ABSTRACT Title of Dissertation: TRACING THE HISTORY OF CLASSICALLY-TRAINED AFRICAN AMERICAN TENORS Aaron Paige, Doctor of Musical Arts, 2019 Dissertation Directed By: Professor Carmen Balthrop Division of Voice/Opera School of Music, University of Maryland This dissertation project will trace the history of classically-trained African American tenor vocalists through performance and narrative. The recitals presented were chosen to highlight tenors who have made significant contributions to the accessibility of opportunities for other African American tenors. The repertoire chosen for the first performance is based on a recital given by Roland Hayes at The Orchestra Hall (now the Chicago Symphony Center) in Chicago, IL on January 15, 1924. The repertoire chosen for the second performance is based on a recital given by George Shirley at Wesleyan College on December 8, 1989. The repertoire chosen for the last performance was inspired by the versatility of contemporary performers, to include the members of the ensemble The Three Mo’ Tenors. The findings in this project can ultimately be used to identify often forgotten contemporaries and predecessors to some of the most important African American tenors in history. TRACING THE HISTORY OF CLASSICAL-TRAINED AFRICAN AMERICAN TENORS by Aaron J. Paige Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2019 Advisory Committee: Professor Carmen Balthrop, chair Professor Martha Randall Professor Kevin Short Professor Stephen Thomas Professor Delores Ziegler © Copyright by Aaron Paige 2019 For my parents: Patricia Elise Paige William James Paige, Jr. “On ma journey now (Mount Zion) On ma journey now (Mount Zion) Well I wouldn’ take nothin’ (Mount Zion) For ma journey now (Mount Zion)” ii Table of Contents Dedication………………………………………………………………………………....ii Introduction………………………………………………………………………………..1 Chapter 1: A History of Classically-Trained African American Tenors………………….3 Tenors Active Before 1950………………………………………………..3 Tenors Active Between 1950 and 1990…………...………………………7 Tenors Active After 1990………………………………………………..13 Chapter 2: Roland Hayes Recital………………………………………………………...15 Biography………………………………………………………………...16 Program Notes…………………………………………………………...19 Translations………………………………………………………………24 Chapter 3: George Shirley Recital……………………………………………………….28 Biography………………………………………………………………...29 Program Notes…………………………………………………………...32 Translations………………………………………………………………37 Chapter 4: Three Mo’ Tenors and Beyond Recital………………………………………43 Biography………………………………………………………………...44 Program Notes…………………………………………………………...46 Translations………………………………………………………………55 Conclusion……………………………………………………………………………….56 Appendix I: Program 1 CD Tracks………………………………………………………57 Appendix II: Program 2 CD Tracks……………………………………………………...58 Appendix III: Program 3 CD Tracks…………………………………………………….59 Bibliography……………………………………………………………………………..60 iii Introduction Many music students are exposed to new repertoire by referencing performances by professionals on their instrument. My interests in African American music and performers led me to search for other tenors that programmed music that would be appropriate for me to perform. My search for performance records, programs, or recordings, returned startling results. Of the information readily available, I found most of the results about tenors active after 1990. The two exceptions to this were Roland Hayes and George Shirley. The presence of Hayes and Shirley among these results highlighted their importance but made me curious about other tenors like them and their impact. Who were their contemporaries? Who were their predecessors? Did other African American tenors make similar impacts? How did Hayes and Shirley influence the large list of African American tenors active after 1990? This dissertation project will trace the history of classically-trained African American tenors through performance and narrative. The recitals presented were chosen to highlight tenors who have made significant contributions to the accessibility of opportunities for other African American tenors. The repertoire chosen for the first performance is based on a recital given by Roland Hayes at The Orchestra Hall (now the Chicago Symphony Center) in Chicago, IL on January 15, 1924. Hayes was a performer and composer who was one of the first African American tenors to present Classical and American folk music on the concert stage. The repertoire chosen for the second performance is based on a recital given by George Shirley at Wesleyan College on December 8, 1989. Shirley was the first African American tenor to debut at the Metropolitan Opera in New York, one of the most noteworthy opera houses in America. 1 The repertoire chosen for the last performance was inspired by the versatility of contemporary performers, to include the members of the ensemble The Three Mo’ Tenors. The Three Mo’ Tenors performs an eclectic repertoire with an aim to evolve the public perception of African American tenors on stage. One of the main limitations of this project is incomplete or nonexistent historical data. Digital searches and print materials sometimes list a name and voice type without other supporting information. When requesting information from prominent U.S. opera houses and management companies, many were unable, or unwilling, to provide historical data based on race. Because so few African Americans were represented by these institutions, even if their human resource records extended that far, they would not have the means to determine if the tenor hired was African American or of another race. Throughout this project, the phrase “classically-trained” refers to vocalists who studied the bel canto singing traditions at a university, conservatory or through private instruction. It is also important to note that this list of tenors is not intended to be exhaustive or comprehensive. The selected biographies presented in the body of this document are done so to highlight career accomplishments significant to the document narrative. 2 Chapter 1: A History of Classically-Trained African American Tenors Tenors Active Before 1950 After the Emancipation Proclamation was signed in 1863, former slaves looked for a new start. Many had spent a lifetime developing skills that could now be used for their profit. While some took their 40 acres and a mule to begin farming for themselves, others sought to capitalize on trades like carpentry, culinary skills, and the arts. As the first schools for African Americans were being established, some freed people sought educational opportunities. Because the relationship between class and culture is so closely intermingled, African Americans interested in formally studying music found it challenging to do so. The best music instruction was offered at school not yet ready to accept African American students. Many former slaves got the training they needed through private study. Early performances were given at churches and other central places in African American communities. Only after a performer gained notoriety or was “discovered” by a white patron would they be allowed to perform in recital spaces or concert halls, often for a segregated or all white audience. The Fisk Jubilee Singers of Fisk University began touring in the U.S. 1871 and took their first international tour in 1873. This group brought international attention to the African American spiritual. Audiences around the globe were intrigued by this uniquely American music. 1 When tenor Roland Hayes enrolled at Fisk University in 1905, he quickly became one of their star soloists. After leaving the group, he began presenting 1. Eileen Southern, The Music of Black Americans: a History (New York: W. W. Norton & Company, 2006), 227-229. 3 solo recitals including his own arrangements of spirituals. In addition to presenting spirituals and worksongs, Hayes would also include classical music in his recitals. Over his career, Hayes would be considered a premier interpreter of German lieder and French mélodie.2 While some vocalists were content to perform recitals, others wanted to explore the more popular vocal performance medium of the time, opera. As early as the mid-19th century, African Americans had been performing in public concerts that included operatic music. Elizabeth Taylor Greenfield was the first African American to achieve success during her travels as a concert singer in the United States and Europe.3 In a still segregated and barely emancipated United States, Greenfield’s accomplishments encouraged singers to consider opportunities in Europe. Audiences in Europe were more accepting of African Americans, and many performers moved as soon as they could raise the money or find a sponsor. The first African American to perform a leading role with an established opera company was soprano Lillian Evanti in the title role of Delibes Lakmé in 1925.4 In the United States, opportunities for African American singers in opera were slowly appearing. In 1932, baritone Jules Bledsoe became the first African American to 2. Lemuel Berry, “Roland Hayes,” essay, in Great African American Musicians: from Marian Anderson to Stevie Wonder (Lewiston, NY: Edwin Mellen Press, 2010), pp. 110-111. 3. Darryl Glenn. Nettles, African American Concert Singers before 1950 (Jefferson, NC: McFarland, 2003), 69. 4. André Naomi Adele. et al., “Il Rodolfo Nero, or The Masque of Blackness,” essay, in Blackness in Opera (Chicago, IL: University of Illinois Press, 2012), pp. 263. 4 sing a major role in an established American opera company.5 As vocalists in other voice types gained opportunities, tenors were conspicuously shut out of leading roles fr which they seemed prepared. By the middle of the 20th century, the operatic opportunities available to African American tenors, even those held in high public regard, was little more than supporting roles or roles based on race. The National Negro Opera Company was established in 1941 by Mary Cardwell Dawson to give more performance experience to African American singers. The company would mount staged productions in Washington, D.C., New York and Chicago.6 The productions featured famous works in the lyric repertoire and aimed to give national audiences an opportunity to hear established and emerging African American classical singers. Thomas J. Bowers (c.1823-1885) Thomas Bowers was born in Philadelphia, PA and received his early musical training on organ and piano from his brother, John C. Bowers. After gaining an interest in pursuing voice more seriously, Bowers began studying with famed soprano Elizabeth Taylor Greenfield. Bowers and Greenfield gave a recital at Samson Street Hall in Philadelphia in 1854. Impressed with his talent, critics called Bowers the “Colored Mario” after Italian tenor Giovanni Matteo Mario. With the help of Colonel J.H. Wood, 5. Bledsoe’s performance was as Amonasro with the Cleveland Orchestra. This was the first recorded occurrence other than with African American led troupes. 6. André. et al., “Il Rodolfo Nero, or The Masque of Blackness,” pp. 263. 5 Bowers and Greenfield would set out on one of the first international recital tours through Canada and the northern United States in 1863.7 Sidney Woodward (1860-1924) Orphaned at birth on a plantation in Stockbridge, GA, Sidney Woodward’s resourcefulness found him in Boston studying voice with Edna Hall at the New England Conservatory. In 1893, he traveled to Chicago to sing at the World’s Fair on Colored American Day. His success is Chicago drew the attention of Metropolitan Opera soprano Lillian Nordica. With her financial help, Woodward gave his debut recital at Chickering Hall in Boston, MA in 1894.8 Soon after, Woodward moved to Germany to study music and eventually received a certificate from Dresden’s Royal Conservatory. After touring as a recitalist through Europe and Asia, Woodward decided to help other African Americans pursue careers in music. He returned to the U.S. in 1916 and held a teaching position at Clark College in Atlanta, GA and the Music Settlement School for Coloreds in New York City. His philanthropy and guidance would later help the careers of H.T. Burleigh and Roland Hayes. 9 Charles Holland (1909-1987) Charles Holland was born in Norfolk, VA and began studying voice at age 14 with May Hamaker. Genuinely interested in the music developing around him, Holland spent much of the 1930s performing as a jazz singer while also touring as a tenor soloist 7. Nettles, 21. 8. Nettles, 170. 9. Nettles, 170. 6 with the Hall Johnson Choir. He turned his attention to a career in classical music and began studying voice with Clyde Burrows in New York City.10 After unsuccessfully finding management, and because of the lack of opportunity, Holland moved to France in 1949. In Europe, his career blossomed. His European operatic debut came in 1954 at the Paris Opera, and in 1955 Holland became the first African American to sing with the Théâtre national de l'Opéra-Comique. He would go on to sing throughout Europe and in Australia, and Canada before returning to the U.S. in the 1980s.11 Other Tenors Nathan Boyd, Harry Delmore, George Garner, Roland Hayes, Merritt Hedgeman, Thomas Henry Johnson, Lawrence Watson, Henry (Harry) Williams Tenors Active Between 1950 and 1990 As African Americans started to receive opportunities in Europe, things were beginning to change in America. The New York Opera became the first major opera company to give principal roles to African Americans in 1945. The Metropolitan Opera hired impresario Sir Rudolf Bing as its general manager in 1949, and he began efforts to integrate African Americans in all aspects of production. Marian Anderson’s achievement as the first African American to sing at the Metropolitan Opera came in 1955.12 It took until 1961, almost 80 years after its founding, for George Shirley to 10. Nettles, 79. 11. Nettles, 78-80. 12. Southern, 530. 7 become the first African American tenor to sing there. These contributions to the Civil Rights movement by the Metropolitan Opera encouraged other arts organizations around the country to integrate. It wouldn’t be until the 1970s that African Americans would regularly sing at major opera companies in America. 13 With the new advancements in opera came the growing pains of typecasting. The problem of the leading-tenor-love-interest came into focus as companies grappled with the idea of casting an African American tenor opposite a white soprano. Often tenors were placed in supporting roles of moor, demon or creature because of their race. Tenor Charles Holland, who commonly performed the arias of Prince Tamino from Die Zauberflöte in recital and on the radio to great acclaim, was commonly cast as Monostatos, the moor overseer of slaves when performing the opera on stage.14 On the other end of the spectrum, African American tenors were also cast in roles unsuitable for their voice type. While at the Spoleto Festival in 1961, George Shirley was approached by Gian-Carlo Menotti and asked to sing the title role in Verdi’s Otello the following season. When Shirley declined because the role was too heavy for his voice, Menotti replied, “But you would look wonderful!”15 Although some groups existed earlier in the century, the 1970s brought forth two important opera companies, Opera/South and Opera Ebony. These opera companies staged major opera repertoire and offered many African American singers the 13. Southern, 530. 14. André. et al., “Il Rodolfo Nero, or The Masque of Blackness,” pp. 266-267. 15. André. et al., “Il Rodolfo Nero, or The Masque of Blackness,” pp. 266. 8 opportunity to sing leading roles. Both companies were created with the help of a white nun, Sister Elise of the Catholic order of the Sisters of the Blessed Sacrament, a fierce advocate for the rights of African Americans in the arts.16 Sister Elise came out of retirement in 1970 to start Opera/South in collaboration with Jackson State University, Tougaloo College, and Utica Junior College. She started Opera Ebony in Philadelphia with Margaret Harris, Benjamin Matthews and Wayne Sanders in 1974. Often these companies used local students in the choruses and contracted professional African American singers for the lead roles. Both companies offered opportunities to African American composers, performers and stage crew. The companies served as a showcase of African American talent and frequently served as a stepping stone into American and European companies. The success of Opera/South and Opera Ebony later inspired other companies such as Onyx Opera Atlanta, the Houston Opera Ebony Guild, and Opera Noire.17 Major American companies took note of the success of these productions and began to produce their own shows full of African American talent. The 1975 Houston Grand Opera production of Scott Joplin’s Treemonisha took the country by storm. It had only been staged once before in 1972 by Robert Shaw and the Atlanta Symphony Orchestra. This marked the first time a major American opera house staged a production featuring a majority African American cast.18 The acclaim of this show propelled the careers of many of the cast members. Tenor Curtis Rayam, who sang Remus in the 16. Southern, 536. 17. Nettles, 5. 18. Sothern, 537. 9 production, made his European debut at the Wexford Festival in Giovanna d'Arco by Verdi the next year.19 As the musical world began accepting African American tenors in leading roles, composers began writing roles that would showcase their talents. Thomas Young premiered roles in Anthony Davis’ operas Amistad, X: The Life and Times of Malcolm X, John Adams’ opera The Death of Klinghoffer, and Tan Dun’s opera Marco Polo.20 Progressively, the talent of African American tenors would be recognized outside the realms of classical music. While some classically-trained tenors continued to present recitals, others ventured into musicals, jazz, popular music, and voiceover work. Seth McCoy (1928-1997) Seth McCoy was born in Sanford, North Carolina and attended North Carolina Agricultural and Technical College, and Cleveland Music School Settlement to study music. McCoy’s fame came as a sought-after oratorio soloist with the Robert Shaw Chorale from 1963-1965 and the Bach Aria Group from 1973 to 1980. McCoy was Remus in the first staged production of Scott Joplin’s opera Treemonisha in 1972.21 He made his debut at the Metropolitan Opera as Tamino in Die Zauberflöte in 1979. He would become one of the world’s leading oratorio soloists and later taught at Eastman School of Music and the University of Michigan. 22 19. Southern, 537. 20. Thomas Young, “Biography,” Thomas Young, accessed March 16, 2019, http://www.thomasyoungtenor.com/biography.php. 21. Southern, 537. 10 Arthur Herndon (1932-2009) In 1961, Arthur Herndon became the first African American to graduate from the Cincinnati College-Conservatory of Music. After graduation, he traveled to Italy on a Fulbright Scholarship to study voice and composition with Luigi Ricci. Between 1963 and 1967, Herndon held fest contracts with the Stadtstheater in Kassel and the Bremerhaven Opera, becoming the first African American tenor to hold a full-time contract with a state opera house in Germany.23 When he returned to the US in the 1970s, he held teaching positions at Central State University and Talladega College. He continued to perform as a vocalist and often programmed in his recital spirituals, and the works of Zenobia Powell Perry.24 Thomas Young (b. 1946) Thomas Young’s career capitalizes on the assortment of skills he developed as a young musician. He received vocal training at the Cleveland Music School Settlement and the Cleveland Institute of Music. Throughout his classical schooling, he kept his passion for popular music. Young is a Grammy Award-winning tenor who has been featured with New York City Opera, Lyric Opera of Chicago, and the Houston Grand Opera. He has been a part of national Broadway tours of Jesus Christ Superstar as Judas and in the title role of The Wiz. Between 1987 and 1988, Young supplied the singing 22. Nettles, 111. 23. André Naomi Adele. et al., “Il Rodolfo Nero, or The Masque of Blackness,” pp. 267. 24. Katherine Krueger, “From Bremerhaven to the West End: The Papers of Arthur Herndon,” LiBlog (University of Cincinnati Libraries, March 2, 2011), 11 voice for Mighty Mouse in Ralph Bakshi’s animated series.25 He is an avid recitalist with programs that include African American art songs as well as jazz, blues, and R&B. In 2000, Young joined with Roderick Dixon and Victor Cook to create the touring ensemble The Three Mo’ Tenors. Currently, he is a professor of music at Sarah Lawrence College and is sought after as a performer and clinician.26 Damon Evans (b. 1949) Damon Evan was born in Baltimore, MD and went to Interlochen Academy in Michigan before attending the Boston Conservatory of Music. Although he trained as a classical tenor, he became involved with numerous musicals including Two If by Sea, Hair, and The Corner. He made his Broadway debut in The Me Nobody Knows in 1968 and was featured in the Tony-nominated production of Don't Bother Me, I Can't Cope.27 Evans flew to Hollywood on a whim to take an audition to replace Lionel on the TV show The Jeffersons. After winning the role and spending four seasons in Hollywood, Evans returned to New York. He rededicated himself to music, started voice lessons and in 1985, made his debut at the New York City Opera.28 The remainder of his career would include performances with the London Philharmonic, Baltimore Opera and Glyndebourne Festival. 25. Young, “Biography.” 26. Young, “Biography” 27. Mary Corey, “Bittersweet Song of Success: Damon Evans' Classical Career Didn't Come Easily,” baltimoresun.com, October 25, 2018, https://www.baltimoresun.com/news/bs-xpm-1992-04-19-1992110137-story.html. 28. Corey, “Bittersweet Song of Success: Damon Evans' Classical Career Didn't Come Easily.” 12 Other Tenors Vinson Cole, William Dupree, Curtis Rayam, George Shirley, Charles Williams Tenors Active After 1990 By the 1990s, young musicians were reaping the benefits of strides made by musicians at the beginning of the century. Conservatories and major universities were admitting African American students at greater numbers, and the racial divide at opera companies in the U.S. had seemingly been bridged. Unfortunately, African American tenors still have a hard time being cast in leading roles in opera and major professional opportunities. Very few African American tenors have reached the same amount of success as their white peers, even with comparable training. Since 1900, of the more than 30 tenors selected as winners of the Metropolitan Opera Competition, eight of which have been non-white contestants and four have been African American. 29 These tenors have continued the path set by their predecessors and sought opportunity outside of the United States and found other creative ways to use their talents. Hundreds of these men can be found in foreign concert halls, as popular music recording artists, and on Broadway stages. Many have taken their skill away from performance and used it in other fields to include medicine, law, policy, business, and education. The ability to create new artistic projects and assimilate to a rapidly changing and demanding 29. “Winners and History,” Metropolitan Opera Winners, accessed March 17, 2019, https://www.metopera.org/about/auditions/national-council-auditions/winners/. 13 performance culture has and will be critical to the advancement of opportunity for African American tenors of the future. Other Tenors Michael Austin, William Brown, Lawrence Brownlee, Victor Cook, Roderick Dixon, Howard Haskin, Issachah Savage, Ryan Smith, Noah Stewart, Russell Thomas, Kenneth Tarver, Ray M. Wade, Jr. 14 Chapter 2: Roland Hayes Recital: September 30, 2018 Where’er You Walk G. F. Handel from Semele (1685-1759) Vainement, ma bien-aimée E. Lalo from Le roi d’Ys (1823-1892) Auch Kleine Dinge H. Wolf Über Nacht (1860-1903) O Wüsst ich doch den Weg zurück J. Brahms Botschaft (1833-1897) Dies Bildnis ist bezaubernd schön W. A. Mozart from Die Zauberflöte (1756-1791) Intermission Selections from The Life of Christ Roland Hayes (1887-1977) Prepare Me One Body Sister Mary Had-a But One Child Lit’l Boy Live a-Humble Hear de Lambs a-Cryin’? The Last Supper They Led My Lord Away He Never Said a Mumberlin’ Word Did You Hear When Jesus Rose? 15 Biography Roland Hayes was one of the first African American musicians to have international success as a concert performer. He elevated public perception of African American music through the performance of music written and arranged by African American composers. Roland Hayes was born on June 3, 1887, to ex-slaves in Curryville, GA. He was one of six children, and after his father died from a work-related injury, dropped out of school in the fifth grade to help support his family.30 It wasn’t until 1903 that he would return to school part-time.31 Now determined to study music, Hayes received voice lessons with a local choral director, Arthur Calhoun, and enrolled at Fisk University in 1905. He toured with the famed Fisk Jubilee Singers and began writing his own spiritual arrangements. Just before graduating, Hayes was expelled from the university due to financial issues. He relocated to Louisville, KY where he gained notoriety by performing for small social functions. When the Fisk Jubilee Singers were on tour in Boston in 1911, he performed as a soloist on their highly praised concert. The positive reception of this performance gave Hayes the confidence he needed to commit to music as a full-time endeavor. 32 30. Randye Jones, “Roland Hayes Biography,” Afrocentric Voices in "Classical" Music, November 6, 2018, http://afrovoices.com/roland-hayes-biography/. 31. Thomson Gale, “Hayes, Roland 1887–1977,” in Encyclopedia.com, 2005, https://www.encyclopedia.com/people/literature-and-arts/music-history-composers-and- performers-biographies/roland-hayes. 32.Gale, “Hayes, Roland 1887–1977.” 16 Although now a well-known tenor in Tennessee, Kentucky, and Boston, Hayes was unable to secure professional management. Determined to perform, he began producing his own concerts in 1915. In 1917, Roland Hayes made history when he rented the Boston Symphony Hall for his performance, becoming the first African American to perform a solo recital in the venue. The success of this concert propelled him into a US tour in 1918 and performances in London in 1920. 33 In May 1920, he gave a command performance for King George V and Queen Mary.34 When Hayes returned to the US in 1922, his talent was taken more serious by American audiences. Between 1922 and 1924, his calendar was filled with more than 200 concerts. On February 5, 1924, Roland Hayes became the first African American to give a full-length recital at Carnegie Hall. Hayes continues to tour and present recitals for the next 38 years. His career would allow him to perform in the world’s most prestigious concert halls, and with the Boston, New York, Paris, Amsterdam and Berlin Symphonies. Roland Hayes gave his farewell concert at Carnegie Hall in 1962. He recorded six CDs and published two books of spiritual arrangements.35 Roland Hayes died in Boston, MA on January 1, 1977, and his monumental impact is still felt by performers today. Hayes’ importance cannot be understated because he paved the way for not only tenors but for all African American vocalists. His 33. Gale, “Hayes, Roland 1887–1977.” 34. Southern, 410. 35. Gale, “Hayes, Roland 1887–1977.” Soprano Sissieretta Jones, known as the “Black Patti,” was the first African American to perform in Carnegie Hall in a concert with the Fisk Jubilee Singers. 17 pioneering achievements inspired Marian Anderson, Edward Boatner, Simon Estes, George Shirley and Leontyne Price, some of history’s most noted performers.36 Roland Hayes speaks about the discrimination he faced and his hope for future musicians in an interview with Laura Haddock for The Christian Science Monitor on November 22, 1947. “I could have fought prejudice in words and actions all my way, but how far would it have gotten me? I had to prove myself and my art as being worthy of what I sought. …The really bad thing about racial bias is the lack of opportunity given the Negro to develop as far as he is able and thus to make his full contribution to the greatness of the age. The doors of opportunity should not be shut. More than this we do not ask of the white race. The rest of the job is all ours. I suppose I am the happiest man in the world. For already I can see that conditions are much better than they used to be. There are bad conditions in some places, taut situation that appear not better but worse than anything in the past. But if we don’t become too concerned with these things, but keep working in a straight line, the thing that is not good, I believe, will move out of itself.”37 Although acutely aware of the adversity that often impeded his success, Hayes doubled down and persevered. His determination serves as an inspiration to musicians many generations later. 36. Gale, “Hayes, Roland 1887–1977.” 37. Elizabeth Nash, Autobiographical Reminiscences of African-American Classical Singers 1853 - Present: Introducing Their Spiritual Heritage into the Concert Repertoire (Lewiston, NY: Mellen, 2007), 136-137. 18 Program Notes “Where’er You Walk” from Semele The London premiere of Semele was a great disappointment. After the overwhelming success of Esther and Messiah, audiences expected George Frideric Handel to produce another sacred masterpiece. When he presented Semele, a secular opera based on Greek mythology, during the Lenten season in 1744, the audience saw it as vulgar and inappropriate. Semele was only performed six times during Handel’s life. It gained its contemporary notoriety after a staged performance in 1925. 38 During the second act of the opera, Jupiter invites Semele’s sister, Ino, to the palace to keep her company. He sings “Where’er You Walk” as a promise to Ino that her stay will be peaceful and filled with magical bliss. Handel paints the picturesque world for Ino with beautifully arching melodic lines. The andante moderato tempo marking is reminiscent of a calm, verdant paradise. A reoccurring ascending sixteenth note pattern represents Jupiter lifting these two to his heavenly dwelling in one of Handel’s most striking arias. “Vainement, ma bien-aimée” from Le roi d’Ys Known best for his orchestral music, Édouard Lalo’s Le roi d’Ys is a testament to his often unrecognized skill with opera. It premiered on May 7, 1888, at the Théâtre Lyrique on the Place du Châtelet in Paris. From its premiere, audiences had trouble 38. W. Barclay Squire, “Handel's 'Semele',” The Musical Times 66, no. 984 (1925): p. 137, https://doi.org/10.2307/913527. 19 understanding Le roi d’Ys, even as it toured internationally. It would be decades before the opera would become one of Lalo’s most beloved works. 39 In the aubade “Vainement, ma bien-aimée,” Mylio attempts to convince Rozenn to leave the protection of her handmaidens to join him in the wedding procession. In the opera’s most famous piece, Lalo uses excited accompaniment figures and flowing melodies to show the thrill of young love. He captures the excitement and uncertainty of Mylio through octave leaps in the melody and augmented note values in the contrasting binary form parts. Über Nacht “Auch kleine Dinge” from Italienisches Liederbuch, Hugo Wolf is known for his highly refined and intellectual compositional style. Carol Kimball calls his songs the “caviar of lieder literature.”40 Wolf balances great drama and restraint in “Über Nacht,” a song about the joys and sorrows that come at night. In his song cycle Italienisches Liederbuch, Wolf composes short pieces with complex harmonic and poetic ideas. These 42 songs, based on text by Italian poet Paul Heyse, are separated into two series. The first 22 songs were composed between 1890 and 1891 and the second set was composed in 1896.41 The first song of the first book, “Auch kleine Dinge,” tells a story of how even the small, and seemingly insignificant 39. “Opera at Covent Garden. Lalo's 'Le Roi D'Ys',” The Musical Times and Singing Class Circular 42, no. 702 (August 1, 1901): p. 548, https://www-jstor- org.proxy-um.researchport.umd.edu/stable/3366206. 40. Carol Kimball, Song: a Guide to Art Song Style and Literature - Revised Edition (Milwaukee: Hal Leonard, 2006), 111. 41. Kimball, 124. 20 things can bring great delight. Wolf infuses the sentiment of brevity into this song by using short melodic phrases and broken scale fragments to create an elegant, albeit brief, love song. O Wüsst ich doch den Weg zurück Botschaft With almost 400 songs to his credit, Johannes Brahms stands as a leader in 19th- century song composition. His style is marked by expert lyricism, symmetrical phrasing, and folk-like simplicity. “O Wüsst ich doch den Weg zurück” longs for the ease and comfort of childhood. The chromaticism in the accompaniment builds a dream-like environment for smooth arching phrases that help evoke that narrator’s pensive state of mind. “Botschaft” was written in 1868 and is a sweeping love song that begs the breeze to carry a message of desperation.42 This heroic melody is aided by the rustling hemiola, thirds, and sixths characteristic of Brahms’ style. “Dies Bildnis ist bezaubernd schön,” from Die Zauberflöte Wolfgang Amadeus Mozart is one of the most celebrated composers of all time. His vocal and instrumental works are revered and emulated by composers of all generations. The opera Die Zauberflöte, with its humor, wit and incredible melodies has been an audience favorite since its premiere in 1791. Mozart enlisted the help of his sister-in-law, Josepha Hoffer, to play the Queen of the Night, and Benedikt Schack and Anna Gottlieb were the original Tamino and Pamina, respectively.43 42. Kimball, 105. 21 In the first act, Prince Tamino receives a portrait of Princess Pamina and instantly falls in love. He sings “Dies Bildnis ist bezaubernd schön,” an aria praised as one of the loveliest melodies in opera literature. Selections from The Life of Christ Roland Hayes was one of the first African American performers to gain international fame in the 20th century. Early in his career, Hayes began to arrange spirituals for the concert stage. He, like H.T. Burleigh, Hall Johnson, and Edward Boatner, sought to expose an international audience to this uniquely American music. The cantata The Life of Christ traces the birth, life, and death of Christ through spiritual melodies. These spiritual arrangements exemplify the dichotomy of African American views on the glorious suffering of Christ. In “Prepare Me One Body,” the text about the impending death of Christ is set in a major key. This almost happy sounding acknowledgment of death is paired with the lauding of the birth of Christ in “Sister Mary Had-a but One Child.” The berceuse-like movement in the accompaniment is the gentle rocking of the baby by His mother, Mary. We next find Christ in the temple in “Lit’l Boy.” This recitative style song is most reminiscent of West African music with its harmonically punctuated phrases and syncopated rhythms. Later in the cantata, Hayes offers a stark sonic contrast with his a cappella arrangement of “He Never Said a Mumberlin’ Word.” He does not end with the expected celebration of the resurrection 43. Julian Rushton, “Die Zauberflöte,” 2002, http://www.oxfordmusiconline.com.proxy- um.researchport.umd.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo -9781561592630-e-5000907810. 22 heard in “Did You Hear When Jesus Rose?”, but forces the listener back to solemn contemplation in “Were You There?” 23 Translations “Puisqu’on ne peut flechir ces jalouses gardiennes… Vainement, ma bien-aimée” from Le roi d’Ys Music by Édouard Lalo Libretto by Édouard Blau Translation by Berton Coffin, Werner Singer and Pierre Delattre Puisqu’on ne peut flechir ces jalouses Since these jealous guards cannot be gardiennes, moved Ah! laissez-moi conter mes peines Ah! Let me count my sorrows Et mon emoi! and my despair! Vainement, ma bien aimée In vain, my beloved, On croit me désespérer do they think they can make me despair Près de ta porte fermée Near to your locked door, Je veux encore demeurer I want yet to remain. Les soleils pourront s'éteindre Suns may be extinguished, Les nuits remplacer les jours, the nights replace days, Sans t'accuser et sans me plaindre without blaming you and without Là je resterai toujours, toujours complaining, I shall stay here forever! Je le sais, ton âme est douce I know that you have a kind heart, Et l'heure bientôt viendra and the hour will soon come Où la main qui me repousse when the hand which now pushes me away Vers la mienne se tendra will reach out towards mine! Ne sois pas trop tardive Do not delay too long in allowing yourself A te laisser attendrir to be won over by your tender feelings; Si Rozenn bientôt n'arrive If Rozenn does not appear soon, Je vais, hélas, mourir I, alas, shall die! “Auch kleine Dinge” from Italienisches Liederbuch Music by Hugo Wolf Text by Paul Heyse Translation by Emily Ezust Auch kleine Dinge können uns entzücken, Even little things can delight us, Auch kleine Dinge können teuer sein. Even little things can be precious. Bedenkt, wie gern wir uns mit Perlen Think how we gladly adorn ourselves with schmücken; pearls; Sie werden schwer bezahlt und sind nur They are heavily paid for, and yet are klein. small. 24 Bedenkt, wie klein ist die Olivenfrucht, Think how small is the olive's fruit, Und wird um ihre Güte doch gesucht. And is nevertheless sought for its virtue. Denkt an die Rose nur, wie klein sie ist, Think on the rose, how small she is, Und duftet doch so lieblich, wie ihr wißt. And yet, smells so sweet, as you know. Über Nacht Music by Hugo Wolf Text by Julius Karl Reinhold Sturm Translation by Lois Phillips Über Nacht, über Nacht At night, at night Kommt still das Leid, grief steals silently in, Und bist du erwacht, and if you wake, O traurige Zeit, O my sorrow, Du grüßest den dämmernden Morgen you will greet the dawn with weeping and Mit Weinen und mit Sorgen. with care. Über Nacht, über Nacht At night, at night, Kommt still das Glück joy steals silently in, Und bist du erwacht, and if you wake, O selig Geschick! O blessed destiny, Der düstere Traum ist zerronnen, the dark dream is banished Und Freude gewonnen. and joy is triumphant. Über Nacht, über Nacht At night, at night Kommt Freud und Leid, joy and sorrow both steal in, Und eh du's gedacht, and quick as thought, Verlassen dich beid they leave you, Und gehen, dem Herrn zu sagen, and go to the Lord to tell Him Wie du sie getragen. how you have borne them. O Wüsst Ich Doch den Weg Zurück Music by Johannes Brahms Text by Klaus Groth Translation by Lois Phillips O wüßt ich doch den Weg zurück, If I but knew the way back, Den lieben Weg zum Kinderland! the sweet way back to childhood land! O O warum sucht' ich nach dem Glück Why did I seek after happiness, Und ließ der Mutter Hand? and leave my mother’s hand? O wie mich sehnet auszuruhn, How long to rest, Von keinem Streben aufgeweckt, roused by no striving Die müden Augen zuzutun, Oh, to close my tired eyes, Von Liebe sanft bedeckt! gently sheltered by love! 25 Und nichts zu forschen, nichts zu spähn, No restless seeking, no anxious watching, Und nur zu träumen leicht und lind; just dreaming lightly, softly; not seeing Der Zeiten Wandel nicht zu sehn, time’s changes, Zum zweiten Mal ein Kind! and once again a child! O zeig mir doch den Weg zurück, O show me the way, Den lieben Weg zum Kinderland! the sweet way back to childhood land! In Vergebens such ich nach dem Glück, vain do I seek after happiness; around me Ringsum ist öder Strand! is but a desolate shore. Botschaft Music by Johannes Brahms Text by Georg Friedrich Daumer Translation by Lois Phillips Wehe, Lüftchen, lind und lieblich Blow, sweetly, gentle breeze, about my Um die Wange der Geliebten, beloved’s cheek; Spiele zart in ihrer Locke, play tenderly in her locks Eile nicht hinwegzufliehn! and to not hasten away! Tut sie dann vielleicht die Frage, If she should ask how I, poor wretch, am Wie es um mich Armen stehe; faring, then say: Sprich: “Unendlich war sein Wehe, “His misery is endless, Höchst bedenklich seine Lage; his plight most critical. Aber jetzo kann er hoffen, But now he can hope with joy to come to Wieder herrlich aufzuleben, life again, for you, O gracious one, are Denn du, Holde, denkst an ihn.” thinking of him.” “Dies Bildnis ist bezaubernd schön” from Die Zauberflöte Music by Wolfgang Amadeus Mozart Libretto by Emanuel Schikaneder Translation by Peter Branscombe Dies Bildnis ist bezaubernd schön, This image is enchantingly lovely, wie noch kein Auge je gesehn! Like no eye has ever beheld! Ich fühl' es, wie dies Götterbild, I feel it as this divine picture, mein Herz mit neuer Regung füllt. Fills my heart with new emotion. Dies Etwas kann ich zwar nicht nennen, I cannot name my feeling, doch fühl' ich's hier wie Feuer brennen, Though I feel it burn like fire within me. soll die Empfindung Liebe sein? Could this feeling be love? Ja, ja, die Liebe ist's allein. Yes! Yes! It is love alone. 26 O wenn ich sie nur finden könnte, Oh, if only I could find her, O wenn sie doch schon Oh, if only she were already standing in vor mir stünde, front of me, ich würde, würde, warm und rein! I would, I would, with warmth and honor. Was würde ich? What would I do? Ich würde sie voll Entzücken Full of rapture, I would press her an diesen heißen Busen drücken, to this glowing bosom, und ewig wäre sie dann mein. And then she would be mine forever! 27 Chapter 3: George Shirley Recital: December 9, 2018 O, Loss of Sight…Total Eclipse G. F. Handel from Samson (1685-1759) An die Musik F. Schubert Wandrers Nachtlied I (1797-1828) Wandrers Nachtlied II Die böse Farbe Cinq mélodies populaires grecques M. Ravel (1875-1937) Chanson de la mariée Lá-bas, vers l’église Quel galant m’est comparable Chanson des cueilleuses de lentisque Tout gai! Intermission Cinco canciones populares argentinas A. Ginastera (1916-1983) Chacarera Triste Zamba Arrorró Gato Prepare Me One Body R. Hayes Sister Mary Had-a But One Child (1887-1977) Lit'l Boy Roun’ about de Mountain 28 Biography George Shirley is a noted musician and educator who pioneered opportunities for African American singers. He is a Grammy Award-winning performer, and the recipient of the National Medal of Arts, multiple honorary degrees, and a Lifetime Achievement Award from the National Opera Association. George Irving Shirley received his bachelor’s degree in music education from Wayne State University in 1955. He later studied voice with Therny Georgi in Washington, DC and Cornelius Reid in New York City. Shirley made his New York debut at Eisenstein in Strauss’ Die Fledermaus in 1959. His European debut was as Rodolfo in Puccini’s Boheme in 1960 at the Teatro Nuovo in Milan, Italy. He returned to the United States and won the Metropolitan Opera National Council scholarship competition in 1961. Shirley remained with the Metropolitan Opera for 11 years.44 He would go on to perform with top conductors and orchestras in the world’s leading opera houses and concert halls. Shirley has enjoyed a career marked by many historic firsts. After being drafted into the United States Army, he became the first African American member of the United States Army Chorus. He was one of the first African American music teachers in Detroit Public Schools. Most notably, Shirley was the first African American tenor to sing leading roles at the Metropolitan Opera in New York City. 45 44. Southern, 533. 45. Randye Jones, “George Shirley Biography,” Afrocentric Voices in "Classical" Music, June 2, 2017, http://afrovoices.com/george-shirley-biography/. 29 Throughout his career, Shirley has maintained his passion for teaching. His love for African American music led him to curate recital programs to expose audiences around the world to this unique art form. Spirituals, jazz and art songs composed by African Americans are commonly the focus of his lecture recitals and performances of chamber music. The blending of traditional European composers with African American music on his recitals allows him to highlight the beauty and complexity of this American treasure. His exposes the audience to a repertoire that would otherwise go unnoticed. He remains a highly sought-after performer, lecturer, and clinician. Currently, he is the Joseph Edgar Maddy Distinguished Emeritus Professor of Music at the University of Michigan School of Music, Theater and Dance. Professor Shirley is highlighted in this project for his contributions to opera and dedication to African American music. Winning the Metropolitan Opera competition in 1960 and his subsequent debut as Ferrando in Così fan tutte in 1961 changed the realm of possibility for African American tenors. His successful debut proved that African Americana tenors were capable of singing lead tenor roles, and didn’t have to take the role of moor, demon or creature to do it. As he gained popularity, Shirley would give recitals around the world. He used this opportunity to program music of African American composers. Paying homage to the musicians that paved his way, he would commonly perform arias by Scott Joplin, art songs by Florence Price and H.T. Burleigh, and spirituals arranged by Roland Hayes and Margaret Bonds. When asked about the discrimination he faced both on and off stage, George Shirley said, 30 “Trying to correct any situation where prejudice exists requires exposing and keeping the culprit under constant attack. The other part of that is making sure that the people who are trying to establish themselves in a career are qualified, that their training takes a backseat to no one’s, and that finally, they are more than capable of doing the job and filling the auditorium. We can ill afford in any corner of society to allow a negative situation to persist without exposing, attacking, and hopefully eliminating its existence.”46 George Shirley continues to advocate for opportunities for African American singers, and the performance of music by women composers and composers of color. 46. Wallace Cheatham, “George Shirley: A Renowned Divo Speaks,” essay, in Dialogues on Opera and the African American Experience (Lanham, MD: Scarecrow Press, 1997), pp. 116. 31 Program Notes “O, Loss of Sight…Total Eclipse” from Samson George Frideric Handel is credited as the creator of the English oratorio. When the Bishop of London refused to permit biblical stories to be acted out on stage, Handel, who gained his fame as a master of Italian opera, began producing sacred dramas in concert form. These works were presented without costumes, sets or staging and were received with great acclaim. The popularity of oratorios in London was led by the overwhelming success of Esther (1732) and reached its height in Messiah (1741). His newest oratorio, Samson, premiered on February 18, 1743, at Covent Garden in London, a venue prestigious for its operatic productions.47 The move of Handel’s oratorios from concert halls to an operatic venue marked a turn in public reception of his sacred works that would inform the rest of his career.48 In Samson, Handel weaves the musical nuance and drama of Italian opera with Newburg Hamilton’s libretto to create a sacred masterpiece that has retained its popularity well into the 20th century. After revealing the source of his immense strength to Dalila, the warrior Samson’s hair is cut in his sleep, and he is captured by the Philistine army. As punishment, Samson is blinded and put to work grinding grain in a corn mill. Micah, a friend of Samson, finds him bound, blinded, and can barely recognize him in this weakened state. As they ponder the current situation, Micah asks Samson which they should mourn first, his blindness or his bondage. The air “O, Loss of Sight…Total 47. Donald Burrows, “The Word-Books for Handel's Performances of ‘Samson,’” The Musical Times 146, no. 1890 (2005): pp. 7, https://doi.org/10.2307/30044065. 48. Burrows, 7-9. 32 Eclipse” is Samson’s declaration that without sight, the beauty of the world has faded into darkness. Samson’s waning strength and his depleted spirit are brought out in descending melodic lines. Repetition of the text accents the disbelief of his predicament, and come to climax textually and vocally during “…sun, moon and stars are dark to me…” at the end of the air. An die Musik Franz Schubert wrote over 600 songs and influenced composers such as Schumann, Brahms, Liszt, and Mahler. His vast catalog includes a variety of compositional techniques, and throughout his career, he sets the texts of over ninety poets. Schubert’s skill is exemplified in his masterfully crafted melodies. His accompaniments are often pictorial or atmospheric, leaving room for his carefully thought-out marriage of melody and poetry, When poet Franz von Schober saw that Schubert spent too much time away from composing, he offered to support Schubert financially so that he may compose full-time. This arrangement nurtured Schubert’s talent and his lasting friendship to von Schober. “An die Musik” was written in 1817 and is a song in praise of music.49 This lied offers a reverent and hymn-like tribute to music through a flowing melody and a stately accompaniment. Wandrers Nachtlied I Wandrers Nachtlied II Originally titled "Wandrers Nachtlied" (Wanderer’s Nightsong) and "Ein gleiches" (Another One) by von Goethe, Schubert titles “Wandrers Nachtlied I” and 49. Kimball, 57. 33 “Wandrers Nachtlied II” similarly to relate their sentiment. Although composed years apart (1815 and 1822 respectively), both of these lieder convey a sense of longing through delicate, arching phrases, and modest accompaniment. “Die böse Farbe” from Die schöne Müllerin Die schöne Müllerin was Schubert’s first song cycle. Written in 1823, this cycle chronicles a young traveler who falls in love with a miller’s beautiful daughter. Throughout the cycle, the cheery narrator experiences a variety of emotions, from infatuation to passion to anguish. In “Die böse Farbe” the florid and fiery accompaniment give a clear indication of the confused emotional state of the traveler. After catching the miller’s daughter giving her affection to a hunter in green, our traveler can no longer stand to see the color. Throughout a heroic, yet distraught melody, Schubert paints a picture of the musical journey of a desperate lover in pain. Cinq mélodies populaires grecques Maurice Ravel’s chansons are characterized by the meticulous pairing of music and text. He leaves little room for interpretation. He writes melodies guided by the text and accompaniments that are atmospheric and scenic. The themes of travel and nature commonly found in his chosen text allow him to use a wide variety of colors, dissonances, and rhythmic intricacies. In Cinq mélodies populaires grecques, he writes simple folk melodies to texts collected by M. D. Calvocoressi. He intended to retain the folk-like qualities of each piece while paying tribute to their Greek heritage. The five songs are based on melodies from Chios Island and were completed between 1904 and 1906.50 In “Le réveil de la 50. Kimball, 215-216. 34 mariée,” Ravel uses a rapid triplet figure in the piano to represent the church bells harkening the bride to her wedding day. Those same bells can be heard somberly playing in “Là-bas, vers l’église.” The range of this melody is minimal and stays at a soft dynamic to retain its reverent nature. “Quel galant m’est comparable” is a boastful display of young love, while “Chanson des cueilleuses de lentisques” uses folk-like melodies to evoke a scene of women working in a field. Finally, “Tout gai” a vibrant proclamation of joy that uses non-sense syllable to remind the listener to live, love and dance. Cinco canciones populares argentinas Argentinian composer Albert Ginastera was a pioneer in developing contemporary Latin American music. He music brings the folk rhythm, melodies and excitement of Argentina to the classical repertoire. Written in 1942, Cinco canciones populares argentinas is a song cycle based on five dance forms. Each movement offers simple folk melodies and rhythmic intensity that give the listener a glimpse of South American culture. “Chacarera,” “Zamba,” and “Gato” retain most of their namesake dance elements. Although this cycle is composed for voice and piano, elements of guitar and percussion can be heard throughout the accompaniment. Arpeggiation and harmonically implied rubato give this cycle a natural feel and make each dance more enjoyable than the last. Prepare Me One Body Sister Mary Had-a But One Child Lit'l Boy Roun’ about de Mountain The melody to “Roun’ About de Mountain” originated near the Appalachian Mountain region in Tennessee. This funeral recessional recounts the last-minute 35 redemption of a sinner’s soul. 51 The ox-drawn cart carrying the body can be heard in the repeated dotted-eighth and sixteenth note figure that starts the song. The phrase “De Lord loves de sinna” is placed in the upper tessitura of the vocalist and is an exclamation of relief by the community of the departed soul. Throughout his spiritual arrangements, Roland Hayes accentuates their somber beauty and is careful to maintain the emotional intensity held in the music of an oppressed people. 51. Roland Hayes, My Favorite Spirituals: 30 Songs for Voice and Piano (Mineola, NY: Dover Publications, 2001), 85. 36 Translations An die Musik Music by Franz Schubert Text by Franz Adolf Friedrich von Schober Translation by Emily Ezust An die Musik To Music Du holde Kunst, in wie viel grauen Oh sacred art, how oft in hours blighted, Stunden, Wo mich des Lebens wilder Kreis While into life's untamed cycle hurled, umstrickt, Hast du mein Herz zu warmer Lieb Hast thou my heart to warm love reignited entzunden, Hast mich in eine beßre Welt entrückt. To transport me into a better world! Oft hat ein Seufzer, deiner Harf entflossen, So often has a sigh from thy harp drifted, Ein süßer, heiliger Akkord von dir, A chord from thee, holy and full of bliss, Den Himmel beßrer Zeiten mir A glimpse of better times from heaven erschlossen, lifted. Du holde Kunst, ich danke dir dafür. Thou sacred art, I thee for this. Wandrers Nachtlied I Music by Franz Schubert Text by Johann Wolfgang von Goethe Translation by Emily Ezust Wandrers Nachtlied Wanderer’s Nightsong Der du von dem Himmel bist, You who are from heaven, Alles Leid und Schmerzen stillest, You quiet all sorrow and pain; Den, der doppelt elend ist, And he who is doubly wretched Doppelt mit Erquickung füllest, You fill with twice as much comfort. Ach ich bin des Treibens müde! Ah! I am tired of being driven! Was soll all der Schmerz und Lust? For what is all this pain and joy? Süßer Friede, Sweet peace, Komm, ach komm in meine Brust! Come, ah, come into my heart! Wandrers Nachtlied II Music by Franz Schubert Text by Johann Wolfgang von Goethe Translation by Emily Ezust 37 Über allen Gipfeln Over all the peaks Ist Ruh', it is peaceful, In allen Wipfeln in all the treetops Spürest du you feel Kaum einen Hauch; hardly a breath of wind; Die Vögelein schweigen im Walde. the little birds are silent in the forest... Warte nur, balde only wait - soon Ruhest du auch. you will rest as well. Die böse Farbe from Die schöne Müllerin Music by Franz Schubert Text by Wilhelm Müller Translation by Emily Ezust Die böse Farbe The Hated Color Ich möchte ziehn in die Welt hinaus, I'd like to go out into the world, Hinaus in die weite Welt, Out into the wide world; Wenn's nur so grün, so grün nicht wär' If only it weren't so green, so green, Da draußen in Wald und Feld! Out there in the forest and field! Ich möchte die grünen Blätter all' I would like to pluck all the green leaves Pflücken von jedem Zweig, From every branch, Ich möchte die grünen Gräser all' I would like to weep on all the grass Weinen ganz todtenbleich. Until it is deathly pale. Ach Grün, du böse Farbe du, Ah, Green, you hateful color, you, Was siehst mich immer an, Why do you always look at me, So stolz, so keck, so schadenfroh, So proud, so bold, so gloating, Mich armen weißen Mann? And me only a poor, flour-covered man? Ich möchte liegen vor ihrer Thür, I would like to lay in front of her door, In Sturm und Regen und Schnee, In storm and rain and snow. Und singen ganz leise bei Tag und Nacht And sing so softly by day and by night Das eine Wörtchen Ade! One little word: farewell! Horch, wenn im Wald ein Jagdhorn ruft, Hark, when in the forest a hunter's horn sounds Da klingt ihr Fensterlein, Her window clicks! Und schaut sie auch nach mir nicht aus, And she looks out, but not for me; Darf ich doch schauen hinein. Yet I can certainly look in. O binde von der Stirn dir ab O do unwind from your brow Das grüne, grüne Band, That green, green ribbon; 38 Ade, Ade! und reiche mir Farewell, farewell! And give me Zum Abschied deine Hand! Your hand in parting! Chanson de la mariée from Cinq mélodies populaires grecques Music by Maurice Ravel Translation by Emily Ezust Réveille-toi, réveille-toi, perdrix Awake, awake, my darling partridge, mignonne, Ouvre au matin tes ailes. Open to the morning your wings. Trois grains de beauté, Three beauty marks; mon cœur en est brûlé! my heart is on fire! Vois le ruban d'or que je t'apporte, See the ribbon of gold that I bring Pour le nouer autour de tes cheveux. To tie round your hair. Si tu veux, ma belle, viens nous marier! If you want, my beauty, we shall marry! Dans nos deux familles, tous sont alliés! In our two families, everyone is related! Lá-bas, vers l’église from Cinq mélodies populaires grecques Music by Maurice Ravel Translation by Emily Ezust Là-bas, vers l'église, Yonder, by the church, Vers l'église Ayio Sidéro, By the church of Ayio Sidero, L'église, ô Vierge sainte, The church, o blessed Virgin, L'église Ayio Costanndino, The church of Ayio Costanndino, Se sont réunis, There are gathered, Rassemblés en nombre infini, Assembled in numbers infinite, Du monde, ô Vierge sainte, The world's, o blessed Virgin, Du monde tous les plus braves! All the world's most decent folk! Quel galant m’est comparable from Cinq mélodies populaires grecques Music by Maurice Ravel Translation by Emily Ezust Quel galant m'est comparable, What gallant compares with me, D'entre ceux qu'on voit passer? Among those one sees passing by? Dis, dame Vassiliki? Tell me, lady Vassiliki! Vois, pendus à ma ceinture, See, hanging on my belt, pistolets et sabre aigu... My pistols and my curved sword. Et c'est toi que j'aime! And it is you whom I love! 39 Chanson des cueilleuses de lentisque from Cinq mélodies populaires grecques Music by Maurice Ravel Translation by Emily Ezust Ô joie de mon âme, O joy of my soul, Joie de mon coeur, joy of my heart, Trésor qui m'est si cher ; treasure which is so dear to me, Joie de l'âme et du cœur, joy of my soul and heart, Toi que j'aime ardemment, you whom I love ardently, Tu es plus beau qu'un ange. you are more handsome than an angel. Ô lorsque tu parais, O when you appear, Ange si doux angel so sweet, Devant nos yeux, Before our eyes, Comme un bel ange blond, Like a fine, blond angel, Sous le clair soleil, under the bright sun, Hélas ! tous nos pauvres cœurs soupirent ! Alas! all of our poor hearts sigh! Tout gai! from Cinq mélodies populaires grecques Music by Maurice Ravel Translation by Emily Ezust Tout gai! gai, Ha, tout gai! Everyone is joyous, joyous! Belle jambe, tireli, qui danse; Beautiful legs, tireli, which dance, Belle jambe, la vaisselle danse, Beautiful legs; even the dishes are dancing! Tra la la la la... Tra la la, la la la! Chacarera from Cinco canciones populares argentinas Music Alberto Ginastera Translation by Jacqueline Cockburn A mí me gustan las ñatas I love girls with little snub noses Y una ñata me ha tocado and a snub-nose girl is what I've got. Ñato será el casamiento Ours will be a snub-nose wedding Y más ñato el resultado. and snub-nosed children will be our lot. Cuando canto chacareras Whenever I sing a chacarera Me dan ganas de llorar it makes me want to cry, Porque se me representa because it takes me back to Catamarca y Tuoumán. Catamarca and Tuoumán. 40 Triste from Cinco canciones populares argentinas Music Alberto Ginastera Translation by Jacqueline Cockburn Ah! Ah! Debajo de un limón verde Beneath a lime tree Donde el agua no corría where no water flowed Entregué mi corazón I gave up my heart A quien no lo merecía. to one who did not deserve it. Ah! Ah! Triste es el día sin sol Sad is the sunless day. Triste es la noche sin luna Sad is the moonless night. Pero más triste es querer But sadder still is to love Sin esperanza ninguna. with no hope at all. Ah! Ah! Zamba from Cinco canciones populares argentinas Music Alberto Ginastera Translation by Jacqueline Cockburn Hasta las piedras del cerro Even the stones on the hillside Y las arenas del mar and the sand in the sea Me dicen que no te quiera tell me not to love you. Y no te puedo olvidar. But I cannot forget you. Si el corazón me has robado If you have stolen my heart El tuyo me lo has de dar then you must give me yours. El que lleva cosa ajena He who takes what is not his Con lo suyo ha de pagar must return it in kind. Ay! Ay! Arrorró from Cinco canciones populares argentinas Music Alberto Ginastera Translation by Jacqueline Cockburn Arrorró mi nene, Lullaby my baby; Arrorró mi sol, lullaby my sunshine; Arrorró pedazo lullaby part De mi corazón. of my heart. Este nene lindo This pretty baby Se quiere dormir wants to sleep Y el pícaro sueño and that fickle sleep No quiere venir. won’t come. 41 Gato from Cinco canciones populares argentinas Music Alberto Ginastera Translation by Jacqueline Cockburn El gato de mi casa The cat of the house Es muy gauchito is most mischievous, Pero cuando lo bailan but when they dance, Zapateadito. they stamp their feet. Guitarrita de pino With pine guitars Cuerdas de alambre. and wire strings. Tanto quiero a las chicas, I like the small girls Digo, como a las grandes. as much as the big ones. Esa moza que baila That girl dancing Mucho la quiero is the one for me. Pero no para hermana Not as a sister Que hermana tengo. I have one already. Que hermana tengo I have a sister. Si, pónte al frente Yes, come to the front. Aunque no sea tu dueño, I may not be your master Digo, me gusta verte. but I like to see you. 42 Chapter 4: Three Mo’ Tenors and Beyond Recital: March 3, 2019 Hymn and Psalm: Simple Song L. Bernstein The Lord’s Prayer: Our Father (1918-1990) The Lord’s Prayer: I Go On from Mass Kashmiri Song H. T. Burleigh Among the Fuchsias (1866-1949) Dancing in the Sun J. Work, Jr Soliloquy (1871-1925) It Ain’t Necessarily So G. Gershwin from Porgy and Bess (1898-1937) Intermission Berlin im Licht K. Weill A Rhyme for Angela (1900-1950) from The Firebrand of Florence The Only Home I Know G. Geld from Shenandoah (b. 1935) Out There A. Menken from The Hunchback of Notre Dame (b. 1949) Giants in the Sky S. Sondheim from Into the Woods (b. 1930) Marry Me a Little from Company 43 Biography The Three Mo’ Tenors is a cultural phenomenon that sought to change the way audiences perceived the talents of African American tenors. The revue show consists of a rotating cast of tenors performing genres including opera, jazz, musical theater, gospel, blues, and R&B. After seeing the performances by the Three Tenors, Plácido Domingo, José Carreras, and Luciano Pavarotti, creator Marion J. Caffey had an idea to start his own show. With years of experience in television and on Broadway, Caffey sought to build a show with a more relaxed atmosphere, choreography and a wider range of repertoire. He knew that this new show would be attractive to a more diverse audience. The original Three Mo’ Tenors included Victor Trent Cook, Rodrick Dixon and Thomas Young. The show premiered Off-Broadway in August 2000 and was an immediate success.52 The group has since been featured on PBS Great Performances and tour throughout the United States and Europe. To date, the Three Mo’ Tenors revue has included a rotating cast of tenors 16 from around the world. The purpose of Three Mo’ Tenors is not to imitate the Three Tenors. The Three Mo’ Tenors are important to this project because they display the variety of talents expected of professional African American singers. While the Three Tenors revue added more folk and popular music for variety in their show, the musicians of the Three Mo’ Tenors have always had this music in their repertoire as a means of professional 52. “About the Three Mo' Tenors,” The Official Website of Three Mo' Tenors, 2017, https://www.threemotenors.com/about/. 44 sustainability.53 Often shut out of opportunities in classical music, African Americans singers in general, but tenors in particular, have needed to expand their repertoire in ways their white counterparts have not. The Three Mo’ Tenors revue is a celebration of skill, talent, and creativity. 53. Thomson Gale, “Three Mo' Tenors,” Contemporary Black Biography (Encyclopedia.com, 2005), https://www.encyclopedia.com/education/news-wires-white- papers-and-books/three-mo-tenors. 45 Program Notes “Simple Song” from Mass “Our Father” from Mass “I Go On” from Mass Leonard Bernstein’s Mass: A Theater Piece for Singers, Players and Dancers premiered on September 8, 1971, at the John F. Kennedy Center for the Performing Arts. It was directed by Gordon Davidson, conducted by Maurice Peress, and choreographed by Alvin Ailey. In Mass, Bernstein blends gospel, blues, rock, and Mediterranean folk dance to achieve a piece that is often considered too popular for sacred places and too sacred for some popular venues. The text is taken from the Roman Mass as well as original lyrics by Bernstein and Stephen Schwartz.54 The work calls for over 200 participants including orchestra, rock band, dancers, chorus and soloists. It includes a combination of live and recorded music. The recorded music represents the traditional and calcified aspects of spirituality, while the live performance represents its more fluid and changing aspects.55 The Celebrant is the only named solo character in Mass. He is not so much a person, but more of a connecting force between spirituality and the people struggling with life and religion.56 Bernstein described the Celebrant as “…that element in every person without which you cannot live, without which you cannot get from day to day, cannot put one foot in front of the other. He represents the quality that makes you go 54. LaFave, 156. At the recommendation of his sister Shirley, Bernstein enlisted the songwriting talents Schwartz, fresh off his success of Godspell. 55. LaFave, 158. 56. LaFave, 157. The people are referred to as “street people” or “street chorus” in the score. 46 on living. I suppose this can be defined partly by the word ‘faith,’ partly as ‘hope,’ partly by the word ‘anticipation.’”57 In Mass, the piece begins with the dramatic and dissonant “Kyrie” played in darkness on a pre-recorded track. The Celebrant appears on stage and interrupts the “Kyrie” with “Simple Song.” As the audience encounters the first conflict between spirituality and the people, “Simple Song” reminds them that it is the simple and sincere things that please God. “Simple Song,” in contrast to the “Kyrie” that precedes it, is written in the popular style. Bernstein adds a folk-like quality to the song by using open fifths and octaves in the accompaniment. While most of the song is in English, Bernstein mixes in the refrain “Lauda, Laude,” the Latin words for praise. He goes further to juxtapose the traditionalism of that Latin text by setting it to a popular riff. The Celebrant later returns with “Our Father,” an a cappella, improvisatory style chant of the Lord’s Prayer. This melody continues into the trope “I Go On,” a movement about resilience during the harsh moments of life. Bernstein brings back influences of folk and popular music in “I Go On” to tie the Celebrant’s difficulty expressed in the text with the contemporary problems of the people. As this movement ends, we again hear the juxtaposition of the Latin text of praise sung as a popular riff. The friendship that Harry Thacker Burleigh and Antonín Dvořák began at the National Conservatory of Music was significant for many reasons. Dvořák was able to receive a more in-depth education about African American melodies. He would later 57. Kimball, 295. 47 include those melodies into his Symphony No.9 in E Minor, “From the New World.”58 Dvořák, a mentor to Burleigh, would help affirm the artistic significance of the African American music about which Burleigh cared deeply. Dvořák urged Burleigh to capture, preserve, and promote this music.59 This encouragement would inspire Burleigh to compose and arrange some of the most important music in American history. Five Songs of Laurence Hope was composed in 1915 and is the second collection of art songs written by H. T. Burleigh. The songs are set to text written by Laurence Hope, a pseudonym for Adela Florence Nicolson. The Hope poems used in this collection were written during her travels in Mhow, India between 1900 and 1904.60 The songs were premiered by tenor John McCormack in February 1917 at Carnegie Hall in New York. It is in his art songs that we can see Burleigh’s full grasp of 20th-century composition techniques. In “Kashmiri Song” we experience lush and exotic harmonies that are reminiscent of the Middle East. The 2:1 rhythmic figure in the accompaniment represents a moving caravan, and is a binding motif throughout the collection. The melody is lyric, yet full of drama as Burleigh captures the heart-wrenching torment that the narrator feels begging for death over loneliness. In “Among the Fuchsias,” Burleigh creates the image of a pasture full of flowers by a chromatic flourish of sixteenth notes. 58. Jean E. Snyder, Harry T. Burleigh: from the Spiritual to the Harlem Renaissance (Urbana, IL: University of Illinois Press, 2016), 75. 59. Snyder, 81-83. Burleigh was never a formal student of Dvořák. 60. Laurence Hope, Complete Love Lyrics: Including India's Love Lyrics, Stars of the Desert, Last Poems (New York, NY: Dodd, Mead & Co., 1957), iv. It is unclear if Burleigh knew that Laurence Hope was Adela Florence Nicolson. 48 The 2:1 rhythmic figure is reversed, but ever present. Burleigh uses a raised dominant in the melody to display the narrator’s flirty manner as he attempts to resist his lover’s snare. Like his father before him, John W. Work, Jr. was the head of the music department at Fisk University. His family, to include his son, was integral to the preservation of African American folk song.61 Their arrangements, sung by the Fisk Jubilee Singers would expose the world to the majesty of African American music.62 In “Dancing in the Sun,” Work pairs playful music to the poetry of Maria Howard Weedun to evoke the joy of a child playing with his shadow. The syncopated sixteenth note figuration in the right hand of the piano represents the frantic joy of the chase. Even when the child slows and becomes more serious, he is still no match for the silly speed of his shadow. In “Soliloquy,” the sobering text of Myrtle Vorst Sheppard brings out more serious colors in Work’s compositional skill. The text is set in a declamatory style, often ascending melodically to represent the joyful offering of life to the heavens. In a swelling a heroic melodic line, Work helps to portray a narrator eager to meet life’s end, for he has lived a life well loved. The opera Porgy and Bess had its premiere in Boston at the Colonial Theater on September 30, 1935. It opened on Broadway in the Alvin Theater on October 10, 1935, and ran for 124 performances. Soon after its closing in January of 1936, it toured in 61. Willis C. Patterson, Anthology of Art Songs by Black American Composers (New York, NY: Edward B. Marks Music Corp., 1977), x. 62. Southern, 281-82. 49 Philadelphia, Pittsburgh, Chicago, and Washington, DC.63 For years the show faced criticism. A 36-year-old George Gershwin had teamed with lyricist Ira Gershwin and librettist Dubose Hayward to mount a work that included an African American cast, that features an African American love story in venues traditionally reserved for white audiences. The “American Folk Opera” wasn’t taken seriously as an opera by critics until it’s 1976 Houston Grand Opera production.64 This was the first time that an American opera company, and not a Broadway production company, had produced the piece in its entirety.65 Although this achievement came almost 40 years after Gershwin’s death, Porgy and Bess has been a staple of major opera companies ever since. The role of Sportin’ Life was originated by John William Sublett, known professionally as John W. Bubbles. Although Bubbles couldn’t read music, Gershwin was adamant about keeping his energy and showmanship in the production.66 On Catfish Row, Sportin’ Life is the resident cheat, thief and drug dealer. Throughout the opera, he presents himself as the physical embodiment of contrarian thought. In the aria “It Ain’t Necessarily So,” Sportin’ Life pokes fun at miracles performed in the Bible and uses his social influence to try to convince picnic goers that they don’t need religion at all. Gershwin depicts his slimy and deceptive nature through descending chromaticism in the melody. He uses the antiphonal technique of call and response with the members of 63. Naomi Adele André, Black Opera: History, Power, Engagement (Urbana, IL: University of Illinois press., 2018), 88-89. 64. André, Black Opera: History, Power, Engagement, 91. 65. André, Black Opera: History, Power, Engagement, 90. 66. André, Black Opera: History, Power, Engagement, 89. 50 Catfish row to lure them into agreement with what they would otherwise consider outlandish ideas. The libretto and music come together perfectly to showcase Sportin’ Life’s shady character and the ease with which he tricks his neighbors. After fleeing Nazi Germany in March 1933, Kurt Weill spent time in Paris and London before settling into the United States. He brought with him a wealth of experience and the desire to appeal to American audiences. His famous play with music Die Dreigroschenoper received its first Broadway production as The Threepenny Opera in 1933 and was re-adapted in its now more popular form in 1954 by Marc Blitzstein.67 His skill as a composer and collaborations with lyricists such as Bertolt Brecht and Ira Gershwin would help define the American musical and place his work as a treasure in the American Songbook repertoire. The foxtrot style “Berlin im Licht” was written following Weill’s success of Die Dreigroschenoper. Commissioned during a festival by Berlin’s utility industry, “Berlin im Licht” celebrates the beauty of the city of Berlin when it is illuminated at night.68 With text by Weill, this song has been transcribed for voice and jazz band, voice and orchestra, and wind ensemble. The relaxed rhythm and seductive harmony deceive the coyness of the text to create a light-hearted song that compels you to “come turn on the lights!” 67. “The Threepenny Opera (Eng. Adaptation 1954),” The Kurt Weill Foundation for Music, 2018, https://www.kwf.org/pages/ww-threepenny-opera-blitzstein.html. 68. Kimball, 152. 51 The operetta The Firebrand of Florence opened on Broadway on March 22, 1945. It was based on the Edwin Justus Mayer play with music by Weill and lyrics by Ira Gershwin. The original cast featured Weill’s wife, the later Oscar-nominated, Tony Award-winning singer and actress, Lotte Lenya.69 In the second act, the Duke devises a plan to win the heart of Angela by writing a poem. While writing, he realizes that Angela may not rhyme with anything. In a song of clever lyrics, music, and borrowed themes, Weill and Gershwin offer a comedic example of when a plan for love goes wrong. Gary Geld’s Shenandoah is about a widowed pacifist who is pulled into the American Civil war after his son is kidnaped by Union Soldiers. On his quest to find him he suffers a crushing loss that brings him back to religion and community. The show is based on the 1965 film of the same name, with lyrics by Peter Udell and book by Udell, Phillip Rose and James Lee Barrett. Its original production was mounted at the Goodspeed Opera House in Connecticut in 1974. It premiered on Broadway on January 7, 1975, in the Alvin Theater and won two Tony Awards; Best Book of a Musical and Best Actor in a Musical (John Cullum).70 The sentimental ballad “The Only Home I Know” comes in the middle of the second act as Corporal, originally played by Gary Harper, imagines the joy he will feel when he returns to the home he left before the war. To capture the soldier’s hopefulness, Geld makes the melody simple and the accompaniment sparse to bring emphasis to his 69. “The Firebrand of Florence (1944),” The Kurt Weill Foundation for Music, 2018, https://www.kwf.org/pages/ww-firebrand-of-florence.html#songs. 70. Gary Geld et al., Shenandoah: a Musical (New York, NY: French, 1975), 5. 52 words. The strophic form is interrupted by a moment of reality before the Corporal returns to nostalgic thoughts. Der Glöckner von Notre Dame was Walt Disney Theatrical’s first musical to premiere outside of the United States. With music by Alan Menken, lyrics by Stephen Schwartz and a book by James Lapine, it became one of Berlin’s longest-running shows.71 When it arrived in the United States, it returned to the name made famous by Victor Hugo’s book and the Walt Disney Film, The Hunchback of Notre Dame. An orphaned Quasimodo has grown up in secret in the Notre Dame Cathedral. Because of his deformities, the Archdeacon keeps him hidden from the public. He entertains himself by daydreaming and ringing the bells of Notre Dame. In “Out There,” Quasimodo fantasizes about leaving the church and living a normal life amongst the Parisians. Menken writes a passionate melody and creates a dramatic effect through the use of a large range. The soaring lines are met with an accompaniment the evokes the regality of the French Gothic church as Quasimodo pleads for the taste of life out there. The Pulitzer Prize-winning team of Sunday in the Park with George Stephen Sondheim and James Lapine come together again in 1987 for Into the Woods. The story surrounds common fairytales to include Snow White, Little Red Riding Hood, Cinderella, and Jack and the Beanstalk. Sondheim and Lapine venture to tell the familiar stories but go further to expose what happens after happily ever after. In the second act, Jack returns from his trip up the beanstalk with wild stories about the “Giants in the Sky.” Sondheim 71. George Rodosthenous and Olaf Jubin, “The Hunchback of Notre Dame (1996): Too Far 'Out There?’,” essay, in The Disney Musical on Stage and Screen: Critical Approaches from "Snow White" to "Frozen" (London: Bloomsbury Methuen Drama, 2017), p. 101. 53 captures his excitement, curiosity, and fear through patter and a rapid melodic line with overlapping phrases. Modulations of the melody represent not only Jack’s ascent into the sky but also his growing fear and excitement. The binding musical motif, which usually appears briefly in each story, is the dominant melodic material in Jack’s recount of his time with the giants. The active accompaniment only slows for Jack to make the declaration that “there are giants in the sky” before moving to heavy giant-like chords in the treble clef. The 1987 production of Into the Woods won a Granny Award for Best Musical Cast Show Album, and won three Tony Awards including Best Original Score, Best Book of a Musical, and to Joanna Gleason for Best Performance by a Leading Actress in a Musical. “Marry Me A Little,” the act one closing number of Sondheim’s Company was originally cut from the show. The material was used as the basis for one of Sondheim’s lesser known revues of the same name. It wasn’t officially added back to the show by Sondheim until the 1995 and 2006 revivals of the show.72 In Company, Bobby, a 35- year-old single man, grapples with the worth of settling down into a relationship as his friends have. “Marry me a little” is Bobby’s realization that, with a few accommodations, he too can be ready for a relationship. Sondheim syncopates the melody to make Bobby’s declaration seem like an organic thought as the accompaniment whirls beneath him. The active accompaniment represents the chaos of suggestions and instability of Bobby’s thoughts. 72. Stephen Banfield, Sondheim's Broadway Musicals (Ann Arbor, MI: Univ. of Michigan Press, 2006), 147-48. 54 Translations “Berlin im Licht” from Die Dreigroschenoper Music and text by Kurt Weill Berlin im Licht Berlin in Lights Und zum spazieren gehen genügt das And when you go for a walk, the Sonnenlicht sunlight may be enough, Doch um die Stadt Berlin zu sehen genügt but to light the city of Berlin, the sun is die Sonne nicht not enough. Das ist kein lauschiges Plätzchen This is no little hicktown. Das ist ‘ne ziemliche Stadt. This is one helluva city! Damit man da alles gut sehen kann If you want to see everything you can, Da braucht man schon einige Watt You have to use a few watts! Na wat denn, na wat denn? So what then? So what then? Was ist das für ‘ne Stadt denn? What kind of a city is it then? Komm mach mal Licht damit man sehen Come, turn on the lights so we can see kann, ob was da ist! what there is to see! Komm mach mal Licht, und rede nun mal Come, turn on the lights and don't say nicht. another word. Komm mach mal Licht, dann wollen wir Come, turn on the lights, so we can see doch auch mal sehen, Ob das ‘ne Sache ist: for sure what the big deal is: Berlin im Licht. Berlin in lights! 55 Conclusion The progress made for African American tenors is not the result of any individual’s sole efforts but is the culmination of work done by music lovers since before the emancipation of American slaves. Although Roland Hayes attained greater popularity, Thomas Bowers completed recital tours throughout the United States and Canada before he was even born. While George Shirley’s debut at the Metropolitan Opera was momentous, Arthur Herndon and Charles Holland also made operatic history for African American tenors. Opportunities available for The Three Mo’ Tenors, Lawrence Brownlee, and Noah Stewart were made possible by all of the musicians who have come before them. Professor Shirley credits tenors like Hayes and Holland for his success, and many contemporary tenors were inspired by George Shirley. Projects such as this are important because it gives greater perspective to scholars that there is no George Shirley without the efforts of Thomas Bowers. Once we fully understand the history, we can provide them an equitable amount of appreciation so that no one’s legacy is forgotten. 56 Appendix I: Program 1 CD Tracks 1. “Where’er You Walk” from Semele by G. F. Handel……………………….……..3:57 2. “Vainement, ma bien-aimée” from Le roi d’Ys by E. Lalo……….………………..2:53 3. Auch Kleine Dinge by H. Wolf……………………………………………………1:56 4. Über Nacht by H. Wolf…………………………...………………………………..2:34 5. O Wüsst Ich Doch den Weg Zurück by J. Brahms…...……...…………………….2:46 6. Botschaft by J. Brahms….…………………………………………………………2:02 7. “Dies Bildnis ist bezaubernd schön” from Die Zauberflöte by W. A. Mozart.....…3:43 8. Selections from The Life of Christ by Roland Hayes 9. Prepare Me One Body……….……………………………………………………..1:11 10. Sister Mary Had-a But One Child………………...………………………………..2:31 11. Lit’l Boy……………………………………………………………..……………..2:47 12. Live a-Humble……………………………………………………………………..1:43 13. Hear de Lambs a-Cryin’?..........................................................................................1:50 14. The Last Supper………………………………………………………...………….3:14 15. They Led My Lord Away………………………………………………….………2:49 16. He Never Said a Mumberlin’ Word………………………………………………..2:55 17. Did You Hear When Jesus Rose?.............................................................................1:55 57 Appendix II: Program 2 CD Tracks 1. “O, Loss of Sight…Total Eclipse” from Samson by G. F. Handel………...………4:13 2. An die Musik by F. Schubert………………………………………………………2:13 3. Wandrers Nachtlied I by F. Schubert……………………………………...……….1:23 4. Wandrers Nachtlied II by F. Schubert…………………………………….……….1:45 5. Die böse Farbe by F. Schubert……………………………….…………………….2:16 Cinq mélodies populaires grecques by M. Ravel 6. Chanson de la mariée……………………………...……………………………….1:22 7. Lá-bas, vers l’église….…………………………………………………………….1:30 8. Quel galant m’est comparable…………………………………………….……….0:55 9. Chanson des cueilleuses de lentisque…………...…………………………………2:16 10. Tout gai! …………………………………………………….…………………….1:01 Cinco canciones populares argentinas by A. Ginastera 11. Chacarera…………………………………………………………………………..1:09 12. Triste……………………………………………………………………….………2:46 13. Zamba………………………………………………………………….…………..1:07 14. Arrorró…………………………………………………………………..…………1:51 15. Gato…………………………………………………………………………..…….2:11 16. Prepare Me One Body by R. Hayes…………………………………….…….……1:14 17. Sister Mary Had-a But One Child by R. Hayes……………………………………2:33 18. Lit'l Boy by R. Hayes………………………………………………………………2:53 19. Roun’ about de Mountain by R. Hayes …….…………………………………… 3:00 58 Appendix III: Program 3 CD Tracks from Mass by L. Bernstein 1. Hymn and Psalm: Simple Song……………………………………………...…….3:47 2. The Lord’s Prayer: Our Father……………………………………………….….…1:17 3. The Lord’s Prayer: I Go On………………………………………………………..2:45 4. Kashmiri Song by H. T. Burleigh………………………………………………….3:08 5. Among the Fuchsias by H. T. Burleigh………………………………………...….2:58 6. Dancing in the Sun by J. Work, Jr…………………………………………..….….1:47 7. Soliloquy by J. Work, Jr……………………………………………………..…….2:42 8. “It Ain’t Necessarily So” from Porgy and Bess by G. Gershwin………………….3:39 9. Berlin im Licht by K. Weill…………………………………………………….….1:55 10. “A Rhyme for Angela” from The Firebrand of Florence by K. Weill…………….1:36 11. “The Only Home I Know” from Shenandoah by G. Geld……………………...….2:01 12. “Out There” from The Hunchback of Notre Dame by A. Menken…………..…….3:13 13. “Giants in the Sky” by from Into the Woods by S. Sondheim…………….……….2:37 14. “Marry Me a Little” from Company by S. 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