Leonard Warren: American Baritone by Mary Jane Phillips-MatzReview by: Richard LeSueurNotes, Second Series, Vol. 58, No. 1 (Sep., 2001), pp. 104-105Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900889 .

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NOTES, September 2001 NOTES, September 2001

Renaissance Man': The New Negro and the Musical Poetics of William Grant Still," ex- amines Still's relationship to the Harlem Renaissance, especially Alain Locke and The New Negro (1925). The author catego- rizes Still's work into three stylistic periods -the "ultramodern period" (represented by Darker America, 1924), the "racial music" from 1925, and the "universal period" from 1932 on-and argues that his compositions fully realize Locke's ideas by "[e]ndeavor- ing to create both an African American art music and an American art music" (p. 48).

Smith's solid essays explore new aspects of Still's biography and stylistic develop- ment from the perspectives of race, class, and gender. "Finding His Voice: William Grant Still in Los Angeles" examines his "efforts to bridge the gap that had devel- oped between" the high modernism of his New York years "and the traditional concert audience" he sought "to expand across lines of race and class" (p. 76); "An Un- known 'New Negro' " reconstructs the biog- raphy of Harold Bruce Forsythe (1908- 1976), an associate and the librettist of Still's first opera, Blue Steel (1934-35); "The Afro-American Symphony and Its Scherzo" an- alyzes a movement from Still's best-known work with the aid of newly available sketches, notes, and diaries by the com- poser; "they, Verna and Billy" dissects Still's interracial marriage and his collaboration with his second wife, Arvey; and "'Harlem Renaissance Man' Revisited: The Politics of Race and Class in Still's Late Career," per- haps the most controversial of Smith's es- says, revisits Still's conspiracy theory regard- ing critical reception of his later works, especially Troubled Island (1949).

Though one might question Smith's or- dering of the primary sources that con- clude the volume, these documents are most valuable, especially the first four, which present previously unpublished ma- terial. The document "Personal Notes," written by Still in response to Forsythe's let- ter of 1933 (see below), records new infor- mation about the composer's adolescence and Oberlin years and contains miscella- neous jottings about early musical friends, associates, and compositions; "William Grant Still and Irving Schwerk6: Docu- ments from a Long-Distance Friendship," ably edited by Wayne Shirley of the Library of Congress, contains informative corre-

Renaissance Man': The New Negro and the Musical Poetics of William Grant Still," ex- amines Still's relationship to the Harlem Renaissance, especially Alain Locke and The New Negro (1925). The author catego- rizes Still's work into three stylistic periods -the "ultramodern period" (represented by Darker America, 1924), the "racial music" from 1925, and the "universal period" from 1932 on-and argues that his compositions fully realize Locke's ideas by "[e]ndeavor- ing to create both an African American art music and an American art music" (p. 48).

Smith's solid essays explore new aspects of Still's biography and stylistic develop- ment from the perspectives of race, class, and gender. "Finding His Voice: William Grant Still in Los Angeles" examines his "efforts to bridge the gap that had devel- oped between" the high modernism of his New York years "and the traditional concert audience" he sought "to expand across lines of race and class" (p. 76); "An Un- known 'New Negro' " reconstructs the biog- raphy of Harold Bruce Forsythe (1908- 1976), an associate and the librettist of Still's first opera, Blue Steel (1934-35); "The Afro-American Symphony and Its Scherzo" an- alyzes a movement from Still's best-known work with the aid of newly available sketches, notes, and diaries by the com- poser; "they, Verna and Billy" dissects Still's interracial marriage and his collaboration with his second wife, Arvey; and "'Harlem Renaissance Man' Revisited: The Politics of Race and Class in Still's Late Career," per- haps the most controversial of Smith's es- says, revisits Still's conspiracy theory regard- ing critical reception of his later works, especially Troubled Island (1949).

Though one might question Smith's or- dering of the primary sources that con- clude the volume, these documents are most valuable, especially the first four, which present previously unpublished ma- terial. The document "Personal Notes," written by Still in response to Forsythe's let- ter of 1933 (see below), records new infor- mation about the composer's adolescence and Oberlin years and contains miscella- neous jottings about early musical friends, associates, and compositions; "William Grant Still and Irving Schwerk6: Docu- ments from a Long-Distance Friendship," ably edited by Wayne Shirley of the Library of Congress, contains informative corre-

spondence between the composer and Paris-based music critic Schwerke (1893- 1975), an early supporter; Forsythe's 1930 essay, "William Grant Still: A Study in Contradictions" (from which the book's ti- tle is derived), is actually the earliest known detailed commentary on Still's music; and Forsythe's letter to Still (ca. 1933) details his "Plan for a Biography of Still" that un- fortunately never materialized. The fifth and final source, Arvey's 1939 essay "William Grant Still" (introduction byJohn Tasker Howard), supplies reflections by Still about his early compositions and career.

The entire volume is rigorously re- searched and well documented. It signals the coming of age of Still scholarship as a promising field of inquiry.

JOSEPHINE WRIGHT

College of Wooster

Leonard Warren: American Baritone.

By Mary Jane Phillips-Matz. (Opera Biography Series, 13.) Portland, Ore.: Amadeus Press, 2000. [471 p. ISBN 1- 57467-053-0. $39.95.]

At last, we have a biography of one of the greatest American baritones of the twenti- eth century. From his Metropolitan Opera debut in 1939 until his untimely death on that stage in 1960, Leonard Warren was the premier Verdi baritone, rivaled only by Robert Merrill. Author Mary Jane Phillips- Matz had the assistance of the baritone's sister, Vivian Warren, in writing this book, and the Leonard Warren Foundation has issued a set of two compact discs (Leonard Warren Commemorative, Leonard Warren Foundation, distr. VAI Distribution, LWC 1-2, 2000) in conjunction with its publica- tion.

Warren's life is put forth here in a straightforward chronological line, from his Russian-Jewish ancestry to his conver- sion to Catholicism, and from his years at Radio City Music Hall to the Metropolitan Opera. Somewhere in the process, the man behind the legend is lost, and we are left with the feeling that there is much that has been left unwritten. Though not as prob- lematic as the collection of periodical arti- cles the same publisher brought out as a

spondence between the composer and Paris-based music critic Schwerke (1893- 1975), an early supporter; Forsythe's 1930 essay, "William Grant Still: A Study in Contradictions" (from which the book's ti- tle is derived), is actually the earliest known detailed commentary on Still's music; and Forsythe's letter to Still (ca. 1933) details his "Plan for a Biography of Still" that un- fortunately never materialized. The fifth and final source, Arvey's 1939 essay "William Grant Still" (introduction byJohn Tasker Howard), supplies reflections by Still about his early compositions and career.

The entire volume is rigorously re- searched and well documented. It signals the coming of age of Still scholarship as a promising field of inquiry.

JOSEPHINE WRIGHT

College of Wooster

Leonard Warren: American Baritone.

By Mary Jane Phillips-Matz. (Opera Biography Series, 13.) Portland, Ore.: Amadeus Press, 2000. [471 p. ISBN 1- 57467-053-0. $39.95.]

At last, we have a biography of one of the greatest American baritones of the twenti- eth century. From his Metropolitan Opera debut in 1939 until his untimely death on that stage in 1960, Leonard Warren was the premier Verdi baritone, rivaled only by Robert Merrill. Author Mary Jane Phillips- Matz had the assistance of the baritone's sister, Vivian Warren, in writing this book, and the Leonard Warren Foundation has issued a set of two compact discs (Leonard Warren Commemorative, Leonard Warren Foundation, distr. VAI Distribution, LWC 1-2, 2000) in conjunction with its publica- tion.

Warren's life is put forth here in a straightforward chronological line, from his Russian-Jewish ancestry to his conver- sion to Catholicism, and from his years at Radio City Music Hall to the Metropolitan Opera. Somewhere in the process, the man behind the legend is lost, and we are left with the feeling that there is much that has been left unwritten. Though not as prob- lematic as the collection of periodical arti- cles the same publisher brought out as a

104 104

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Book Reviews Book Reviews

biography of Lily Pons, this volume is cer-

tainly not a critical biography. The recollec- tions of Warren's sister are of great interest, but they should not be the base on which this biography stands.

Therein lies the problem. Because of the author's heavy reliance on the comments of Vivian Warren, the reader gets a one- sided view of the singer. There are a few negative criticisms quoted in the text, but for the most part, Warren is shown moving from triumph to triumph. One reads of the singer as a family man who is the consum- mate professional at the opera house, but

prefers to play with his electric trains or sail his boat as soon as he leaves. There are al- most no comments or quotes on his artistry from his colleagues, but we do learn of the reaction of several associates regarding his conversion. Another question that is not answered concerns the conductor Arturo Toscanini. He and Warren performed a highly successful concert version of the fi- nal act of Rigoletto, and yet that single con- cert was the only time they collaborated. Since they were both under contract to the same record company (RCA), it would have made sense for Warren to be the first choice for several of Toscanini's complete opera broadcasts, but Robert Merrill and Giuseppe Valdengo became his fa- vored baritones. Also, was ego involved in Warren's decision not to sing in Verdi's Don Carlo, since Merrill was given the pre- miere? We know only that Warren never sang this very important role.

The text itself requires only 297 pages, with the volume's final 173 containing the bibliography, a discography with filmogra- phy, a chronology, and an index. The dis- cography is in seven parts that could have been cut to three or four with a good in- dex. It is complete, including information on many unpublished titles, but it does not cover the compact disc reissues with the same detail as the original recordings; im- portant reissues on Romophone, Minerva, and Myto are inexplicably ignored. The chronology is in two parts. Part 1 is a com- plete list of all of the performances with the Metropolitan Opera, both in New York and on its annual tour, and part 2 is a complete list of all the performances at other opera houses; consequently, the researcher must look in two places to see what was per- formed in any particular season. There are

biography of Lily Pons, this volume is cer-

tainly not a critical biography. The recollec- tions of Warren's sister are of great interest, but they should not be the base on which this biography stands.

Therein lies the problem. Because of the author's heavy reliance on the comments of Vivian Warren, the reader gets a one- sided view of the singer. There are a few negative criticisms quoted in the text, but for the most part, Warren is shown moving from triumph to triumph. One reads of the singer as a family man who is the consum- mate professional at the opera house, but

prefers to play with his electric trains or sail his boat as soon as he leaves. There are al- most no comments or quotes on his artistry from his colleagues, but we do learn of the reaction of several associates regarding his conversion. Another question that is not answered concerns the conductor Arturo Toscanini. He and Warren performed a highly successful concert version of the fi- nal act of Rigoletto, and yet that single con- cert was the only time they collaborated. Since they were both under contract to the same record company (RCA), it would have made sense for Warren to be the first choice for several of Toscanini's complete opera broadcasts, but Robert Merrill and Giuseppe Valdengo became his fa- vored baritones. Also, was ego involved in Warren's decision not to sing in Verdi's Don Carlo, since Merrill was given the pre- miere? We know only that Warren never sang this very important role.

The text itself requires only 297 pages, with the volume's final 173 containing the bibliography, a discography with filmogra- phy, a chronology, and an index. The dis- cography is in seven parts that could have been cut to three or four with a good in- dex. It is complete, including information on many unpublished titles, but it does not cover the compact disc reissues with the same detail as the original recordings; im- portant reissues on Romophone, Minerva, and Myto are inexplicably ignored. The chronology is in two parts. Part 1 is a com- plete list of all of the performances with the Metropolitan Opera, both in New York and on its annual tour, and part 2 is a complete list of all the performances at other opera houses; consequently, the researcher must look in two places to see what was per- formed in any particular season. There are

many references to Warren's recital appear- ances in the text of the book, but none in the chronology; perhaps their sheer num- ber made inclusion there impossible, but it would have been helpful to indicate that they were an important part of his perform- ing career. There is an index of names, but the reader who wishes to know about Rigoletto, for example, is forced to look at all of the Verdi references. There is no sub- ject index at all.

This will probably be the only biography of Leonard Warren for some time, and as such it has value for any music collection, but the opportunity to present a complete portrait of this great baritone's life and career has been lost.

RICHARD LESUEUR Ann Arbor District Library

Tomorrow Never Knows: Rock and

Psychedelics in the 1960s. By Nick Bromell. Chicago: University of Chi-

cago Press, 2000. [225 p. ISBN 0-226- 07553-2. $22.50.]

Sixties Rock: Garage, Psychedelic, and Other Satisfactions. By Michael Hicks.

(Music in American Life.) Urbana:

University of Illinois Press, 1999. [x, 162 p. ISBN 0-252-02427-3 (cloth); 0- 252-06915-3 (pbk.). $26.95 (cloth); $16.95 (pbk.).]

"Will we ever know what really happened in the '60s?" (p. 2). Thus Nick Bromell opens his new book Tomorrow Never Knows: Rock and Psychedelics in the 1960s. Viewing the decade as a short, extremely disruptive period that has yet to be fully integrated into our collective historical consciousness, Bromell intends the book "to connect the sixties more persuasively to our sense of the present" (p. 6). Rather than approaching those years from what he considers the two "orthodox" perspectives (political and pole- mical), he examines how they signaled a new way of looking at the world, focusing particularly on the role played by rock mu- sic and psychedelics in this shift of per- spective. Tomorrow Never Knows is thus not a coherent history of sixties rock, nor, for the most part, does it offer a close analysis of the sounds themselves, although the

many references to Warren's recital appear- ances in the text of the book, but none in the chronology; perhaps their sheer num- ber made inclusion there impossible, but it would have been helpful to indicate that they were an important part of his perform- ing career. There is an index of names, but the reader who wishes to know about Rigoletto, for example, is forced to look at all of the Verdi references. There is no sub- ject index at all.

This will probably be the only biography of Leonard Warren for some time, and as such it has value for any music collection, but the opportunity to present a complete portrait of this great baritone's life and career has been lost.

RICHARD LESUEUR Ann Arbor District Library

Tomorrow Never Knows: Rock and

Psychedelics in the 1960s. By Nick Bromell. Chicago: University of Chi-

cago Press, 2000. [225 p. ISBN 0-226- 07553-2. $22.50.]

Sixties Rock: Garage, Psychedelic, and Other Satisfactions. By Michael Hicks.

(Music in American Life.) Urbana:

University of Illinois Press, 1999. [x, 162 p. ISBN 0-252-02427-3 (cloth); 0- 252-06915-3 (pbk.). $26.95 (cloth); $16.95 (pbk.).]

"Will we ever know what really happened in the '60s?" (p. 2). Thus Nick Bromell opens his new book Tomorrow Never Knows: Rock and Psychedelics in the 1960s. Viewing the decade as a short, extremely disruptive period that has yet to be fully integrated into our collective historical consciousness, Bromell intends the book "to connect the sixties more persuasively to our sense of the present" (p. 6). Rather than approaching those years from what he considers the two "orthodox" perspectives (political and pole- mical), he examines how they signaled a new way of looking at the world, focusing particularly on the role played by rock mu- sic and psychedelics in this shift of per- spective. Tomorrow Never Knows is thus not a coherent history of sixties rock, nor, for the most part, does it offer a close analysis of the sounds themselves, although the

105 105

This content downloaded from 91.229.229.13 on Sun, 15 Jun 2014 16:24:36 PMAll use subject to JSTOR Terms and Conditions