Author and Pulitzer Prize-winning composer
6-17-78
The world has always been fascinated by artists who excel in more than one field. There was Richard Wagner, for example, who wrote the words and the music to all his operas. Cole Porter and Bob Dylan are two others who have proven their mastery of both language and composition.
But while these three men combined their talents to produce great songs,
Ned Rorem has employed his musical and literary gifts in a different way.
By keeping the two separate, he has gained a huge reputation as a
composer of serious music and also as a prose writer of formidable style.
In 1976 he won the Pulitzer Prize for music. And last month Simon and
Schuster published his eighth book, An Absolute Gift.
At 54, Rorem has become somewhat of a fixture1 on the New York artistic2 scene, who no longer sparks the controversy3 that he once did. But in Paris, where he spent nine years during his early career in the 1950s, Rorem was as well-known for his socializing as for his music. With his handsome, youthful good looks and boyish charm, his biting wit, and his wide knowledge of the arts, he became a close companion of many of the leading literary and musical figures of France.
His recollections of those years were carefully recorded in his first book, The Paris Diary, published in 1966 amid fanfare4 on both sides of the Atlantic. It was quickly followed by The New York Diary, which was more popular still. Since then, Rorem's books have appeared at fairly regular intervals5, all of them either diaries or essays, or a combination of both.
In print, Rorem comes across as being somewhat disillusioned6 with life and art. In person, however, he is a warm, sincere host. With a tendency toward shyness that does not come through in his books. Rorem makes all of his remarks so matter-of-factly that nothing he says seems vicious or outrageous7.
Leaning back on the sofa of his large Westside apartment, with one hand resting against his chin and the other stroking his pet cat Wallace, Rorem answers one of the first questions saying that yes, he is upset by the negative review that An Absolute Gift received in the New York Times.
"A bad review in the Times can kill a book," he explains. "It killed my last book. And I don't think it's fair that they gave my new book to the same reviewer. He made some of the same statements that he did last time, with almost the same wording. But just today I got a very good review from the Washington Post. And I hope there will be something in the New York Review of Books. That's even more important than the Times."
Rorem is considerably8 more versatile9 as a composer than as a writer. His output includes five operas, three symphonies, and "literally10 hundreds of vocal11 pieces for solo voice and ensembles12 of various sizes. And instrumental music of every description." He is considered by many to be the world's greatest living composer of art songs. Generally he sets other people's words to music. Asked for the definition of an art song, Rorem says, "I hate the term. I composed dozens of arts songs before ever hearing the word. It's a song sung by a trained singer in concert halls."
The piece that won him the Pulitzer, surprisingly, was not a song at all, but an orchestral work titled Air Music, which was commissioned for the U.S. Bicentennial by the late Thomas Schippers and the Cincinnati Symphony. This summer the Philadelphia Orchestra under Eugene Ormandy will premiere a new, major composition of Rorem's, Sunday Morning.
"I feel very, very, very lucky that I'm able to support myself as a composer of serious music," he says. "My income is not so much from royalties13 as from commissions, prizes, fellowships, and official handouts14, such as the National Endowment of the Arts, and the Guggenheim Fellowship, which I now am living on."
Born in Indiana and raised in Chicago, Rorem began composing music at the age of 10. He was never attracted to pop music, and today he likes it less than ever. "Inasmuch as pop music goes hand in hand with high volume, I bitterly resent it," he says. "When the Met Opera gives a concert in Central Park the same night that the Schaefer Beer Festival gives one of their concerts, they're crushed like the runt beneath the belly15 of a great fat sow."
When a desire for more space and lower rent drove Rorem from Greenwich Village to the West Side 10 years ago, he feared that he was moving to "a big, nonartistic, bourgeois16 ghetto17." He soon changed his mind. In An Absolute Gift he makes the statement: "From 116th Street to 56th Street, the West Side contains more first-rate artists, both performers and creators, than any concentrated neighborhood since Paris in the 1920s."
One of Rorem's favorite Westside businesses is Patelson's Half Price
Music Shop at 160 W. 56th Street, right across from the stage door of
Carnegie Hall. "It's the best music shop in America," he testifies. "They
have everything or they can get it for you."
All of Rorem's books carry a fair amount of philosophy. But the only principle that the artist claims to have stuck by during the entire course of his life is: "I've never sold out. I've never done what I didn't want to do. … I've never been guided by other than my heart. And certainly not by money."
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1 fixture | |
n.固定设备;预定日期;比赛时间;定期存款 | |
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2 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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3 controversy | |
n.争论,辩论,争吵 | |
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4 fanfare | |
n.喇叭;号角之声;v.热闹地宣布 | |
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5 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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6 disillusioned | |
a.不再抱幻想的,大失所望的,幻想破灭的 | |
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7 outrageous | |
adj.无理的,令人不能容忍的 | |
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8 considerably | |
adv.极大地;相当大地;在很大程度上 | |
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9 versatile | |
adj.通用的,万用的;多才多艺的,多方面的 | |
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10 literally | |
adv.照字面意义,逐字地;确实 | |
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11 vocal | |
adj.直言不讳的;嗓音的;n.[pl.]声乐节目 | |
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12 ensembles | |
整体( ensemble的名词复数 ); 合奏; 乐团; 全套服装(尤指女装) | |
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13 royalties | |
特许权使用费 | |
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14 handouts | |
救济品( handout的名词复数 ); 施舍物; 印刷品; 讲义 | |
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15 belly | |
n.肚子,腹部;(像肚子一样)鼓起的部分,膛 | |
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16 bourgeois | |
adj./n.追求物质享受的(人);中产阶级分子 | |
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17 ghetto | |
n.少数民族聚居区,贫民区 | |
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