The Road Not Taken
A Documented Biography of Randall Thompson
Carl B. and Elizabeth K. Schmidt
André-Ernest-Modeste Grétry (1741-1813) was born in Liège, Belgium, to a poor violinist, and went on to become one of the most famous and successful composers in Europe, producing a long succession of comic operas for the Parisian stage. Late in life he turned his pen from musical composition to writing prose, producing a volume of Memoirs or Essays on Music in 1789. This was republished in 1797 with additional essays. In 1802 he published a new work, On Truth, or What We Were, What We are, What We Ought To Be, in three volumes. Approaching the end of his life, he was working assiduously on a third and even larger work of philosophy, the Reflections of a Solitary Man. Although he had announced its imminent publication, it was left in manuscript at his death, and was only published more than a century later, by Solvay and Closson (1919-1922). This edition of the Major Prose Works intends to make the writings of this major musical figure available to the reader in an English-language edition for the first time, providing a different view of a leading European cultural figure at the transition from the Classical to the Romantic age
Carl B. and Elizabeth K. Schmidt: CURRICULUM VITAE FOR DR. CARL B. SCHMIDT Professor Emeritus of Music History and Culture Towson University, Towson, MD (May 2017) I. Education Ph.D. 1973 Harvard Univ.; Dissertation: “The Operas of Antonio Cesti”; Director: Prof. Nino Pirrotta; A.M. 1967 Harvard Univ.; Thesis: “Fabricio Dentice and His Polyphonic Lamentations of 1593;” Advisor: Prof. John M. Ward; A.B. 1963 Stanford Univ. (with honors in music); Dipl. 1962 Écoles d’Art Américaines (Fontainebleau, France) Conducting with Nadia Boulanger and Solfège with Annette Dieudonné. II. Important Scholarships, Fellowships, Prizes, and Awards Outside of Towson University • Music and Letters Research Grant for research in England; • Two American Philosophical Society Grants for research in France; • Music Library Association Prize for the Best Article-Length Bibliography or Article on Music Librarianship; • $2500 from Les Amis de Francis Poulenc (Paris, France) for the excellence of The Music of Francis Poulenc (1899-1963): A Catalogue; • $50,000 National Endowment for the Humanities Edition Grant for editorial supervision of Jean-Baptiste Lully: The Collected Work (3-year grant); • American Council of Learned Societies summer stipend for work on Lully; • Harvard Univ. Houghton Library Fellowship (2005-06) for work on Randall Thompson. III. Publications and Works in Progress Books and On-Line Works Published: • A History of the Handel Choir of Baltimore (1935-2013): ‘Music Spread Thy Voice Around.’ Lanham, MD: Lexington Books, a subsidiary of Rowman & Littlefield, 2015; • Carl B. Schmidt and Elizabeth K. Schmidt, The Music of Randall Thompson (1899-1984): A Documented Catalogue. Fenton, MO: ECS Publishing, 2015; • The Music of Georges Auric (1899-1983): A Documented Catalogue, 4 vols. Lewiston/Queenston/ Lampeter: The Edwin Mellen Press, 2012; • Entry on Francis Poulenc in On-Line Bibliographies in the Humanities and Sciences. New York: Oxford Univ. Press, May 2011 [Update due to OUP Sept. 2017]; • The Story of Randall Thompson’s Alleluia Revisited: A Facsimile Edition with Commentary. Boston: ECS Publishing, 2010; • Écrits sur la musique de Georges Auric/Writings on Music by Georges Auric, 4 vols. Lewiston/Queenston/ Lampeter: The Edwin Mellen Press, 2009; • Entrancing Muse: A Documented Biography of Francis Poulenc. Hillsdale, NY: Pendragon Press, 2001; • The Music of Francis Poulenc (1899-1963): A Catalogue. Oxford: Clarendon Press, 1995; reprinted by OUP as part of its 2002 digital project; • The Livrets of Jean-Baptiste Lully’s Tragédies Lyriques: A Catalogue Raisonné. New York: The Broude Trust for Musicological Publications, 1995; • An Index to Jean Laurent Le Cerf de La Viéville’s Comparaison de la Musique Italienne et de la Musique Françoise. Geneva, Switzerland: Éditions Minkoff, 1993. Books and Editions in Progress: (2) The Road Not Taken: A Documented Biography of Randall Thompson (1899- Carl B. Schmidt CV, 5/30/17, p. 2 1984); Randall Thompson, String Quartet “The Wind in the Willows” (Framingham: ECS Publishing, due out June 2017). Book-Length Editions Published: (9) Carl B. Schmidt and Luis Engelke, Salute for Four B-flat Trumpets by Walter Piston: score and parts with an introductory historical essay. Fenton, MO: Ione Press, 2015; (8) Randall Thompson, Frostiana, preface by Carl B. Schmidt. Boston: ECS Publishing, 2015; (7) Carl B. Schmidt and Elizabeth K. Schmidt, eds. Randall Thompson, Wedding Music for String Quartet. Boston: ECS Publishing, 2011; (6) Preface and edition of Trois pastorales pour piano by Francis Poulenc. Paris: Alphonse Leduc, 2004; (5) Preface and edition of Suite Française by Francis Poulenc arranged for Cello and Piano. Paris: Éditions Durand, 1997 (first modern revival at Towson Univ.); (4) Preface and edition of Quatre Poëmes de Max Jacob by Francis Poulenc. Paris: Éditions Salabert, 1997; (3) Jean-Baptiste Lully: The Collected Works. Volume IV/5 – Grand Motets. General editor of the series responsible for overall preparation of the volume plus one of the three motets (Quare fremuerunt gentes). New York: The Broude Trust for Musicological Publications, 1996; (2) Francis Poulenc, Sonate pour Flûte et Piano. London: Chester Music, 1995 [first critical edition of a work by Poulenc]; (1) Antonio Cesti, Il Pomo d’oro (Music for Acts III and V from Modena, Biblioteca Estense Ms. Mus. E. 120. Recent Researches in the Music of the Baroque Era, 42 (Madison: A-R Editions, Inc., 1982). Edition performed in Vienna, summer, 1989. Commercial/Non-Commercial Recordings of the Editions Above: No. 6 Sandrine Erdely-Sayo (piano): CD—AW 2006 (2007); No. 5 Cecylia Barczyk (cello) and Reynaldo Reyes (piano): CD—ICR12193 (2000); No. 4 François Le Roux (baritone), Charles Dutoit (conductor); Soloists of the Orchestre National de France. CD—Decca 452666-2 (1996); No. 3 Recorded for broadcast by the BBC, London (tape: not commercially available); No. 2 Susan Milan (Faculty Royal College of Music and principal flute London Philharmonic) and Ian Brown (piano): Upbeat (1995 [rec. 2000]) and virtually all new CD recordings issued since 1995; No. 1 Non-commercial live tape recording of the Vienna, July 1989 performance. Articles and CD Liner Notes Published: (28) “La méthode de composition de Francis Poulenc à travers ses brouillons,” in Du langage au style: singularités de Francis Poulenc. Edited by Lucie Kayas and Hervé Lacombe. Paris: Éditions de la Société française de musicologie, 2016, 365-81; (27) “Around Baltimore: Handel Choir of Baltimore,” Roland Park Living, Feb. 2016: 22-23 (26) Historical preface for Randall Thompson’s Frostiana. Boston: ECS Publishing, 2015; (25) “‘Give What You Have’—John Milton Ward as Educator: A Personal Recollection” in John Ward and His Magnificent Collection, ed. Gordon Hollis (Beverly Hills: Golden Legend, 2010): 42-52; (24) “Francis Poulenc and Robert Shaw: A Remarkable Symbiotic Relationship,” Musical Quarterly 93 (Summer 2010): 329-59; (23) “The Unknown Randall Thompson: Honkeytonk Tunesmith, Broadway Ivory-Tickler,” American Music, 27/3 (Fall 2009): 302-26; (22) Liner notes for the Naxos CD (8.559398) of Jonathan Leshnoff’s Violin Concerto, Distant Reflections, and String Quartet No. 1, “Pearl German.” Released in Jan. 2009; (21) “Georges Auric as Critic: Three and One-Half Turbulent Decades (1913-1948)” in L’esprit français und die Musik Europas—Entstehung, Einfluss und Grenzen einer äesthetische Doktrin/L’esprit français et la musique en Europe—Émergence, influence et limites d’une doctrine esthétique: Festschrift für Herbert Schneider, ed. Michelle Biget-Mainfroy and Rainer Schmusch (Hildesheim, Germany: Georg Olms, 2007): 726-39; (20) “Looking Ahead…Haydn’s ‘The Creation’,” in Noteworthy: Newsletter of the Handel Choir of Baltimore (Jan. 2007): 1; (21) “Mozart ‘. . . born to confound all experts in the art’.” Noteworthy: Newsletter of the Handel Choir of Baltimore (Jan. 2006): 3; (19) “The Transmission of Il Tito: A New Assessment,” in La figura e l’opera di Antonio Cesti nel Seicento europeo, Quaderni of the Società Italiani di Musicologia 37 (Florence: Leo S. Olschki, 2003): 79-106; (18) “Antonio Cesti” and “Remigio Cesti” in The New Grove Dictionary of Music and Musicians, 2nd edition (with Prof. David Burrows). London: McMillan, 2000; (17) “The Amsterdam Editions of Jean-Baptiste Lully’s Music: A Bibliographical Scrutiny with Commentary” in Lully Studies, ed. John H. Heyer Studies (Cambridge Univ. Press, 2000): 100-65; (16) “Distilling Essence: Poulenc and Matisse,” Francis Poulenc: Music, Art and Literature, ed. Sidney Buckland and Myriam Chimènes (London: Ashgate, 1999): 200-09. Portions reprinted as part of Window on the Work—Poulenc: Piano and Wind (New York: Lincoln Center Institute, 2002): 62-3; (15) “Two New Foucault Sources of Lully Ballets in the United States,” Quellenstudien zu Jean-Baptiste Lully, ed. Jérôme de La Gorce and Herbert Schneider (Hildesheim: Georg Olms, 1999): 278-312; (14) Two articles for the AMS Newsletter concerning the 1996 national meetings of the AMS (with Susan Weiss); (13) “In Search of Francis Poulenc (1899-1963): Entrancing Muse,” Lecture Series 9 (Towson, Maryland: Faculty Development Office, 1996): 31-44; (12) “Berkeley MS 454: Philidor l’aîné’s ‘Enigma Variations’,” Journal of Musicology 10 (summer 1992): 362-404; (11) Six articles for New Grove Dictionary of Opera (including biographies Carl B. Schmidt CV, 5/30/17, p. 3 of Antonio and Remigio Cesti, articles on three A. Cesti operas and an entry on dance in opera 1600-1800); (10) “Livrets for Lully’s Ballets and Mascarades: Notes Toward a Publishing History and Chronology (1654-1671),” in Jean-Baptiste Lully: Actes du Colloque / Kongressbericht Saint-Germain-en-Laye – Heidelberg 1987, ed. Jérôme de La Gorce and Herbert Schneider. Neue Heidelberger Studien zur Musikwissenschaft, Vol. 18 (Laaber: Laaber Verlag, 1990): 331-48; (9) “The Geographical Spread of Lully’s Operas during the Late Seventeenth and Early Eighteenth Centuries: New Evidence from the Livrets,” in Studies on Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James Anthony (Cambridge: Cambridge Univ. Press, 1989): 183-211; (8) “Une parodie hollandaise peu connue sur la musique de Lully: Les Opwekklyke Zedezangen” [A Rare Moralistic Dutch Parody], in Dix-septième siècle (1988): 371-86; (7) “Newly Identified Manuscript Sources for the Music of Jean-Baptiste Lully,” in Notes: Quarterly Journal of the Music Library Association 44 (1987): 7-32. Awarded the Music Library Association 1988 Prize for the Best Article-Length Bibliography or Article on Music Librarianship; (7) “A Communication from the Executive Secretary of Broude Brothers’ New Lully Edition,” in “Recherche” sur la Musique française classique 20 (1981): 275-76; (6) “A Collection of 137 Broadsides Concerning Theatre in Late Seventeenth-Century Italy: An Annotated Catalog,” in Harvard Library Bulletin 28 (1980): 185-233 (with Prof. Lowell Lindgren); (5) “An Episode in the History of Venetian Opera: The Tito Commission (1665-66),” Journal of the American Musicological Society 31 (1978): 42-66; (4) “The ‘Apothéose de Lully’ or, Toward a New Lully Edition,” in Current Musicology 24 (1978): 106-11; (3) “Antonio Cesti’s Il pomo d’oro: A Reexamination of a Famous Habsburg Court Spectacle,” Journal of the American Musicological Society 29 (1976): 381-412; “Antonio Cesti” and Remigio Cesti” in The New Grove Dictionary of Music and Musicians (with Prof. David Burrows); (2) “‘La Dori’ di Antonio Cesti: sussidi bibliografici,” Rivista italiana di musicologia 11 (1976): 197-229; (1) “Antonio Cesti’s La Dori: A Study of Sources, Performance Traditions and Musical Style,” in Rivista italiana di musicologia 10 (1975) [Festschrift for Nino Pirrotta]: 455-98. Program Notes Contributed: (6) Towson Univ. Music for the Stage performance of Randall Thompson’s Solomon and Balkis, Black Box Theater, 21 Feb. and 26-30 Mar., 2015; (5) Towson Univ. Music for the Stage performance of Mozart’s Die Zauberflöte, Stephens Hall Theater, 11-13 Apr. 2014; (4) Baltimore Chamber Orchestra performance of Beethoven’s Violin Concerto at Kraushaar Auditorium on 6 Oct. 2013; (3) Francis Poulenc’s Sonata for Clarinet and Piano and Igor Stravinsky’s Suite from L’Histoire du soldat, Mary Anne Rennolds Concert Series, W.E. Singleton Center for the Performing Arts, Virginia Commonwealth Univ. 5 May 2010, Richmond, VA; (2) Randall Thompson’s Alleluia, Bitter Sweet, and Glory to God in the Highest and Ives’ Psalm 67 for The Handel Choir of Baltimore concert, 18 Apr. 2010, Grace United Methodist Church, Towson, MD; (1) Haydn’s Missa in Tempore Belli for The Handel Choir of Baltimore concert, 3 May 2009, Towson United Methodist Church, Towson, MD. CD Published: (1) Francis Poulenc: The Story of Babar, the Little Elephant. Sandrine Erdely-Sayo (pn.) and Carl B. Schmidt (narrator). Released March 2017. Published Reviews of: (17) Francis Poulenc, J’écris ce qui me chante : Textes et entretiens réunis, présentés et annotés par Nicolas Southon, Paris: Fayard, 2011 in Révue de Musicologie 100, no. 2 (2014): 471-73; (16) Lionel Sawkins A Thematic Catalogue of the Works of Michel-Richard de Lalande (1657-1726). Oxford: Oxford Univ. Press, 2005 in The American Organist 40 (Oct. 2006), 48; (15) Opera and the Enlightenment, ed. Thomas Bauman, Cambridge: Cambridge Univ. Press, 1995 in Notes: Quarterly Journal of the Music Library Association 52 (1996): 464-66; (14) Robert Shapiro’s Germaine Tailleferre: A Bio-Bibliography. Bio-Bibliographies in Music No. 48. Westport, CT: Greenwood Press, 1994 in Notes: Quarterly Journal of the Music Library Association 52 (1996): 474- 76; (13) Geneviève Honegger’s Charles Munch: Un chef d’orchestre dans le siècle. Paris: La Nuée bleu, 1992 in Notes: Quarterly Journal of the Music Library Association 51 (1994): 609-10; (12) Deborah Menaker Rothschild’s Picasso’s “Parade”: From Street to Stage. London: Sotheby’s Publications, 199; (11) Ornella Volta’s Satie et la danse. Paris: Éditions Plume, 1992 in Notes: Quarterly Journal of the Music Library Association 51 (1994): 147-50; (10) Barbara Mahrenholz Wolff’s Music Manuscripts at Harvard (Cambridge, MA: Harvard Univ. Press, 1992) in Notes: Quarterly Journal of the Music Library Association 50 (1993): 1018-19; (9) Ernest Ansermet’s Les Compositeurs et leurs oeuvres. Ed. J.-Claude Piguet (Neuchâtel: à la Baconnière, 1989) in Notes: Quarterly Journal of the Music Library Association 50 (1993): 598-9; (8) Jérôme Spycket’s, Nadia Boulanger (New York: Pendragon Press, 1992) in Penn Sounds 5 (Fall 1993): 10-11; (7) Ellen Rosand’s, Opera in Seventeenth Century Venice (Berkeley: Univ. of California Press, 1991) in Notes: Quarterly Journal of the Music Library Association 49 (1992): 520-22; (6) Ornella Volta’s, L’Album des Six. Exhibition Catalogue (Paris: Éditions du Placard, 1990) and Nancy Perloff’s, Art and the Everyday: Popular Entertainment and the Circle of Erik Satie (Oxford, England: Clarendon Press, 1991) in Notes: Quarterly Journal of the Music Library Association 49 (1992): 126-28; (5) Spire Pitou’s The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers and Performers, [III.] Growth and Grandeur, 1815-1914 (Westport, CT: Carl B. Schmidt CV, 5/30/17, p. 4 Greenwood Press, 1990) in Notes: Quarterly Journal of the Music Library Association 48 (1992): 173-74; (4) Louis Auld’s The Lyric Art of Pierre Perrin, Founder of French Opera. 2 vols. (Henryville: PA: Institute of Mediaeval Studies, 1986) in Notes: Quarterly Journal of the Music Library Association 44 (1987): 709-11; (3) Spire Pitou’s The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers and Performers, [I:] Genesis and Glory, 1671-1715 (Westport, CT: Greenwood Press, 1983) in Journal of the American Musicological Society 38 (1985): 385-93; (2) Jane Glover’s Cavalli (New York: St. Martin’s Press, 1978) in Journal of the American Musicological Society 33 (1980): 196-200; (1) Baroque opera recordings in Journal of the American Musicological Society 24 (1971): 313-17. IV. Selected Lectures: (41) Minnesota Singers performance of Randall Thompson’s Alleluia and Requiem (world premier performance with string orchestra accompaniment), Mann Concert Hall, Minneapolis, MN, Apr. 28, 2017; (40) Pre-concert lecture for the Johns Hopkins Univ. Shriver Hall Concert Series [hereafter SHCS] (St. Lawrence String Quartet); (39) Pre-concert lecture, SHCS, 6 Nov. 2016 (Sol Gabetta, vlc.); (38) Pre-concert lecture, SHCS, 8 May 2016 (Till Fellner, pn.); (37) Pre-concert lecture, SHCS, 6 March 2016 (Nicole Cabell, trpt.); (36) Pre-concert lecture, SHCS 20 Sept. 2015 (Yefim Bronfman, pn.); (35) “The Music of Randall Thompson,” hour lecture for ACDA Voices United at George Mason Univ., 7 Aug. 2015; (34) Pre-concert lecture, SHCS, 18 Jan. 2015 (Gidon Kremer, vn.); (33) Pre-concert lecture, SHCS, 26 Oct. 2014 (Belcea Strng Quartet); (32) Post-concert audience Q&A with Maestro David Hayes and singer James Longacre following the Philadelphia Singers performance of Randall Thompson’s Requiem, Church of the Holy Trinity, Philadelphia, 19 Jan. 2014; (31) Lecturer on Francis Poulenc for a 50th anniversary commemorative concert and narrator in Francis Poulenc’s Histoire de Babar le petit éléphant, 4 Aug. 2013, Richmond Chamber Players concert, Bon Air Presbyterian Church, Richmond, VA [reviewed in the Richmond Times Dispatch]; (30) Narrator in Poulenc’s Histoire de Babar le petit éléphant, 3 Aug. 2013, Children’s Museum of Richmond, VA; (29) Pre-concert lecture for The Handel Choir of Baltimore [henceforth HCB] performance of Brahms’ Ein deutsches Requiem, 4 May 2013, St. Michael and All Angels Church; (28) Lecture/Q&A on Brahms’ Ein deutsches Requiem, Zion Lutheran Church, Baltimore, 21 Mar. 2013; (27) Pre-concert lecture, SHCS, 4 Nov. 2012 (Europa Galante); (26) “Francis Poulenc—50 Years Later (1899-1963) Illustrated Lecture/Recital at Towson Univ. Recital Hall, 12 Mar. 2013; (25) Pre-concert lecture, SHCS, 14 Oct. 2012 (Brentano String Quartet); (24) Pre-concert lecture, HCB, Church of the Redeemer, Towson, 21 Apr. 2012; Handel’s Semele; (23) Pre-concert lecture, SHCS, 18 Mar. 2012 (Richard Goode, pn.); (22) Pre-concert lecture for the 3 Mar. 2012 Philadelphia Singers performance of Randall Thompson’s Requiem, the lecture given at the Curtis Institute; (21) Pre-concert lecture, HCB, St. Ignatius Church, Baltimore, 12 Feb. 2012 (Anglo Meets Saxon); (20) Pre-concert lecture, SHCS, 9 Oct. 2011 (St. Lawrence String Quartet); (19) Pre-concert lecture, HCB, 15 May 2011, St. Ignatius Church, Baltimore; (18) Pre-concert lecture for the Bach Consort of Washington Concert at the National Presbyterian Church in Washington DC (J. Riley Lewis, conductor, 1 May 2011); (17) Pre-concert lecture, SHCS, 14 Nov. 2010 (Gautier Capuçon, vc. & Gabriela Montero, pn.); (16) Lecture marking the 70th anniversary of the Berkshire Music Center and the writing of Thompson’s Alleluia invited by the Boston Symphony Orchestra and delivered 5 July 2010 in Lennox, MA; (15) Pre-concert lecture, HCB, 3 May 2009, Towson United Methodist Church; (14) “Under Satie’s Umbrella: Auric and Poulenc,” a lecture/recital presented with Leneida Crawford and Susan Ricci at Towson Univ. on 6 Nov. 2009; (13) Winter Convocation presentation concerning Randall Thompson’s” Alleluia at Towson Univ. on 26 Jan. 2009; (12) Jonathan Leshnoff’s Requiem for the Fallen, pre-concert interview/lecture for the Baltimore Chamber Orchestra/HCB world premiere on 12 Feb. 2008; (11) Researching “The Music of Randall Thompson (1899-1984): A Documented Catalogue” at a COFAC Colloquium on 8 Feb. 2008; (10) “Same Words, Different Tunes,” a lecture recital with Leneida Crawford (mezzo-soprano) and Susan Ricci (piano) presented at Towson Univ. on 29 Apr. 2007); (9) Pre-concert lecture “Haydn’s Die Schöpfung,” HCB, 29 Apr. 2006, Church of the Redeemer; (8) Pre-concert lecture “Remembering Nadia Boulanger,”, HCB, 6 May 2006, Grace United Methodist Church; (7) Pre-concert lecture “Mozart and Salzburg,” HCB, 4 Mar. 2006; (6) Lecture/Recital of French Clarinet music by members of Les Six performed with Profs. Robert Adelson and Reynaldo Reyes) at the Univ. of Maryland at College Park, 14 Feb. 2002; (5) “On the Te Deums of Hector Berlioz and Jean-Baptiste Lully” before the “Joint Anniversary Concert Celebration” by the Cathedral Choral Society at the Washington National Cathedral on 9 and 11 Nov. 2001; (4) “On Poulenc’s Gloria,” presented before “A French Spectacular” by the Cathedral Choral Society at the Washington National Cathedral on 20 May 2001; (3) Lecture/Recital with Leneida Crawford on French Song from Chabrier to Satie, Center for the Arts Concert Hall, 14 Oct. 2001; (2) “An Introduction to Tchaikovsky’s Swan Lake” before a video disk showing at The Maryland Arts Festival, 7 July 1995); (1) “Famous Musical Families” as part of Towson State Univ. School of Graduate & College of Continuing Studies Spring 1995 Lecture Series (19 Apr. 1994). V. Presentations in Scholarly Forums: (23) “Randall Thompson’s Solomon and Balkis: ‘The Road Taken’,” Composing American Opera Symposium, Towson Univ., 21 Feb. 2015; (22) “La méthode de composition de Francis Carl B. Schmidt CV, 5/30/17, p.