Robert Frost and Randall Thompson’s Frostiana (with other rabbit trails along the way)

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Robert Frost in 1941; image accessed via Wikipedia

Introduction

This will be very long for a blog post/article but too short for a whole separate book, so note the Table of Contents box above that you can use as needed or desired. My goal here is to focus primarily on Randall Thompson’s Frostiana, looking at the circumstances of its composition and the seven poems individually that comprise it, but with plenty of info about Robert Frost the man and poet and also a bit about a couple of other composers who have set Frost’s poetry to music. An individual video is included for each song, with a full performance of the Thompson suite at the end. Other bonus videos are included!

Let me start by explaining my own history of singing music set to texts by Robert Frost.  As a member of the Cherry Creek Chorale here in the Denver area I’ve sung “The Pasture” by Z. Randall Stroope, “The Road Not Taken” and “Choose Something Like a Star” from Frostiana by Randall Thompson, and “Sleep” by Eric Whitacre, which started out its life as a setting of Frost’s “Stopping by Woods on a Snowy Evening.” Then, as a grand finale to all this Frost-y stuff (sorry), I’m getting to sing the entire Frostiana in May of 2022 with my group. If you’re reading this before May 6-7 2022, you can follow the link above to visit the choir’s website and attend the concert. It’s going to be g-r-e-a-t!

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Silvestri and Gjeilo Add a Twist to the Phoenix Story

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Image by Mystic Art Design from Pixabay

The lyrics to this piece come from the contemporary poet Charles A. Silvestri, who “specializes in providing bespoke poetry for choral composers.” Rather like a custom tailor, I guess. He has written the lyrics for a number of pieces by the Norwegian choral composer Ola Gjeilo and says of this one that “The fiery sky at sunset was an inspiration for this poem about a phoenix preparing for rebirth.. . . Ola had asked me for several poems relating to the theme of rebirth, and I gave him this twist on the usual theme.”

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What does “campground” refer to in the spiritual “Deep River”?

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“Deep River,” like “My God Is a Rock,” belongs in the category of slow, quiet spirituals. These songs of despair and hope were sometimes forbidden by slaveowners or overseers, while more up-tempo songs were actively encouraged as being helpful to keep the work going.
Why do the words say, “I want to cross over into campground”? I’ve noticed before that “campground” doesn’t really fit the rhythm very well. And for me, the image conjured up is that of tents, campfires, and lots of children running around. Almost like a refugee camp. (The fact that I have promised myself that I will never, ever again sleep on the ground in a tent might color my perceptions a bit.) Someone else might think of Civil War soldiers’ camps. Why would persecuted people want to escape to something so . . . unrestful?

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What’s the “rock” in “Elijah Rock”?

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This seems like a pretty simple question, doesn’t it? But let me tell you, it isn’t! I’ve done lots of trolling the internet looking for answers and come across some pretty convoluted ideas, but there seems to be one answer that makes the most sense. The facts that there are several versions of the lyrics and the ideas seem somewhat truncated mark this as a genuine folk song, passed down orally for a number of years.

Before I get to the various meanings for “rock,” here are some ideas that do seem clear. “Comin’ up, Lord,” has to refer to Elijah’s being taken up to Heaven in a fiery chariot. One of the choruses in Mendelssohn’s Elijah also vividly depicts that event. Interesting to compare that composer with his background of wealth, privilege and refinement with the unknown slave who first came up with this spiritual and whose hands were roughened from cotton bolls and back was scarred from the whip. Could the two of them have found common ground if they had ever met? I truly think they could.

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Lynn Ahrens’ Wonderful Career with Musical Words

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Ragtime.jpg
Cover of cast recording, accessed via Wikipedia and used here in accordance with fair use guidelines.

What would you say about a career that started with a chance encounter in an advertising company’s break room and has since spanned over 50 years? I’d call it remarkable, and that term certainly applies to Lynn Ahrens, who was 22 years old and bored silly with her secretarial job in 1970. So she started bringing her guitar to work with her to break up the monotony by singing and playing over her lunch hour. One of the company’s executives walked by and heard her. He had gotten involved with an educational project called “Schoolhouse Rock” and thought she might be able to write a song for it. She ended up writing several songs for the series, with the first being “The Preamble.” (These three-minute animated shorts originally ran from 1973-1984, but the pilot was produced in 1971, about the time that Ahrens got her big break.) As she says in an interview, “It was dumb luck—being in the right place at the right time with the right person passing by.” (“’Schoolhouse Rock’ interview: songwriter/singer Lynn Ahrens”) The songs she wrote and sang for that project got her out of the secretarial pool and into creative work. (If you’re reading this and you don’t know what a secretarial pool is, well, you’re just too young.) She went on to a career as a copywriter, as a freelance TV writer, a jingle writer, a television producer of many network shows for young people (including a stint at “Captain Kangaroo,” one of my childhood faves), and ultimately a musical theater writer. But, as she says, “It all started there.”

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Jocelyn Hagen Encourages Us to Pray and Sing

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Image by Gerd Altmann from Pixabay

I’ve had this experience many times: I get my new music for an upcoming concert with my choir, the Cherry Creek Chorale, take a look, and see composers’ names that are completely unfamiliar to me. Then I start doing research for these posts and find out that these unknown people are quite active in the world of choral music. Such was the case as I leafed through our sheet music for the March 2022 concert centered around works by American women and saw the name “Jocelyn Hagen” on the piece “I Will Sing and Pray.”

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Sweet Charity’s Sisterly Sourcing and Songs

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Actress Giulietta Masina in Nights of Cabiria; licensed under Creative Commons https://creativecommons.org/licenses/by-sa/4.0/legalcode

The Sourcing

The Broadway musical Sweet Charity opened in 1966 to rave reviews, sweeping up nine Tony nominations and winning one, lasting for a respectable 600+ performances and then being revived many times, both in the US and abroad. Bob Fosse won the Tony for choreography and then ended up directing the film version, his directorial debut in that genre. Everybody could be pretty happy about how this story about “a girl who wanted to be loved” turned out. But where did the idea for the whole thing come from in the first place?

All sources I’ve consulted agree that the precursor to the plot of Sweet Charity was the 1957 film by famous Italian director Federico Fellini called Nights of Cabiria, which concerns an ever-hopeful prostitute who never loses her optimism that someday she’ll find true love and happiness. And where did he get the idea for the plot, you ask? Well, often the source of ideas is completely unknown, even to the artist him/herself. (One of the most irritating questions you can ask an author is, “Where do you get the ideas for your books?” The only legitimate answer is usually a shrug, perhaps accompanied by an eye roll.) But for this story we do have at least somewhat of a source, probably gleaned from Fellini’s letters or other papers. It’s not terribly upbeat: “The film took its inspiration from news reports of a woman’s severed head retrieved in a lake and stories by Wanda, a shantytown prostitute Fellini met” on the set of a previous movie. (Wikipedia) The mystery of creativity, of course, is that lots of other people had read that head-in-the-lake story, and Wanda probably talked to lots of other people on the film set. But only Fellini got the idea of making those disparate elements into a movie. He started the film with his main character ending up in the river, not a lake, and still in possession of her head—but having been pushed in by her cad of a boyfriend who then stole all of her money. The story went on from there with Cabiria going from cad to cad; at the end she was left alone but still hopeful.

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A Hard Truth Expressed Joyfully–Gloria Srikijkarn’s “Laugh, Sing, Rejoice”

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Image by StockSnap from Pixabay

It’s an unusual concert at which there will be in attendance two composers of the music being performed. It’s even more unusual to have one of those composers actually singing in the choir. (We’re also singing an arrangement by a member of the choir; I’m going to try to get to that piece in a later post.) We’ve been privileged in the past to sing Gloria Srikijkarn’s rousing setting of Psalm 100; now we get to present her 2019 composition using lyrics from “Solitude” by the mid-19th-century American poet Ella Wheeler Wilcox. Srikijkarn is a long-time member of the Cherry Creek Chorale and at present serves as the chair of our artistic committee.

I asked the composer about her creative process with this song, and she told me that when she was growing up her father had a book of poetry containing “Solitude.” (The poem has as an alternate title “The Way of the World.” Don’t know why.) As an adult Srikijkarn remembered the poem and decided to set it to music, but when she went back and read the whole thing she realized that it was much darker than she’d thought. Her first draft ended up being unusable, and she used just half of the lines in her finished piece. Here they are:

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An Illuminating New Work–Elaine Hagenberg’s “Illuminare”

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The Commissioning Consortium Process

Image by Stefan Keller from Pixabay

Elaine Hagenberg’s Illuminare was initially financed and publicized through a group of choirs that formed a commissioning consortium in 2021. This type of support for a major musical work  is a classic case of a win-win situation. The composer can offer a way for groups to share the financial cost of a commission and is also assured of a certain number of performances right off the bat. The choirs are able to share in the project at a lowered cost without any diminution of quality. Indeed, for Illuminare, a 24-minute orchestrated piece, the cost-sharing aspects surely made the commission as a whole possible, as it would have been difficult for any one choir to undertake the financial burden of such a long work. All of the consortium choirs get to participate in the excitement of a performance premiere and (possibly) have the composer present. My own choir, the Cherry Creek Chorale in the Denver area, was privileged to have Ms. Hagenberg on board for our final rehearsal. The composer was a full collaborator that evening, listening and critiquing gently but firmly.

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