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Harold
Shapero (1920-2013) was an American Neo-Classical composer and professor of
music at Brandeis University for over 30 years. The student of many esteemed
composers, including Walter Piston, Paul Hindemith, and Nadia Boulanger,
Shapero’s greatest musical output occurred in the 1940s with second increase
during the 1990s-2000s[1].
Many of his papers were recently donated to the Robert D. Farber University
Archives. The Harold Shapero Collection
contains 15 boxes of sketches, scores, and correspondence that provide a unique
look into the creative life of the composer.
In a
time where American composers were increasingly drawn to the 12-tone technique
of the Second Viennese School, Shapero modeled his works after the great
Classicists by using tonal harmonies and traditional forms while reaching into
more complex harmonic and rhythmic gestures than those of the past[2].
He was influenced by the vibrant style of Igor Stravinsky, and was a part of
the American ‘Stravinsky School,’ a title coined by Aaron Copland. Although he
was occasionally criticized for his reliance on classical models, Shapero’s
works were moderately well received (modernist American musicians were not
interested in Neo-Classical techniques[3])
and have remained a part of the repertory. This position was secured by a
renewed interest in Shapero’s music sparked by Andre Previn’s 1988 revival of
the 1947 Symphony for Classical Orchestra.
The surge in popularity also generated a new wave of compositions from Shapero,
who had written drastically fewer works while teaching at Brandeis[4].
The
Harold Shapero Collection contains sketches and scores of Symphony for Classical Orchestra as well as Shapero’s other major
works, including Serenade in D for
Strings, Partita in C, and Three Sonatas for Piano. In addition to
these well-known published pieces, the collection includes many unpublished
compositions, several of which were written as gifts to friends and family
members. Among the many names included in the titles are Leonard Bernstein, Aaron
Copland, and Arthur Berger. The contents of the collection span Shapero’s
lifetime, including materials from early piano lessons, classwork from his
studies at Harvard University, as well as works and sketches from the end of
his life.
Particularly
interesting are the many letters and sketchbooks found within the collection.
The correspondence between Shapero and his teachers and colleagues along with
annotated scores and sketches provide a glimpse into his creative process.
Several works are included in many forms, from early sketches, rough drafts
sent to friends for editing, published editions, and the occasional recording.
This collection provides an opportunity to watch Shapero’s works develop and to
understand the compositional process from his perspective.
The Harold Shapero Papers have a finding aid that can be accessed here: http://findingaids.brandeis.edu/repositories/2/resources/218
The Harold Shapero Papers have a finding aid that can be accessed here: http://findingaids.brandeis.edu/repositories/2/resources/218
Written by Hannah Spencer, graduate student in the Department
of Music at Brandeis University, December 16, 2014.
[1] H. "Shapero,
Harold." Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 16, 2014,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/25586.
[2]
Anthony Tommasini, “Harold Shapero, American Neo-Classical Composer, Dies at
93,” New York Times (New York, NY),
May 27, 2013.
[3]
Ibid.
[4] H. "Shapero,
Harold." Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 16, 2014.
