Leslie
Adams (b. 1932) is the youngest of the composers featured in this essay.
He has written many lovely songs for voice and piano in the forty years
he has been composing professionally. Equally at ease writing for orchestra,
chamber ensemble, organ, piano, and chorus, his treatment of art song is
particularly praiseworthy. Important cycles include African-American Songs,
with six texts by African-American poets, and The Wider View. Adams has
set various poems by Cleveland native Joette McDonald. The importance of
this collaboration is yet to be determined, but it does represent the most
significant settings of her poetry. His stirringly expressive song, "For
You There Is No Song" appears in Patterson's anthology. Subsequent to this
publication, the song has become popular with young singers. It is listed
individually in Villamil's Singer's Guide to the American Art Song. This
song is part of a cycle of five poems by Edna St. Vincent Millay, entitled
Millay Songs. It is particularly recommended.
Millay
Songs was written in 1977 and is available from American Composers Alliance.
There are two versions, one for high voice, the other for medium voice
and piano. There songs are perhaps the finest of Adams' considerable catalog.
The beautiful melodies of the voice are firmly supported by a piano accompaniment
that is keenly reflective of the text. Millay's texts are, for the most
part, melancholic. They express sentiments of the tedium of daily life,
lost love, and lost opportunities. The penultimate song, "The Return From
Town," is shocking in its contrast to the previous three songs. It, too,
speaks of opportunities lost, but does so almost as a matter of jest (the
text says, succinctly, "I saw someone fair. I ignored him and went into
my own house. There I already have a handsome husband.")
Picturesque
is the best word one may use to describe the piano treatment of these
songs. Much like the songs of Schumann, the piano intercedes to complete
fragments of thoughts where words fail. A fine pianist himself, Adams
is very specific with markings. The voice part is written with sensitivity
for the expressive powers of a lyric instrument. Decidedly, this composer
knows how to maximize effects possible from singers. On high notes, time
is given for the blossoming of tone. Lines are written for the voice in
such a way as to encourage vowel-to-vowel singing, the framework necessary
for true legato. There are some complexities here that will require specific
attention if a unified ensemble is to prevail. The level of difficulty
for this work is medium to medium high. It is a gratifying piece to perform.
Click
here for Entire Essay
LESLIE ADAMS: FIVE MILLAY
SONGS
Wild Swans
Branch By Branch
For You There Is No Song
The Return From Town
Gone Again Is Summer The Lovely
|
