GMG Classical Music Forum

"Anyone can be drunk, anyone can be in love, anyone can waste time and weep, but only I can pen my songs in the remaining years or minutes," wrote Ned Rorem. Known both as a writer and a composer, Rorem is intriguing as both a musical figure and as a personality. He is self-described as a profoundly diatonic composer and his music language betrays the influence of his French impressionist idols Debussy and Ravel. Rorem's harmonic palette is generally characterized by vertical extrapolations -- through modality, polymodality, and chordal alterations -- of an essentially tonal framework. Some works conduct innovative experiments in the song cycle form; Poems of Love and Rain, for example, sets eight different poems to music, then sets them again in reverse order to contrasting music. Many of his works juxtapose passages of harmonic and rhythmic complexity with moments of elegance and repose.

Rorem was the second of two children of Clarence Rufus Rorem, one of the founders of the Blue Cross, and Gladys Miller Rorem, a peace activist. The family soon moved to Chicago, where Rorem began studying piano and where he heard live such famous performers as Josef Hofmann, Sergey Rachmaninov, and the Ballets Russes. An early teacher exposed him to Debussy and the impressionists. Subsequent teachers taught him about American contemporary composers like Griffes and John Alden Carpenter, as well as the blues of Billie Holiday, and Rorem learned to notate the little tunes he had composed.

By the age of 16, Rorem had graduated from high school and already performed a concerto with the American Concerto Orchestra. He studied music theory with Leo Sowerby at the American Conservatory for a brief period before entering Northwestern University, where his time was largely spent absorbing a piano repertoire. In 1943, he accepted a scholarship from the Curtis Institute in Philadelphia, where he would study counterpoint with Rosario Scalero and musical-dramatic forms with Gian Carlo Menotti. After only a year there, Rorem moved to New York City, where he worked as Virgil Thomson's copyist in exchange for $20 a week plus composition lessons. Rorem also worked as rehearsal accompanist for Martha Graham and Eva Gauthier. Eventually Rorem entered Juilliard, where he completed bachelor's (1946) and master's (1948) degrees. He also studied with Aaron Copland during two summers at Tanglewood.

An award allowed Rorem to travel to France. What was intended to be a three-month visit ended up lasting 12 years. However, the first portion of his stay was largely spent in Morocco at the home of a friend, where he had the peace and quiet requisite for the 20 or so large-scale works he produced during this period. His work earned more honors, including the Lili Boulanger Award in 1950 and a Fulbright Fellowship the following year.

At this point, Rorem went on to Paris to study with Honegger. Through the influence of the Vicomtesse Marie-Laure de Noailles, he entered a social circle that included Jean Cocteau, Francis Poulenc, and Georges Auric. During this time, he also wrote several rather explicit diaries that were published a decade later to the shock and delight of many.

Rorem returned to New York in 1958 and during the next few decades held teaching positions at the University of Buffalo (1959-1960), the University of Utah (1965-1966), and the Curtis Institute (1980-1986). He still remained more of a composer than pedagogue, and is widely revered as the modern master of the art song genre. He received a Pulitzer Prize in 1976 for Air Music, two Guggenheim Fellowships, and commissions from several major symphony orchestras.

[Article taken from All Music Guide]

I didn't see a composer thread for Ned Rorem, so I figured I would start one. What do you guys think about his music? I've only heard (so far) his three symphonies and his Piano Concerto No. 2, which I think is an outstanding piece of music.

No Rorem fans here? Man, tough crowd.  :-[

Quote from: Mirror Image on January 09, 2011, 06:41:26 AM
No Rorem fans here? Man, tough crowd.  :-[

Give them time.

I just got off the plane.

I will be listening to ...of Love and the Rain tonight.

Quote from: springrite on January 09, 2011, 06:43:43 AM
Give them time.

I just got off the plane.

I will be listening to ...of Love and the Rain tonight.

This thread has already had 20+ views and not one of them felt compelled to comment about Rorem, which is disappointing, but not surprising.

Anyway, Springrite, have you picked up the Naxos recordings of his symphonies and concerti yet? These are outstanding recordings.

Quote from: Mirror Image on January 09, 2011, 08:04:52 AM
This thread has already had 20+ views and not one of them felt compelled to comment about Rorem, which is disappointing, but not surprising.

Anyway, Springrite, have you picked up the Naxos recordings of his symphonies and concerti yet? These are outstanding recordings.

No, I have hardly purchased a CD in a long time. But I do have a few Rorem CDs from years ago, including 2 songs CDs, the left hand PC, Eagle and Morning... something, and a bit of chamber music. I always had the impression that Rorem is "too talented to compose true masterpieces", much like Saint-Saens etc. What I mean is he is so talentd that he seems to compose everything so well and so easily that he did not seem to put enough time and concentration into them, except in the songs. Maybe that has changed in some of his later works?

Quote from: springrite on January 09, 2011, 08:10:07 AM
No, I have hardly purchased a CD in a long time. But I do have a few Rorem CDs from years ago, including 2 songs CDs, the left hand PC, Eagle and Morning... something, and a bit of chamber music. I always had the impression that Rorem is "too talented to compose true masterpieces", much like Saint-Saens etc. What I mean is he is so talentd that he seems to compose everything so well and so easily that he did not seem to put enough time and concentration into them, except in the songs. Maybe that has changed in some of his later works?

mmm,... very insightful there.

I have the song cycle 'Sun', and the SQ No.3, which I got because I had confused Rorem with Foss!

I have to agree with Paul's assessment: it comes too easy. I get the feeling of silver spoon implanted firmly...

My bigoted comment would be: typical gay american music,... sorry. ::) Nothing to see here. Move along.

Quote from: springrite on January 09, 2011, 08:10:07 AM
No, I have hardly purchased a CD in a long time. But I do have a few Rorem CDs from years ago, including 2 songs CDs, the left hand PC, Eagle and Morning... something, and a bit of chamber music. I always had the impression that Rorem is "too talented to compose true masterpieces", much like Saint-Saens etc. What I mean is he is so talentd that he seems to compose everything so well and so easily that he did not seem to put enough time and concentration into them, except in the songs. Maybe that has changed in some of his later works?

I think this is a real one-sided way to look at Rorem. Composing (as with writing) came very easy to him, but this shouldn't mean that there aren't some gems in the pile. Look at Milhaud, Martinu, and Villa-Lobos they composed a lot of music and some of it was very fine, some it not so much, but there's a lot to choose from in their output. The same applies to Rorem, but only with him there really haven't been many recordings of his orchestral works available. This part of his output seems to not get much press for whatever reasons. Listen to the slow movement of "Piano Concerto No. 2" and tell me that 12 minute movement isn't a masterpiece just by itself. His Violin Concerto is also a masterful work.


I guess all of this comes down to what someone considers to be a "masterpiece," but I think Rorem composed at least a few of them.

Quote from: snyprrr on January 09, 2011, 08:27:50 AMMy bigoted comment would be: typical gay american music,... sorry. ::) Nothing to see here. Move along.

And my bigoted response would be that you sound like you're dismissing a composer you haven't spent any time getting to know. You should definitely try to listen to his orchestral works.

Quote from: Mirror Image on January 09, 2011, 09:05:30 PM

I think this is a real one-sided way to look at Rorem. Composing (as with writing) came very easy to him, but this shouldn't mean that there are some gems in the pile. Look at Milhaud, Martinu, and Villa-Lobos they composed a lot of music and some of it was very fine, some it not so much, but there's a lot to choose from in their output. The same applies to Rorem, but only with him there really haven't been many recordings of his orchestral works available. This part of his output seems to not get much press for whatever reasons. Listen to the slow movement of "Piano Concerto No. 2" and tell me that 12 minute movement isn't a masterpiece just by itself. His Violin Concerto is also a masterful work.


I guess all of this comes down to what someone considers to be a "masterpiece," but I think Rorem composed at least a few of them.

I will certainly explore more of Rorem's orchestral works when I get a chance!

I've very much enjoyed the Rorem Symphonies disc on Naxos.  I picked up two other discs with concerti, and but they did not register as much. Based on his Third Symphony alone, Rorem is all right with me, and one of those artists I need to dig back into.

Quote from: Mirror Image on January 09, 2011, 09:07:20 PM

And my bigoted response would be that you sound like you're dismissing a composer you haven't spent any time getting to know. You should definitely try to listen to his orchestral works.

A random search brought me back to Rorem. Let's see what happens this time...


btw- had there not been a Thread, I would have shot for 'Scorin' with Rorem' or 'Whorin' with Rorem', or something. :-*

Quote from: snyprrr on January 29, 2013, 11:02:57 AM
A random search brought me back to Rorem. Let's see what happens this time...

My question to you is what Rorem works have you heard? The symphonies, Piano Concertos No. 2, and the VC are very fine. I need to re-listen to his Cello Concerto.

Quote from: Mirror Image on January 29, 2013, 11:08:31 AM
My question to you is what Rorem works have you heard? The symphonies, Piano Concertos No. 2, and the VC are very fine. I need to re-listen to his Cello Concerto.

I have a strategy. Shhh 8)... hear that? :o

Quote from: snyprrr on January 29, 2013, 11:02:57 AM
A random search brought me back to Rorem.

That's the risk of random searches, fella ; )

Quote from: karlhenning on January 29, 2013, 12:12:05 PM
That's the risk of random searches, fella ; )

ewww, like when you run in to an ex?,... and they're with...NO! Not THAT guy....uuuggghhhhh..... ahhh :o, yea :(

After,... uh..., exhaustive study,... I found these recordings interesting and cheap:

Piano Concerto for the Left-Hand (NewWorld)

Symphony for Strings/Eagles (NewWorld)

Winter Pages/Bright Music (NewWorld)

I look forward to hearing them. I also noticed that the entire Rorem/Naxos catalog was already in a Box! He's got quite a little bit of Orchestral Music there.


So, I'm wondering about these works:

1) works for Violin+Piano

2) The 3 Piano Trios (including the Beaux Arts performance)

3) Piano Music (3 Sonatas, Barcarolle,...)

The Concerto for Left Hand is interesting, in that he starts out with what for me is promising material, then develops it in such an uninteresting way that you start to wonder what you saw in the opening in the first place.

(http://dl.dropbox.com/u/32084883/Screen%20Shot%202012-12-24%20at%209.39.22%20PM.png) (http://dl.dropbox.com/u/32084883/Screen%20Shot%202012-12-24%20at%209.39.22%20PM.png)

i've found a lot of his stuff to have a similar effect on me—lots of potential but not much development. one gets the feeling that he's just not really good at developing material, and would be better off not doing so at all, in line with the basically French (Boulanger, etc) tradition he's one of the last surviving exponents of

some of the songs are nice

I'm going to get the Rorem Naxos box very soon. I particularly have enjoyed his orchestral music. His time will come.

Quote from: dyn on February 06, 2013, 10:19:08 PM
The Concerto for Left Hand is interesting, in that he starts out with what for me is promising material, then develops it in such an uninteresting way that you start to wonder what you saw in the opening in the first place.

(http://dl.dropbox.com/u/32084883/Screen%20Shot%202012-12-24%20at%209.39.22%20PM.png) (http://dl.dropbox.com/u/32084883/Screen%20Shot%202012-12-24%20at%209.39.22%20PM.png)

i've found a lot of his stuff to have a similar effect on me—lots of potential but not much development. one gets the feeling that he's just not really good at developing material, and would be better off not doing so at all, in line with the basically French (Boulanger, etc) tradition he's one of the last surviving exponents of

some of the songs are nice

I got all 3 cds yesterday. Well,... I'll agree with you,... maybe,... but,... mm,... I found him somewhat anonymous, yet engaging,... spiky, yet somewhat rounded,... perhaps the word 'somewhat' is what describes him best?

All the music on the three cds was all good for the kind of wintry, overcast weather we're having. It's all very 'cool',... Rorem does not seem to be wearing any hearts on any sleeves,... I like the 'non-involved' sound of it all. I don't need to listen hard here, so, it fulfills a certain Hindemithian 'workman' like quality,.... useful for background of a more modern variety. The oldest piece, 11 Movements for 11 Players, reveals a somewhat spiky Modernism with touches of jazz. Poulenc-meets-Copland? That may not be correct, but it's in the ballpark.


All these NewWorld discs have that company's usual, wonderful, sound quality, and the performers are all well known (Shaw, Sherry). I imagine that these three discs, along with the Naxos Box, would be quite the cornucopia of Rorem's Orchestral & Chamber Works.





There ARE the String Quartets, 2-4 (or is it 3-5?; the first one (or two) are early):

No.2 (or 3) on Newport

No.3 (or 4) on DG

No.4 (or 5) on a Ying Quartet cd ('America 'live' Vol.2 ???)

I felt ambivalent about the Newport, and I'm in no hurry to hear the other two,... unless of course you know better!

Wow!  Hard to believe that Ned Rorem, whose image on records in the 1960's always seemed to involve a black turtle-neck sweater, will be 90 this year!  ??? ??? ???

I gave his music a chance back then, and just found little to nothing there for me: however, I do recall critics back then saying that his songs were exquisite.

Quote from: Cato on February 08, 2013, 08:38:18 AM
Wow!  Hard to believe that Ned Rorem, whose image on records in the 1960's always seemed to involve a black turtle-neck sweater, will be 90 this year!  ??? ??? ???

I gave his music a chance back then, and just found little to nothing there for me: however, I do recall critics back then saying that his songs were exquisite.

Yes, he's more known for his songs than anything else in his oeuvre. I revisited the symphonies a week or so ago and found them to be pretty good, but nothing really unique or different about them for me to give them another listen any time soon. I've had better luck with his concerti though.

Quote from: Mirror Image on February 08, 2013, 05:15:53 PM
Yes, he's more known for his songs than anything else in his oeuvre. I revisited the symphonies a week or so ago and found them to be pretty good, but nothing really unique or different about them for me to give them another listen any time soon. I've had better luck with his concerti though.

ok, so you like the Concertos better? Violin, Violin & Cello,... what do you recommend. The VC was also on DG.

Quote from: snyprrr on February 09, 2013, 06:40:16 AM
ok, so you like the Concertos better? Violin, Violin & Cello,... what do you recommend. The VC was also on DG.

I like his Piano Concerto No. 2 probably the best with the Violin Concerto coming in second. I need to listen to the ones for cello, flute, and the Double Concerto again.

Quote from: Mirror Image on February 08, 2013, 05:15:53 PM
Yes, he's more known for his songs than anything else in his oeuvre. I revisited the symphonies a week or so ago and found them to be pretty good, but nothing really unique or different about them for me to give them another listen any time soon. I've had better luck with his concerti though.

That was my reaction! Not bad,but a bit a bland.

As to the black turtle-neck sweater! Better him than me!!

Quote from: snyprrr on February 05, 2013, 07:32:55 PM
After,... uh..., exhaustive study,... I found these recordings interesting and cheap:

Piano Concerto for the Left-Hand (NewWorld)

Symphony for Strings/Eagles (NewWorld)

Winter Pages/Bright Music (NewWorld)

I look forward to hearing them. I also noticed that the entire Rorem/Naxos catalog was already in a Box! He's got quite a little bit of Orchestral Music there.


So, I'm wondering about these works:

1) works for Violin+Piano

2) The 3 Piano Trios (including the Beaux Arts performance)

3) Piano Music (3 Sonatas, Barcarolle,...)

I like the three cds I got. Kind of anonymously Modern, but in a good, listenable way. Very clean. If I need something not too much, this will do.

I think the Symphony for Strings was the biggest piece here, and it sounds like a lot of other Modern String Symphonies, with Shaw and Atlanta, so, it's quite pleasing in its own way.

oy... I'm not awake here...

Quote from: cilgwyn on February 11, 2013, 02:57:20 AM
That was my reaction! Not bad,but a bit a bland.

As to the black turtle-neck sweater! Better him than me!!

Yeah, I think his concerti exhibit more of an individual voice. I have yet to hear any of his chamber works.

Quote from: snyprrr on February 11, 2013, 07:12:04 AM
I like the three cds I got. Kind of anonymously Modern, but in a good, listenable way. Very clean. If I need something not too much, this will do.

I think the Symphony for Strings was the biggest piece here, and it sounds like a lot of other Modern String Symphonies, with Shaw and Atlanta, so, it's quite pleasing in its own way.

oy... I'm not awake here...

ok, three years later and the same three discs are getting a big zzzZZZzzz....zzzZZZzzzz... outta me today. Oy!! this stuff is just fruity dandy music, too emotional, just so stereotypical of the source- post-Boulangerie drivel from fawning sycophants...

'Bright Music' isn't so offensive, but it is soooo inoffensive as to be somewhat. But it's all stuff that I'm eager to discard- to evacuate the bowels of my Library- of this seemingly pandering musics.

I'm putting on the last now, the Left-Hand Concerto and '11 Studies'...

ok- Concerto is much nicer...

ok, enough...

I got to know Rorem through reading his diaries as an undergraduate. As petty, self-indulgent and francocentric as they are, he writes beautifully about music. "Setting the Tone" is his book on modern music and is both fascinating and readable for anyone. His Piano and Cello Concerti are works that attracted me initially. Recently, I heard his first piano sonata and was very moved by the first movement. He knows his craft and is sometimes inspired, but there is too much sludge in his output to make me a true fan. But in that sludge there are diamonds that pop up from time to time.

First of all, I can't believe Rorem has made it to 92 years of age, given all of his documented misadventures of youth. Second, I just read that his first two symphonies were not recorded for 40 years after their premiers. That's hard for me to imagine; not that they are masterpieces, but they have a nice lyrical energy a la Copland (though there's only one Copland) that many works composed in the 1950s lack. It's my feeling that listeners are too quick to dismiss the music as "bland" or "derivative" without listening for the clever way he expands his materials. Perhaps they were simply composed too late, but during those decades where people were lamenting the loss of lyricism and tonality in modern music (by the late 50s Stravinsky, Copland, Schuman, Piston and even Diamond had gone largely atonal) it would seem these works deserved to be heard. I'm now listening to the 3rd and while a tad naive, to me it's really a colorful, lyrical, and inspired work.

Ned Rorem
redrum
Ned Rorem
redrum

;)

Ok, spooky movie similarities aside, and setting aside the vocal music, he's composed more than a clump of instrumental pieces - I will look into this guy, as I have never even heard of him before.

Though he is best known as a composer of songs, it was an orchestral suite, Air Music (1974), that won the Pulitzer Prize in 1976. His many orchestral works are distinguished by timbral exploration, rhythmic inventiveness and harmonic richness. The Piano Concerto for Left Hand and Orchestra (1993) is notable for its structural ingenuity. The work's eight movements include an opening and closing passacaglia interspersed with a tarantella, hymn, duet, vignette and medley, fashioned into three larger sections.  -- The Grove

***ORCHESTRAL***
Concertino da camera, hpd, 7 insts, 1946; Pf Conc. no.1, 1948, withdrawn; Pf Conc. no.2, 1950; Sym. no.1, 1950; Design, 1953; Sym. no.2, 1956; Sinfonia, sym. wind orch, 1957; Sym. no.3, 1957–8; Eagles, 1958; Pilgrims, str, 1958; Ideas, 1961; Lions, 1963; Water Music, cl, vn, orch, 1966; Pf Conc. in 6 Movts, 1969; Solemn Prelude, brass, 1973; Air Music, 1974; Assembly and Fall, 1975; Sunday Morning, 1977; Remembering Tommy, vc, pf, orch, 1979; Vn Conc., 1984; Org Conc., 1985; Str Sym., 1985; Frolic (Fanfare), orch, 1986; Fantasy and Polka, 1988; Quaker Reader, orch, 1988; Eng Hn Conc., 1992; Triptych, chbr orch, 1992; Pf Conc. no.4, left hand, orch, 1993; Double Conc., vn, vc, orch, 1998


***CHAMBER MUSIC***
Str Qt no.1, 1947, withdrawn; Mountain Song, fl/ob/vn/vc, pf, 1949; Sonata, vn, pf, 1949; Str Qt no.2, 1950; 11 Studies for 11 Players, 1959–60; Trio, fl, vc, pf, 1960; Lovers, ob, vc, perc, hpd, 1964; Day Music, vn, pf, 1971; Night Music, vn, pf, 1972; Book of Hours, fl, hp, 1975; Sky Music, hp, 1976; Romeo and Juliet, fl, gui, 1977; 3 Slow Pieces, vc, pf, 1978; After Reading Shakespeare, vc, 1980; Suite, gui, 1980; Winter Pages, cl, bn, pf, vn, vc, 1981; Dances, vc, pf, 1983; Picnic on the Marne, waltzes, sax, pf, 1983; End of Summer: Remembrance of Things Past, cl, vn, pf, 1985; Septet 'Scenes from Childhood', ob, hn, str qt, pf, 1985; Trio, cl, bn, pf, 1985; Bright Music, fl, 2 vn, vc, pf, 1988; Praising Charles: Fanfare and Flourish, brass, org, 1988; Diversions, hn, 2 tpt, trbn, tuba, 1989; Spring Music, vn, vc, pf, 1991; Str Qt no.3, 1991; Str Qt, no.4, 1995; An Oboe Book, 9 pieces, ob, pf, 1999

***KEYBOARD***
A Quiet Afternoon, pf, 1948; Pf Sonata no.1, 1948; Toccata, pf, 1948 [Pf Sonata no.1, 4th movt]; Barcarolles, pf, 1949; Pastorale, org, 1949 [transcr. Sym. no.1, 2nd movt]; Pf Sonata no.2, 1949; Sicilienne, 2 pf, 1950; Pf Sonata no.3, 1954; Slow Waltz, pf, 1956; Spiders, hpd, 1968; 8 Etudes, pf, 1975; A Quaker Reader, org, 1976; Views form the Oldest House, suite, org, 1981; Song & Dance, pf, 1986; For Shirley, pf 4 hands, 1989; Organbook I–III, 1989–90; Fantasy and Toccata, org, 1994; 6 Variations, 2 pf, 1995

Quote from: Rons_talking on March 21, 2016, 09:25:16 AMPerhaps they were simply composed too late, but during those decades where people were lamenting the loss of lyricism and tonality in modern music (by the late 50s Stravinsky, Copland, Schuman, Piston and even Diamond had gone largely atonal) it would seem these works deserved to be heard.

When people complain about the "loss of lyricism and tonality in modern music" (or whatever) it is not because they are actually looking for music that has those things, but rather lamenting the loss of the time when their minds were still open to new experiences and curiosity. It inevitably proves that it is not "modern music" that is the problem—they treat all modern music equally regardless of its lyrical content—but simply that their preferences have become fixed, that they can no longer respond to new (to them) music as strongly as they did twenty or forty or sixty years ago, and though they may be only aware of this subconsciously it has filtered through in this form to the conscious mind.

I don't know the symphonies which is bad because I have a recording of them and I'm sure I listened to it once or twice. He's not derivative; he has a fairly distinct voice, it's just one that takes as given most of the assumptions of the classical tradition and does not tend to interrogate anything critically, which is probably where the accusations come from. I don't think there's anything wrong with that by itself; in general I find Rorem's problem to be an overreliance on a set of musical "tropes" to convey various moods, making numerous songs/movements in larger works resemble each other very closely. There are lots of nice things in his work, though, and it deserves to be revived in small quantities for sure.

Quote from: Scion7 on March 21, 2016, 12:43:05 PM
Ok, spooky movie similarities aside, and setting aside the vocal music, he's composed more than a clump of instrumental pieces - I will look into this guy, as I have never even heard of him before.

Though he is best known as a composer of songs, it was an orchestral suite, Air Music (1974), that won the Pulitzer Prize in 1976. His many orchestral works are distinguished by timbral exploration, rhythmic inventiveness and harmonic richness. The Piano Concerto for Left Hand and Orchestra (1993) is notable for its structural ingenuity. The work's eight movements include an opening and closing passacaglia interspersed with a tarantella, hymn, duet, vignette and medley, fashioned into three larger sections.  -- The Grove

***ORCHESTRAL***
Concertino da camera, hpd, 7 insts, 1946; Pf Conc. no.1, 1948, withdrawn; Pf Conc. no.2, 1950; Sym. no.1, 1950; Design, 1953; Sym. no.2, 1956; Sinfonia, sym. wind orch, 1957; Sym. no.3, 1957–8; Eagles, 1958; Pilgrims, str, 1958; Ideas, 1961; Lions, 1963; Water Music, cl, vn, orch, 1966; Pf Conc. in 6 Movts, 1969; Solemn Prelude, brass, 1973; Air Music, 1974; Assembly and Fall, 1975; Sunday Morning, 1977; Remembering Tommy, vc, pf, orch, 1979; Vn Conc., 1984; Org Conc., 1985; Str Sym., 1985; Frolic (Fanfare), orch, 1986; Fantasy and Polka, 1988; Quaker Reader, orch, 1988; Eng Hn Conc., 1992; Triptych, chbr orch, 1992; Pf Conc. no.4, left hand, orch, 1993; Double Conc., vn, vc, orch, 1998


***CHAMBER MUSIC***
Str Qt no.1, 1947, withdrawn; Mountain Song, fl/ob/vn/vc, pf, 1949; Sonata, vn, pf, 1949; Str Qt no.2, 1950; 11 Studies for 11 Players, 1959–60; Trio, fl, vc, pf, 1960; Lovers, ob, vc, perc, hpd, 1964; Day Music, vn, pf, 1971; Night Music, vn, pf, 1972; Book of Hours, fl, hp, 1975; Sky Music, hp, 1976; Romeo and Juliet, fl, gui, 1977; 3 Slow Pieces, vc, pf, 1978; After Reading Shakespeare, vc, 1980; Suite, gui, 1980; Winter Pages, cl, bn, pf, vn, vc, 1981; Dances, vc, pf, 1983; Picnic on the Marne, waltzes, sax, pf, 1983; End of Summer: Remembrance of Things Past, cl, vn, pf, 1985; Septet 'Scenes from Childhood', ob, hn, str qt, pf, 1985; Trio, cl, bn, pf, 1985; Bright Music, fl, 2 vn, vc, pf, 1988; Praising Charles: Fanfare and Flourish, brass, org, 1988; Diversions, hn, 2 tpt, trbn, tuba, 1989; Spring Music, vn, vc, pf, 1991; Str Qt no.3, 1991; Str Qt, no.4, 1995; An Oboe Book, 9 pieces, ob, pf, 1999

***KEYBOARD***
A Quiet Afternoon, pf, 1948; Pf Sonata no.1, 1948; Toccata, pf, 1948 [Pf Sonata no.1, 4th movt]; Barcarolles, pf, 1949; Pastorale, org, 1949 [transcr. Sym. no.1, 2nd movt]; Pf Sonata no.2, 1949; Sicilienne, 2 pf, 1950; Pf Sonata no.3, 1954; Slow Waltz, pf, 1956; Spiders, hpd, 1968; 8 Etudes, pf, 1975; A Quaker Reader, org, 1976; Views form the Oldest House, suite, org, 1981; Song & Dance, pf, 1986; For Shirley, pf 4 hands, 1989; Organbook I–III, 1989–90; Fantasy and Toccata, org, 1994; 6 Variations, 2 pf, 1995

Keep us abreast of your growing disappointment! ;)

Is he VERY inconsistent?  Yes.
Is the majority of his stuff that I've heard pretty ~ ~ eeeehhhh ~ ~ , well, yes.
But there are few pieces here and there that are not quite so monotonous.   :)

He'll never be a fave, tho'.

I seem to have two CDs with music by Rorem.  I did not dislike them, but neither did I truly like them.   And the Meyer Quintet impressed me far more than the Rorem Quartet that was its coupling.
(http://ecx.images-amazon.com/images/I/71s-pk6uDML._SX522_.jpg)
(http://ecx.images-amazon.com/images/I/41BZvxCC3tL.jpg)

Quote from: snyprrr on March 27, 2016, 03:01:20 PM
Keep us abreast of your growing disappointment! ;)

Tough crowd. ;)

Today is Ned Rorem's 95th birthday and the New York Times has a fresh new interview for the occasion:

https://www.nytimes.com/2018/10/23/arts/music/ned-rorem-birthday.html

I just love Rorem's 3 symphonies (on Naxos). They are orchestral masterpieces.

I've seen very little commentary on the music of Ned Rorem since his death last week. Many consider his output to be uneven (I don't care for some of his works) but the was a tremendous talent and composed a lot of great music. He also wrote other composer's music beautifully. He didn't need technical jargon to discuss a work. His Piano Concerto, Symphonies and songs are worth a listen for anyone.

Quote from: Rons_talking on November 21, 2022, 02:39:32 AM
He also wrote other composer's music beautifully.

^ about?

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