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William Dawson - Negro Folk Symphony (1934)
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- čas přidán 15. 08. 2024
- William Levi Dawson (September 26, 1899 - May 2, 1990) was an African-American composer, choir director and professor.
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Negro Folk Symphony (1934)
I. The Bond of Africa (0:00)
II. Hope in the Night (11:08)
III. O Let Me Shine! (21:08)
Detroit Symphony Orchestra conducted by Neeme Järvi
Description by "Blue" Gene Tyranny [-]
Completed in 1932, and premiered by Leopold Stokowski in Philadelphia in November 1934, this marvelous and neglected symphony was later revised in 1952 after a visit by the composer to West Africa. The first movement, "The Bond of Africa, " opens with a plaintive theme played by a solo French horn that symbolizes for the composer a "missing link, " a break in the human, social chain when his ancestors were taken from Africa in slavery. The beautiful melody is interrupted by chromatic chords whenever it is stated and never allowed to finish. After a development of this original theme, the orchestra suddenly bursts into fantastical variations on the traditional spiritual (called in dialect) "Oh, m' littl' soul gwine-a shine" (Oh, my little soul is going to shine); the orchestration is brilliant and original. The variations gradually develop into more dramatic territory with sweeping canonic imitation. An energetic, cascading coda, finely and richly orchestrated concludes the first movement.
Three low gong strikes, representing the Trinity, open the next movement, "Hope in the Night." An English horn emerges with a moving, elegant melody, "a plea from the darkness, " which is soon taken up by the strings and developed to a dramatic, desperate tension, which is suddenly broken by an Allegretto, a song of children "yet unaware of the hopelessness beclouding their future." The "missing link" melody from the first movement is recalled by a solo cello, and then French horn, surrounded by wind melissima. We again hear the children's song, although it is now mixed with the "plea" melody and the "missing link" melody which are all interwoven and developed in a dramatic Mahlerian dialogue. Tolling bells join in and drive the music to an extreme, passionate cry. A marvelous effect is created with low trombones and an insistent pulse on the tom-tom depicting the drudgery of the slaves' existence. Three orchestra bells with gong are separated by tremolo swells in the strings and the pulsing tom-tom to create an overwhelmingly effective ending.
The third movement, "O Le' Me Shine" (Oh, Let Me Shine), is built on two interwoven themes from the Afro-American folk songs "O le' me shine, le'me shine, lik' a mornin' star" and "Hallelujah, Lord, I been down into the sea." Fragments from the tunes are given to various instruments, which answer each other, and then play in complex polyphonic groups. Some spectacular brass and wind writing occur in the development section. The melodies become stretched chromatically toward the conclusion, and a glorious, spine-tingling coda concludes the work. No mere pastiche of Americana, this grand work is by a composer fully conversant with the subtleties of technique and possibilities of expression in the symphonic form.
It is a magnificent symphony. I have a memorable connection with William Dawson that goes back to 1963 when I sang in a large MA state high school choir that he directed for the weekend. One of our pieces that we tended to rush during rehearsals was a spiritual. He stopped the rehearsal and asked us to watch him walk across the stage while he sang the melody and reminded us that the tempo should be no faster than his walk and that yearning for the promised land can take its own pace.
Stuart, I love your comment and reminiscence.
Thanks for your comment Stuart, I hope this piece can reach more people one day, what an insightful way to look at music.
That gave me chills...what a brilliant way to embody the WHY of a tempo of piece like that.
Dear Stuart, I cried reading your reminiscence. Thank you for sharing.
I am going to hear this tonight performed by the Philadelphia Orchestra. This is a wonderful symphony.
I had the honor of meeting him when I was a student at Winston-Salem State University and he led one of our University Choir classes in the mid 1980's. It was just amazing to be taught the spirituals he wrote by the man himself. Something I will never forget....
Here is a programme note written by Elizabeth Schwartz in 2021 to accompany the Oregon Symphony performances in February 2022.
William Dawson
1899-1990
Negro Folk Symphony
Work composed: 1934, rev. 1952
First Oregon Symphony performance Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, adawura (Ghanaian bell), African clave, bass drum, chimes, cymbals, gong, snare drum, tenor drum, xylophone, harp, and strings
Estimated duration: 30 minutes
“I’ve not tried to imitate Beethoven or Brahms, Franck or Ravel - but to be just myself, a Negro,” William Dawson remarked in a 1932 interview. “To me, the finest compliment that could be paid my symphony when it has its premiere is that it unmistakably is not the work of a white man. I want the audience to say: ‘Only a Negro could have written that.’”
Two years later, Leopold Stokowski led the New York Philharmonic in the premiere of Dawson’s Negro Folk Symphony. Critics and audiences alike hailed it as a masterpiece. One reviewer declared it “the most distinctive and promising American symphonic proclamation which has so far been achieved,” and another enthused, “the immediate success of the symphony [did not] give rise to doubts as to its enduring qualities. One is eager to hear it again and yet again.” Given this overwhelmingly positive reception, Dawson’s Negro Folk Symphony, which at the time he thought of as the first of several future symphonies, should have been heard “again and yet again.” But it was not. Despite Stokowski’s advocacy for Dawson and the Negro Folk Symphony, and despite the stellar reviews it received at its premiere, within a few years both the music and its composer had faded into relative obscurity. Dawson never composed another symphony, although he did continue writing and arranging music - primarily spirituals, which he preferred to call “Negro folk songs” - for the rest of his long career.
In the current climate of racial reckoning, Dawson’s Negro Folk Symphony is enjoying a long-overdue revival, as is the music of Black classical composers such as Florence Price, William Grant Still, Nathaniel Dett, and others.
Dawson wrote that his symphony was “symbolic of the link uniting Africa and her rich heritage with her descendants in America,” and gave each of its three movements a descriptive title. Dawson explained in his own program note: “The themes are taken from what are popularly known as Negro spirituals. In this composition, the composer has employed three themes taken from typical melodies over which he has brooded since childhood, having learned them at his mother’s knee.” Musicologist Gwynne Kuhner Brown observes, “The themes are handled with such virtuosic flexibility of rhythm and timbre that each movement seems to evolve organically,” creating a “persuasive musical bridge between the ‘Negro Folk’ and the ‘Symphony.’”
In “The Bond of Africa,” Dawson opens with a horn solo. The dialogue between the horn and the orchestra recalls the call-and-response format of most spirituals. The horn solo repeats, usually in abbreviated form, a number of times throughout this movement, and serves as a musical “bond” holding the work together.
The central slow movement, “Hope in the Night,” also features a unifying solo. Here an English horn sounds Dawson’s own spiritual-inspired melody, which he described as an “atmosphere of the humdrum life of a people whose bodies were baked by the sun and lashed with the whip for two hundred and fifty years; whose lives were proscribed before they were born.” Underneath the plaintive tune, the orchestra provides a dirge-like accompaniment that builds to an ominous repetition of the solo for tutti orchestra. This episode is offset by an abrupt change of mood, and we hear a lighthearted, up-tempo reworking of the original tune (the “hope” of the movement’s title). These two contrasting interludes alternate throughout the rest of the movement. Towards the end, Dawson reworks the harmony, which has been grounded in minor keys up to this point, and tiptoes towards major tonalities without fully embracing them. Musically, this device works as a powerful metaphor for the importance and elusive nature of hope to sustain people through traumatic circumstances.
The closing section, “Oh, Le’ Me Shine, Shine Like A Morning Star!” imagines a world in which the hopes of the previous movement are fully realized. Dawson creates this musical utopia through rhythm. The central melody showcases accented off-beat exclamations from various solo instruments and sections throughout, as the rhythms layer increasingly complex parts over one another. Dawson revised this movement in the early 1950s after he encountered the intricate polyrhythms of West African music during a trip to Africa. The interlocking parts and the sounds of African percussion instruments captured Dawson’s ear; when he returned to America, he added these elements. Eventually all these rhythmic strands come together in a final buoyant exclamation by the full orchestra.
I can't believe this is the first time I have heard this. I'm a conductor in my 40's! Fantastic music that will definitely find a place on a concert soon.
I hear you - I got you by a decade - I’m a conductor in my 50s and only hearing this for the first time - only heard OF it recently! If there is one thing this summer has brought about it’s the experience of being able to learn a whole bunch of fantastic music that I should have already known. Future concert seasons are developing in my mind like crazy right now...
I am also in my 40s. And it is also the first time I have heard this.
The only difference is: I am not a conductor; nobody is perfect...
@J D for the same reason every news outlet, every forum, every commercial, every movie, every song is...wait tell us JD what is it?
@@brblack2007
Hmm..lets think about this
A black composer from the south in the Jim Crow era....really what could get in the way of his recognition at that time?
@@turnne the person I was replying to said he was in his 40s and never heard of Dawson.
Outstanding! This Symphony should be in repertoire of every American orchestra. Everyone should have such pride in this music. I❤this again and again. Im enthralled with the orchestration. Such melody. Wish he had written more symphonic music. I think if an orchestra is going to plays Copland then this symphony should be on the program also. I've been listening to Classical music for 51 years. I adore America music and i only discover this piece a week ago! A revelation !
Great music! It breathes.
John McWhorter brought me here. What a beautiful piece!
Same.
Absolutely brilliant! Here is a work that should be on the stands of every American orchestra. Development of the folk-derived themes is masterful, the orchestration dazzling. Please take the time to listen to this work carefully. It deserves your attention.
Yes! It is an amazing achievement. A Symphony completely on its own in American Symphonic literature without the often cliche "Americana", academic writing of so many contemporaries.
The orchestration is just dazzling! This should be studied by the music conservatories and celebrated by the people!
I thought William Grant Still stood absolutely alone with his 5 symphonies. Apparently not. This might be even better. I have been a symphonic music enthusiast for 70 years, and only now I am seeing there is yet so much to be discovered.
"Wait till he learns about the works of Florence B. Price"
Had never heard of Dawson, happened to be reading Joseph Horowitz' book, "Dvořák's Prophecy and the vexed fate of Black Classical music" and pulled up this recording to listen to it. I just this year learned of Florence Price; now Dawson, and whoever I now will explore as I learn of them in this book. When I was in college I found I enjoyed Dvořák, now I know to trust his other perspectives.
Check out William Grant Still too. He's great.
Excellent book recommendation (published November 2021). On my list to acquire, read and share.
I’m so glad I found this. I know I’ll be listening to this for years. I hope to see more orchestras perform this brilliant work more often one day! It NEEDS to be played more, something this masterful and brilliant should be more heavily recognized as such. Many things go lost to history, this shouldn’t be one of those things.
My NPR contribution just paid for itself.
This piece makes me wonder how many more bright candles are being hidden under dark white baskets.
Yes this is a FANTASTIC Symphony.. the themes of the constant struggle and how that fight changes as time goes by. I REALLY Enjoyed it!
This symphony is BEAUTIFUL. ❤️ As I only just heard of it, myself, I hope it becomes much more appreciated by a broader audience. So much meaning in the music.
So Delightful... feels like Dvorak, Bit of Wagner, Tchaikovsky, Sibelius, and even Prokofiev...
So many unique details. Brilliant, just brilliant.
As a whole piece represents the few eras, merging them in one body.
I had many of the same composers in mind... was thinking of Dvořák, Mahler, and Prokofiev at various points
I'm getting a tint of Korngold too!
I'm with Jerré. Why hasn't this piece been granted it's due recognition? What beautiful and intricate moments. I've just discovered it and am amazed.
www.npr.org/sections/deceptivecadence/2019/09/20/762514169/why-is-american-classical-music-so-white
@@danny_chestnut253 Reading this article led me to yet another composer I didn't know: Florence Price. What a shame that not more has been done to disseminate this great music to more of the public!
@@lancepeterson2099 Interesting. My looking into Florence Price brought me here.
A little bit of racial bias (probably a lot) plus tendencies towards modernism. There's a lot of great, melodic music written around the time that doesn't get much recognition. But this is a really great piece and it's a real shame hardly anyone has heard it
@@alexnobrasil3062 Completely agree with everything you say here.
Going to see this at LA Philharmonic this Saturday presented by Roderick Cox. So excited that our history and music lives on!
I dream for more people to listen to this!
It is one of the miracles of modern interconnectedness that I am introduced yet again to a work and a composer of whom I had never previously heard. The first movement displays a mastery of form and orchestration which makes me wonder how come it has been in the dark for so long. I must bring full attention to bear on the rest of it.
I always felt that this Symphony is on a level few American composers operate(d) on. I don't like getting political on my channel, but we all know the reasons why he is little known or just completely forgotten. In any other country he would be famous. Ever heard of Natalie Curtis? Another example.
How beautiful! 🥺😊
A stunning, evocative piece. Bravo!
The Detroit Symphony is performing this in December 2021. Can't wait.
A fine performance of this wonderful composition, which should be heard more often.
The Glenn show with Glenn Loury and John McWhorter introduced me to William Dawson. Thanks Glenn and John.
This is an absolutely brilliant symphony! I can't believe this is the first time I'm hearing it. I hope to perform it some day. I feel it would pair brilliantly with Gershwin's Concerto in F on the first half of a programme, opening with John Harbison's Great Gatsby Suite.
Absolutely awesome!
I cant believe I've never heard this. I'm looking forward to listening to more of his work.
I. The Bond of Africa 0:00
II. Hope in the Night 11:08
III. O Let Me Shine! 21:08
Was just introduced to this through the podcast Lexicon Valley. Great stuff! Definitely under-appreciated.
Heard it today at Asheville Symphony Orchestra. Tremendous work. Stunning
Wow.
Just found an original copy at a yard sale! Love it!
Latoya Melvin, Wow! Did you really find a copy of this Dawson Negro Folk Symphony at a yard sale? What city?
@@emilerose1424 sure did at a church yard sale
In Fayetteville NC
@@latoyamelvin2108 What a great keepsake heirloom! If on original/fragile paper, preservationists at local museum or libraries can advise on preserving/ stabilizing the paper and on making a scan via computer so you can put the original away for safekeeping. If original, also consider speaking with your insurance agent about insuring it on your house or apt policy. Congratulations on good luck and good taste!
@@emilerose1424 thank you! I’m doing my best to take care of it!
This piece has a little bit of everything.. a little Dvorak..a little jazz... a little spiritual/folk song
A lot to like here
Thanks for posting. A brilliant piece that certainly deserves more attention.
What a fine discovery!
This is FWEQUEE(vibey)... Thanks for the repost! Much appreciation
As Schumann once said about Chopin. I'll say the same for Dawson. "Hats off gentlemen, a genius".
Did Really live to 1990I must find fact check this ! Wonderful that a famed exponent of great music would Learn this score and have his Detroiters not only play but record it - glad a record company found it or Jarvi or whatever happened . I'm sure this score has languished somewhere ! Marvelous pacing and the orchestration is very knowing it takes it s time before lavishing all the depth and heft of a modern early 20th century orchestra !
There is another recording on youtube which I just listened to, and while also being great, it doesn't match the perfect speed and energy of this particular recording! Thank you for uploading this fantastic work from a rarely heard of composer. Good job and thank you!
Playing this in orchestra! Just had first rehearsal.
Wild guess, but are you in the Cincinnati Symphony Orchestra?
@@123rockfan Symphony Pro Musica in Central Mass.
I'm listening to NPR has I read about these unbelievable geniuses! They're quality of their character and the musicianship is unparalleled!
Great piece! And Boston Symphony Orchestra is doing it next season.
Talents et Beautés sont vraiment partout logés
Entre Shostakovich et Sibelius, je découvre aujourd'hui même cette extraordinaire symphonie, composée en 1934 par un compositeur noir. Formidable!
Thank You so much!
Wow what a beautiful masterpiece ❤️ great post thanks for sharing 🙏👌
Très,très beau ! It s a masterpiece !
Beautiful!
Wow, absolutely amazing work. A great listen all the way to the end.
I found that he is buried in alabama and i saw he composed music and found THIS MASTERWORK!! This mas n needs to be as famous as bernstein or beethoven.
@J D Why isnt he?
Brilliant, sparkling work!
Una sinfonía en amplia escala, con todo su esplendor, llena de ricos sonidos. Da pena que esta obra sinfónica haya sido subestimada, ignorada en el mundo de la música clásica.
This is wonderful.
Wow!
This is amazing!
When orchestras come back from pandemic this piece needs to be programmed by the major orchestras. If audience like new world symphony by a Czech composer then they have to like the real thing
pretty ❤❤👍👍
fabulous symphony
¡Esto tendría que estar en la colección de piezas maestras!
I was convinced for a while the photo was of William Grant Still. The similarity, at least in this photo, is striking. They could have been twins.
@Chris Breemer, Dawson and Still have similar complexions. In at least one place in the past, I saw a picture of Dawson that was misidentified as Still. That might contribute to their "looking alike"--their pics are sometimes interchanged; someone saw "Black composer" and the research stopped there.
The symphony starts in C minor but the main body of the first movement is in the relative major, E-flat, and that is the key in which the entire symphony ends. The movement tempos are:
I. Adagio - Allegro con brio
II. Andante - Allegretto scherzando
III. Allegro con brio
James Levee, thank you for this information on the Dawson symphony movements.
Great stuff. Solid and moving. It's a shame it's not more well-known.
Sad that, as far as I can tell, all recordings of this fine work are unavailable.
That's the beauty of You Tube. You can listen right here without having to get a cd or even long play record.
Detroit Symphony,, Neeme Jarvi. Should be on the Naxos label. It's on Apple Music for sure. It's available on Amazon probably under Still: Symphony no. 2
Also on Spotify
There is a new CD of this piece that came out in 2020 that made it onto NPRs best albums of 2020 list.
Debería haber más ejemplos de compositores afro-americanos de música clásica
William Grant Still es un de mis favoritos
Some Dvorak influence here...especially in the 3rd movement
I could see that, but Dvorak used quite a few Negro spirituals which is the only similarity here.
I wonder if this fine work would get more performances if it was known simply as An American Symphony?
@@bartjebartmans Renaming it wasn't his point.
You are probably right. But the only problem I have with that name is the fact that it would be classified as an "Americana" work a la Copland, Harris etc. Dawson goes far beyond that.
Tom Emlyn Williams, interesting question about this symphony. Very possibly yes. What is your reasoning on why that might be so?
It's all about identity. Afro-American Symphony and negro folk Symphony is a way to tell the story from a prospective of the black experience in America through symphonic form. All of our Spirituals, folk tunes, art style, and cultural style. This was a way for them to give black people their Symphony
23:03 Brahms first symphony last movement be like
#5:46
sad that everyone commenting here, or nearly everyone is white. when you go to any of the youth symphonies the student musicians are predominately East Asian, Jewish, White.....there ARE good and great Black classical musicians. there should be more, but Black folk themselves have to be interested. my girlfriend teaches music in the semiinner city, funded by a hamburger company, and the kids are black and latino. they love it. but do their parents prioritize it. ?
Not in Los Angeles. Dudamel's YOLA is situated in a disadvantaged community and teems with Blacks and Latinos/Latinas. A great opportunity for them. I am looking forward to hearing the LA Phil perform this work live in January 2023.