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Ned Rorem will not go away. For decades, he has been an elegant anomaly among American composers, adhering to an austerely lyrical Franco-American style that went out of fashion sometime during the Eisenhower Administration. He came of age in the nineteen-forties, when a young composer could go to Paris, dash off a bundle of unaffectedly beautiful songs, and get written up in the weeklies alongside Norman Mailer and Montgomery Clift. Rorem was among the last American artists to pull off a plausible Parisian exile, and when he came back, in 1957, he found that composers were being hailed not for the excellence of their craft but for the extravagance of their theories. Time ...