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Mr. Tambourine Man: Seven Poems
of Bob Dylan
(2000)
Version for amplified soprano and orchestra by the composer (2003)

Winner of two Grammy Awards, 2008 ("Best Contemporary Composition", “Best classical vocal performance”)

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see also the version with piano

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First performed October 23, 2003, by Hila Plitmann, soprano, with the Minnesota Orchestra, Robert Spano, conductor; Minneapolis, MN

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Listen to a sound clip

rent score and parts from G. Schirmer Inc 

buy piano/vocal publication at G. Schirmer Inc

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Scored for soprano and orchestra: 3 flutes (2 doubling piccolos), 3 oboes (1 doubling english horn), 3 clarinets (1 doubling Eb clarinet and 1 doubling bass clarinet), alto saxophone (doubling baritone saxophone) 3 bassoons, (1 doubling contrabassoon), 4 horns, 4 trumpets, 2 trombones, bass trombone, tuba, timpani, percussion (3 players), harp, piano, and strings

Duration  37 minutes

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Recording
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Hila Plitmann, soprano, with the Buffalo Philharmonic, JoAnn Faletta, conductor Naxos 8.559331 (2008)

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Program note

When Sylvia McNair asked me to write her a major song cycle for Carnegie Hall, she had only one request; to choose an American text.

I have set only four poets in my adult compositional life: Stephen Spender, Richard Wilbur, Dylan Thomas (whose major works generated the oratorio A Dylan Thomas Trilogy) and William M. Hoffman, collaborator with me on, among other, shorter pieces, the opera The Ghosts of Versailles. Aside from asking Bill to create a new text, I had no ideas.

Except that I had always heard, by reputation, of the high regard accorded the folk-ballad singer/songwriter Bob Dylan. But I was so engaged in developing my orchestral technique during the years when Dylan was heard by the rest of the world that I had never heard his songs.

So I bought a collection of his texts, and found many of them to be every bit as beautiful and as immediate as I had heard-and surprisingly well-suited to my own musical language. I then contacted Jeff Rosen, his manager, who approached Bob Dylan with the idea of re-setting his poetry to my music.

I do not know of an instance in which this has been done before (which was part of what appealed to me), so I needed to explain that these would be in no way arrangements, or variations, or in any way derivations of the music of the original songs, which I decided to not hear before the cycle was complete. Just as Schumann or Brahms or Wolf had re-interpreted in their own musical styles the same Goethe text, I intended to treat the Dylan lyrics as the poems I found them to be. Nor would their settings make any attempt at pop or rock writing. I wanted to take poetry I knew to be strongly associated with popular art and readdress it in terms of concert art-crossover in the opposite direction, one might say. Dylan granted his permission, and I set to work.

I chose seven poems for what became a thirty-five minute cycle. A Prologue: Mr. Tambourine Man, in a fantastic and exuberant manner, precedes five searching and reflective monologues that form the core of the piece; and Epilogue: Forever Young makes a kind of folk-song benediction after the cycle's close. Dramatically, the inner five songs trace a journey of emotional and civic maturation, from the innocence of Clothes Line through the beginnings of awareness of a wider world (Blowin' in the Wind), through the political fury of Masters of War, to a premonition of an apocalyptic future (All Along the Watchtower), culminating in a vision of a victory of ideas (Chimes of Freedom). Musically, each of the five songs introduces an accompanimental motive that becomes the principal motive of the next. The descending scale introduced in Clothes Line resurfaces as the passacaglia which shapes Blowin' in the Wind. The echoing pulse-notes of that song harden into the hammered ostinato under Masters of War; the stringent chords of that song's finale explode into the raucous accompaniment under All Along the Watchtower; and that song's repeated figures dissolve into the bell-sounds of Chimes of Freedom.

Several years after composing the vocal/piano score I orchestrated the work. Since I did not want the soprano to have to sing in an "operatic" manner (with these Dylan texts), I specified that she be amplified. This way, she can project her voice over the orchestra while remaining intimate in her sound. The work is dedicated to Mark Adamo

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                     — John Corigliano

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