I first encountered Dylan Thomas's work in 1959, my last undergraduate year at Columbia College. It was a revelation. Both the sound and structures of Thomas's words were astonishingly musical. Not by accident, either: "What the words meant was of secondary importance; what matters was the sound of them...these words were as the notes of bells, the sounds of musical instruments," he wrote in his Poetic Manifesto
of 1951. I was irresistibly drawn to translate his music into mine.
One poem captivated me: Fern Hill
, about the poet's "young and easy" summers at his family's farm of the same name. I wanted to write this work as a gift for my high-school music teacher, Mrs. Bella Tillis, who first encouraged my musical ambitions. She introduced Fern Hill
with piano accompanying her (and, once, my) school choir.
is a blithe poem, yet touched by darkness; time finally holds the poet "green and dying," but the poem itself, formally just an ABA song extended into a wide arch, sings joyously of youth and its keen perceptions. I set it for mezzo-soprano solo, chorus, and orchestra, aiming to match the forthright lyricism of the text. (The direction "with simplicity" is everywhere in the printed score.)
A Dylan Thomas Trilogy (1959-76, revised 1999)
Fern Hill (full orchestra)
Fern Hill (chamber orchestra)
Fern Hill (harp, piano, strings)
Poem in October
Poem in October (reduced orchestration)
Poem on His Birthday