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Virgil Thomson's piano music can best be described as pure direct American plainsong. Hymn tunes get transposed, rhythms overturn or collide, often with comic results; cowboy songs turn into fugues. Thomson made use of all materials, from Sunday School ditties he learned as a child in Kansas City, to the tangos he heard in Paris in the Twenties, to the counterpoint of his formal musical education. Thomson's portraits often have the feeling of line drawings by a visual artist. This is because he …
American art song has traveled a long way from the parlors of 19th-century America. The turn of this century brought its adolescent rebellion in the iconoclastic hands of Charles Ives, followed by an impressive, if somewhat retrospective, era heralded by such composers as Bacon, Chanler, Nordoff, and early Thomson. But by mid-century, what should have been a time of full adulthood was instead a curiously fallow period (which Philip L. Miller attributes to composers abandoning melody and Ned Rore…