Ned Rorem, Pulitzer Prize winning classical composer.
The prize was awarded for “Air Music,” a suite commissioned for the American bicentennial by the Cincinnati Symphony Orchestra. Though he wrote many other orchestral works as well — including his Symphony No. 3, which was given its premiere by the New York Philharmonic under Leonard Bernstein in 1959 — Mr. Rorem’s enduring appeal rested more on his vocal pieces.
Robert Shaw, who was America’s foremost conductor of choral music, called him the greatest art-song composer of his time. And it was a remarkably long time.
Mr. Rorem was 74 when his masterwork “Evidence of Things Not Seen” was first performed, in 1998. An evening-long song cycle for four singers and piano, incorporating 36 poems by 24 authors, it was praised by the New York magazine critic Peter G. Davis as “one of the musically richest, most exquisitely fashioned, most voice-friendly collections of songs” by any American composer.
Mr. Rorem had no use for avant-garde theories or their proponents — modern masters like Pierre Boulez and Elliott Carter included. In turn, some critics found him short of original ideas and dynamism, a miniaturist unable to sustain longer pieces. Reviewing “Miss Julie,” the Rorem opera based on Strindberg’s drama, when it was presented by New York City Opera in 1965, Harold C. Schonberg of The New York Times wrote, “His melodic ideas are utterly bland, lacking in profile or distinction.”
Marcus Sedgwick, author. (Hattip: Lawrence.)
For the record: NYT obit for Robert Clary.