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Thursday 4 February
many of the world’s most distinguished orchestras in
programmes that mix his own works with compositions by
figures as diverse as Debussy, Stravinsky, Ravel, Zappa, Ives,
Reich, Glass and Ellington. The New York Philharmonic
spotlighted him in a Composer’s Week dedicated to his music
in 1997, but for many listeners his most memorable
connection with the orchestra was the unveiling of his On the
Transmigration of Souls, a meditation on the attacks of 11
September, 2001, which the orchestra co-commissioned and
then premiered at the outset of the 2002 season, and whose
subsequent recording won three Grammy awards, while the
work itself garnered a Pulitzer Prize for its composer.
In 2008 John Adams published Hallelujah Junction, a
compelling book of memoirs and commentary on American
musical life. There, we read that The Wound-Dresser ‘began
as a plan to set prose cameos from Walt Whitman’s account
of his Civil War days in [his prose collection] Specimen Days’.
The texts, which involved Whitman’s service in military
hospitals, ‘made me think of the stories I had heard from San
Francisco friends, many of them gay, who had lost partners
and loved ones to the plague of AIDS that, in 1989, was still
devastating the country’. They also related to ‘the memory of
a more personal story, that of the long, slow decline of my
father from Alzheimer’s disease … [and] my mother’s
struggle and the devotion with which she nursed him’.
‘Instead of setting Specimen Days’, he reported, ‘I chose The
Wound-Dresser, a poem that is both graphic and tender,
perhaps the most intimate recollection of what Whitman
experienced in his years of selfless work as a nurse and
caregiver in the hospitals that surrounded wartime
Washington.’
Programme note © James M. Keller, New York Philharmonic
Program Annotator
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