Carlisle Floyd
Carlisle Floyd
================
Full Name and Common Aliases
--------------------------------
Carlisle Floyd was born on June 7, 1926, in Knoxville, Tennessee. He is often referred to by his initials, C.F.
Birth and Death Dates
-------------------------
Born: June 7, 1926
Died: January 20, 2020 (at the age of 93)
Nationality and Profession(s)
--------------------------------
Carlisle Floyd was an American opera composer and educator. He is best known for his contributions to the world of classical music, particularly in the realm of operas that explore themes of American identity and culture.
Early Life and Background
-----------------------------
Floyd's early life played a significant role in shaping his musical style. Growing up in Tennessee, he was exposed to the rich musical heritage of the Appalachian region. His parents encouraged his interest in music from an early age, and he began taking piano lessons as a child. After serving in World War II, Floyd attended the University of Florida, where he studied composition and conducting.
Major Accomplishments
---------------------------
Floyd's most notable accomplishment is perhaps his opera "Susannah," which premiered in 1955 at the Opera Society of Washington. This work was groundbreaking for its use of American folk music and its exploration of themes such as racism and social justice. Throughout his career, Floyd composed numerous operas that pushed the boundaries of traditional classical music.
Notable Works or Actions
-----------------------------
Some of Floyd's most notable works include:
Susannah (1955) - a classic opera exploring themes of racism and social justice in 19th-century Appalachian America.
The Passion of Jonathan Wade (1954) - an opera that explores the story of a young black man's journey to self-discovery during the American Civil Rights Movement.
* Of Mice and Men (1970) - an opera based on John Steinbeck's classic novel, which delves into themes of loneliness and friendship.
Floyd was also an educator and advocate for music education. He taught at several universities throughout his career, including the University of Texas and the Indiana University Jacobs School of Music.
Impact and Legacy
------------------------
Carlisle Floyd's impact on the world of classical music is immeasurable. His operas have been performed worldwide, and he has received numerous awards for his contributions to American opera. He was appointed as a member of the American Academy of Arts and Letters in 1988 and received the National Medal of Arts in 2000.
Why They Are Widely Quoted or Remembered
---------------------------------------------
Floyd's legacy is not only marked by his impressive body of work but also by his commitment to exploring themes that were relevant to his time. His operas continue to be performed today, offering a glimpse into the complexities of American society and culture. As an educator and advocate for music education, Floyd has inspired generations of musicians and composers to push the boundaries of classical music.
As a composer, Floyd's unique blend of folk and classical elements has left an indelible mark on the world of opera. His ability to craft stories that resonate with audiences today is a testament to his skill as a storyteller. Through his work, Floyd continues to remind us of the power of music to capture the human experience and transcend time.
Quotes by Carlisle Floyd
If an American audience is given a serious musical theater piece that is well produced, dramatically gripping and wonderfully acted, they’ll respond to it.
I had all the normal interests – I played basketball and I headed the school paper. But I also developed very early a great love for music and literature and the theater.
America tends to worship the modest talent because it doesn’t put us in an uncomfortable position vis-a-vis the artist.
I’ve never set out consciously to write American music. I don’t know what that would be unless the obvious Appalachian folk references.
The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that’s grown up outside of the traditional core opera public.
If something is successful with the audience, it’s automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!
When I’ve seen my operas in Europe, they have always struck me as more American than when I hear them here. I can’t tell you what that phenomenon is.
Socially I never was an outsider. I have never thought of the conflict element before frankly, but perhaps it was wanting to belong, and at the same time wanting to retain one’s own personality.
It’s necessary to track characters all the way through an opera. If you’re dealing with more than one or two characters, it’s very easy to forget that the others have lives of their own that feed into the story.
It’s amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.