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PAN PIPES Summer 2019 29 BUILDING BRIDGES WITH MUSIC: STORIES FROM A COMPOSER'S LIFE By Samuel Adler J oyfully, there are certain lives that shine as beacons of possibility and elevation. Their example shows us what is attain- able within our own finite timespan. Compos- er, conductor, educator, Samuel Adler's life in music is a precious case in point. It's fair to say that at a hardy and vigorous ninety-one years of age, Hans Samuel Adler has lived more lives, written more music, achieved more goals, met more people, and made more friends than most of us in groups of five. Throughout this oversized biographical memoir each of these paths is documented in meticulous detail. One may observe seven factors explaining the rich- ness of his life. 1. A sterling parental role model. Sam's father Cantor Hugo Chaim Adler was both musically knowledgable, and a devoted Jewish leader in Mannheim, Germany before the Shoah and afterward in Worcester, Massa- chusetts. There is a highly dramatic story of the two of them, in peril for their very lives, sneak- ing up to their shul's choir loft after Kristall- nacht to save the choral part books and almost being killed by the S.S. One can understand how much Sam's father influenced and shaped his Jewish musical imperatives and later fostered a vision within him for an American Reform devotional music menu. Adler senior, also made sure that the family did not wait too long to escape to the U.S. Undoubtedly, all of Sam Adler's creative and editorial Jewish musi- cal activities are directly inspired by his father's example. 2. An immigrant's will to succeed in a new land. As a child, Sam was an outsider who knew that he had to try harder and, as a grateful emigre from Germany, fundamentally under- stood that achievement and success were the only proper motivations. Having been trauma- tized by Hitler youth while being mandated to learn to swim by the seashore and then being beaten up, Sam was never an athlete who played on teams; he was always an individual- ist. He and his sister used to play 'synagogue' together. His natural athleticism, however, would reveal itself later on in both his gymnas- tic music and his conducting of it. 3. A wonderfully thorough education. Growing up in the Boston area, Sam was privileged to attend Boston University, Harvard, and a summer at Tanglewood under Aaron Copland and Koussevitsky. He studied with fabulous composition teachers including Walter Piston, Paul Hindemith, and Randall Thompson. There's a wonderful story of how Sam was disciplined and groomed by the fac- ulty at Harvard to relinquish unfocused intel- lectual habits and really step up to the plate. 4. A mission-oriented raison d'etre. Adler's creative life was mandated. He was to create both Jewish and secular music that reflected a new 20th-century musical direc- tion and sensibility. His huge Shabbat SATB choir at Temple Emanu-El in Dallas each Friday evening, where elevated choral masterworks were intermingled with service settings, was pioneering in reform Jewish music circles. New ways of making older music were also part of his agenda. Read about Sam's creation of the Seventh Army Symphony in Germany to rehabilitate its citizens after the war and you'll marvel at how this soldier in his early twenties could muster such creative authority to move the Army brass. 5. Hard work. Throughout the book, one is reminded of two kinds of composers. The 'celestial' wunder- kinder like Mozart, who seemingly conceive and pre-compose works effortlessly in total, and the Beethovens, who struggle, scratch out, recompose, and persevere, dedicated to constant hard work and perfection. Without discounting Adler's gifts at all, one could put him in the latter category. His work ethic is second to none. His rigorous labors amount to conquests that might not have been achieved by even more innately gifted composers. His highly successful orchestration text, his choral and sight singing studies, and his two-volume High Holiday liturgical anthology Yaamim No- raim must have been written in the middle of the night, for twenty-four hours could hardly be enough time. His indolence was hardly tol- erated at Harvard, and he, in turn, was a loving taskmaster in his earlier years. His students at North Texas University, the Eastman School of Music, and later Juilliard would regularly be urged: "Come on man, pour on the steam, give it more!" He became somewhat more understanding of his students' challenges later in his career, but still inculcated hard work as the only real solution to solving problems, surmounting obstacles, and achieving a suc- cessful life in music. 6. A belief that people are good and all things are possible. When you read of all his college resi- dencies, international teaching and travel, advocacy of new programs and methods, many devoted students and colleagues, you are struck with how much Adler enjoys relat- ing with people. There isn't a time when he has not just returned or is preparing to go on a trip to a new exotic location (now with his gifted wife the conductor Emily Freeman Brown). For several years in his seventies, and eighties he traveled each week from Ohio to New York City to teach for two days at Juilliard. Only an optimist and believer in humanity could endure these physicalities. 7. An understanding of the long line both in music and life. A final note is that Adler doesn't care to compose for your immediate or easy gratifica- tion. This would be too easy. His music is often technically challenging, requiring schooled musicians, and is designed to wake an audi- ence up from its lethargy. He aspires to give us all a singular sonic experience that might temporarily disturb but ultimately transform. The only "tune" that I believe he will be re- membered for is his composition of "Hamotzi" sung before meals as if it was MiSinai. Adler's motto, borrowed from Baruch Spinoza is sub specie aeternitatis ('from the perspective of the eternal'). He is about creating bright pathways long into the future. His music works to el- evate, transform, improve and, of course, build bridges. We are indebted to Samuel Adler for this recapitulation of his thrilling and most memo- rable life's journey. While not practical to list all of the musical giants he has known and all of Adler's achievements, this biographical memoir is enthusiastically recommended as a remarkable tonic for anyone feeling temporar- ily defeated or anyone looking for a blueprint for designing a life well lived. Every teacher or student of music should learn from this fine memoir. Music libraries should have multiple copies made accessible. Today, more than ever, we all need heroes and role models and Samuel Adler fills both bills. A big thanks of gratitude and a very happy 91st birthday to Dr. Adler and sincere wishes for many more years of good health, creativity, and showing us a most life-affirming path. Dr. Michael Isaacson, an SAI Composers Bureau member, studied with Sam Adler at the Eastman School, and they have con- tinued their friendship for over 40 years. At 73, Isaacson still sends his new works to Adler for critiques and constructive suggestions. REVIEWS

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