(b Muncie, in, 15 July 1921). American composer and teacher. He studied at the Eastman School (1939-44) and privately with Bartók in New York (1944), then taught at Columbia University from 1945. His operas continue the tradition of Douglas Moore, with a feeling for lyricism and occasionally suggesting an American folk idiom; they include Lizzie Borden (1965).
Beeson, Jack, 1921-, American composer, b. Muncie, Ind. Beeson studied at the Eastman School of Music and privately in New York with Béla Bartók. Beginning to teach at Columbia Univ. in 1945, he was named MacDowell Professor of Music in 1967; he retired in 1988 but returned as a member of the Society of Senior Scholars. Beeson has written songs and choral pieces, piano sonatas, chamber works, and various orchestral works including a symphony (1959). He is particularly known for his operas, which include Hello Out There! (1954), The Sweet Bye and Bye (1957), Lizzie Borden (premiered by the New York City Opera in 1965), My Heart's in the Highlands (premiered on television in 1970), Captain Jinks of the Horse Marines (1975), Dr. Heidegger's Fountain of Youth (1978), Cyrano (1991), and Sorry, Wrong Number (1999). His vocal works, set to a catholic choice of texts, are marked by a varied stylistic approach unified by attention to contrapuntal lines and instrumental color.
Sometimes it happens that a child's fancy develops, in almost storybook fashion, into a life's work. Such has been the case for American composer Jack Beeson. While growing up in Muncie, IN, the young Beeson listened to radio broadcasts from the Metropolitan Opera in New York and loved what he heard; he decided, as youths are want to do, on a course for his life: composer of operas. And now, three-quarters of a century later, that is precisely what Jack Beeson is (though he has also thrown a few non-opera works into his catalog for good measure).
Beeson was born in 1921 and studied piano privately as a child. He took bachelor's and master's degrees from Eastman, in 1942 and 1943, and then in 1944 he moved to New York City and took lessons from Béla Bartók for several months. In 1945 he joined the family of Columbia University as both faculty member and student -- he took graduate courses in conducting and musicology and at the same time began teaching at the school, beginning a long association that would culminate in his being named, in 1967, Edward MacDowell Professor of Music. Beginning in 1948, Beeson spent two years in Rome -- the combined rewards of winning the Prix de Rome and a Fulbright Fellowship.
Beeson spent his student days composing concert music (by 1950 he had five piano sonatas, some songs, and some chamber music, to a total of about 50 pieces, to his credit -- almost all of which were eventually withdrawn), but starting in 1950 with the opera Jonah, Beeson began to issue operas at relatively regular intervals. Next came Hello out There (1954) and then The Sweet Bye and Bye (1957). He spent considerably longer on Lizzie Borden, a "family portrait" in three acts finished in 1965; the work, which is energetic, violent, and full of a peculiarly blunt lyricism, has since gone on to numerous performances and is widely considered to be among the finest American operas.
Six further operas of varying length have appeared since Lizzie Borden, including the one-act chamber opera Sorry, Wrong Number (1996, premiered 1999) and two items composed to libretti by Sheldon Harnick (who is better-known for his lighter Broadway work): Captain Jinks of the Horse Marines (1975) and Dr. Heidegger's Fountain of Youth (1978). Beeson's concert music is not voluminous but it does cover a great deal of ground, from symphony (one, composed in 1959) and sonata (several, including the above-mentioned piano items and a 1953 viola sonata) to church organ pieces and music for chorus. Not surprisingly, he has authored numerous vehicles for solo voice and piano/ensemble, all of which reveal his skilled operatic touch. He has, however, composed virtually no instrumental music since the mid-1960s. ~ Blair Johnston, All Music Guide
Jack Beeson (born July 15, 1921 in Muncie, Indiana) is an American composer. He is known particularly for his operas, the best known of which are Lizzie Borden, Hello Out There! and The Sweet Bye and Bye.
Beeson began with music when he started piano lessons with Luella Weimer in 1928, but it was not until 1933 that he began to compose. He decided to become an "opera-composer," influenced by Metropolitan Opera radio broadcasts. From 1936 until 1939, he switched piano teachers and was with Percival Owen during this period of time. In 1938 he received certificates with first class honors in piano and theory from the Conservatory of Music at the University of Toronto, a very well earned accomplishment at the age of 21. From 1944 to 1945 he had private studies with Béla Bartók in New York City. At this time he was also associating with the Columbia University Opera Workshop and the opera productions of Columbia Theatre Associates. This led to the first performance of his music in New York City. Throughout 1946 and 1947 Beeson was adapting Paul Goodman's play and composing the music for Jonah as well as writing and performing the Fifth Sonata on piano. Beeson won the Prix de Rome and Fulbright scholarship which allowed him to live in Rome from 1948 - 1950 [1] . During this time, he completed Jonah and then returned to teaching and opera productions at Columbia. The year of 1953/1954, he adapted Saroyan's play as a libretto and composed Hello Out There as well as superintending its first performance. From 1955 to 1958 he collaborated with Kenward Elmslie on The Sweet Bye and Bye, first performed at the Juilliard School. From 1958 to 1959 he wrote three orchestral works and numerous smaller pieces. During 1965 and 1967 he recorded and published Lizzie Borden, which was televised by NET Opera and revived by the New York City Opera. That same year, he also became MacDowell Professor of Music at Columbia. From 1981 to 1991 he wrote Cyrano, a heroic comedy in music, with Sheldon Harnick. He then chose early retirement from Columbia in 1988, but returned as a member of the Society of Senior Scholars.
Works
Operas
Captain Jinks of the Horse Marines (1975), a romantic comedy in music in three acts. Libretto by Sheldon Harnick, based on the play by Clyde Fitch. Commissioned by the National Endowment for the Arts. ca. 120'. Boosey & Hawkes.
Cyrano (1990), Heroic comedy in music. Libretto by Sheldon Harnick, based on the play by Edmond Rostand. ca. 160'. Boosey & Hawkes.
Doctor Heidegger's Fountain of Youth (1978), Chamber opera in one act. Libretto by Sheldon Harnick, based on the short story by Nathaniel Hawthorne. Commissioned by the National Arts Club. ca. 40'. Boosey & Hawkes.
Hello Out There (1953), Chamber opera in one act. Libretto adapted from the play by William Saroyan. ca. 40'. Boosey & Hawkes.
Jonah (1948-50), Opera in two or three acts to be played, danced and sung. Libretto by the composer, adapted from the play by Paul Goodman. ca. 115'. Boosey & Hawkes.
Lizzie Borden (1965), a Family Portrait in three acts. Libretto by Kenward Elmslie, based on a scenario by Richard Plant. Commissioned by the Ford Foundation. ca. 120'. Boosey & Hawkes.
My Heart's in the Highlands (1969), Chamber opera in two or three acts. Libretto by the composer, adapted from the play by William Saroyan. Commissioned by the National Educational Television Opera Theater. ca. 105'. Boosey & Hawkes.
Sorry, Wrong Number (1996). Boosey & Hawkes.
The Sweet Bye and Bye (1956; rev. 1958), Opera in two acts (five scenes). Libretto by Kenward Elmslie. ca. 110'. Boosey & Hawkes.
Orchestral
Fanfare (1963) for brass, winds and percussion. Commissioned by the Kirkwood Symphony. 2'. Manuscript.
Hymns and Dances (from The Sweet Bye and Bye) (1958) for large orchestra. 15'. Boosey & Hawkes.
Symphony No.1 in A (1959) for orchestra. 20'. Boosey & Hawkes.
Transformations (1959) for large orchestra. 10'. Boosey & Hawkes.
Two Concert Arias (1952/53) for soprano and orchestra, or piano. Manuscript.
The Elephant" (1953) Text: D.H. Lawrence. 4.
The Hippopotamus" (1952) Text: T.S. Eliot. 5.
Two Pieces (1967) for film, radio or television. Winds, brass and percussion. 3'. Boosey & Hawkes.
Concert band
Commemoration (1960) for band and optional unison chorus. Text: Columbia College Alma Mater. Commissioned by Columbia College. 5-6'. Boosey & Hawkes.
Hymns and Dances (from The Sweet Bye and Bye) (arr. 1966). 15'. Boosey & Hawkes.
Solo and Chamber Works
Fantasy, Ditty, and Fughettas (1992) for two baroque (or modern) flutes. C.F. Peters.
Fifth Piano Sonata (1946; rev. 1951). 14'. Theodore Presser.
Fourth Piano Sonata (1945; rev. 1951). 9'. Theodore Presser.
Interlude (1945; rev. 1951) for violin and piano. 3 1/2'. Manuscript.
Old Hundredth: Prelude and Doxology (1972) for organ. 3 1/2'. Boosey & Hawkes.
Round and Round (1959), Easy duets for piano, four hands. Oxford University Press.
Sketches in Black and White (1958) for piano. 10'. Manuscript.
Sonata Canonica (1966) for two alto recorders. 5 1/2'. Galaxy Music Corp.
Sonata (1953) for viola and piano. 15'. Theodore Presser.
Song (1945) for flute and piano. 2'. Shawnee Press.
Two Diversions (1944; rev. 1953) for piano. 7'. Charles Scribner's Sons: Music Library (vol.4)
Vocal Works
Abbie's Bird Song (1965; rev. 1967) for high voice and piano. Revision of an aria from Lizzie Borden. Text: Kenward Elmslie. 3'. Boosey & Hawkes
Against Idleness and Mischief and In Praise of Labor (1959), a practice session for high voice and piano. Text: Isaac Watts. 3'. Boosey & Hawkes.
Aria in Praise of Sopranos (1992) for tenor and piano. From Captain Jinks of the Horse Marines. Boosey & Hawkes.
Big Crash Out West (1951) for baritone and piano. Text: Peter Viereck. 2'. Galaxy Music Corp. or Boosey & Hawkes.
Cat! (1979) for soprano and piano. 3'. Text: John Keats. Boosey & Hawkes.
Cowboy Song (1979) for baritone and piano. Text: Charles Causley. 4'. Galaxy Music Corp. or Boosey & Hawkes.
A Creole Mystery (1970) for mezzo-soprano or baritone and string quartet. Text: Lafcadio Hearn, adapted by the composer. 9-10'. Boosey & Hawkes.
The Day's No Rounder Than Its Angles Are (1971) for mezzo-soprano or baritone and string quartet. Text: Peter Viereck. 12'. Boosey & Hawkes.
Death by Owl-Eyes (1971) for high voice and piano. Text: Richard Hughes. 2 1/2'. Boosey & Hawkes.
Eldorado (1951) for high voice and piano. Text: Edgar Allan Poe. 2'. Galaxy Music Corp.
Fire, Fire, Quench Desire (1959) for high voice and piano. Text: George Peele. 2 1/2'. Boosey & Hawkes.
Five Songs (1946; rev. 1950) for soprano and piano. Text: Francis Quarles. 8'. Peer International Corp.
Four Crazy Jane Songs (1992) for mezzo (or mezzo-contralto) and piano. (See "Lullaby" and "Three Love Songs", 1951). Boosey & Hawkes.
From a Watchtower (1976), five songs for high or middle voice and piano. Texts: William Wordsworth, W.H. Auden, Gerard Manley Hopkins, and Walter de la Mare. 16'. Boosey & Hawkes.
The Gambler's Song (1953) for baritone and piano. Revision of an aria from Hello Out There. Text: William Saroyan, adapted by the composer. 3'. Boosey & Hawkes.
Hide and Seek (an Easter ballad) (1991) for tenor and piano. Text: Peter Viereck. 3'. In preparation.
Indiana Homecoming (1956) for baritone and piano. Text: Abraham Lincoln. 2 1/2'. Boosey & Hawkes.
In the Public Gardens (1991) for tenor and piano. Text: John Betjeman. 3'. In preparation.
Killing Time (1992) for mezzo and piano. From Lizzie Borden. Boosey & Hawkes.
Leda (1957) for reciting voice and piano. Text: Aldous Huxley. 20'. Manuscript.
Love Song, Arietta and Aria (1992) for tenor and piano. From The Sweet Bye and Bye. Boosey & Hawkes.
Lullaby (1944; rev. 1959) for alto and piano. Text: William Butler Yeats. 3'. Manuscript.
Margret's Garden Aria (1965; rev. 1967) for high voice and piano. Revision of an aria from Lizzie Borden. Text: the composer. 3 1/2'. Boosey & Hawkes.
Mary Magdalen's Song (1991) for mezzo-soprano and piano. Text: Peter Viereck. 4'. In preparation.
Mother Rainey's Aria: The Wages of Sin and Reprise: To the Seducer (1992) for mezzo and piano. From The Sweet Bye and Bye. Boosey & Hawkes.
Nine Songs and Arias for Baritone. See under individual titles for details. Boosey & Hawkes.
Big Crash Out West
Calvinistic Evensong(See Two Songs)
Cowboy Song
The Gambler's Song from Hello Out There
Indiana Homecoming
Prescription for Living from Doctor Heidegger's Fountain of Youth
Senex (See Two Songs)
To a Sinister Potato
Wedding Song, from Captain Jinks of the Horse Marines
Nine Songs and Arias for Soprano. See under individual titles for details. Boosey & Hawkes.
Abbie's Bird Song from Lizzie Borden
Against Idleness and Mischief and In Praise of Labor
Cat!
Death by Owl-Eyes
Fire, Fire, Quench Desire
Margret's Garden Aria from Lizzie Borden
To Violetta Valery from Captain Jinks of the Horse Marines
The Widow's Waltz from Doctor Heidegger's Fountain of Youth
The You Should of Done It Blues
Piazza Piece (1951; rev. 1988), duet for soprano and tenor with piano. Text: John Crowe Ransom. 4 1/2'. Manuscript.
Prescription for Living (1978; rev. 1990) for bass-baritone and piano. An aria from Doctor Heidegger's Fountain of Youth. Text: Sheldon Harnick. 4 1/4'. Boosey & Hawkes.
Pull My Daisy (1997) for high voice and piano. Boosey & Hawkes.
Six Lyrics for high voice and piano. Texts: Thomas Lovell Beddoes (2), Herman Melville, Percy Bysshe Shelley, Jasper Mayne, Sir Walter Raleigh. 12'. Manuscript.
The Spinster's Anguish (1992) for mezzo and piano. From Dr. Heidegger's Fountain of Youth. Boosey & Hawkes.
A Tale Told by Mary's Lamb (1991) for tenor and piano. Text: Peter Viereck. 4'. In preparation.
Three Blake Songs (1992) for tenor and piano. See "Three Songs 1951". Boosey & Hawkes.
Three Love Songs (1944; rev. 1959) for alto and piano. Text: William Butler Yeats. 5'. Manuscript.
Three Songs (1945; rev. 1951) for soprano and piano. Text: William Blake. 4'. Manuscript.
To a Sinister Potato (1970) for baritone and piano. Text: Peter Viereck. 3 1/2'. Boosey & Hawkes.
To Violetta Valery (1975) for soprano and piano. An aria from Captain Jinks of the Horse Marines. Text: Sheldon Harnick. 2'. Boosey & Hawkes.
Two Cavatinas (1992) for tenor and piano. From Captain Jinks of the Horse Marines. Boosey & Hawkes.
Two Concert Arias (1951/53) for soprano and piano. Manuscript.
The Elephant (1953) Text: D.H. Lawrence. 3 1/2'.
The Hippopotamus (1951) Text: T.X. Eliot. 4 1/2'.
Two Millay Sonnets (1992) for mezzo and piano. Boosey & Hawkes.
Two Songs (1952) for baritone and piano. Text: John Betjeman. 5 1/2'. Boosey & Hawkes.
Wedding Song (1975) for baritone and piano. An aria from Captain Jinks of the Horse Marines. Text: Sheldon Harnick. 2'. Boosey & Hawkes.
The Widow's Waltz (1978; rev. 1983) for high voice and piano. Revision of an aria from Doctor Heidegger's Fountain of Youth. Text: Sheldon Harnick. 2 1/2'. Boosey & Hawkes.
The You Should of Done It Blues (1971) for soprano and piano. Text: Peter Viereck. 2 1/2'. Boosey & Hawkes.
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