Program Notes

Robert Schumann (1810-1856)

New England Triptych (1956)

Scored for three flutes and piccolo, three oboes and English horn, four clarinets, Eb clarinet and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings

 

In his day William Schuman was no less famous and no less consequential a voice than Aaron Copland. It was Copland, in fact, that helped jump-start Schuman’s career in 1937, when he recommended his colleague’s Second Symphony to the conductor Serge Koussevitzky, who lost little time in scheduling its performance. Four years later, now with an established reputation, his Third Symphony lifted that reputation to worldwide status. Seven more works in the form followed, and established Schuman, alongside David Diamond and Walter Piston, as among the most important symphonists of the 20 th century. Today, though, his symphonies don’t get as much attention as they should on the concert stages of the U. S. A., and he is now largely represented by the American Festival Overture, and what has become his signature work, the New England Triptych.

The three movement suite was completed in 1956, and was an expansion of the composer’s William Billings Overture of thirteen years earlier. It was first performed on October 26, 1956, conducted by Andre Kostelanetz, who commissioned the work for the University of Miami Symphony Orchestra. The following are the composer’s own notes for the work, which he requested be utilized in any performance of it:

William Billings (1746-1800) is a major figure in the history of American music. The works of this dynamic composer capture the spirit of sinewy ruggedness, deep religiosity, and patriotic fervor that we associate with the Revolutionary period. Despite the undeniable crudities and technical shortcomings of his music, its appeal, even today, is forceful and moving. I am not alone among American composers who feel an identity with Billings, and it is this sense of identity that accounts for my use of his music as a point of departure. These pieces do not constitute a"fantasy" on themes of Billings, nor "variations" on his themes, but rather a fusion of styles and musical language.

 

BE GLAD THEN, AMERICA

Billings ' text for this anthem includes the following lines:

Yea, the Lord will answer

And say unto his people –

­ behold!

I will send you corn and wine and

oil

And ye shall be satisfied

therewith.

Be glad then, America,

Shout and rejoice.

Fear not O land,

Be glad and rejoice.

Hallelujah!

A timpani solo begins the short introduction, which is developed predominantly in the strings. This music is suggestive of the "Hallelujah" heard at the end of the piece. Trombones and trumpets begin the main section, a free and varied setting of the words "Be Glad Then, America, Shout and Rejoice." The timpani, again solo, leads to a middle fugal section stemming from the words "And Ye Shall Be Satisfied." The music gains momentum, and combined themes lead to a climax. There follows a free adaptation of the "Hallelujah" music with which Billings concludes his original choral piece and a final reference to the "Shout and Rejoice" music.

 

WHEN JESUS WEPT

When Jesus wept the falling tear

In mercy flowed beyond all

bound;

When Jesus groaned, a trembling

Fear

Seized all the guilty world

around.

The setting of the above text is in the form of a round. Here, Billings' music is used in its original form, as well as in the new settings with contrapuntal embellishments and melodic extensions.

 

CHESTER

This music, composed as a church hymn, was subsequently adopted by the Continental Army as a marching song and enjoyed great popularity. The orchestral piece derives from the spirit both of the hymn and the marching song. The original words, with one of the verses especially written for its use by the Continental Army, follow:

Let tyrants shake their iron rods,

And slavery clank her galling

chains,

We fear them not, we trust in

God,

New England 's God forever

reigns.

The foe comes on with haughty

stride,

Our troops advance with martial

noise,

Their vet'rans flee before our

youth,

And gen'rals yield to beardless

Boys