rv * * Let tlwm A_ .5? - / P Example 43.--The Seventieth Psalm, p. 5. The introduction to The Seventieth Psalm makes exten— sive use of double inflections. In Example 44, the horns establish G major while the clarinet melody embellishes a 9 minor scale. In the second score, Rorem moves up a third to present a variation of this motive on B major and b minor. ACCOMR' Example 44.--The Seventieth Psalm, p. l. 68 This example contains several tonal characteristics of Rorem's late style. In the measure prior to the entrance of the choir the instruments sustain a ninth chord on G major which obtains an added eleventh with the addition of the clarinet C#2 on the third beat. In the following mea- sure Rorem employs parallel 2 chords in the upper voices of the accompaniment. The chord on the first beat of that measure is an e minor chord with an added seventh and ninth, as well as a split fifth. Use of parallel fourths is a quite common technique in Rorem's later works. Example 45 shows parallel fourths between the oboe and clarinet. Example 45.--The Seventieth Psalm, p. 3. This work also makes extensive use of planed chords which are built on fourths (Example 46). Example 46.--The Seventieth Psalm, p. 4. 69 The thin texture of the chorus in this work is the result of predominantly two-part writing. Occasionally three parts are present, but in all cases excluding the final chord, the third voice serves to double one of the other voices at the octave. There is a single, brief sec- tion containing four-voice writing, and the texture in this passage is strictly homOphonic (Example 47). Secundal writ- ing is a major feature of this section and always occurs between the upper two voices. The first measure also con- tains a repeated whole tone sonority on the first, third and final eighth-note chords. And let such as love thy sul - Va-tion any ”P l 1 I) I I I I I I 1 I V Y a T ' I And let such as love thy sul - va-tion any Example 47.--The Seventieth Psalm, p. 6. These dissonant sonorities and planing of intervals often result in cross relations. Example 48 contains an A and an Ab in the first measure, while the following measure abounds with cross relations involving A and Ab, D and Db, # 9 b # C and C , E and E , and F and F . Previous examples illustrate that rhythmic usage in this work is more varied than works in Rorem's first style period. Most of the rhythmic activity is to be found in the upper instrumental lines, including a mirrored 70 Example 48.--The Seventieth Psalm, p. 8. eighth- and sixteenth-note combination (an eighth-note, four sixteenth-notes, and an eighth-note--Example 44) and a single measure containing a set of triplets and two sex- tuplets (Example 49). Example 49.--The Seventieth Psalm, p. 3. The two-voice texture of The Seventieth Psalm is oc- casionally contrapuntal and, in a few cases, slightly imi- tative. Voice parts are composed of even rhythm which never exceeds simple division of the beat. Syncopation is a rare and unimportant feature of this work. The frequent and prolonged dissonances which are the major features of The Seventieth Psalm were absent from Rorem's choral writing for eleven years. In 1954 one of his largest choral works, The Poets' Requiem, was composed on eight texts by seven authors. The first movement, set 71 to Kafka's words, makes use of wide melodic leaps of an oc- tave or a seventh (Example 50). The orchestra below these imitations utilizes parallel fourths in the inner voices of the second and third measures. \nu can hold had hum the «tummy .. umhl . II n all < \nu can hold back . t'mm the suffer-ing of this Example 50.--The Poets' Requiem, p. 5. Planed tritones, fourths and seconds are found in the inner voice of a later passage (Example 51). The third measure of this excerpt contains a b minor chord with an added seventh and ninth. A split fifth results from the 'flz‘1 on beat four. The following measure begins with a triad containing a split root (Bb and bq) which resolves to a quintal chord. This excerpt also contains a cross relation between basses and altos in the first measure, Snpy _ solo 72 and syncopation is prevalent in the lower instruments. S you could have av - A could have av - T could- have av. B ------- — _ _:l——2——+Ifl Friends . _ let us F a Example 51.--The Poets' Requiem, pp. 8-9. 73 Quartal sonorities play a large role in the second movement of The Poets' Requiem. Used in conjunction with the technique of planing, they are frequent in the passage found in Example 52. This excerpt contains both planed quartal chords (in measures 1-2 and measure 6) and a com- bined planing of fourths and fifths in the final two mea- sures. Parallel sixths are found in the inner voices of the orchestra in the fifth measure, and secundal harmony is evident in measures 7 and 8. Disjunct melodic writing is avoided by Rorem in his early music. The second movement of The Poets' Requiem opens with a disjunct accompaniment passage that suddenly terminates in sustained quartal sonorities (Example 53). The first beat of the final measure contains a seven-part chord of fourths. The Phrygian scale appears often in this movement. It is found in the orchestra near the beginning of the work, and is evident in both choir and orchestra in Example 54. In both of these passages, the scale is built on E, while a later recurrence of the scale begins on G. The descend- ing fourths in the inner voices of this excerpt are further examples of quartal planing. Tonal aspects of this movement include chords with elevenths and thirteenths. Octaves are common between voices in the choir, as in Example 54. 74 leaves ! our leaves! our dark - ling < ! our dark . ling < q, leaves! our dark - ling .1 ("If _szJ SOD 5 er - green! "'1’ Example 52.--The Poets' Requiem, pp. 15-16. 75 Example 52.--(cont'd.). Motto alli-gm 8‘“_ >. Hat-9m ) \ poco memo moss-n .‘ lll__ (Imp sub. 8.....— Example 53.--The Poets' Requiem, p. 10. 76 - t‘d mghlx how- dear__\nu will be- '. llrcl- '"P ('l‘ lllt'til\ "" __d__,:___._. hnw‘dmr _wu wull lw m -t‘d nights . Will he . “Kl - L'd mghxs. I Example 54.--The Poets' Requiem, p. 12. Rhythm in the vocal lines is quite straightforward, as is evidenced in the examples above. The rhythm and ar— ticulation of orchestral parts is more varied than the choral parts, as in the staccato syncopations of Example 52, eighth measure. The drastic dynamic and textural change between measures 9 and 11 in this example leads to a climax which builds to a fortississimo in following measures. The movement is then concluded with a passage containing a re— turn of the Phrygian scale and intervals of seconds. The rhythmic patterns presented are exemplary of the most ad- venturesome in this movement (Example 55). 77 (Ialmly J- 80 Example 55.--The Poets' Requiem, p. 17. The third movement of The Poets' Requiem employs the concluding motive of descending thirds, found in the last four measures of Example 55. In this setting of Cocteau's words, the motive is transposed down an octave and placed over sustained parallel fifths (Example 56). In the first measure these fifths are the framework of an E triad, which changes from E major to e minor with the ghl on the third beat. At the end of the example the fifths become descend- ing sevenths, resulting in a series of parallel seventh chords. Example 56 exhibits the instrumental parts only. 78 Example 56.--The Poets' Requiem, pp. 18-19. Another instance of parallel sevenths occurs between tenors and baritones later in the movement. However, this movement is quite tonal compared to other portions of this work. Sonorities are often triadic and are composed in combination with motives in scale form. This movement is an unusual example of diversified rhythmic writing. The seven voice parts (six choral plus a soprano solo) are quite independent. Example 57 illustrates the disjunct effect created by widely spaced imitations. This example also contains hemiola in the baritone and bass lines as well as in the instrumental voices. This is a technique which Rorem applies frequently in this movement. The two voices begin a ninth apart. The tenor imitation in the following measures begins in unison with the transposed baritone line. 79 Allegro (.p-Isat) Whivll‘h (I p 8. must pav.mu~.t pay. mint my. must pa) . whixpw-vd 9. S . whispered A. must pay. must pay . mm! my. mus? paw . mm“ P T. it'llhf’t'n", Bur. u‘lli.\'pt'l rd 3 . mu~t Example 57.-—The Poets' Requiem, p. 23. 80 Contrary motion is the rule in those sections con- taining scale passages. Example 58 shows the contrast Rorem obtains through simultaneous use of rising sixteenth-notes in the alto line, descending triplets in the upper instru- ments, and a sustained line for solo soprano. In the pre- vious measures individual entrances of the short staccato motive appear on consecutive beats at contrasting pitch registers. Sustained sections of this movement involve extremes in range and dynamics. One such passage rises to a clash 3 and the between the fortississimo soprano soloist's c fortississimo soprano voices a whole step lower. It is followed by a homophonic passage containing hemiola and sync0pation (Example 59). The latter is found in the final two measures of the excerpt. Quartal and extended tertian sonorities are abundant in the fourth movement of The Poets' Requiem. The intro- duction contains entrances at tritones and quartal rela- tionships which resolve to a thirteenth chord built on an F major triad (Example 60). The introduction of the f#2 in the third measure adds the augmented fifteenth. Thirteenth chords are frequently employed throughout this movement. In Example 61, a thirteenth chord on A ac- companies parallel fourths between tenors and baritones and rising fourths between altos and second sopranos. 81 must pay, must- pay, Example 58.--The Poets' Requiem, p. 31. 82 Example 59.--The Poets' Requiem, pp. 34-35. 83 J ..-_ m.) 4 £14“ Much-raw, 'mm allc-gm ( Example 60.--The Poets' Requiem, p. 39. 84 Hf :===——P "l (hi 'I - know S.S. Bar I now H -—-—o—».. "I don't- knnuf Example 6l.--The Poets' Requiem, pp. 44-45. 85 It is evident that rhythmic variation is a feature of this movement. In addition to dotted and double dotted rhythms, Rorem includes sixteenth-notes in groupings of six, seven or nine to the beat. The choral parts in this movement are imitative. At the close of the movement Rorem achieves wide spacing of the voice parts, extending them from E in the basses to the SOpranos' 92. A quartal chord built on A Opens the fifth movement. Freud's words on the conception of one's own death are spoken above slowly moving extended tertian chords. The completion of the spoken words signals a snare drum roll which crescendos to an accelerated, powerful segment which recalls the opening bars of the first movement. Example 62 presents the beginning of "Kafka" and the related section at the close of "Freud." The latter contains a double in- flection (B and Bb) in the third measure. n: x Example 62.-- The Poets' Requiem, pp. 4 and 48. 86 Example 62.--(cont'd.). The soprano solo which immediately follows the intro- duction in the first movement is recalled at the beginning of the sixth movement (Example 63). The latter passage, presented second in the example, contains a rhythmic di- minution of this motive in the two tenor lines. Tflh—q- —?> ..-C ,_ - -—-- 3‘“ ti» rift mil—12;: -- /’ friends. lel UK mnurn d' mnlm espr 1 1 i 1 J i i ii I:F;sz::::q::xg:;£fi:fi fjtzzntj 1 1L 1 ‘r 1 4 x 1 T I 1 Cl the mil-lions I know, who have gone to the Example 63.--The Poets' Requiem, pp. 4 and 49. Such devices as augmentation and diminution are rarely a part of Rorem's most strict contrapuntal vocabulary, yet he employs them repeatedly in this movement. Example 64 exhibits a variation of the soprano solo in second tenors, and an augmentation of the same motive in the basses. The {*3 '3! Ten. 2m Ten. Bus 87 following soprano phrase is imitated in diminution by both first and second tenors (the latter varied with an f’). .8 one count 17!, («nowil is too late Example 64.--The Poets' Requiem, p. 50. In a later passage Rorem combines two motives and presents them both imitatively. His use of canon is rarely strict for more than a few measures, and the extensive use of this device is exceptional in the following movement. Here the counterpoint involves imitation in many voices, and occasionally the motive appears simultaneously on sev- eral pitch levels and in combination with a contrasting motive. Example 65 contains the theme on C and G, with a sustained bass motive on one word of the phrase. The motive appears in inversion later in the movement. 88 and the deer pur by in its speed and its hzm- and Ihe our-sued Example 65.--The Poets' Requiem, pp. 58-59. 89 Interestingly, Rorem reserves his counterpoint for the single phrase, "The hare or the deer pursued takes joy in its speed and its leaps and dodges!" The structure of the chorus becomes increasingly homOphonic when new words appear, while the instruments remain basically contrapuntal. An unusual use of text setting in this latter portion of the movement utilizes a quarter-rest separation between the first two syllables of "happiness" (Example 66). Bar, hep pi - new Example 66.--The Poets' Requiem, p. 68. The introduction to this movement provides yet another example of double inflections. The first eight measures employ constant use of both G and G#, frequently within the same pitch register (Example 67). The final movement of The Poets' Requiem Opens with b2 to bb, then a phrase in which the sopranos descend from d 90 . P .. . P Example 67.--The Poets' Requiem, p. 55. b2 abruptly leap up an eleventh to e (Example 68). mm. < All- eyes, the Crest. ture sees the 0p . en I]! t'fP'. «g :1 A . ‘. '—— -- - ' All eyes... the (‘réa-tmewrs the ()p - (th . All eyes, the Cree-ture sees the On - All eyes. the Cree-ture sees the On - en... Example 68.-~The Poets' Requiem, p. 72. Such leaps seldom extend beyond the octave, and the composer contends that this device may be a tonal expression of the word "Open." "...for a creature to see the Open and then to leave all this Open space between. . .and then to land on that marvelous syllable 'O' is a very tempting thing."1 A similar leap of an eleventh later expresses "pure space." 1Interview with Ned Rorem, New York City, April 22, 1978. 91 The following section in E major returns to an imi- tative style similar to the previous movement. In Example 69 the primary motive is present in the SOprano line and is imitated at the octave above and below in the accompani— ment. Frequent use of changing meters is also illustrated in this example. < Til L-r . . g _f_ . - but always world and newer no-whcrc with-out . rgééf ith£|\‘\ world and ncv-er no-whcrc -. alums world With- out a V ' :tlwsm with! and never tin-where with-out a Example 69.--The Poets' Requiem, p. 74. Rorem occasionally makes use of planing in this movement. The final measure of Example 69 contains parallel thirteenth chords on C# and B. The text for the remainder of the movement reads "...Or someone dies and is it [eternity]." The ostinato 92 # between E major and c minor chords provides a nebulous background for repeated, nonliteral imitations of a four- note motive (Example 70). LE Or someone Or some-one dies Example 70.--The Poets’ Requiem, p. 76. The slow tempo (J== 76) reinforces this interpreta- tion Of Rilke's words by retarding harmonic movement. The addition Of melismas similarly illustrates this concept, as does the combined use of augmentation in the chorus and imitation of the original form in the orchestra. E major remains the established tonal center to the final chord of the work. The Poets' Requiem is an exceptional work in Rorem's choral output. Other than The Seventieth Psalm it is his 93 earliest example of such extensive use of chordal or inter- val planing, rhythmic variety, disjunct writing, double in- flections, contrapuntal devices and other techniques present in this work since 1961. The eight-movement work represents the composer's initial use of cyclical themes and motives and contains his first experiments with the consistent use of five or more voices in combination with instrumental ac- companiment. Rorem is not fond of special vocal effects, such as shrieks or whines,2 and they are seldom found in his music. The Poets' Requiem contains isolated and rare examples of such techniques in the use of the spoken voice ("Freud") and whispered tone qualities (Examples 57 and 63). 1961 marks the beginning of Rorem's consistent usage of second style techniques. Virelai is one of the few ac- companied works in this period and is comparatively brief. The four-voice texture begins imitatively and expands to a thick, six-voice homophonic climax later in the work. Strong dissonance is immediately present with the entrance of the third voice (Example 71). The prolonged half-step between tenors and altos moves to a tritone on a strong beat before resolving to a third. An equally intense use of minor seconds involves oc- tave doubling, coinciding with the last word of the phrase "My life I hate" (Example 72). 2Ned Rorem, Pure Contraption (New York: Holt, Rine- hart and Winston, 1974), p. 142. 94 A J I “ _1 ti; T v 1 L 1 I y i— :J lltv: ; P j 17' 4A 1 i :1 Jr 4 i i } 1T 1;} jx LL 3 :- *-—J rfr—l—J—r f"i—J:E’ Me to - men: - bring Of...— my liv - ing,_ Example 71.--Vire1ai, p. l. ‘ Inf __=-_= > L erue. Imp" mea- sure My llf e I hate: Thua _. , m] :—-= , > cruc. mu — T 1 _L x J 1 . _ E1...=.' - J 4 PJ 4 ‘L I --:I_ _- ; mea- sure- My life- I hate: Thua- l . flffi‘é MI>,..._ A >_ crest. nut e _ (.1: —" IT—} I iii 1; 'L T 11;. l My life- I _ hate: Thua- '- on] _ _ _0 f1: 2 -..- a cure. «gr-e 9 4:3:— --3.—_—l-{. :.-:—_ ~.-.—‘:l§i———$:£€: Inca-sure My life I hate: Thua... Example 72.--Virelai, p. 2. The melodic augmented second is used frequently in Virelai, as in the tenor line of Example 71. The rising second after a series of unisons (altos, Example 71) is the unifying motive of this work. In the closing measures it is altered to a half-step in the soprano line (Example 73). Here the repeated 92 Of the motive serves as a soprano pedal. PA .-'— b L JfiH' I 1‘ . fi—r 4 I ‘1 =4 l: .T- ' _9 ii i i If i i L 1 . #- 1““ 1 T _' _L I I —J l Can I aot_ flnd. Right ao ly-V-l_= ehaaaea With dla - plaaaaaoa - -- ___ -V - 5 j W Can I not- find..__ Right on my chance... With dla - pie-m . A fl . /-\ l C“ t not find Right to my chance With dla - ple - moo ‘ I _, gag =— I j"‘ fiifif it Tr 1 1 1 3 I 4_l Can I not find. Right so my chanaee With the - ple- canoe ”I 1 r1 1 r 1 And thus an end._____.. v Doth - me... _ ad - vaunce, And thus an eel—__— l)oth mu ad - vaunce. And thus an and. Example 73.--Virelai, p. 4. Example 73 also includes planed fourths (altos, mea- sure 3) and parallel chord streams (bottom three voices of measures 8 and 9). A secondary motive in the tenor voice (measure 2) and later in the altos (measure 10) is also imitated in parallel fourths by tenors in measure 7. A similar passage earlier in this piece is exhibited in Example 74. The motive in fourths (altos, measure 3) is placed above descending fifths in the tenor line. Syncopation of the type 96 in the following two measures is common in this otherwise rhythmically conservative work. The soprano pedal in this passage is doubled by the basses. This creates a polytonal effect as the G major chord at the end of the first measure progresses to open fifths on F#, enclosed in the G double pedal. Extended tertian sonorities are also a typical char- acteristic of this short work, as evidenced by the thir- teenth chord in measure 4. Example 74.--Virelai, p. 2. The extreme dissonance of the first work in Two Psalms and a Proverb (1962) is a product of polytonality. The legato melody in Eb Obtains a Mixolydian flavor with the addition of Db in the third measure. The lower voices of the accompanying string quintet are also centered on the Eb tonality. but abruptly ascend to E major in the third mea- sure (Example 75). Subsequent measures make use of transient modulations through E major, the dominant and subdominant of E, ab minor, f minor and d minor. This type of modulation continues 97 pleas-ant it and how Tranquillo, ma con echietteua dual 1 Example 75.--Two Psalms and a Proverb, p. 3. throughout the movement and culminates on an Eb major chord in the last measure. Quartal relationships are emphasized in voicing of chords, and parallel fourths occur frequently in inner string voices (Example 76). A predominant feature of "Wounds Without Cause" is secundal dissonance. Seconds are not used as a color device in the second piece from Two Psalms and a Proverb, but occur as passing sonorities. This frequently results from mirror- ing of a motive in scale form, as in Example 77. The octaves on A which frame the motive present a sharp contrast. 98 that de - «ended up - < «ended up - that de - Icendred up "(86. Example 76.--Two Psalms and a Proverb, p. 6. who hath con - ten-tiom’ bab-bling? who hath con - ten-tiom’ whohath con . ten-tiom? bah-bung? bab- hling? 00.," Halo. Example 77.--Two Psalms and a Proverb, p. 9. 99 Minor ninths and seconds receive more emphasis in subsequent passages. In Example 78, this technique occurs between tenors and basses, with octave doubling in the soprano line. who hath wouoda with - out 4 hath wouoda with - out i who who hath wounds > with . out who hath wounds with - out cauea? Example 78.--Two Psalms and a Proverb, p. 10. Double inflections, quartal sonorities and planing are evidenced in the harmonic structure of this work. Rhythm plays a subordinate role to the dissonant tonal relationships, and the texture is homophonic with brief contrapuntal sections of melodic imitation. Rhythmic variety is extensive in the final piece from Two Psalms and a Proverb. The numerous motives contain syn- c0pation, dotted values and triplets, and the texture is predominantly contrapuntal. Disjunct melodic writing is a feature of this work and others in Rorem's second style period, and is frequently a vehicle for awkward word set- ting (not cited). 100 In Lift Up Your Heads Rorem alternates between tria- dic harmony and chords with prominent minor seconds or major sevenths. The Opening marcato section illustrates the lat- ter, and syncopation in the second measure serves to accent these dissonant relationships (Example 79). a I I _D—/—_ -' -' / :‘g4-D J T I I _— nr ‘3‘.- f 1 L #L 1 L I 1 I 1 I I 1 I fl |‘\\! I I ‘ I I I ‘ I I L * fl g Lift up your heads. great gates, and sing, Now 610 . ry comes, l I 4” marc' 4 I I ‘- -.'I-’ - :A I A I 4 r I - _I A I fl :I'I‘.-"-: I J I I 1 f1 1 J I I I l —I I '1 in?“ . --_-’—1_‘- ' -_- t-_ , Lift up your heads, great gates, and sing, Now 610. ry comes, : me e. ‘-’-.'_’ —/—'— -' ' / —' / —'— '.-‘-’ fi— 1 I ne'-“' .§* I a} :7 r{* 1 {a 1 if ‘ f*-% :2 Lift up your heads,great gates, and sing, Now 610 - ry comes, l V flmare. 5&2:a=%-"--‘- '2? i§!::!:e Iri?fi §;L__qEE:téEE:£Ej l_"- _I FI’ I I I I I I I LI ‘1 L I —I Lift hp yhurheads,grrcat gates, Ind sing, fiow GIo- l'y comes, Example 79.--Lift Up Your Heads, p. 4. This rhythmic style is contrasted with a more melodic second theme which contains triadic and extended tertian sonorities. The second statement of this theme makes use of octave displacement, thus altering the melodic contour. Example 80 presents the soprano line of both the first and second statements. .. J a I :rhi r1 1 I I I I a ‘I - 1 1 I 1T bf I I I I I I U I r l Now by yourhigh all gold-en way The I _ .. —-—r——— 1 I l o —— I I - -l! ' l l EE¥3¥E::7 L if 1, 1.1;} .___Il}_____1 r 1 a ' Where my . cry Art-gel as he sings Keeps {that Example 80.--Lift Up Your Heads, pp. 6 and 9. 101 Augmentation of this theme appears later in the work, shown in the alto line of Example 81. Here it is accom- panied by descending Mixolydian scales on Bb and an ostinato of two short motives in double octaves. The thirteenth b chord on B found at the beginning of Example 81 is one of several thirteenth chords in this work. fff 1o 38”“ D '"f HarkLNuw fff > 7" ‘ _,_..._. , _ .___....._-. comes. ”___-— mf Hark !-Now ?f’ inf Example 81.--Lift Up Your Heads, p. 16. 102 The-tune_ .1 was your heads, great gates, the gates are and hear- «hp-1H the gates are and hear- The_tune- fl- the gates are and hear_ The- tune- Example 81.--(cont'd.). Another use of scales in this work utilizes tritone relationships. In Example 82, the ascending b minor scale is answered with an f minor scale in the accompaniment of the third measure. The pattern is repeated in subsequent measures (not cited). Other interesting features of this work include plan- ing, cross relations, occasional quartal sonorities, and a1- ternation of major and minor modes on one tonal center. Lift Up Your Heads (1963) is a unique work in Rorem's choral output due to its repetition of words. Although the composer contends that a contrapuntal structure demands text /, _ .111: mp 4f In); 4}; Li“ up your heads,grcatgates,and sing._ NowGlo - ry comes, 1]» (1: f __=—-_’: mp L‘i/ftup__ your heads, great gates,-and sing, NowGlo - ry comes, 4f Lift up_ your heads, great gates,-and sing,_ NU‘VG‘O ' f Mp If]! mp h J ’7' Lift up ,_ your heads, greatgates,.and sing. NUWG‘” ' U comes, mféf "If—4f mp——-"—" A Example 82.--Lift Up Your Heads, p. 13. repetition3, this primarily homophonic work also contains many reiterated phrases of the poetry. The composer greatly discourages such practice in all vocal writing. Some song-writers are free in reiterating words and phrases stated only once by the poet. It is uncer— tain whether such song-writers do this to illuminate the sense, or because they are carried away by their own music and haven't enough words to see them through. A poem read aloud with these gratuitous redundancies would not only sound "wrong," but lose all flavor of the author's metrical scheme. . .The "sin" of duplicating words at discretion is that it retards and cripples the flow intended in verse.4 3Interview. 4Ned Rorem, "Writing Songs," The American Record Guide 26 (November l959):166. 104 In spite of this, the repetition of words in Lift Up Your Heads is extensive. The phrase "Now Glory comes" is particularly emphasized. Example 83 illustrates an unusual reiteration of a word syllable. The chords are repeated with the text. Double cross relations are also present (d2 #1 and e1 to e”:2 to d ). f > A< > NowGlo.rycomes (-r comes),n Glo > Now GI, es ), Glo _{_> -rycomes (-r .__> _> ...._ 7 Now 610. ry comes (-ry comes). now 610 .- 4>>> ‘ Now Glo.ry comes (-ry comes). now 610 - ry. > > >‘\ 1., Organ __ ___- . .fi _ 93$"! ‘ ‘ _ "Si” -3; 1:1- > > Example 83.--Lift Up Your Heads, p. 14. Laudemus Tempus Actum (1964) is a setting of the composer's own words, "Let us praise the past by living justly in the future." The work makes extensive use of quartal and secundal sonorities and is based almost en- tirely on a single repetitive theme. This theme originates 105 as a sync0pated melody which enters after the first beat. A variation of the theme begins on the beat and presents a change of contour (Example 84). _- 1L- _. ~1- 3" 3% IE [Lg—L31 .1 v Lau - de - mus tern-pus EEE r? Lau - de- mus tem-pus 8C . tum D Example 84.--Laudemus Tempus Actum, pp. 2 and 7. The two forms are combined at the end of the work (Example 85). The tenor statement presents the motive in its original form while sopranos answer with the varied theme two measures later. Basses enter in stretto, and the altos present an unsyncopated version of the original motive. These various forms of the theme culminate in a thirteenth chord on D. Both versions of this theme are also presented indi- vidually. The work begins with an alto representation of the original theme. As the work progresses the number of parts increases and is often in canon form. This expansion of texture is anticipated in the intervallic expansion of the string accompaniment at the beginning of the work (Ex- ample 86). The unison dl acquires an added second below, gradually expands through thirds and fourths to a five-part quartal chord. 106 [E] Ancora meno mosso (cl = 54) f Lento (J: 42) Luu - dc - mus. < Lau- de - mus tern - pus Lau - dc - mus tem - . Lau- de - E Aneora meno mosso (J: 54) Lento J: 42) N L 1‘ Example 85.--Laudemus Tempus Actum, p. 12. Sopranos Altos Lau - de - mus [em-pus Always smooth, but with constant increase of tension .‘ = Orchestra (Keyboard , reduction) [,5qu Example 86.--Laudemus Tempus Actum, p. 2. 107 te in fu-tur - Example 86.--(cont'd.). Parallel.sonorities also appear occasionally in this work. The half-step descent of two seventh chords and a triad in Example 87 results in a root movement of e to eb to d. Example 87.--Laudemus Tempus Actum, p. 8. 108 Cross relations and double inflections are frequent in Rorem's tonal vocabulary, and this work is no exception. Use of the latter is present in a polychord consisting of seventh chords on b minor and Db major (Example 88). A cross relation occurs in the following measure with the cb2 passing tone in the upper voice. my.» AA 3 t > poco rit. Example 88.--Laudemus Tempus Actum, p. 5. Letters From Paris (1966) is a nine-movement setting of prose from Janet Flanner's "Paris Journal." The work contains numerous examples of techniques representative of Rorem's late choral works. The first movement, "Spring," opens with a quartal chord. A crescendo emphasizes the prolonged dissonance, and the minor ninth which frames the chord is repeated in the SOprano and alto entrance (Example 89). The interval is frequently reiterated, at times in- verted to form a major seventh, and also appears in imita- tion. The alto line in this example is an inversion of the SOprano. A sustained section provides contrast to the vigorous Opening, in spite of the tempo increase. The new four-note motive contains chromatic alterations which result in cross 109 Sprin _has been like ff mares. v Spring_has been like Fast, but not too (J = to) > Str. {pp(< molto) Example 89.--Letters From Paris, p. l. relations when presented in canon (Example 90). Octave dis- placement in the bass imitation doubles the E and Eb, em- phasizing the alteration. The canon is sung to a polytonal accompaniment. A double inflection occurs in the last chord of the example. The orchestration of this work is among Rorem's most extensive and varied. The accompaniment in Example 90 is played by harmonium and plucked piano. The latter is a de- vice not found in Rorem's other choral works. The return to Tempo I is preceded by several in- stances of double inflections and quartal sonorities. The recapitulation is varied and brief, culminating the move- ment with a thirteenth chord. 110 E 0 '7 n ”“3 hurls sters flow - er carts on the - le-vard mr-ners. the ()n the buck - sters flow ~ er carts on the -vard ror-ners,the ()n the buck huck - - the bus - le - vard Example 90.--Letters From Paris, p. 3. "The French Telephone" is an experiment with sounds which is untypical of any other choral work by this com- poser. The rapid disjunct piano obligato supplies a busy setting for the equally disjunct and syncopated choral lines (Example 91). Although the movement ends on E oc- taves, a tonal center is never established with any cer- tainty. This is one of Rorem's most adventuresome uses of rhythm in a work for chorus. Rorem often juxtaposes thick orchestral texture with sparcity in choral harmonies. In accordance with his pre- cedent, he opens the third movement with secundal orches- tral voicing and open octaves in the chorus (Example 92). 111 inf you trace. The French tel-e-phone ex - ehang - es. with their his- tor - is" and inJorm-a-tive names, such as mf pace :tacc. such... as '2 N.-. [I b. :7 - n..-.——-~ _. .c- - ....-.—o-.-_.— Example 9l.--Letters From Paris, pp. 9-10. 112 Largo pesante (J = u) p .— _v-oo . day lie-3t wave, 3 . day heat Wave. The ten . day heat wave, “_— .. - -a- Largo pesante (aI = H) The ten . day heat wave. > b b ' Example 92.--Letters From Paris, p. 15. The choral octaves are instrumentally doubled, but never- theless provide contrast between these two styles. The melodic contour of the choral motive is reminis- cent of the canonic motive from the first movement (Example 90). As in The Poets' Requiem and other large choral works, Rorem unifies the work through use of cyclical themes. A similar motive of eighth-notes is used imitatively and is heard above secundal chords. Isolated seconds be- tween vocal lines are also present, although choral parts are almost exclusively in octaves. Example 93 demonstrates this usage in combination with a sync0pated, polytonal ac- companiment of a Db major triad and an e minor chord with 113 who stuck out wore- fresh- cab.bage leaves who stuck it [If > wore... fresh” cab.bage leaves A --——_——- who stuck out wore- fresh... cabcbage leaves who stuck it out wore... fresh- cab-bage leaves Example 93.--Letters From Paris, p. 21. an added seventh. The fortississimo entrance represents a drastic dynamic change from the pianissimo marking in the previous measure. Rhythmic vitality is a major feature of this work and includes a rare example of textual phrase punctuation through use of rests (Example 94). Thirty-second note runs in groups of ten and twelve to a beat are also present in this move— ment. A simple, two-part contrapuntal Opening leads to a choral statement of the primary motive in "Colette." The movement is less influenced by the extreme rhythmic and tonal aspects of the previous movements, and the arched 114 ——. _ ___ —- _— r I ——=-=_'—— :j , '¥~ — -_._. And more than a fourth of the tough pro-fessional bi-cy.cle rid.ers q: > >— in the an-nu . al in - ter. na-tion-al.- Tour de France sim.ply gave- up bythethird day. Example 94.-~Letters From Paris, pp 20-21. motive is indicative of Rorem's earlier melodic writing (Example 95). “Fu-nér-ail-les rle Co - let - te," i ‘ ' MID-(”If ? p l :_____ a [__J '.-t rj I .U'_‘— I! * :— --I.. _a_— I “Fu-nér-ail-les de Co - let ~ te," imp-z Inf ::==-— p . Wz‘im "-Fu ner- -ail- les de Co - let - te," "I ‘ Example 9S.--Letters From Paris, p. 24. Triadic and extended tertian sonorities dominate where linear writing is absent. Contrapuntal devices in- clude stretto and inversion of the motive in both chorus 115 and orchestra. Mirroring of the motive is present in Ex- ample 96. The motive and its simultaneous inversion are doubled in thirds. ==:::: ——— “:=='— . PS i - "h " ___- - '.—.—‘oa — _ "_— :1;=-.—..a .— __a ——I: 1 r ' ' V’— v a small sip of eham - pagne. é ,_- -“- m. ___,-—_——————_— —, -.-aa. LJ fir I .l a-a v‘ L nu- 'a — ~— --'v 1 E a small sip of chain - pagne. Example 96.--Letters From Paris, p. 28. The second motive makes use of duple eighth-notes and eighth-note triplets. When introduced in imitation, the triplets and duplets Of the motive occur simultaneously. Rorem rarely employs this technique in his choral works. Planed seventh chords outline the primary motive in Example 97. Root movement of the anacrusic chords pro- gresses from A to B to c#. Planing of quartal sonorities also outlines this mo— tive, preceding by several measures the complete thirteenth chord which closes the movement. A brief orchestral interlude is abundant with Rorem's late techniques. Quartal and secundal harmonies are pro- longed, and a split fifth is present in an eleventh chord on Db. This is found in the third measure of Example 98, and is preceded by bitonal scales on F and A major. The bottom score of this example utilizes major and pentatonic scales on G and Ch, respectively. The rhythmic implications 116 4 had been im - mo-bi-lized in late 4 had been im - mo-bi-lized in late ed had been im - mo-biJized in late 4: had been in - mo - bi-lized in ‘4 as D “if“ Example 97.--Letters From Paris, p. 32. of this measure are unusual for Rorem. While the thirty- second notes are in groups of eight per beat, the four quarter-notes emphasize every sixth note and the scale patterns repeat at intervals of every tenth note. The following measure is equally complicated. >/‘ K ‘ r.- t : ___ 24 fl (tr-em.) {fa pp (tram) \ be: Example 98.--Letters From Paris, p. 36. 117 ‘1 J 4 fl 52L .. - - \-. ‘x- L“ Example 98.--(cont'd.). The motive which Opens "Interlude," also found in the fifth measure of Example 98, is doubled in fourths for the beginning of "Autumn." Example 99 exhibits the latter and its inversion at the end of the movement. Chilly (J = so) ~—-----* -- -- "*1" l ’2' --..,...--“. ' ' “'"T—" "'“"‘“"*"= - 71%;}, 3;: a -. rlrfif-é-Ts-L—i The chill of No—vem-ber has fi-nal-ly ar-rived, .P The chill of No-vem-ber has fi-nal-ly arorived, .u-a. - _. .- .. —_- Chilly (J = so) I; up Strftrem.) Vib ‘FQL / Example 99.--Letters From Paris, pp. 37 and 42. 118 Example 99.--(cont'd.). The disjunct melody in the beginning measures of "Autumn" (Example 99) contains four notes which are the basis for most of the melodic material of the movement. Double inflections on E and Eb are a recurrent device (Example 100). Rhythm in this movement is fairly straightforward with evidence of simple syncopation. Choral texture is most frequently that of octaves or unisons, and is almost entirely homophonic. The setting of Flanner's prose is at times awkward in comparison with his earlier works. Rorem's linear style returns in the sixth movement of Letters From Paris. "The Sex of the Automobile,“ in a in in in in cer-tain woods cer - tain woods cer - tain woods cer - tain woods 119 marc. upr.e lrgato > come- to Par - is a - gain, e:pr.e legato V \f Spring_has fi-nal-ly come_ to Par . is a- gain, Bright (J = 76) Brass)?!“ "If upr. 0 Example 105.--(cont'd.). predominant texture of "Spring Again" is imitative. Example 106 is illustrative of the main motive in the sopranos and its inversion in the altos. The imitations of this motive in all voices culminate in descending parallel chords in the second measure. A secondary motive appears in imita- tion at its conclusion. Parallelism is also found in an earlier passage for woodwinds and celesta (Example 107). The fragmented contrapuntal lines of the final move- ment condense to form a thirteenth chord on eb minor. The use of this chord as a closing sonority has been mentioned as a unifying device. In all cases a decrescendo to 125 <17 two._ by. two, two- by_ two, Vibes gliss it,two by two. two by two, two by two, two-by two_ by two by two, VWM i" 25 7 t ’ l Example 106.--Letters From Paris, p. 64. 126 Example lO7.--Letters From Paris, p. 59. pianissimo precedes the thirteenth chord, and the voicing is usually quite thick. In Example 108 the chord contains several octave doublings. Example 108.--Letters From Paris, p. 65. 127 A thirteenth chord on D major also concludes Truth in the Night Season (1966). The technique is at this point a consistent characteristic of Rorem's choral music. An equally recurrent feature is the use of multiple motives in an imitative texture. Truth in the Night Season entails the use of several motives and their varied forms. Major ninths occur in most of the motives (Example 109). The first motive displayed in Example 109 reappears in several forms. These include augmentation, double aug- mentation and rhythmic alteration (Example 110). As in similar contrapuntal choral works of Rorem's second style period, these motives are disjunct and synco- pated. Deliverance of the text is consequently a difficult task and is cause for criticism of this work.5 A consi- derably less disjunct theme is imitated first in inversion and then in its original form (Example 111). The parallel ninths and seconds which begin He Shall Rule From Sea To Sea (1967) recall the vibrant use of these intervallic relationships in Lift Up Your Heads. Both works begin with unaccompanied choir in a syncopated progression from a consonance to these strong dissonances (Example 112). The octave leap and first beat rest found in this example are traits of Rorem's early choral works. Also present in other works of his second period, extreme dis- sonance or busy counterpoint disquise the presence of these 5Thomas Strickland, "The Sacred Choral Music of Ned Rorem" (M.M. thesis, Yale University, 1978): P. 41. 128 prais-es thy Name,— praia-oa Name _ praises un-to thy Name..- praises thy Name,_- .1. 9511/1 Example lO9.--Truth in the Night Season, pp. 3-4 and 11. 129 ! ___-__ X‘r J A‘ __I 1 i 11 i :1 fix 41 1‘ q ' (10“— I J i r + ‘ .por thou, Lord, hast made_ me - - HA l—T__-3'T-".Tl:---- n.- 4:?” r- - i - - -+% 3 1 ‘t " 15' To hi «0 _ tell of "" thy lov - ing kind- - “”3 It is a good. thing. to give thanks_ un - to the Lord,— Example llO.--Truth in the Night Season, pp. 8-9, 4-5 and 13. - 1 § ; j i ii Ii _I '—'l I r 1‘ Up - on an ln-stru-ment of J 23.—___ mg 33 I," _ d T —J . .- - .. -J -- .- . :3 o“ o mpfsmoorh) T 4:311“? - I? i . W Y I y Up - on an J i—' :5]. fij 8. : vi T 'r 1 I J 3 and up - on the lute; < '1' {j \i; A I ' 1 17_ I I T— I __- ln - atria-ment, and up - -——= R ~ I fi’iL I j Example lll.--Truth in the Night Season, pp. 7-8. 130 Example 112.--He Shall Rule From Sea To Sea, p. 2. early techniques. Here the technique is not only more visi- ble in the opening measures, but is a frequently occurring component of the work. An augmentation of the motive is represented in Example 113, and the closing measures, which follow in the example may be an altered version of the retrograde form. I? :::'P > molto n’l. . Al-lsolu - ia,- al-lo-lu - ia,_ al - le- lu - la.— Example 113.--He Shall Rule From Sea To Sea, pp. 11 and 12. The subsequent homophonic phrases recall the Oblique motion and chromatic alterations of "Autumn,” from Letters 131 From Paris. The return of this section, however, does not include a pedal point. The organ accompaniments in both He Shall Rule and Truth in the Night Season serve a subor- dinate function. Motivic development and rhythmic variety exceed all precedents in Praises For the Nativity (1970). Written for double choir or soloists with choir, it is Rorem's most difficult choral work. Asymmetrical meters contribute to rhythmic difficul- ties. The syncopated example below appears in conjunction with quintal organ sonorities (Example 114). ff> > > >>>>> 5 ”$3 mr’p, QT ‘11—”. firm Ve - ni . te wdoramusDo-mi-num. ___- A J> > > >>>>>>> A ) —- --.__.!_._.-- -—. ...- -. -. - -- _._i'1 ii I T 7 Vs . ni . tc aodo-ramus Dominum. __ _4—-——-— Example ll4.--Praises For the Nativity, p. 5. Subsequent reiterations Of this motive become thicker harmonically until it appears in thirteenth chords near the end of the work (Example 115). The same motive is fragmented in an earlier passage. Another motive is presented simultaneously with its diminu- tion (Example 116). 132 If") > > >>>>>> fiffl‘éfiEF‘L-ffifl \e - ni - te a-du-ra. mus Domi num. ff>>>> > >> Vc - ni . to a-do-rwmua Do-mi-num. 17.7) >> >>>>>>> Vo . ni . te u-do rut-mun Do-mi-num. fff adorn-mus Do-ml-num. \‘e- ni-to n't. A fff v Example llS.--Praises For the Nativity, p. 33. 133 9.1 . lo-lu —. Al-le.lu . in, ulJo-lu-ia, Al-leJu .19., 31 41:4qu ff "--:'.—3- - _ ' - Al~le.lu.lu, al-leolu-iu, Al-le-lu Ja, nl-lc-lu-iu, al-lc Example 116.--Praises For the Nativity, p. 8. A fragment from the opening motive of the piece ap- pears later in three forms. The original form occurs in the tOp four voices of Example 117. An augmentation is found in SOprano and tenor lines of the second choir, while the 134 diminution is apparent in the upper organ line. Example ll7.--Praises For the Nativity, p. 30. 135 With the exclusion of several instances of ninths and fourths, the choral parts in this work present few harmonic difficulties. Although some motives are disjunct, they often contain a significant number of diatonic relationships. Prominent parallel fourths, however, appear several times in the upper choir (Example 118). Example 118.-—Praises For the Nativity, p. 16. Parallel triads are an obstacle in a difficult a passage (Example 119). An unusual example of fragmentation of a word occurs in the setting of two texts with a three—note motive and its rhythmically altered inversion (Example 120). The organ is relatively unobtrusive until the final pages of Praises. At this point the organ plays a series of sixteenth-notes in syncopated harmonic rhythm, ascends a scale on A of mixed minor and major tetrachords, and also 136 -.. 53.41.15: :‘fi E-fi'fia- M Haggas—HL—és—Fa lime”: and reign-eth with thee and the same Spinit ev - - I - i :35: . ;-; .gL— _m nu“"_w__. i.— .- ; z... . .. W .33 ,ng EL -... ...- 1 01v limeth and rtign eth with the and the same Spit it cv - - I . ___ __ ___- .. . .--. . . 'o . """_'—':—.-:-._T: _;‘...___-__.i. -- ‘ ...‘_.:;_-.- - , . - _.;' '1 -...__. -!*——*3 c: __ - 3:: x. - _---.-- .A 1- . i i}... -..-- --_ --] "'9 3353-": ‘ “"ETai—iqm—I—FW—‘afiiu % 7 V iiv-eth and reign-eth with thee and the same Spit it ev - - Example ll9.--Praises For the Nativity, p. 15. WA} ”.1; Q Who liv. eth and reigmeth with thee and the Ho . 1y up - 23H: . ism Al - le - lu - la, v.1 is! .... ”2-2—3?— {EL - {in—{W— "Map—fit: M Who liv. eth and teign eth with thee and the Ho . 1y "1’ i L A J - L . rt: £______ ___--- £315} KWEEEW Al . lo - lu . in, 0.1 - 1e - lu - la!— Example 120.--Praises For the Nativity, p. 28. performs sync0pated thirteenth chords (Example 121). The first and third set of Canticles (1971) bear little resemblance to the set composed the following year. Example 121.--Praises For the Nativity, pp. 36-38. For unison choir or soloist, "Confitebor tibi" is a disjunct melody written without a time signature (not cited). The two-part "Magnificat anima mea" often emphasizes quartal relationships. The chromatic alteration of the lower voice between E and Eb provides harmonic variety to melodies of relatively limited range (Example 122). 138 v For he hath 70‘5“"“1 —- _ the low - ii - ness 0! his hand maid-en. -.——- ___—~— Example 122.--Canticles, Set I, p. 4. In all three pieces in this set of Canticles Rorem avoids his usual four-part choral setting. "Nunc dimittis" is an imitative piece written for SOpranos, altos and tenors. The sync0pated motive is not so disjunct as those in some of Rorem's works from the late 1960's. However, the linear combinations of this modal theme often result in strident fourths or sevenths between the voices. Changing meter contributes to continued rhythmic movement (Example 123). “i”. \ >— fore thn face at all—___...— peo . ple;-.________. To fore the face of all 7.- _ figb;T—‘4g7:gi _— r'i‘ -fore the face of all pea . pie; Example 123.--Canticles, Set I, p. 8. Strictly homophonic, the four-voice Canticle of the Lamb achieves rhythmic vitality through a rapid tempo (J = 176) and a dual time signature of Z + g. Rhythmic patterns 139 within this framework are not difficult. Reiteration of a two- or three-note sonority under an almost entirely static melodic line is the rule in much of this final piece from the Canticles. Quartal and secun- dal relationships are occasional factors among lower voices. Harmonic movement in one phrase moves a tritone, from F to Cb (Example 124). earth; just and true are thy ways. thou m1 -—--===-——-—-——— Example 124.--Canticle of the Lamb, p. 3. The first and last motets from Three Motets (1973) make extensive use of scale figures. In "0 Deus, Ego Amo Te" b an F major scale is juxtaposed with a D harmonic background (Example 125). # minor scale in all four voices above an eleventh chord on C#. A second Other uses within the work include a g motive containing an octave leap is altered and combined with the scale motive in the final measures (not cited). The second motet contains no accompaniment and is written in homOphonic style. Dissonances are often mild, and melodic movement is within a conservative range. The even quarter-note rhythmic composition of the piece provides a sharp contrast to the return of the scale pattern in the 140 ' ' ¥ !__/ Example 125.--Three Motets, p. 5. final motet. The motive is first presented above an accumu- lation of seconds (Example 126). ’44 Example 126.—-Three Motets, p. 16. 141 This motive is used imitatively, and a stretto ar— rangement provides for staggered high and low points. Ex- ample 127 demonstrates such usage and contains the ascend- ing fragment doubled in fifths. art- mild. ‘ J. art _ mild. .————- r —-..- . 417...} ,._- j r—-——i ._ --_- ___. -_..- I M--— — thou . Example 127.-—Three Motets, p. 23. Rorem's largest choral work to date is the fifteen movement Little Prayers (1973). The first chorus in this work, ”Creator of the Worlds...," displays dissonance through use of secundal chords. A phrase from the intro- # duction illustrates this and the C orientation of the dis- sonant choral motive (Example 128). ”Creator Spirit, Please..." is almost entirely a cappella, and its motive similarly expands from an octave 142 of the womb... < Altos of the worlds._ >— Tenors of the worlds,- of the worlds... Example 128.-~Little Prayers, p. 7. representation of the tonal center. "0 God of Fire..." fea- tures a repetitive soprano solo and an accompaniment which contains fragments and alterations of the soprano line. Tenors and basses provide a syncopated, triadic punctua- tion below the solo (Example 129). A disjunct, syncopated melodic phrase is the subject for "Father, Guide..." Written almost entirely in octaves, the movement is quite brief. This and "Creator Spirit, Who..." are unaccompanied movements. The latter, although entirely homophonic, contains varied rhythmic patterns that are fire— Ind—the m Example 129.--Little Prayers, p. 18. infrequent in Rorem's choral style. Example 130 illustrates this and the dissonances created by sevenths and double in- flections on the first beat of measure two. , ’ > ‘ _, V—_ ("3‘2 /-\ 3 S '.'.'..’T‘.'.’ n.......__v_;=-:---'=.---.-fl---.---'_. "_v— --'--= I ..-.“«_—- - _ - __- r— r- - r— "us; ----——-—- ,._ . _ k4 L ~=—g—==——— i not. and why to me i nev - er qua - timed.eane.____ Do vis- it thy lov- er. , . V 1' my, "" m—— ‘ 1 ‘ ___—- A '7 .n" n ‘ ___..— I 4 I -:—————- . I ,.—v-‘:——- r -r— 1 I I L -_—- 7"— ’n4' . —' . u-r - - - - a“! 1'; not. and why tome I nev - er ques" - Mme—__— Do vis- it thy lov- er... : ' crest. 3 T 7:. - ..— *— =W:z==fi= o L; l - l :V——" :V—""—- _l‘l - - - -1 9‘ I . . . not. and why to l nev - erques- twned.come. Do ‘05- it y lov - .. =7 P __ crest. __A , u- c — —- -_ 1 1 I I 1 Ir 3 1' 1 . I v fig ‘— not. why tome l nev - er ques - umedcome.__ Do m-tt thy lov-er-_ Example l30.--Little Prayers, p. 26. 144 Triple compound meter is found in a movement for women's voices which utilizes nonliteral imitation of a single motive. Parallel fourths and triads are a product of these imitations, the former illustrated in Example 131. 10 But_ from w/ But__.. from- them_ gath- er Example l3l.--Little Prayers, p. 29. Parallel ninths result from an instrumental doubling of the motive. The accompaniment of "Rest Well..." borrows the ninths for the bottom voices of the introduction. This homOphonic movement is abundant with extended tertian har- mony, often widely spaced in the orchestra (not cited). A rhythmic accompaniment dominates the twelfth move- ment of Little Prayers. Tenors and basses periodically supply a motive in parallel motion (Example 132). The accompaniment of the fourteenth movement contains sustained parallel motion of thirds or fourths below a 145 by lie-bit de- cor-ate; BHJK. 756 Example 132.--Little Prayers, p. 36. rhythmic treble. The homOphonic choral statements rein- force the extended tertian sonorities of the orchestra. The final choral section of Little Prayers follows a lengthy orchestral introduction with many triplet figures and secundal sonorities. An arpeggiated accompaniment serves to support the entering soprano and baritone solos. Their motive is assumed by the chorus in subsequent measures. Octave doubling and simple imitation of the subject occur within secundal or extendal tertian sonorities (Example 133). An extensive tenor solo introduces the Kyrie of Rorem's Missa Brevis (1973). The sustained quality of the solo is maintained throughout much of the movement. An alto and bass pedal point surround the tenor solo, as do the paired tenor and SOprano voices. The latter combination supplies the rhythmic vitality of this movement. Example 134 exhibits the Opening measures of the choral entrance 146 50p . Solo Ban Solo Piano Example 133.--Little Prayers, pp. 56-57. and a parallel section utilizing stretto. The dissonant sonorities of the Kyrie are more pre- dominant in the homophonic Gloria. Secundal relationships and double inflections introduce the movement. The latter is found in measure eight of Example 135, following a dra- matic change in dynamics. \ A ‘ ___. .. _- - -~—J-'_-—o— --o- -«.——4 ;:_—- “___Y r L—J S. +J”}:F—— _L— --’:_'-t" V --._... % :ffiL f ‘ Ky - rl - e ___... e - le - t - son, . Womb. ‘ " - --- _T I _ "‘ 41 A i» -é— ”“‘“”’“§~ —- e a ' 1" I 3 f t I J v' 6— 0 CW BTUV te (”semprc) 2 ' 4; 1 f 11311 5' __ +1 fl 4: -} 801 1 1 J_ :3— —1 1 1 V f Ky . rt 0 - fi—a’ J T 4.1-. - :3??— ~ % I I L t .:E:" m;- Ky - rl - e e - le - t - son Jfip sub 4 j _r I]: _IL “3 B - --”-E'O-- _ H _1r 3“ 4 t4: '1 _ ___—'7 ———“=;‘-'~= ::::____—_—___-==,.a Chr‘s ' - . te - 1 n U U U V V V \. / ° ' t8 if T. F jr 3 f kn- f fi‘?‘ _ ..._ -‘ _I-w... _‘1 i :n_._- ._- - .. __.._ "1 Solo 3‘ — %f Ts —-_____ - :11 e % / \ f . - ___-___;I—I' _ M? ZL-LLI__ 7".- -I": ' " ' .--_:I:_..—.-:§l_t_i.\.”. 1'. _.1 III- '1‘"- ;Ji” .---.1._-- --____.._ J Ky - ri-e..._....__.. t-eon, e - Example l34.--Missa Brevis, pp. 1 and 5. 148 Glo- rt-a Clo - ’“fl____________-_fi‘\ T MWanj/Ih I ‘- ' a W _ r — 4} Ban - " d \ A JD.__’ ‘" fl ’1’;— V it; I 1 I - :1 - a (unis.)psub. . - - .- l 7 , .. . 1 . . - .Aiw—r... ,+_-_7_7, . . %*&§ 3, i I x , J 6 iijtzzjifizdpzz:td f ‘ ' V ' ' ' \y _/ - rt- 3 Clo-rt - a in ex - cel~ala De - o, Clo - rl - e_ Glo - rl - I -_ t 111%: __“>:":'>. i 1 m-“ L L (I A - r 1 l Glo-rt-a In at - cel-eteDe- o. Go-ri-e Go-rt-I Example l35.--Missa Brevis, p. 9. Rorem varies the texture of the movement through al— ternating voice combinations. Parallel and oblique motion are characteristics common to this movement, as well as to Rorem's other works in this period. Quartal and extended tertian harmonies are also present in the Gloria. Paired voices present the motivic material of the Sanctus. Sustained tenors and basses are the foundation for the soprano solo and the rhythmic soprano and alto motive (Example 136). Soprano 80k) 'l ‘ Soprano Alto Tenor Bass Example 136.--Missa Brevis, p. 16. Repeated on several pitch levels, these motives reach a driving, quadruple-forte climax which ends abruptly before a lengthy alto solo. The Benedictus is comprised of an alternation of con- trasting motives. Chromatic alterations create shifting or dual tonal relationships. In the first measure of Example 2 137, the a in the soprano motive produces a split third # of the first tenors. with the sustained a A more disjunct motive is also employed in this move- ment, as are planed fourths between baritones and basses. The bass-baritone solo which concludes the Sanctus is elided with the beginning of the final movement. The Agnus Dei is imitative and dissonant, with extreme dynamic gradations (not cited). 150 ‘ ‘A M m -.- , .4 =-:--.--. e '- '- 1 A 1 B. .'.=:- __I, *1 T I :3 I If .V. E : fr 1 f r 1 o - l - ' * 4W 3 ~ , J i -I: A.?i§£b== : Er! : l‘ i -i av——¢- L J I J C. W l W . 4 . 1'; . L _ -,- w - Ji— 1 1 1 . _1 TI 1 l 1 L ‘1'" '.-.-- l' L T I I T 1~—”_-:-I =_ f } #- ‘ ' Re no dic - me qut ve - nit. \ n: qr ” div. i I A l B ‘ u a-xh - c-z.‘ —‘ It i i ml'_' - . j r .. , , + L :6 ?1 Jet—— Be . ne- dic - tun qu! ve - nit, Example l37.--Missa Brevis, p. 20. Written in 1973, In Time of Pestilence is a group of six short madrigals utilizing various voice combinations. In the first madrigal, men sustain a pedal throughout while women's voices perform a disjunct, syncopated melody. Ninths and sevenths are frequent in this melodic line and provide a strong contrast to the motionless d. The last madrigal in this set transposes and inverts the material of the first. The Opening measures of both madrigals are found in Example 138. The second, homophonic madrigal is lively and synco- pated. Root movement by thirds is a trait of harmonic pro- gressions in this work. Example 139 exemplifies this use b in a descending chord stream from D to B to A to F and back to Ab. The remaining two madrigals of this work are composed of similar structure. Both are imitative, somewhat dissonant, 151 All man h when. Intense and shaded. Soprano 3 * 1 & Alto J I 1 1 fifi earth‘e- bltul Tenor Jam é: Baas J - 52-66 Soprano ‘j‘ nuo i ‘T j T0110? 3 _}I agree .. -. - — --" - A ——~ Bass ; ——"; { ti - L - 1” , 1 :i‘w v T the re - fore each de-gree Example 138.--In Time of Pestilence, pp. 2 and 11. f (g- ! ___ > > __> - ...!.> Y- __ S J 7’ - have mer-cy on__ no! 4.: .> 1 T— ] [>Z-I! 11 a. - T > 7:." have met -cy on... us! of > > J 11> v; T m f j] h\§ T > have mercy on_- not Example l39.--In Time of Pestilence, p. 3. 152 and rely heavily on planing of quartal sonorities. Example 140 contains excerpts illustrating the latter technique in each respective madrigal. g l bells do cry: 1 am sick. I must die. Lord Example l40.--In Time of Pestilence, pp. 6 and 8. 0 Magnum Mysterium (1978) contains frequent usage of parallelism, secundal and quartal relationships and double 153 inflections. The Opening measures present the main motive in the alto line above descending fourths between tenors and basses (Example 141). A double inflection is found in # the second measure between the alto g1 and the bass 9 . Squaw < IV Alto V ter-l-um._ O Tum: k maf-num my. - ter-hum. Bun 0 mag-nun: myo - ter-bum, 0 Example l4l.--O Magnum Mysterium, p. 3. Imitation of the motive is frequent and occasionally altered. In Example 142 the three-note alto motive is rhythmically altered in the tenor lines. This imitation is presented in parallel fourths. Example 142.-mo Magnum Mysterium, p. 4. 154 Larger, non-scalar intervals, changing meters and syncopated rhythms are predominant features of The Oxen (1978). The opening melody is varied throughout the piece and is found in both homophonic and polyphonic settings. Example 143 presents the melody as it appears in both the first measures and an altered form near the end of the piece. F ("M r !-:1. 1* Eve, .Inc’ I...‘ -'\v Hf HH' Cluck. ml. . f q“ :{ Example 143.--The Oxen, pp. 3 and 7. 'r‘ ‘1‘ \~——’ 1 4241M y-i xvrh him _. in the gloom... The Oxen makes frequent use of quartal and secundal relationships, and planing is occasionally found. Example l44 illustrates the planing of minor seventh chords as they appear in this work. Summary Rorem's musical vocabulary is greatly increased in compositions of his second period. Forms become quite ex- tensive and most often include keyboard or orchestral ac- companiment. Multi-movement works make use of cyclical themes to establish unity. 155 Christ-nu.» “Vt. => Christ-m.» int, <> Christ-nus In; Example l44.--The Oxen, p. 6. While almost all works in the first period are writ- ten for four-part chorus, Rorem experiments with various voice combinations in his second period. Many movements in works such as Little Prayers require only two or three voice parts. Praises For the Nativity, however, is written for double choir or four soloists and choir. More frequent solo lines are extensive and demanding in such large works. Melodic contour of second period works is increasingly disjunct and dissonant, with particular emphasis on ninths, sevenths and tritones. Synthetic or modal scale forms are also common. Linear writing is also more prevalent in this period. While Rorem's use of imitation is never strict, he uses it frequently and employs such devices as motivic augmentation, 156 diminution, and inversion. Paired voices are a frequent means for strengthening melodic line. Rorem's use of rhythm in his later choral works be- comes increasingly diverse. While still conservative in View of rhythmic practices of his contemporaries, some of his later works employ for the first time a combination of diverse rhythmic patterns. His most common devices are triplets, alone or against duplets, asymmetrical division of the beat, dotted-note patterns, syncopation and hemiola. Harmonic advances in his late choral works provide a strong contrast with earlier practices. Prolonged dissonance is evident in all of his second period choral works. Double inflections are common, and sonorities are typically secun- dal, quartal, quintal or extended tertian. Planing of these sonorities becomes a recurrent practice in these compositions and is an expansion of occasional, brief intervallic or chordal planing in some of his early works. CHAPTER IV USE OF PLANING IN SELECTED WORKS FROM BOTH STYLE PERIODS Planing is the single major technique common to works in both style periods. Its use in early works is often brief or camouflaged. However, the development of this technique becomes increasingly apparent as Rorem's composi- tional style matures. The use of planing in works of the second style period is extensive and it becomes a major feature of his style. An obscure use of this technique is found in the basic structure of "An Absent Friend" from Four Madrigals. Example 145 contains seven measures from this early work. A reduction in Figure 1 illustrates essential voice leading in this passage. Repetitions and embellishments have been omitted to provide a clear representation of chord movements. A graphic display of this passage proves useful in the visual representation of this technique (Fig. 2). This method of graphic analysis is suggested by Cogan and Escot as a means for the display of tonal movement.1 In this 1Robert Cogan and Pozzi Escot, Sonic Design: The Na- ture of Sound and Music (Englewood Cliffs: Prentice-Hall, Inc., 1976), p. 51. 157 158 song: she'd prize. now she dwells Sur- pass-ing them. 7‘? \__/ songs she'd prrzc. ___ > With Lydi- an women now she dwells Sur- pus-ing them,- 7 songs she'd prize. __ > < Lyd-i-m wom—en now she dwells Sur- pol—ing them. songs she'd prize. Lyd—i-an worn-en now she dwells Sur- pan-ing them, day dieIThemI- y fingered host of- sumandlighr il- 3 WM day diesThe r05- 1 fin - geredmoonercels The host of “amend light-“- u when dry diesTheror - y host of sumand light il- u when daydia'l‘heros- y - fm-geredmoinex-cehm houof mgndljghtil- Example l45.--—Four Madrigals, pp. 13-14. 159 Figure l.-—Reduction of Example 145. figure the planing of harmonic movement is apparent. This is Rorem's earliest use of planing within the choral parts. A comparison with the music in Example 145 illustrates how this type of harmonic planing is disguised by surrounding tonal activities. A more frequent usage of planing in Rorem's choral music is found in Example 146. This excerpt is also from "An Absent Friend" and represents one of his earliest and briefest attempts at this technique. A direct transposi- tion of this passage to the graph in Figure 3 illustrates the lack of additional harmonic material. The planed chords 160 Horizontal = one eighth note Vertical = one half step Figure 2.--Graph of Example 145. 161 y- ___i you, her corn-rude. ;nd your songs A - have all her corn . rude. and your songs- A - hove all >- you, her corn - mic. and- your songs A - have all >- snd your songs A - Example l46.--Four Madrigals, p. 13. are obvious to the eye as well as the ear, and become in- creasingly prominent in later works. Miracles of Christmas was written twelve years after Four Madrigals and shows a considerable change in Rorem's use of this technique. This work represents the transition between the two style periods, and the presence of extensive planing in this passage is indicative of this role. The graph in Figure 4 is a representation of the pas- sage in Example 147. In contrast with Example 146, this excerpt utilizes fourths rather than diatonic chords in first inversion. The technique is also used more extensively 162 Figure 3.--Graph of Example 146. 163 song Joined the Example l47.-—Miracles of Christmas, p. 28. here than in the Madrigals, and it is placed above an os— tinato unrelated harmonically to the parallel fourths. The planing in the Madrigals was incorporated in the harmonic framework of the piece. Letters From Paris is within the second style period and contains many instances of planing. Example 148 illus- trates an obvious use of the technique in both the choir 164 Plane 1 Plane 2 Plane 3 Figure 4.--Graph of Example 147. 165 death __ 166 Example l48.--Letters From Paris, pp. 52-53. and the orchestra. The result of planing in all voices is a series of parallel seventh chords spanning an octave and a fourth. Planing earlier in this work also results in paral- lel seventh chords in the final measures. The passage is shown in Example 149 and represented graphically in Figure 5. For clarification, only choral parts have been included in the figure. Praises For the Nativity is Rorem's most difficult choral work. Written four years after Letters, it contains several examples of choral planing. The passage in Example 150 is a relatively uncomplicated use of the device and 167 up _—=::: She was aged mp eight-y - one. had been in: - mo-bi-lized in late 4 She was aged eight-y - one. had been im - mo-bi-lized in late ”P .A She was aged-eight-y - one. had been irn - mo~bi-lized in late m1) KT" She was aged.eight-y - one. had been im ~ mo - bi-lized in cfl Tempo I gr‘fi Example l49.--Letters From Paris, p. 32. results in parallel triads. The graph in Figure 6 illus- trates the planing concept as well as the wide spacing of the voices. An excerpt on the following page of this work shows one of Rorem's most extensive employments of planing. Ex- ample 151 exhibits the voices of the upper choir in a series of planed fourths. This is Rorem's most favored interval for planing and its use in a multi-directional eighth-note pattern is quite complex. The graphic repre- sentation of this passage in Figure 7 also illustrates a few instances of secundal relationships in the closing measure. 168 Figure 5.--Graph of Example 149. 169 llv-eth and reign-eth with thee and the same Splrult limeth and relgn-eth with thee and the same Splr-lt llv- eth and relgn-eth with thee end the same Spir-lt ev - - Example lSO.--Praises For the Nativity, p. 15. God. Example lSl.--Praises For the Nativity, p. 16. 170 Figure 6.--Graph of Example 150. 171 .Hma oamfioxm mo nmmuwll.h ousmflh 172 From the selected passages above can be seen the de- velOpment of planing throughout twenty-three years of choral composition. Use of the device began with passing sonorities within the harmonic framework of Four Madrigals. In the Miracles of Christmas planed fourths are used in a polytonal structure and are much more prominent than in earlier works. Planed triads and seventh chords are visible in later works, as in Letters From Paris and are employed in the instrumental voices as well. Praises For the Nativity combines the use of planed fourths in four parts with changing melodic direc- tion or asymmetrical meter and places it within an eight- voice structure with orchestra. The device has become a trademark of Rorem's style and is important as a cohesive factor in his choral works. CHAPTER V SUGGESTED USE OF NED ROREM'S CHORAL WORKS This chapter contains a critical evaluation of Ned Rorem's choral works for use by choral directors interested in the performance of these pieces. The analyses of the preceding chapters will be utilized as a basis for identi- fying performance difficulties in each work. The critical evaluation will consist of such considerations as vocal range and tessitura (Appendix A) as well as tonal and tech- nical difficulties. From such identifications conclusions will be drawn concerning the apprOpriateness of certain works for specific levels of performance. Works for Women's Voices Two Choruses for Women's Voices One of Rorem's earlier works, "A Far Island," does not present many tonal problems for the singer. The fre- quent half-steps between voices require careful tuning but are in a register that presents no range problem. The half- steps are not only frequent, but are also sustained by the slow tempo (J = c. 46). Of greater concern in this piece is the high soprano range. Rorem is sensitive to problems of the singer and 173 174 frequently supplies high notes with Open vowels. In the b2 is facili- soprano entrance the leap of a seventh to g tated by the word "far." The placement of the word under both notes, although obviously used to emphasize "far" with a wide interval, also avoids placement of a consonant before the high note. However, the mezzo piano marking and the width of this leap and others in the piece make it a con- cern for many young SOpranos. The high tessitura on page 4 may also prove too demanding for some sopranos. The b2 will take some rehearsal to obtain pro- word "they" on e per intonation and vowel sound. Conversely, the alto tessitura is quite low for young singers. Low ab's are quite common and a low gb may be out of reach for some altos. For these reasons this piece is most suitable for college or advanced high school women's ensembles. The companion piece to "A Far Island" poses fewer problems in all voices. Ranges and tessituras are fairly conservative in "Gentle Visitations," as are tonal aspects of the piece. Occasional tonal alterations may cause read- ing problems but should not inhibit performance. Leaps are scarce, but infrequent high notes are found at times on awkward vowels ("Ye," "In," and "Like"). The piece is best suited to college proficiency but could also be successfully performed by a high school ensemble. 175 Five Prayers for the Young The first movement of Prayers, "A Nursery Darling," contains a minimum of difficulties. A few extremes of range may prohibit its performance by some choirs. A high ab2 is placed on an cpen vowel, but a subsequent a2 must be sung on "sweet." The long "e" vowel is very difficult in this range, and the note is quite sustained. The following crescendo to fortissimo is a helpful factor in the manipu- lation of the passage. "A Dirge" similarly contains few areas of difficulty. High or low notes are well prepared and high notes are found on open vowels. "Now I Lay Me Down to Sleep" is short and. like "A Dirge" contains few trouble spots. A single high note for sepranos is facilitated by a crescendo. Tonal facets are not so simple as the first two movements but should cause few difficulties. The intensity of the piece is the major performance concern. "Fragment: Wine of the Fairies" is somewhat more de- manding than the others in Prayers. Physical manipulation is not a problem in this movement. However, tonal aspects require careful rehearsal. Tonal alterations and relatively difficult harmonic intervals such as seconds are complicated by a fast tempo and short note values. The final movement, "The Virgin's Cradle-Hymn," resembles the earlier movements in its predominantly diatonic composition, conservative tessitura and well-prepared high notes. While "Fragment" may cause difficulties for the inexperienced, the set may 176 be useful for high school singers and should prove of in- terest to college performers, as well. The WOrk for Men's Voices I Feel Death... The director of a men's chorus will find I Feel Death... a demanding work to perform effectively. While range poses little difficulty, the short piece contains a multitude of nuances, the execution of which require both stamina and sensitivity. Harmonic aspects are well within the reach of a good high school ensemble, but extremes of dynamic range require an ensemble capable of relaying great intensity. Frequent half-steps between voices are sustained by the slow tempo (J = 76) and require interpretive emphasis as well as prOper intonation. The work is ideal for a college group. The Unaccompanied Works for Mixed Chorus Four Madrigals Rorem's first set of madrigals are more adventuresome than his works for women's voices. They are written in true madrigal style and demand an ensemble capable of linear in- dependence, sensitive intonation and vocal stamina. Although Rorem's work can rarely be termed contra- puntal, the first madrigal departs somewhat from his usual homOphonic style to accommodate the madrigal genre. "Part- ing" maintains rhythmic interest with occasional independent patterns, first-beat rests and flowing meter changes. 177 The most demanding feature of this madrigal is harmony. Shifting modality, chromatic alterations and added-note har- monies are not difficult, but require sensitivity to har- monic goals. There are no technical vocal problems in this work. "Flowers for the Graces" is a very straightforward piece. It is almost completely homOphonic, rhythm is gen- erally even eighth-notes, and harmony is uncomplicated. The piece is easily read and can be performed by a good middle school choir. Independent voice lines make "Love" more difficult than the preceding movement. Changing meters may be an obstacle, although it is not a frequent occurrence. Acci- dentals and intense dynamics are the predominant features which make this piece suitable for an accomplished high school ensemble. "An Absent Friend" could also be performed by a polished high school choir. Unexpected harmonic shifts, wide leaps, and fairly long lines make this the most diffi- cult madrigal in the set. However, repetitive lines re- solve the problem of difficult intervals after several re- hearsals, and lively compound meters support the singer through long lines and wide leaps. From An Unknown Past All seven movements in this work are basically homo- phonic and are straightforward in rhythm and harmony. With 178 some work on isolated trouble spots a good high school choir could perform them with a minimum Of difficulties. "The Lover in Winter Plaineth For the Spring" requires tenors that are capable Of sustaining the long undulating line with prOper support and accurate intonation. Altos have a similar problem in some areas, while basses have sustained notes which, without concentration, could easily drop below pitch. The only difficulty with the SOpranO line is the successful execution Of a long line containing at its end an f2. "Hey Nonny NO!" requires a chorus capable Of key changes. The Opening section is repeated several times on various key levels without facilitating modulations. While learning notes may be Of concern at times in this piece, the only difficulties resulting from range are the Opening and closing statements by sopranos and altos. However, the Open vowel and anacrusic notes assist singers in the leap to 92, and alto reinforcement Of the low b allows for sopranos who may lack power in this range. Ability tO vitalize long lines and sing with faultless pitch are also the key challenges Of "My BlOOd SO Red..." The counterpoint requires clean individual lines, and a few high points in all voices come at the end Of long lines. The most overwhelming task is the deliverance Of Rorem's melodic lines while abiding by the composer's directions: "Very Simply." "Suspiria" is a lively piece which necessitates clean 179 sixteenth-note slurs and quick leaps. It may prove tech- nically difficult for young singers, particularly SOpranos. Harmonic and rhythmic elements pose few, if any, problems. "The Miracle" is a hymn—like setting with simple rhythms and tonal relationships. SOpranos are again sub- ject to sudden leaps and high notes approached by slur. However, Rorem is again sensitive to the singer's plight and supplies Open vowels in most cases. "Tears" presents to the singer uncomplicated rhythm, tonal harmony and ranges rarely extending beyond the staff. Lines are long, due tO the slow tempo, but comfortable range eliminates potential problems in this area. "Crabbed Age and Youth" is one Of the more difficult pieces in the Unkngwn set. Lines are more independent and the Opening line for sopranos is particularly demanding. The two measure Alberti figure extends to gz, and intona- tion will most likely be a major concern. The phrase must be done in one breath tO avoid a break in the line or the word. Tenors have an equally long line which does not con- tain the same difficulties Of range. The words Of the phrase are interestingly "Age's breath is short." A lively tempo (J = 144) is a helpful factor in both cases. Three Hymn Anthems The homophonic, diatonic nature Of all three Of these works makes them Rorem's easiest. Range is conservative in all cases. The 2 meter Of "Christ the Lord is Ris'n Today" 180 is the only Obstacle tO be found, and the repetition Of only two rhythm patterns eases the meter problem consi- derably. Prayers and Responses As the title suggests, these short pieces are strictly for use in the church service. All but the final "Amen" are almost entirely homOphonic and within confortable range. Harmony includes Rorem's early brand Of mild dissonances, such as occasional seconds or added-notes. The last re- sponse is contrapuntal and contains long, high lines. The easy "ah" vowel Of the word "Amen" facilitates performance Of these long melismas. Half-step alterations within a line require a section capable Of precise intonation. Such con- siderations make the final response most suitable for a church choir that is competent in reading and technical skills. The first four prayers and response would present few difficulties for a choir Of average abilities. Virelai The tonal and technical complexities found in Virelai place it in a category which should be reserved for fine college or professional choral ensembles. Its Opening re- quires sufficient control tO sustain slowly moving contra— puntal lines. Individual voice lines must be pure enough to convey clean counterpoint and exact intervallic rela- tionships. Augmented seconds are frequent within a single melodic line. These and seconds or sevenths between voices 181 are difficult tO produce accurately and require considerable control. A following homOphonic section calls for strong singers who have the ability to sustain long. powerful lines. Seconds are at times created between paired voices, and sopranos and altos must maintain a relatively high tes- situra throughout the most forceful section. At the climax Of the piece the voices divide to create thick chords, and the dual tonalities and moving fourths and fifths in this passage demand solid vocal production as well as sensiti- vity to pitch relationships. The return Of dissonant counterpoint is followed by another homophonic section with many difficult sonorities: parallel fourths, double inflections, quartal and extended tertian chords. The long, high SOpranO pedal requires ex- treme control tO insure pleasing vowels and correct pitch. The work is tiring for singers, particularly in its radical textural changes which demand various technical approaches. Love Divine, All Loves Excelling This hymn contains a minimum Of reading or perfor- mance problems. Added-note sonorities are a primary con- cern and may be tOO difficult for younger choirs. A key change from Ab major tO B major may prove difficult at first, but the modulation back tO Ab is well prepared. Rhythmic variation is virtually nonexistent, and tessitura is somewhat limited in all cases. This piece would be ac- ceptable for inclusion in the repertoire Of a high school 182 choir exhibiting sensitivity tO pure vocal quality. Canticles Set I "Confitebor tibi" is written for unison choir or solo voices. The lines are disjunct and non-diatonic. These factors will cause intonation difficulties in the perfor- mance Of this piece. The range extends to a2, and the tes- situra is also quite high for a comfortable performance by altos and basses. Lines are long in some cases, and the lack Of meter signature demands a skilled conductor and re- sponsive singers. Although the composer complains that this work is always performed by a soloist,1 it would take an ex- perienced choir Of well-trained voices tO produce precise and pleasing interpretation. Dissonant harmonic and melodic intervals make "Magni- ficat anima mea" difficult reading. However, the motive contains few notes and with practice can be successfully memorized. Range and tessitura pose no problem for an ac- complished high school choir. This piece and the following "Nunc dimittis" require clean, pure vocal production for prOper interpretation Of the linear structure. "Nunc dimittis" also utilizes a re— petitious disjunct melody Of limited range. Syncopation and parallel fourths may cause technical difficulties. The work 1Interview with Ned Rorem, New York City, April 22, 1978. 183 is best suited to an experienced high school choir or a college ensemble. Set II Slow tempo (cl: 58) and long lines make "Benedictus es Domine" difficult for singers lacking power and proper breath control. Tessitura is high for all but the altos, but Rorem's high notes are well prepared and Open. Rhythm is straightforward and harmony is much more tonal than the works in the first set Of Canticles. However, college singers would be advisable as performers for the successful delivery Of the long phrases. A skilled high schOOl choir could manage "Phos Hilarion" with little difficulty. Successful performance Of the rising motive will take some degree Of sophistica- tion and practice in spite Of the Open vowel. Key changes include an unprepared modulation from F# major tO C major. However, after several rehearsals this modulation can be mastered by a proficient choir. A college or professional ensemble is recommended for "Ecce Deus." Like the first work in this set, the piece is demanding vocally. Extreme dynamics require skill and sensitivity in the performance Of intense pianissimos and powerful fortississimos. The work is almost completely diatonic and presents no problems in rhythmic interpretation. However, the flow— ing eighth-note motive and sustained bass pedal demand 184 concentration tO avoid sagging intonation. Octave doublings will also require careful tuning. Tessitura is moderate for all voices. However, the range is high near the end Of the work. The five-part structure eventually divides into thick, nine-part writing with difficult parallel triads. Singers capable Of accurate independent singing are desirable if the nine parts are tO be articulate. Set III Canticle Of the Lamb is the only choral work by Rorem which makes use Of a mixed meter signature (Z + §)° Despite this, rhythm patterns exclusively include quarter-notes, half-notes and dotted half-notes, and can be rehearsed tO the prOper tempo by average high school choirs. Range is also limited up tO the final measures and is not excessive in any case. Melodic movement is generally smooth and hymn- like. However, dissonant harmonic relationships, including seconds and fourths, require the pure sound and exceptional listening and reading abilities Of a fine choir. It is recommended for use in a college setting, although with considerable rehearsal a talented high school choir could perform it with success. Missa Brevis Solos within the Missa Brevis are extremely disjunct, difficult tonally and Often in high range. Some particu- larly difficult areas include very long lines, rapid runs, 185 and a leap Of a fourteenth from c to b1 in the tenor solo (an Optional seventh is suggested). In the previous move- ment the tenor must have exceptional stamina to compete with fortissimo choral lines. Strong singers are required to maintain the loud dynamics Of the Kyrie. Motives are repetitive and easily learned, although their disjunct contour may be difficult to maneuver at times. By contrast, the Gloria contains smooth voice lead- ing but also contains such strong dissonances as seconds, quartal sonorities and double inflections. Fortississimo markings require singers with exceptional strength. The Sanctus requires clean performance Of thirty- second note rhythms and extreme control in the interpre— tation Of pianississimo and quadruple-forte dynamics. The remaining Benedictus and Agnus Dei are uncom- plicated rhythmically and are within average range. Thus, the two movements consist primarily Of tonal difficulties. Parallel fourths and double inflections are among the dis- sonant relationships Of the Benedictus, while the Agnus Dei is comprised Of diatonic dissonances. The latter movement also contains a descrescendo from fortississimo tO pianissimo within four measures. The entire Missa Brevis is acceptable for only the finest college and professional ensembles. 186 In Time Of Pestilence The linear, dissonant, Often disjunct qualities Of these madrigals call for singers capable Of pure blend and accurate singing. Repetitive motives serve to aid the singer who is a poor reader. Other challenges in this set include parallel fourths, syncopation, asymmetric meter, extreme dynamics and occasionally high vocal range. An example Of the latter is a bbl for basses. PrOper perfor- mance Of these works is facilitated by a trained college choir, although an exceptional high school choir could be successful with portions Of the work. O Magnum Mysterium Range or tessitura are not problems in O Magnum Mys— terium. Rhythm patterns are easy, in spite Of changing meters. Double inflections cause occasional problems, as do such other tonal difficulties as parallel fourths and secundal relationships. College choirs are best suited to this work, although gOOd high school or church choirs could perform the work with success. Shout the Glad Tidings This Christmas work is easy enough for most church or high school choirs. Tonal difficulties are rare and usually involve passing harmonic seconds. Rhythm is never more difficult than simple dotted patterns. Range is limited and poses nO problem tO singers Of average ability. 187 The Oxen The changing meter and occasional synCOpation in The Oxen do not present severe performance difficulties. Range and tessitura are also nO problem, although wide melodic leaps may be difficult for untrained singers. The disjunct motive Of this piece also poses tonal problems. Quartal harmonies, occasional planing and other harmonic aspects are the main concerns in the performance Of this work. The Oxen is best suited tO college ensembles or excellent high schOOl choirs. The Accompanied Works for Mixed Chorus (Works in this category are considered for their choral aspects only. Instrumental parts are frequently difficult and should be a consideration in the selection of these works for performance. Information concerning the orchestration Of these works is found in Appendix B. The Seventieth Psalm The double inflections and quartal harmonies which place this work.in Rorem's second period are almost en- tirely contained within the organ accompaniment.. One brief choral passage contains whole tone and extended tertian sonorities with cross relations. However, a great part Of the choral writing is in unison or octaves. Although oc- casionally disjunct, there are few accidentals in the melo- ldic lines. Rhythm and tessitura also pose no performance problems. The work would be worthy Of the efforts Of a 188 gOOd church choir or junior high chorus. High school and college ensembles may also find this work rewarding. The Corinthians The Corinthians should be reserved for experienced choirs on the college level. Although diatonic melodic writing is the rule, melodies are also frequently disjunct. Predominantly linear texture requires a strong chorus tO maintain long lines and sing runs with accuracy. Tessitura is quite high for sopranos and altos. In a work of this length, high tessitura can quickly exhaust the singers, and the extreme dynamic changes Of the closing measures require unstrained voices. The Poets' Requiem The tonal difficulties Of The Poets' Requiem are pre- dominantly in the orchestral accompaniment. However, choral parts are Often dissonant and disjunct, though not so ex- tremely as some Of Rorem's later works. Octave leaps are the most common, although sevenths and ninths are also fre- quent melodic intervals. Much Of this work is imitative, and the increased number Of vocal parts in such movements suggests the use Of singers who can confidently carry individual lines. Fragmented motives also emphasize the need for quality singers. Increasing rhythmic variety adds interest tO this work, but seldom involves choral rhythmic patterns more 189 difficult than simple syncopation. Choral tessitura is sometimes high for such a long work. The soprano soloist must Often perform long phrases containing many bz's and in one passage must sustain a c3. The tessitura, tonal aspects and textural qualities Of the work deserve the at- tention Of a college or professional choral group. Miracles Of Christmas Miracles Of Christmas contains several movements that could be successfully performed by a practiced high school choir. The canonic second movement, for example, contains few tonal problems and is Of nO concern rhythmi- cally. The canonic motive itself is repetitive, and homo- phonic treatment consists mainly Of a harmonic ostinato in- volving the chord tones Of only two sonorities. Range or tessitura are rarely Of concern in this work and rhythm is uncomplicated. The movements Of this work, however, are connected and ideally should not be performed separately. Since the work represents a transition between Rorem's style periods, it contains many complicating factors which make it accep- table only for college and professional singers. Quartal and extended tertian sonorities are among the tonal diffi- culties, as is the presence Of synthetic or modal scale forms. Choral directors should take special note Of the polytonal passage in the fourth movement. 190 Two Psalms and a Proverb "Behold, how gOOd and how pleasant it is" presents tonal difficulties worthy Of a choir with accomplished read— ing and listening skills. The polytonal work involves transient modulations in the orchestra, over which the choir sings a Mixolydian melody. The soprano line is re- petitive and doubled by violins, but nevertheless requires singers secure in the performance Of polytonal music. Lower choral parts are Often absent in the string accompaniment. Rhythmic aspects and range are Of no concern in this piece. Statements concerning the aforementioned movement also apply tO "Wounds Without Cause." Difficult tonal relation- ships include split inflections and quartal sonorities. “How long wilt Thou forget me, O Lord?" contains dissonant tonal relationships in combination with disjunct melodic line and more interesting rhythmic activity. All three pieces in this work present challenges suggestive Of college or professional abilities. Lift Up Your Heads The minor ninths which appear continually throughout this work make it difficult reading as well as challenging in performance. Disjunct motives are repetitive and Often doubled at the octave, and harmonic movement is static in some areas. However, tonal relationships are generally dissonant. Extended tertian sonorities at the end Of the work require careful tuning. All components Of a thirteenth 191 chord on Bb appear in the chorus and are juxtaposed with a lively orchestral accompaniment. Rhythm is once again not a factor Of concern. Simple syncopation and ascending eighth-note scales are the most difficult patterns, but the latter problem is more one Of articulation than Of rhythmic complexity. Range and tessitura are quite high for SOpranos and altos. The final extended tertian chords require repeated and sustained high notes for women, particularly SOpranos. Due to its tonal and vocal requirements, this work should be excluded from high school use. Laudemus Tempus Actum A single motive in d minor comprises almost all Of the melodic material Of this work. It is not rhythmically difficult, nor is it disjunct. There are only four aspects Of concern in the performance Of this work. Imitative wri- ting requires confident singers. Modulations may take some rehearsal, but with significant repetition should pose no problem. The fortississimo statement near the end Of the work demands strong voices, and the high tessitura Of this section is Of particular concern tO sopranos, altos and tenors. The tessitura is the main Obstacle Of this work. The piece is within the performing capabilities Of virtually any choir whose singers are comfortable in these high #2 registers (b1 for tenors, b2 for SOpranos, and f for altos). 192 Letters From Paris This multi-movement work contains some Of Rorem's most advanced choral techniques and is suitable only for exceptional college and professional ensembles. Disjunct melodies are the rule, Often containing such dissonances as major ninths or major sevenths. Harmonic structures contain extended tertian, secundal, quartal or other dis- sonant sonorities. Cross relations and double inflections are occasionally present, and planing is a major component Of the work. Imitation and contrapuntal devices are more sophis- ticated here than in many Of Rorem's choral works. In move- ments such as "The French Telephone" rhythm is an important factor Of the linear structure and may be prohibitive to inexperienced choirs. Range and tessitura are generally within the scope Of the above average choir, with a few exceptions. In the ninth movement tenors are required to briefly sing a cbz. The basses have a similarly high passage in the same move- ment, peaking at f1. Truth in the Night Season There are many factors that keep this work outside the scope Of most high school choirs; The very disjunct motives create strong dissonance, and the subordinate role Of the organ provides no support for hesitant vocalists. Independence is required for linear passages and for all 193 seven parts Of the thirteenth chord on the last page. Range and tessitura are quite high, requiring singers Of consi- derable stamina. Strickland is very critical Of this and another Of Rorem's works. His main concern is with conveyance Of text in such disjunct material, and he feels that, "Works like Truth in the Night Season and He Shall Rule From Sea tO Sea would hardly be worth the effort necessary to teach them to even a very gOOd choir."2 He Shall Rule From Sea tO Sea Disjunct melodies, dissonant harmonies and high soprano tessitura are the limitations which exclude this work from high school repertoire. Tonal relationships are especially prohibitive as the ninth is once again a recur— rent feature Of melodic and harmonic structure. The organ accompaniment is Of little aid in the performance Of diffi- cult passages. Rhythm, however, is never more complicated than hemiola. Praises For the Nativity Unlike any other choral work by Rorem, rhythm is the primary Obstacle Of Praises. The composer deliberately in- corporated complex rhythms at the suggestion Of a friend,3 2Thomas Strickland, "The Sacred Choral Music Of Ned Rorem," (M.M. thesis, Yale University, 1978), p. 41. 3Interview. 194 and the numerous syncopated motives and asymmetrical meters create great rhythmic interest. Linear structure in this work involves eight vocal lines, requiring extreme independence Of chorus members if a double choir is used in place Of soloists and choir. Up tO ten parts are employed in this work. Such thick texture is frequently complicated by rapid, difficult rhythmic pat- terns. The imitative structure is at times cause for tonal difficulties. Combined use Of augmentations, diminution and stretto Often results in cross relations and double in- flections. Planing Of fourths appears in four voices, while parallel triads in three parts are complicated by a meter. Although difficult motives are Often repeated, tonal rela- tionships require careful rehearsal. Three Motets Diatonic dissonances are found in these three works. Although sections Of the motets are suitable for high school, much Of it is difficult for all but exceptional high school choruses. Homophonic passages present the Obstacles Of dissonance, while the scale passages that dominate the first and third movements require controlled melismatic singing. Vocal ranges are not extreme, and rhythm is uncomplicated. 195 Little Prayers In accordance with the other late choral works, it is desirable that Little Prayers be performed by fine uni- versity or professional choirs. Rhythmic difficulties are rare and insignificant, while tonal relationships deserve much attention. The usual Obstacles Of Rorem's second period are present: secundal, quartal and extended tertian sonorities, double inflections, parallel intervals, and dis- junct melodies with dissonant intervallic relationships. 5010 lines are especially demanding, and the SOpranO solos lie in unusually high range. Summary The most useful works in Rorem's choral output are the hymns. Such works as the Three Hymn Anthems are within the capabilities Of most choirs. Other works in the first style period, such as the Four Madrigals and From an Unknown 2353 can be satisfactorily performed by high school choirs. Most works in Rorem's second style period are tOO difficult for young singers and are only accessible tO ex- perienced college choirs or professional ensembles. Har- monic difficulties are the major concern Of such works as Letters From Paris and Praises For the Nativity. Rhythmic diversity is an additional problem in the latter work. While trying to create a piece with more rhythmic interest, Rorem produced a work "...which is so madly difficult that it never gets done. . .It's got a lot Of gOOd ideas and 196 good tunes, but it's harder than it should be. It's harder than it's worth."4 4Interview. CHAPTER VI SUMMARY AND CONCLUSIONS The choral works Of Ned Rorem comprise two style periods. With few exceptions, works prior to 1961 are written in one style, while works after that year were written in another. A single work, Miracles of Christmas, contains elements Of both styles and is therefore a transi- tional piece. Conservatism is a major trait Of the early works. Triadic and added-note harmonies predominate and a tonal center is firmly established. Rhythmic patterns use beat and division values almost exclusively, and four-part homo- phony is the prevailing texture. Melodic writing is basi- cally conjunct in this period, with a few wide leaps ap- pearing at beginnings Of phrases. After 1961, Rorem's choral style expanded tO include more=complex techniques. While many pieces remain straight- forward rhythmically, Rorem also occasionally experiments with diverse and complicated rhythmic patterns. Texture includes much use Of imitation, and various voice combina- tions are utilized. Prolonged dissonance is prevalent and usually involves double inflections, cross relations, secundal, quartal or quintal harmonic relationships and 197 198 extended tertian sonorities. Multi-movement pieces are a feature Of the second period, and instrumental accompani- ments become more prevalent in later works. A single technique common to both style periods is planing. In early works, Rorem's use Of planing involves brief parallelism Of fourths or sixths. In the EEEE Madrigals, harmonic planing is seen in parallel sixth chords and parallel movement disguised by embellishments. Later employment Of the technique includes more prolonged use Of parallel intervals, triads and extended tertian sonorities. The effect Of planing and extensive use Of symmetrical structures (quartal, quintal and extended tertian sonorities) is one Of pandiatonicism. Since all structures are identi- cal and move in parallel motion, harmonic progression is nonexistent and any given note may serve as the tonal center. However, tonality is established frequently through cadences, and the composer's use Of planing and symmetrical structures is rarely extensive enough tO Obscure tonal direction. Planing is used by Rorem as a color technique, adding tex- ture tO melodic line through harmonic doubling. In some cases the planing is juxtaposed with traditional harmonic progressions, emphasizing its function as color rather than harmony. 199 NO matter how chromatic my music may become, I hear it always with a tonal base, and even with a tonic base almost from beginning to end.1 The success Of Rorem's choral technique is found in his setting Of text. The composer is very conscious Of the selection Of excellent poetry or prose. His music grows out Of the verse; he never fits words to preexisting music. A composer examines verses with an intention Of determining what manner Of music will coincide with what words in what section Of the poem. He seeks "highs" and "lows," and points Of intensity toward which to direct emphasis. Most likely he will first decide upon the musical climax by looking for a group Of words that sum up the poet's message. . .Whatever the poem's design, it should, in one way or another, always dictate the shape Of the song. NO matter how many liberties the composer might take, it will be the poem itself which provokes these liberties. Meretricious originality is to be avoided at all cost. . .He seeks tO shed light on a meaning Of the poem without musico-literary interpretation; he would otherwise be doing what Tennyson complained Of: say- ing twice what the poet says once. Rorem's concern with text setting goes beyond the poet tO the singer who must perform his works. His con- sciousness Of singer difficulties makes his works accessible to gOOd singers. High notes are well prepared and are usu- ally combined with Open vowels. Vocal lines fit the voice well, and his gift for melodic writing provides the singer with a sense of direction and movement. 1Interview with Ned Rorem, New York City, April 22, 1978. 2Ned Rorem, "Writing Songs," The American Record Guide 26 (February l960):406-407; andgTNovember 1959):218. 200 My three mottos for songwriting: Use only good poems--that is, convincing marvels in English Of all periods. Write gracefully for the voice--that is, make the voice line as seen on paper have the arched flow which singers like to interpret. Use nO trick beyond the biggest trick--that is, since singing is already such artifice, never repeat words arbitrarily, much less ask the voice tO groan, shriek, or rasp. I have nothing against special effects; they are just not in my language. I betray the poet by framing his works, not by distorting them. ...he [the composer] should be able tO sing every- thing he writes no matter how grim his voice sounds tO others. The music we best understand is the music we make for ourselves, and nO composer can gO far wrong if he estimates his vowels and consonants and prosody and all other attributes Of song, by letting them flow naturally from his own vocal cords while in the act of composing. What he can dO, his performer can do: but if he writes only—what is theoretically performable he is in for some severe jolts.4 If I'm writing for a singer, I have the singer in mind continually. But the singer is usually myself ...I think in terms Of what I would like tO do. Despite this, Rorem's choral works are not appropriate for many ensembles. Some early works may be successfully performed by high school choruses, and works such as the Three Hymn Anthems are suitable for any church choir. How- ever, the majority Of Rorem's works demand competent college or professional ensembles. His works become increasingly lengthy, requiring great vocal stamina and expert vocal 3Ned Rorem, An Absolute Gift (New York: Simon and Schuster, 1978), P.I24. 4Rorem, "Writing Songs" (February l960):408. 5Interview. 201 production. Precise intonation is a necessity for the per- formance Of more difficult harmonic relationships. Diffi- cult rhythm patterns occur in some works, and extremes Of range are occasionally present. Such considerations may limit Rorem's influence through lack Of performance Of these works. His use Of conservative techniques keeps him from the notoriety Of more experimental twentieth century composers. Rorem claims to be nO innovator, and his importance in this cen- tury may well be that his works represent a summation Of early twentieth century techniques. The large quantity Of works in his catalogue is indeed a factor Of his in- fluence, and in a time when instrumental works predominate, Rorem's choral output is significant. Aware Of those I've robbed, I smile when others don't recognize them. Yet I make no claims to novelty. My sole originality is that I've never sought originality. Though in the end that claim cannot apply tO my music, only tO a point Of view about my music. 6Rorem, An Absolute Gift, p. 23. APPENDIX A APPENDIX A RANGES AND TESSITURAS In each case, range is presented before tessitura. The following abbreviations are used: S = Soprano B = Bass SS = Second SOpranO BB = Second bass A = Alto $01 = Soloist AA = Second alto UC = Unison Choir Treble Choir T = Tenor TC TT = Second tenor The Seventieth Psalm 19 U s I £> A Sermon on Miracles la 17 v$ £9— gin: Téen B E i So Four Madrigals "Parting" e$2t7__{;;—' 1 —— Jriiy I) #3 '5' 202 203 "Flowers for the Graces" he \ S, A4 T 13ng s AgitL—tD—J T an 796- "An Absent Friend" L94:— ftr “ A s A Tfit—e— 13W '00 3‘5 '50 1170 Three Incantations "Cloudless Blue..." 801 or UC TD "Now I Make..." D. A 801 or UC U “Lo—‘9— "Boy..." Sol or UC From An Unknown Past "The Lover in Winter Plaineth For the Spring" "Hey Nonny No!" ‘ 9C) 1rrr€>deb- ' S A T B 1: % M U l E b'o 204 "My BlOOd SO Red.. sic 5’ Ag: w—UT rvv "Suspiria" 8% % "The Miracle" 9 % J‘ A S Aé “Po—€— .0. "Tears" 511’ S A if "Crabbed Age and Youéh o Adieu—U— (B T-O-e- 5515p i The Mild Mothe£ ll C} {PCP C) A Far Island 85% Gentle Visitations soaé 55 g all; i? 9? a; d)! dl (bl 205 Five Prayers For the Young "A Nursery Darling" 9 RT S EHSQF} A 6 "A Dirge" 3 SS AEfUE G A Ell—6'? "Now I Lay Me Down TO Sleep" S ll GI 0| S SS A :11: "Fragment: Wine Of the Fairies" W Eff % "The Virgin' s Cradle- -Hymn" 1:1 ee—s—A4% S SS I‘ The Corinthians I Feel Death The Poets' Requiem "Kafka" F“ 10 Q) E 8% «3% g 8% 206 "Rilke" the #59. .00 G Ll T62. 13? .C_e__o_ Aver: "Cocteau" i—G-r o e D- s O T .° Sol 801 Solr "Mallarme" ...he. s 395E : Sol 7% ;£_9_5UU T Aug T 0 B37 Bra—Er "Freud" For instruments and narrator. "Goodman" the 0 tea -e 05 S T 1? 411 $01 I _L \F‘TE—GT 1.6.6.. "Gide" - G _ fin .e Sgseéflgwgiéwg ‘27 “ 13 "Rilke" 1’ #0 SO? 5% 11% T% 13% 317 Three Hymn Anthems "Sing, My Soul, His Wondrous Love" 5:79—9— s A T 31%; ‘C’ 3'6 207 "All Glorious God" S A 4 6 WW cm M NH "Christ the Lord is Ris'n Today" Miracles Of Christmas "The Cherry Tree" 4%-€> (3 Stir VA T B iaé _15" "The Rooster" fiFCT S éti: E Arggi T B 1 ”if; v’L "The Wise Men" +0 f1 8 AH— ‘I' Bf d j, "In the Stable" "The White Rose" :gg . % "The Spiders and the Fly" A] " The Land " '0' 'U Prayers and Responses 208 Lee A Q S 1 dl Virelai fl Two Psalms and a Proverb “’ F "Behold, how gOOd and how pleasant it is" S A l 11 l” "Wounds without CauseJt, if d? S A l T ll 1% "How long wilt Thou forget me, O Lord?" lye S A a #755: Lift Up Your Heads 1‘10 o S A @‘D— ' €- Laudemus Tempus Actum 4L“ ‘9 Siéii A ll 1 15' .51 .Cl 209 PrOper For the Votive Mass Of the Holy Spirit "Entrance Song" UC "Gradual" '€9 UC fl "Offertory" e s—t UC "Communion" UC ‘6 123-#9 Letters From Paris "Spring" 210 "The Sex Of the Automobile" o A 11.9— #9325: U A S‘fikr—-—————- A " ng¥g B "Winter" -e S org—9' A TJIQD Brfiha—é— é TN‘U—o— % "Mistinguett" e-e T BEE L "Sprfin 2 Again" 8 ee Te ee Truth in the Night Season l; .9 E Dlzo. ! :0.th '1 . A T B —L° #55: 131727 V50 Love Divine, All Loves Excelling #525: 11112.; S He Shall Rule From Sea tO Sea prim 211 Two Holy Songs "Psalm 134" A g“ 3%- JEZ3_—€}' fil—Cy—fier- "Psalm 150" ‘3 J>fik:——71- zx—deF—ts— S ZXEEE T 5:: B —1° {—0 e [___e. 'W m Praises For the Nativity £1 £} #12 S ii A ~— T B . CD 1 Q! [1 Sol % 801 $01 h SO If D 5: ‘5' E e- ,1 e V A. s A g :5: E T 1 B f' ' “PL—‘0— ’ Q 2; 't7 Canticles "Confitebor tibi” Ezfi 5010 or Unison Choir I 2; '43- "Magnificat anima mea" S or T14: A.Or B agigiggigzg W "Nunc dimittis" UTE @ ASE ”Benedictus es Domine" S J!;§z—flk=—. A (j T ‘6} B ‘flkl 212 "Phos Hilarion" 12 :3, C> LT—a— fie "Ecce Deus" 3' U U 43' <9 35 25 t3 “Canticle of the Lamb" I E: £3: r19 5 h A T B 3F 17' Three Motets OI“? .L_23—ASF— "0 Deus, Ego Amo Te" Jl hi: 16 o abate—n— 9' a?" i 5% AL? Tfi—w— Rim: "Oratorio Patris Condren: O Jesu Vivens in Maria" k 11‘: C) S ’*é§:fi2::g:: 1’ " 3 i3: ; 1 L—e—D— 'Thee God..." gig? Little Prayers "Rest:Well..." S Sol A ”Creator of the Worlds" (1) (b 213 "God, I Prayed To Me Restore..." A-Q-e- BAR r" 501 #22:: "Creator Spirit, Please..." "Novices of Art Understate..." ha SSA Unison a "O God of Fire and the Secret..." "Father, Guide and Lead Me..." sLe—e— $221 "Long Lines..." queis: Sol 7! "Creator Spirit Who Dost..." qfi-‘G'fl‘b— "On All, the Wicked and..." 3%: Afiféeee E "Rest Well" % 96 % B 214 "God Bless My Small Home..." "I Waited in the Parlor..." be s B "H: 501 501 f—n‘ £1 3&3 Q _ .o. .o. A ,1 s B E}; s A V C 501 ($315_9_ 501 £321”; .0. .o. $4etfie— :1. o rT——e- T $ E B L“ BB 51 Missa Brevis "Kyrie" _‘LLOQ J #9 T /-——— ~ "Gloria" E b-U "C" G '9- _ s A ‘ T T B % :¥¥ 'IT I: "Sanctus" 215 "Bene ictus" £2 9. B 231 Sol S $94; _L T v WE "Agnus Dei" w %A In Time of Pestilence "Adieu. 4’ H7 0? TT A 11.0. \J’ B [1; __ .5. E 216 "Haste therefore..." L€> -e- £129 :2 e s A 11%? % B :12 D — -— 9- L619— 0 Magnum Mysterium ‘0' F5 #3 W Shout the Glad Tidings 1 {MIA A r‘0 U sake—e A a Tag a; H .Z.._.9_O_ 9- e—e— * The Oxen APPENDIX B APPENDIX B PUBLISHED CHORAL WORKS OF NED ROREM Works are listed in approximate chronological order and include available information concerning voicing and in- strumentation, publication, place and date of composition, text source(s), dedication, commission, and length (actual pages of music, and performance time, if given). Works are a cappella unless accompanying instruments are specified. THE SEVENTIETH PSALM For mixed chorus (S.A.T.B.) New York: H. W. Gray Co., Inc., c1966 Philadelphia, July 10, 1943 For William Strickland Length: 8 p. A SERMON ON MIRACLES For solo voice, unison chorus (either male chorus with female soloist or female chorus with male soloist or mixed chorus with alternating solo- ists) and strings (or keyboard) New York: Boosey & Hawkes, Inc., c1970 Tanglewood, summer 1947 Text: Paul Goodman (written in 1947 expressly to be set by the composer in this medium) Length: 33 p. (5% minutes) 217 (15:1.-- 218 FOUR MADRIGALS For mixed chorus (S.A.T.B.) Bryn Mawr, Pennsylvania: Mercury Music Corporation, c1948 Autumn 1947 Texts: Sappho I. Parting F To Hugh Ross 3 Length: 5 p. II. Flowers for the Graces For Rufus my father Length: 2 p. IEQL_:-" s I.‘ III. Love For Gladys my mother Length: 2% p. IV. An Absent Friend To Bernard Wagenaar Length: 4% p. THREE INCANTATIONS From a Marionette Tale For solo voice or unison chorus New York: Boosey & Hawkes, Inc., c1967 New York, 6 July 1948 Text: Charles Boultenhouse To John Bernard Myers Length: 6 p. FROM AN UNKNOWN PAST For mixed chorus (S.A.T.B.) New York: Southern Music Publishing Co., Inc., c1953 I. The Lover in Winter Plaineth For the Spring Hyéres, 9 July 1951 Text: Anonymous poem XVI Century? To Géorg Redlich's Memory Length: 3 p. 219 II. Hey Nonny No! Hyéres, 10 July 1951 Text: Christ Church MS. To Marie Laure Length: 5 p. III. My Blood So Red... Text: Anonymous poem To Julien Green Length: 2 p. IV. Suspiria Hyéres, 17 July 1951 Text: Anonymous poem To Nadia Boulanger Length: 2 p. V. The Miracle Text: Poem about 1600 To Nora and Georges Auric Length: 6 p. VI. Tears Hyéres, 11 July 1951 Text: Poem from John Dowland's Third and Last Book of Songs or Airs, 1603 To the memory of Don Dalton Length: 4 p. VII. Crabbed Age and Youth Hyéres, 13 July 1951 Text: Poem by Wm. Shakespeare? To Guy Ferrand Length: 6 p. THE MILD MOTHER For unison chorus of treble voices and piano Boston: E. C. Schirmer Music Company, c1970 Philadelphia, 28 November 1952 Text: Anonymous, 15th Century (adapted) To Rosemarie Beck Length: 2 p. 220 TWO CHORUSES FOR WOMEN'S VOICES For women's chorus (S.S.A.) Bryn Mawr, Pennsylvania: Elkan-Vogel, Inc., c1961 I. II. FIVE PRAYERS FOR THE YOUNG A Far Island Hyéres, 16 July 1953 Text: Kenward Elmslie To Joseph Lesueur Length: 6 p. Gentle Visitations r Hyéres, 19-20 July 1953 Text: P.B. Shelly To Morris Golde Length: 5 p. It": For women's chorus (S.S.A.) Bryn Mawr, Pennsylvania: Theodore Presser Company, C1956 France, summer 1953 I. II. III. IV. A Nursery Darling Text: Lewis Carroll (1889) To Jane and Jay Harrison and Paige Julie Length: 4 p. A Dirge Text: Shelley To Philippe Erlanger Length: 2 p. Now I Lay Me Down to Sleep Text: Shelley To Morris Golde Length: 1 p. Fragment: Wine of the Fairies Text: Shelley For Paul and Rachel, Mary and Christopher Length: 3 p. The Virgin's Cradle-Hymn Text: Coleridge To Aaron Copland Length: 2 p. 221 THE CORINTHIANS For mixed chorus (S.A.T.B.) and organ New York: Peters Edition, c1960 Paris, 19 July 1953 Text: I Cor., chap. 13 [King James Version]1 To William Flanagan Length: 23 p. (9 minutes) I FEEL DEATH For men's chorus (T.B.B.) New York: Boosey & Hawkes, Inc., c1967 g Hyéres, 8 September 1953 Text: John Dryden Length: 2 p. THE POETS' REQUIEM For mixed chorus (see below), soprano solo and or- chestra (reduced version for keyboard). Orches- tration: Flutes Oboes Clarinets (in A) Bassoons Horns (in F) Trumpet Trombone Timpani (3 drums) Snare drum Large gong, cymbals, triangle Piano Harp STRINGS FULL CHORUS (see below) l—‘l—‘NNNNN lAll bracketed information is from Thomas Strickland, "The Sacred Choral Music of Ned Rorem" (M.M. thesis, Yale University, 1978), Appendix, pp. 45—52. Secondary sources are indicated by both brackets and footnotes and are cited as found in Strickland's paper. 222 New York: Boosey & Hawkes, Inc., c1976 Hyéres and Rome, 1954-55 Texts: compiled by Paul Goodman: I. Kafka-~S.A.T.B. II. Rilke--S.A.T.B. III. Cocteau--S.SS.A.T.B.B. IV. Mallarmé--S.SS.A.T.B.B. V. Freud—enarrator VI. Goodman--T.B.B. VII. Gide--S.SSOA.T.BOBO VIII. Rilke—-S.A.T.B. To Margaret Hillis (who conducted the world premiere in New York on February 15, 1957) Length: 77 p. (28 minutes, approximately) THREE HYMN ANTHEMS For mixed chorus (S.A.T.B.) New York: Edition Peters, c1962 I. Sing, My Soul, His Wondrous Love Hyéres, 15 August 1955 Text: Hymn 22 (III,l) of the Protestant EpisSOpal Church, U.S.A. (1841) [Anonymous, 1800 1 To Paul Callaway Length: 4 p. (2 minutes) II. All Glorious God Hyéres, 16 August 1955 3 Text: Hymn 15 (L.M.) [Philip Doddridge (1702-1751) ] To the Memory of My Beloved Grandfather Rev. Albert C. Miller (1866-1955) Length: 4 p. (2 minutes) 2The Hymnal of the Protestant_Episc0pal Church in the United States of’AmerIca (New York: The Church Pension Fund, 1943). 3John Julian, A Dictionary of Hymnology (London: John Murray, 1957), s.v. "AlI’gloriOus God. 223 III. Christ the Lord is Ris'n Today Hyéres, 17 August 1955 Text: Hymn 69 (III,1) of the Protestant Epiic0pal Church, U.S.A. (1841) [Charles Wesley ] To John Brodbin Kennedy Length: 4 p. (1 minute) MIRACLES OF CHRISTMAS For four-part mixed chorus (S.A.T.B.) and organ (or piano) New York: Boosey & Hawkes, Inc., c1971 Yaddo, 1-15 June 1959 Texts: Ruth Apprich Jacob I. The Cherry Tree II. The Rooster III. The Wise Men IV. In the Stable V. The White Rose VI. The Spiders and the Fly VII. The Land Commissioned by and dedicated to The Garden City Community Church, Long Island, New York Length: 42 p. (17 minutes, approximately) PRAYERS AND RESPONSES For mixed chorus (S.A.T.B.) New York: Boosey & Hawkes, Inc., c1969 Yaddo, June 1960 Texts: [Texts specified by the commissioner, a Methodist church in Buffalo ] 4Hymnal. 5Ned Rorem to Thomas Strickland. 224 I. [adapted from Psalms 34:3, 37:9] II. [adapted from the Sursum corda] III. [suffrages from Evening Prayer, Book of Common Prayer] IV. [Amen] V. [Amen] Length: 4 p. F VIRELAI For mixed chorus (S.A.T.B.) New York: Boosey & Hawkes, Inc., c1965 Paris, May 1961 Text: Chaucer Length: 4 p. TWO PSALMS AND A PROVERB For four-part chorus of mixed voices and string quintet (reduced version for keyboard) Boston: E. C. Schirmer Music Co., c1965 I. II. III. Behold, how good and how pleasant it is August 16-17, 1962 Text: Psalm 133:1-3 [King James Version] To Elizabeth Ames, in friendship Length: 5 p. Wounds without Cause September 1-5, 1962 Text: Proverbs 23:29-35 [King James Version] To Troy Nedda Harrison, born on my birthday in 1958, who need not yet heed these words. Length: 11 p. How long wilt Thou forget me, O Lord? California, August 18-21, 1962 Text: Psalm 13:1-6 [King James Version] To my parents, Gladys Miller and C. Rufus Rorem, with all love. Length: 8 p. 225 Commissioned under a grant to Daniel Pinkham in con- junction with the Ford Foundation program for choral directors. Premiere conducted by Mr. Pinkham, April 21, 1963, New York. LIFT UP YOUR HEADS (THE ASCENSION) For mixed chorus (S.A.T.B.) and organ, or full wind ensemble, or brass (2 trumpets, 2 trombones), tim- pani and organ. Full wind ensemble orchestration: Flutes Oboes b Clarinets (in B ) Bassoons Horns (in F) Trumpets Trombones j Tuba :1 WWNNNNN New York: Boosey & Hawkes, Inc., c1964 Yaddo, Saratoga Springs, New York, 26 August-6 Sep- tember 1963 Text: John Beaumont (1538- 627) [Actually by Joseph Beaumont (1616-1699) ] To Francis Poulenc, in memoriam. Length: 16 p. (3:20 minutes) LAUDEMUS TEMPUS ACTUM (Let us praise the past by living justly in the future) For mixed chorus (S.A.T.B.) and orchestra (reduced version for keyboard) New York: Boosey & Hawkes, Inc., c1966 New York, 24 May-20 June 1964 Text: Ned Rorem To Brown University on the 200th Anniversary of its founding. 6Eloise Robinson, ed., The Minor Poems of Joseph Beaumont (London: Constable and Co.,‘I9l4), p. 189. 226 Length: 11 p. PROPER FOR THE VOTIVE MASS OF THE HOLY SPIRIT For unison chorus (more precisely, at the octave) and organ New York: Boosey & Hawkes, Inc., c1967 Salt Lake City, 7-10 January 1966 Texts: I. Entrance Song [Introit. Wisdom 1:7; Psalm 68:1,2,4] II. Gradual (Meditation Song) [Psalm 33:12,6] III. Offertory [Psalm 68:28,29] IV. Communion 7 [Acts 2:2,4 ] Commissioned by the Church Music Association of America. Length: 18 p. LETTERS FROM PARIS For four-part mixed chorus (S.A.T.B.) and small or- chestra (reduced version for keyboard). Orches— tration: Flute (doubling Piccolo) Oboe (doubling English Horn) Clarinet in B (doubling Clarinet in A and E Saxophone) Bassoon Horn (in F) b Trumpet (in B ) Trombone Timpani Percussion: Snare Drum, Tenor Drum, Bass Drum, Triangle, Cymbals, 2 Bongos, Castanets, Anvil, b Alto 7Roman Missal; Compiled by lawful authority from the Missale Romanum... (New York: Macmillan Co., 1951), pp. 341- 44, 859. 227 Harp Harmonium Celesta Piano Strings New York: Boosey & Hawkes, Large Gong (Tam-Tam), Ratchet, Police Whistle, Chimes (Tubular Bells), Xy10phone, Vibraphone, Glockenspiel Inc., c1969 Salt Lake City, begun 3 March 1966, orchestration completed 30 July 1966 Texts: Nine prose extracts from Janet Flanner's "Paris I. II. III. IV. VI. VII. VIII. IX. Journal" Spring Length: 8 p. The French Telephone Length: 6 p. Summer Length: 9 p. Colette Length: 13 p. Autumn Length: 6 p. The Sex of the Automobile Length: 5 p. Winter Length: 6 p. Mistinguett Length: 2 p. Spring Again Length: 10 p. Dedicated to the memory of Serge Koussevitzky. and Natalie Commissioned by the Koussevitzky Foundation in the Library of Congress. 228 TRUTH IN THE NIGHT SEASON For mixed chorus (S.A.T.B.) and organ New York: Boosey & Hawkes, Inc., c1967 Utah, 31 March, 11 April 1966 Text: Psalm 92:1-5a [Book of Common Prayer] Commissioned by and dedicated to the Houston Chapter of the American Guild of Organists. Length: 14 p. LOVE DIVINE, ALL LOVES EXCELLING For mixed chorus (S.A.T.B.) [1. New York: Boosey & Hawkes, Inc., c1968 8-12 September 1966 Text: Charles Wesley, 1747 Length: 2 p. HE SHALL RULE FROM SEA TO SEA For mixed chorus (S.A.T.B.) and organ (or piano) New York: Boosey & Hawkes, Inc., c1968 Yaddo, 14 July 1967 Text: Feast of Christ the King--Psalm 7l-Dn.7 [Gradual for the Feast of Christ the King, Psalm 72:8,11; Daniel 7:14b8] Commissioned by Peter J. Basch, James A. Burns and Marie Lambert, and dedicated to the Saint Nicholas Boy Choir Festival. Length: 11 p. Ibid., p. 752. 229 TWO HOLY SONGS For mixed chorus (S.A.T.B.) and organ or piano New York: Southern Music Publishing Co., Inc., c1955, 1970 These are arrangements by the composer, in 1969, of the first and last psalms in his CYCLE OF HOLY SONGS, origina§1y written for solo voice and piano in 1951. I. Psalm 134 [King James Version] Length: 4 p. II. Psalm 150 [King James Version] Length: 6 p. PRAISES FOR THE NATIVITY For four solo voices (S.A.T.B.), mixed chorus (S.A.T.B.) and organ, or for double chorus and organ New York: Boosey & Hawkes, Inc., c1971 New York City, 2 October-2 November 1970 Texts: 2 Collects for Christmastide from The Book of Common Prayer [and antiphon] Commissioned by Saint Patrick's Cathedral, New York City. To Henson Markham Length: 41 p. CANTICLES: English Settings of Seven Liturgical Songs New York: Boosey & Hawkes, Inc., c1972 Set I l. Confitebor tibi For unaccompanied unison chorus or for solo voice Fire Island Pines, 24 August 1971, 3:30 p.m. Text: Isaiah 12 [King James Version] Length: 2 p. 9Ned Rorem, Cycle of Holnyongs (New York: Southern Music Publishing Co., 1955). much. #1. _: _ 230 2. Magnificat anima mea For sopranos and altos or tenors and baritones Yaddo, 17-18 February 1971 Text: St. Luke 1:46-55 [Book of Common Prayer] Length: 3 p. 3. Nunc dimittis For sopranos, altos and tenors New York City, 14 January 1971 Text: St. Luke 2:29-32 [Book of Common Prayer] Length: 2 p. B, Set II 1. Benedictus es Domine For mixed chorus (S.A.T.B.) New York City, 3-7 July 1972 Text: [Book of Common Prayer, from the apocryphal part of Daniel] Length: 5 p. g 2. Phos Hilarion For mixed chorus (S.A.T.B.) New York City, 24 June 1972 Text: Greek, 3rd Century (translated by Ned Rorem) . Length: 3 p. 3. Ecce Deus For five-part mixed chorus (S.A.T.B.B.) New York City, 27-30 June 1972 Text: Isaiah 12:2-6 [King James Version with two words altered] Length: 6 p. Set III 1. Canticle of the Lamb For mixed chorus (S.A.T.B.) Yaddo, 16 February 1971 Text: [composite translation of Revelation 5:12,14; 15:3,4; 19:6] Length: 3 p. THREE MOTETS on Poems of Gerard Manley Hopkins For mixed chorus (S.A.T.B.) and organ (see below) New York: Boosey & Hawkes, Inc., c1974 Texts: Gerard Manley Hopkins 231 I. 0 Deus, Ego Amo Te [translation of St. Xavier's hymn] For mixed chorus (S.A.T.B.) and organ New York, 17-27 January 1973 Length: 9 p. II. Oratorio Patris Condren: O Jesu Vivens In Maria For mixed chorus (S.A.T.B.) (without organ) New York, 20-25 January 1973 Length: 2 p. III. Thee, God... For mixed chorus (S.A.T.B.) and organ Yaddo, 30 January-4 February 1973 Length: 12 p. Dedicated to St. Luke's Chapel of the parish of Trinity Church in the city of New York on the occasion of its one hundred and fiftieth anni- versary. LITTLE PRAYERS For soprano and baritone solos, mixed chorus, and orchestra. Orchestration: Flutes Oboes Clarinets Bassoons Horns (in F) Trumpets Trombones Timpani Percussion Piano Harp Strings NNnb-NNNN New York: Boosey & Hawkes, Inc., c1976 Saratoga and New York City, February-July 1973 (or- chestrated in the autumn of the same year) Text: Paul Goodman Commissioned by the Colleges of Mid-America, Inc., with assistance from the Iowa Arts Council, South Dakota Arts Council, and the Sullivan Music Foun- dation. Length: 54 p. (35 minutes, approximately) 232 THREE PRAYERS For mixed chorus (S.A.T.B.) New York: Boosey & Hawkes, Inc., c1973 Text: Paul Goodman I. Creator Spirit, Who Dost Lightly Hover Length: 2 p. II. Father, Guide and Lead Me [ Length: 2 p. ‘ III. Creator Spirit, Please... Length: 2 p. These three prayers have been taken intact from LITTLE PRAYERS (a lS-movement work for chorus, soloists and orchestra) wherein they are featured as unaccompanied interludes. IV MISSA BREVIS For mixed chorus (S.A.T.B.), SOprano, tenor and bass- baritone solos New York: Boosey & Hawkes, Inc., c1974 New York, August-December 1973 Commissioned by the Cleveland Chapter, American Guild of Organists, for the 1974 National Convention. Length: 25 p. IN TIME OF PESTILENCE-—Six Short Madrigals on Verses of Thomas Nashe For mixed chorus (S.A.T.B.) New York: Boosey & Hawkes, Inc., c1974 New York, August-December 1973 Text: Thomas Nashe (1593) Commissioned by the Kansas State University Concert Choir Commissioning Project, Rod Walker, Director. Length: 11 p. 233 O MAGNUM MYSTERI UM For mixed chorus (S.A.T.B.) New York: Boosey & Hawkes, Inc., c1978 New York, 19 February 1978 Length: 5 p. SHOUT THE GLAD TIDINGS h For mixed chorus (S.A.T.B.) New York: Boosey & Hawkes, Inc., c1978 New York, March 1978 ‘1“. '- ,1.- Text: Muhlenberg, 1826 (from The Hymnal) Length: 5 p. THE OXEN For mixed chorus (S.A.T.B.) New York: Boosey & Hawkes, Inc., c1978 New York, 5 March 1978 Text: Thomas Hardy, 1915 Commissioned for the Choir of Christ and Saint Stephen's Episcopal Church, New York City, by Mary V. Molleson and Jane M. Wolf in memory of their mother, Mabel Sale Molleson. Length: 5 p. BIBLIOGRAPHY .-( i. I . . I Ll 4! I l p - O Q N .~ BIBLIOGRAPHY Cogan, Robert and Escot, Pozzi. Sonic Design: The Nature of Sound and Music. Englewood Cliffs: PrentIce-Hall, Inc., 1976. Delone, Richard 3E a1. Aspects of Twentieth-Century Music. Englewood ClIffs: Prentice-Hall, Inc., 1975} Dictionary of Contemporary Music. S.v. "Rorem, Ned," by James R. Holmes. LaRue, Jan. Guidelines For Style Analysis. New York: W. W. Norton and Company, Inc., 1970. Persichetti, Vincent. Twentieth-Century Harmony: Creative Aspects and PractIce. New York: W. W. Norton and Company, Inc., 1961. Rorem, Ned. An Absolute Gift. New York: Simon and Schuster, 1978. . Critical Affairs: A Composer's Journal. New York: George BraziIIer, 1970. . The Final Diary. New York: Holt, Rinehart and Winston, 1974. . Music and People. New York: George Braziller, 1968. . Music From Inside Out. New York: George Braziller, I967. . The New York Diary. New York: George Braziller, 1967. . The Paris Diary of Ned Rorem. New York: George Braziller, 1966. . Pure Contraption: A Composer's Essays. New York: H61t,_Rinehart and Winston, I974. 234 235 Periodicals Anderson, Garland. "The Music of Ned Rorem." Music Journal 31 (April 1963):34, 71-72. Brown, Royal 8. "Rorem, Ned: Day Music For Violin and Piano." Records in Review (1974):201. "Schuman, William: Symphony No. 7; Rorem, Ned: Symphony No. 3." Records in Review (1973):297-298. Croyden, Margaret. "The Fashion of Peeping Toms." Nation 205 (November l967):568-569. Flanagan, William. "Poems of Love and the Rain." Music Quarterly 52 (November 1966):535-537. Frankenstein, Alfred. "Composer, Critic, and Raconteur-- Ned Rorem Marks a Milestone." High Fidelity 18 (November 1968):88-90. . "Rorem, Ned: Poems of Love and the Rain; From an Unknown Past; Four Madrigals." Records in Review (l971):301. Jacobson, Robert. "On the Occasion of His Fiftieth Birthday, Ned Rorem Speaks to Robert Jacobson." Opera News 38 (December l973):38-40. Merkling, Frank. "Miss Julie." Opera News 30 (December 1965):29. Miller, Phillip L. "The Best in American Song: Ned Rorem." The American Record Guide 30 (May 1964):864-865. . "Music by Rorem Not For Singing." The American Record Guide 35 (January l969):416. . "A New and Novel Song Cycle by Ned Rorem." The American Record Guide 32 (October 1965):158. "Music." Time 86 (November 1965):83-84. Osborn, Conrad L. "Rorem, Ned: Songs." Records in Review (1965):291-292. Rich, Alan. "Rorem, Ned: Eleven Studies For Eleven Players." Records in Review (1965):290. Rockwell, John. "Rorem, Ned: Ariel; Gloria." Records in Review (1975):328-329. 236 Rorem, Ned. "Diary of a Composer." Music Journal 23 (Octo- ber 1965):26-27. . "The Music of the Beatles." Music Educators Journal 55 (December 1968):33-34, 77-83. . "Poulenc--A Memoir." Tempo 64 (Spring 1963): 28-29. . "Random Notes." Music Journal 31 (October 1973): 22-23, 32-33. . "Why I Compose the Way I Do." High Fidelity 24 (September 1974):l6-17. . "Words Without Song." The American Record Guide 36 (March 1970):468-469, 472e476. . "Writing Songs." The American Record Guide 26 (November l959):164-l66, 216-2T8; and (February 1960): 406-409, 492. Satz, Arthur. "Ned Rorem, Musician of the Month." High Fidelity 26 (August 1976):4-5. Zimmerman, Paul D. "Candid Composer." Newsweek 72 (December 1968):79-80. Newspapers "Two New Books Speak Volumes About Music." Chicago Tribune, 12 February 1978, sec. 6, pp. 10-11. Unpublished Material Strickland, Thomas. "The Sacred Choral Music of Ned Rorem." M.M. thesis, Yale University, 1978. Miscellaneous Rorem, Ned. New York City. Interview, 22 April 1978.