Modern Scenes from American Life

Notes on the Program

by Steven Blier

Until recent years, the American Art Song has had what we might call an image problem. The very words conjured up either thorny, academic music in the atonal style with depressing subject matter, or cheerful, folksier ones of the "art song is fun!" variety.  I remember listening to a young singer's audition tape with a prominent American opera singer, also known for her gifts as a recitalist.  After the expected Grieg and Strauss, the tenor had programmed an earnest and (I admit) slightly dreary American piece.  Two bars into it, the diva turned to me and hissed "American composers!" in about the same scornful tone used about people who litter or run red lights. American music used to be considered not especially palatable but good for you--like broccoli.

In truth, the idea of the art song goes against something basic in our national character. In the land of equality, why should some songs be more nobly born than others?  Leaving aside the anti-democratic idea that some songs are simply a great deal better than others, the European class system of music goes against our informal, first-name basis culture.  The profound influence of jazz and blues has made itself heard in so much of our "art" music that the traditional classifications are hard to apply.  Concurrently, as popular music is veering farther and farther off into amplification and electronic effects, classically trained singers are increasingly called upon to keep the music from Broadway's (pre-microphone) golden age alive.  It's quite common to hear Gershwin and Kern on today's recitals, and one can only wonder which (if any) of today's popular and theater music will rise to similar heights in thirty years' time.

The complete notes are now available for purchase.