Baritone Thomas Hampson gives pointers to Lea Friedman '97 at a symposium on the American song in Barnes Hall on Oct. 18. In the background, from left, are symposium panelists Steven Stucky, chair of the Music Department; William W. Austin, the Given Foundation Professor of Musicology Emeritus; and pianist Blaise Bryski. Charles Harrington/University Photography
As an encore to his winning performance on the Bailey Hall stage, internationally known baritone Thomas Hampson and a supporting cast of faculty pondered the cultural context of American song at a symposium Oct. 18 in Barnes Hall. The night before, Hampson had performed for an appreciative house a program of American songs, among them works of Samuel Barber and songs set to texts by Walt Whitman.
The symposium on Friday was presented at Hampson's request. "My commitment to American song is an exploration of my roots, of my American spirituality," he explained.
Symposium panelists offered an insightful descant on various issues, including the origin of American song and the pretentiousness associated with "high" art. The panelists included Hampson; William W. Austin, the Givens Foundation Professor of Musicology Emeritus; Nym Cooke, a lecturer at the College of Holy Cross; soprano Judith Kellock, assistant professor of music; Mary Beth Norton, the Mary Donlon Alger Professor of American History; and Steven Stucky, a composer and chair of the Cornell Music Department. The symposium was attended by about 100 people.
Whether singing or speaking, Hampson is a commanding presence. He appeared comfortable sitting among the panel of scholars and equally at ease when offering students -- his "younger colleagues," he called them -- criticism of their vocal performances. He is affable with a self-deprecating wit, and his boyish looks -- belying his 40 years -- added to his tremendous vocal talent and contributed to the charisma that helps him stand out among today's top singers.
Hampson's all-American program remains a rarity today, as most concert singers perform works of the more widely known European composers.
"The burden of the American artist is to create an American art," Stucky said. "It's an enterprise and embarrassment fraught with self doubt, while always looking over the shoulder of Mother Europe."
Stucky acknowledged that influences from many of the European composers, such as Rachmaninov and Schubert, can be seen in the work of American composers.
But connecting American compositions to the works of European composers does a disservice to American composers, Hampson said. "You're going with the description trap -- by classifying music and putting it in a box. We need to awaken to the notion of why we are doing what we are doing."
Historian Norton, the only panelist not trained musically, said early American culture wanted to meet European standards, but also wanted to reject Europe. A truly American theme did not appear until James Fenimore Cooper began to write about the American frontier. His romanticism of the West was popularized by many artists, most notably in song by Aaron Copland.
The discussion on American song was sandwiched between an impromptu master class by Hampson, who offered critiques of performances by soprano Lea Friedman '97 and baritone Brian Chu '97 and pianists Blaise Bryski, a DMA candidate, and Rebecca Schaefer '00.
Hampson challenged the students to have a deeper understanding of the pieces they were performing. He was painstaking in his review of Samuel Barber's "St. Ita's Vision," for instance, which was performed by Friedman. The difference in Friedman's presentation and performance of the Barber piece before and after Hampson's critique was striking.
"Make the singing simple so that the audience can react as it hears the music, rather than have them feel compelled to react to the performance," Hampson said.