Podcasts about harry burleigh

I had the great joy to do my first ever live edition of Sticky Notes last month with the Aalborg Symphony in Denmark. For this concert, I chose a piece that is extremely close to my heart, Dvorak's New World Symphony. The story of the New World Symphony is a fascinating one. The symphony was the result of an extraordinary series of events, with Dvorak coming to America in 1892, meeting the great singer Harry Burleigh, and falling in love with a totally new, to him, genre of music: Black American and Native American folk music. Listening to Burleigh and other voices around America, Dvorak had discovered a new “American” sound for his music, and even though he would end up staying in the US for just three years, in that time he composed two of his most popular pieces, the American String Quartet, and the New World Symphony But of course, the New World Symphony isn't really an American piece. It is a piece written in America by a Czech composer, which means it embodies traits from both sides of the Atlantic.  Moments of Black American influence elide into Czech Slavonic Dances and back again with incredible ease.  All along the way, Dvorak infuses his highly traditional symphonic style with this "American" sound, a sound that enraptured the public from the very first time they heard it, and remains both incredibly popular and incredibly moving, today. Join myself and the Aalborg Symphony for this exploration of the symphony, followed by a complete performance. I'm extremely grateful to the Danish Radio for allowing me to use this performance for the show. 

What are the American Tapestry meta-threads – stories of exclusion and inclusion. Who was Antonin Dvorak? Who was Harry Burleigh? Burleigh was Dvorak's student. Dvorak wrote the American Tapestry theme – String Quartet #12 in F major – the “American”. Burleigh was his student, collated most of the great African American spirituals and made them a key component of American culture. This episode shares it all and like they say on the late night infomercials, ‘all this and more' as we explore the American Story on The American Tapestry Project.

Deep River is a traditional old spiritual arranged in 1917 by Harry Burleigh. Today we are looking at the history of this song and it's connection with our black brothers and sisters at the time of slavery. This song is played today on the Bass Clarinet in memory of that haunting time.

Joshua and Angela discuss the pioneering work of Harry Burleigh, how he directly influenced the sound of American music and paved the way into the traditional classical music space for the Black artists and composers who followed him. We are introduced to one of Burleigh's non-choral works, Southland Sketches for violin and piano, as well as a rare recording of Burleigh singing Go Down, Moses.Support the show (https://classicalmusicindy.org/support-classical-music-indy/)

Welcome to No. 27! We've made it to the 27 club...hopefully we'll make it out alive. (Please tell us someone understands this reference!) In this episode we introduce ourselves to black musician and composer, Harry Burleigh, who was instrumental (no pun intended) in developing characteristically American music. Burleigh also introduced Antonin Dvorak to Black American music. How have we never heard of him before?? In the second half, we discuss the idea of perfectionism and how we've dealt with it in our studies. As always, wear a mask and stay safe! Instagram: @outoftunepod

Woman here is your son. +John 19:26 God of community, it is not good for us to be alone. Help us to connect with each other, and take care of one another. In Jesus’ name, Amen. John 19:25-27 Reflect with the Rev. Melanie W. J. Slane Musical Offering – Sometimes I Feel Like a Motherless Child by Harry Burleigh, Mary Southworth Shaffer, vocals Excerpted from SALT.org’s Understanding the Cross: A Home-Based Holy Week Devotional of Jesus’ “Seven Last Words."

(S3, EP 5) In this week's episode, I spoke with my old friend Tereza Lee back in July. Tereza is a mother of 3, professional pianist, and a long-time immigration rights activist. Tereza was one of the pioneers of the DREAM movement in the early 2000's when her then-undocumented status inspired US-IL Senator Dick Durbin to sponsor the first DREAM Act proposal in 2001. In this interview, Tereza shared her experiences growing up undocumented, and how her music teacher inspired her to share her story to Senator Durbin. She reminisces back on the struggles of the undocumented movement, but also hopes for this current generation of DACA / undocumented activists. She recently received her doctorate, and talked about her research of Czech composer Antonín Dvořák and his mentorship of Harry Burleigh, one of the earliest African American composers as well as his work with Black and Indigenous music students. We talked about her experiences living in NYC during this Covid-19 era. Hope you get to listen in, and hear her powerful journey! -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Special thanks to my sponsor, Lawrence and Argyle, a Viet-American owned merchandise line representing immigrant empowerment. Get yourself a pin, hoodie or t-shirt and show off your immigrant pride. Visit them at www.lawrenceandargyle.com or on Instagram @lawrenceandargyle or on their Facebook page -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Bio -- Tereza Lee is a pianist “whose touch is exceptionally clear” (—Chicago Sun-Times), who is also a prominent advocate for immigrant rights. She began her performing career at the age of 11, as the pianist at her family's church. At 16, she became the first student from an inner-city school to win first prize in the Chicago Symphony Orchestra Youth Concerto Competition, and performed with the C.S.O. She has gone on to perform as a soloist at Weill Hall at Carnegie Hall, Steinway Hall, Barge Music, Lincoln Center and the Ravinia Festival in Chicago. She has premiered works by Aaron Jay Kernis, Augusta Read Thomas, Ned Rorem, Josephine Lee, and Kenneth Frazelle. Tereza's role in helping to inspire Senator Dick Durbin of Illinois to introduce the DREAM Act has been documented in The New York Times, PBS, NPR, USA Today, The Economist, NY1, and WNYC. She has been engaged in activism especially on immigration issues, supporting the New York State Liberty Act, the New York State DREAM Act, Greenlight NY and Driver's License For All Campaigns. Tereza recently completed her Doctor of Musical Arts Degree from the Manhattan School of Music. --- Support this podcast: https://anchor.fm/banhmichronicles/support

More than a century ago, Antonín Dvořák prophesied that American music would be rooted in the black vernacular. It’s come true, to a certain extent: when we think of American music—jazz, blues, rock, hip hop, rap—we are thinking of music invented by black musicians. The field of classical music, however, has remained stubbornly white. At one point in the last century, classical music was on the cusp of a revolution: the Englishman Samuel Coleridge-Taylor was writing works like his Twenty-Four Negro Melodies, Dvořák’s own assistant Harry Burleigh was reimagining black spirituals for the concert stage that would be performed by the likes of Marian Anderson. And the lineage continued with William Grant Still, Nathaniel Dett, Florence Price, and Margaret Bond. The arrival in 1934 of William L. Dawson’s Negro Folk Symphony seemed to usher in the imminent fulfillment of Dvořák’s prophecy—and yet Dawson never wrote another symphony. Why not? Joseph Horowitz, a cultural historian and the executive director of the PostClassical Ensemble, joins the podcast to explore why. Scholar managing editor Sudip Bose guest-hosts.Go beyond the episode:Read Joseph Horowitz’s essay, “New World Prophecy,” from our Autumn 2019 issueAnd read more about Antonín Dvořák’s time in Spillville, Iowa, in Tom Zoellner’s essay, “No Harmony in the Heartland,” about how the national struggle over immigration has hit an American town built by immigrant CzechsListen to Leopold Stokowski conduct the American Symphony Orchestra’s 1963 performance of William L. Dawson’s Negro Folk SymphonyListen to Samuel Coleridge-Taylor’s Twenty-Four Negro Melodies, played by David Shaffer-GottschalkListen to Marian Anderson perform Harry Burleigh’s composition of the spiritual “Deep River”Listen to Dietrich Fischer-Dieskau perform Charles Ives’s extraordinary setting of “Feldeinsamkeit”Read about the rediscovery of the composer Florence PriceAnd keep an eye out for Dawson’s Negro Folk Symphony at the following events:Georgetown University’s PostClassical Ensemble will perform the second movement on April 25, 2020The Brevard Music Festival may perform the complete symphony next summerTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play •

More than a century ago, Antonín Dvořák prophesied that American music would be rooted in the black vernacular. It’s come true, to a certain extent: when we think of American music—jazz, blues, rock, hip hop, rap—we are thinking of music invented by black musicians. The field of classical music, however, has remained stubbornly white. At one point in the last century, classical music was on the cusp of a revolution: the Englishman Samuel Coleridge-Taylor was writing works like his Twenty-Four Negro Melodies, Dvořák’s own assistant Harry Burleigh was reimagining black spirituals for the concert stage that would be performed by the likes of Marian Anderson. And the lineage continued with William Grant Still, Nathaniel Dett, Florence Price, and Margaret Bond. The arrival in 1934 of William L. Dawson’s Negro Folk Symphony seemed to usher in the imminent fulfillment of Dvořák’s prophecy—and yet Dawson never wrote another symphony. Why not? Joseph Horowitz, a cultural historian and the executive director of the PostClassical Ensemble, joins the podcast to explore why. Scholar managing editor Sudip Bose guest-hosts.Go beyond the episode:Read Joseph Horowitz’s essay, “New World Prophecy,” from our Autumn 2019 issueAnd read more about Antonín Dvořák’s time in Spillville, Iowa, in Tom Zoellner’s essay, “No Harmony in the Heartland,” about how the national struggle over immigration has hit an American town built by immigrant CzechsListen to Leopold Stokowski conduct the American Symphony Orchestra’s 1963 performance of William L. Dawson’s Negro Folk SymphonyListen to Samuel Coleridge-Taylor’s Twenty-Four Negro Melodies, played by David Shaffer-GottschalkListen to Marian Anderson perform Harry Burleigh’s composition of the spiritual “Deep River”Listen to Dietrich Fischer-Dieskau perform Charles Ives’s extraordinary setting of “Feldeinsamkeit”Read about the rediscovery of the composer Florence PriceAnd keep an eye out for Dawson’s Negro Folk Symphony at the following events:Georgetown University’s PostClassical Ensemble will perform the second movement on April 25, 2020The Brevard Music Festival may perform the complete symphony next summerTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play • 

This coffee break delves into love as a many splendored thing and a source of inspiration for wonderful music. We begin with Roy Harris' Symphony No. 4 sense of the longing love of the one not here. We hear Harry Burleigh's maternal love for the Little Mother of Mine. Then we go way, way back to some secular, but not quite romantic, love songs of the 13th and 14th Centuries with composers Adam de la Halle and Guillaume de Machaut. Next we hear a mixture of 15th Century poetry of Christine de Pizan updated by musician Claire Gignac. We jump into the 16th Century with a Pierre Passereau piece then into the 17th Century with romantic to Reinhard Keiser's opera Croesus--"Love, what are you beginning?" We listen to a quick piece from Don Carlo Gesualdo then a dirty little ditty Matona mir cara by Orlando Lasso, which has been properly censored by the always proper Mr. Somers. contact the show at YCCB@mauriceriverpress.com

Mr. Somers leads us on a journey of American folk music, exploring the partnership between Dvorak and the great American musician Harry Burleigh. Burleigh was an African American composer, arranger, and singer of spiritual and sacred music who later arranged these pieces in a more classical form. We listen to Roy Harris and Aaron Copland, and attempt to answer the question What is American Music? Contact the podcast at yccb@mauriceriverpress.com

Episode written & edited by Sarah Miller Show Notes André, Naomi, and Ann Sears. "Connections and Celebrations in African American Music."Institute For Studies In American Music Newsletter 36, no. 2 (Spring2007 2007): 9-15. Brooks, Tim, and Richard K. Spottswood. Lost Sounds: Blacks and the Birth of the RecordingIndustry, 1890-1919. Urbana: University of Illinois Press, 2004. Floyd, Samuel A. "The Invisibility and Fame of Harry T. Burleigh: Retrospect and Prospect."Black Music Research Journal, 2004., 179 Moon, Brian. "Harry Burleigh as Ethnomusicologist? Transcription, Arranging, and 'The OldSongs Hymnal'." Black Music Research Journal, 2004., 287 Sears, Ann. "'A Certain Strangeness': Harry T. Burleigh's Art Songs and SpiritualArrangements." Black Music Research Journal, 2004., 227 Snyder, Jean E. "Harry T. Burleigh, 'One of Erie's Most Popular Church Singers'." Black MusicResearch Journal, 2004., 195 Woodson, C. G. "Harry Thacker Burleigh." The Journal of Negro History 35, no. 1 (1950): 104-05. 

Each day during February, we posted a “Classical Music Moment in Black History” on our Facebook page to show the contributions of black artists to classical music throughout history. We’ve collected our twenty-eight February entries in this article. By the way, these entries were originally part of an episode of the Classical Classroom podcast (audio included below).  Composer Chevalier de Saint-Georges.  In the mid-to-late 1700’s, Chevalier de Saint-Georgeswas an Afro-French composer who was also France’s best fencer. After Napoleon re-instituted slavery in France, de Saint-Georges’ works were rarely played, though lots of his work has been recorded since the 1970’s. In 1803, virtuoso violinist George Bridgetower, who had studied under the leader of the Royal Opera, played with Beethoven. Beethoven then dedicated his Violin Sonata No. 9 in A Major to Bridgetower, and they premiered the piece together. Later, the two had a falling out – something to do with a lady – and Beethoven changed the piece’s name. It’s now called the Kreutzer Sonata. Poet Rita Dove wrote a book about Bridgetower and Beethoven’s relationship. Soprano Elizabeth Taylor Greenfield, “The Black Swan”.  In 1853, soprano Elizabeth Taylor Greenfield – people knew her as the “Black Swan” – made her New York debut at the Metropolitan Hall. While she could sing, her skin color would have denied her entrance to the concert. But that didn’t slow Greenfield down: In 1854, this classy lady sang a command performance before Queen Victoria. Composer Scott Joplin.  In 1868, innovative composer and pianist Scott Joplin was born in Texas. Joplin wrote 2 operas, one ragtime ballet, and 44 original ragtime pieces before he died. Composer Harry Thacker Burleigh.  From 1892-95, Antonin Dvorak – not black as you might know, but stick with me – was director of the National Conservatory of Music in New York City. The woman who founded the school, Jeanette Thurber, opened the school to men, women, blacks, and whites – pretty unusual for that time. Dvorak felt that a true American style of music should grow out of African- and Native-American music. Harry Burleigh, one of the earliest African-American composers and one of Dvorak’s pupils, introduced Dvorak to American spirituals. In 1898, Afro-British composer Samuel Coleridge-Taylor wrote the musical Hiawatha’s Wedding Feast. It was wildly successful during his lifetime. Coleridge-Taylor also visited the States and inspired American blacks to become composers. Tenor Roland Hayes.  In 1921 tenor Roland Hayes gave a performance before King George V of England. In 1923, Hayes debuted at Carnegie Hall. He was the first African American man to become famous worldwide as a concert performer, and he became one of the world’s greatest Lieder interpreters. In 1926, Undine Smith Moore graduated cum laude from the Juilliard School. She was the first graduate of Fisk University, a historically black school, to receive a scholarship to Juilliard. According to the Richmond Times-Dispatch, Moore became “…one of this country’s most prominent composers and arrangers of choral works, many based on or inspired by Negro spirituals and folk songs.” Composer William Grant Still.  1931 was the year William Grant Stillbecame the first Black American composer to have a symphonic work performed by a major American orchestra. The Rochester Philharmonic performed his Afro-American Symphony. Stills had another big “first” in 1949 when his opera Troubled Island – based on a libretto by Langston Hughes – was performed by the New York City Opera, becoming the first opera by a black person to be performed by a major company. William Grant Still was also the first black man to conduct a major orchestra (LA Phil) and he won 2 Guggenheim fellowships. In 1933, Caterina Jarboro became the first black woman to appear in a leading role with a major American opera when she again played the title role in Aida with the Chicago Opera.  Composer Florence Price. Also in 1933, the Chicago Symphony Orchestra performed Florence Price’s Symphony in E Minor. She was the first female African-American composer to have a symphonic composition performed by a major American symphony orchestra. Baritone Todd Duncan and Anne Brown. Culver Pictures/file 1935. In 1935, George Gershwin’s Porgy and Bess opened on Broadway, with baritone Todd Duncan as Porgy, and sopranos Anne Brown as Bess and Ruby Elzy as Serena. In 1945, Todd Duncan became the first African American to sing with a major American opera company, when he played the role of Tonio Leoncavallo’s I Pagliacci with the New York City Opera. Contralto Marian Anderson In 1939, both the Daughters of the American Revolution and the District of Columbia’s Board of Education refused to allow contralto Marian Anderson to use Constitution Hall and Central High School auditorium for a recital respectively. So, she gave her concert on the steps of the Lincoln Memorial instead, drawing a crowd of 75,000 – not to mention the millions who listened on the radio. (To read more about the performance, go here.) Lyric Soprano Camilla Williams (l) with Margery Mayer. Courtesy of Fred Fehl/New York City Opera. Also in 1945, lyric soprano Camilla Williams signed a contract with the New York City Opera in 1946, becoming the first African American to do so with a major American opera company. She debuted with the role of the heroine in Madama Butterfly. And in 1947, soprano Helen Phillips was the first African American to sing on the stage of the Metropolitan Opera. In 1951 William Warfield and Muriel Rahn were the first black concert artists on TV – they appeared on The Ed Sullivan Show. Soprano and educator Dorothy Maynor. In 1953, soprano and educator Dorothy Maynor was the first black person to sing at a US presidential inauguration when she performed the national anthem for Dwight Eisenhower. Composer Margaret Bonds. Wikimedia Commons. Margaret Bonds, who frequently collaborated with Langston Hughes, was one of the first black composers and performers in the US to gain recognition. In 1965, when the Freedom March on Montgomery, Alabama took place, she wrote Montgomery Variations for orchestra, dedicating it to Martin Luther King, Jr.. For more information about Ms. Bonds, check out this piece from WBUR 90.9 FM. Conductor Henry Lewis. In 1968 Henry Lewis became the first black conductor and music director of a major American orchestra when he was appointed to the New Jersey Symphony Orchestra. He was also the first African-American to conduct at the Metropolitan Opera. 1972 saw Scott Joplin’s opera Treemonisha finally premiere – 55 years after his death – at the Atlanta Memorial Arts Center. In 1976, Joplin posthumously received a special Pulitzer Prize for his contributions to American music. Trumpeter Wynton Marsalis. Photo by Luigi Beverelli. Courtesy Mr. Marsalis’ website. In 1983 and 1984, trumpeter Wynton Marsalis became the only artist ever to win Grammy Awards for both jazz and classical records. He won the Pulitzer Prize for Music in 1997 for Blood on the Fields, a three-hour oratorio for 3 singers and a 14-member ensemble. The oratorio follows the story of an African couple sold into slavery in the US. In 1987, conductor Paul Freeman became Founding Musical Director of the Chicago Sinfonietta. This orchestra’s mission is “Musical Excellence Through Diversity”. Dr. Freeman served for 24 years. Violinist Aaron Dworkin. Courtesy of the MacArthur Foundation website. Violinist Aaron Dworkin founded the non-profit Sphinx Organization in 1996 to cultivate the development of young black and Latino musicians in the classical music profession. The Sphinx Competition, spotlights young black and Latino string players on a national platform. Composer George Walker received the Pulitzer Prize in 1996 for Lilacs for Voice and Orchestra, a work commissioned by the Boston Symphony Orchestra as part of its tribute to tenor Roland Hayes. This was the first time a living African American won the prize for music. Mezzo-Soprano Denyce Graves. Courtesy of the artist’s website. In 2001 mezzo-soprano Denyce Graves sang “America the Beautiful” and “The Lord’s Prayer” at the National Day of Prayer and Remembrance Service at the Washington National Cathedral following the September 11 attacks. James DePriest conducting the Oregon Sympony. Courtesy of the Sympony’s website. In 2005, James DePriest, one of classical music’s most accomplished conductors who at the time of his death in 2013 was Laureate Music Director of the Oregon Symphony and Director Emeritus of Conducting and Orchestral Studies at the Juilliard School, received the National Medal of Arts. Tim Brooks won a 2007 Grammy award for Best Historical Release with his Lost Sounds: Blacks and the Birth of the Recording Industry, which includes performances by Harry Burleigh, Roland Hayes, and Edward Boatner. Tenor Noah Stewart. Photograph: Mitch Jenkins Mitch Jenkins/PR. In 2012, tenor Noah Stewart became the first black musician to top the UK Classical Album Chart. Of course, we had to leave a GAGILLION people out of our daily Black History Month Facebook posts because (duh) there are just not enough days in the month. Like Jeffrey Mumford, Awadagin Pratt, David Baker, Imani Winds, André Watts, Chelsea Tipton, Thomas Wilkins, Morris Robinson, Lawrence Brownlee, Valerie Coleman, Rachel Jordan, and Tona Brown. And Daniel Bernard Roumain. And Black Violin. And… you get the idea!  But, blacks are still one of classical music’s most under-served communities. As of 2011, according to the League of American Orchestras, only 1.83% of our nation’s orchestras’ makeup was black. Aaron Dworkin has pointed out that African-American composers are often missing in traditional classical music station programming. But people like Dworkin and many others are working to change that!  We hope you’ve enjoyed learning about all of these awesome artists.

Work for string quartet performed by Musicians from Marlboro on April 12, 2014 and works for voice and piano by Harry Burleigh performed by New York Festival of Song on October 14, 2012.Dvořák: Cypresses for String Quartet B. 152Burleigh: A Birthday SongBurleigh: Little David Play on Your HarpBurleigh: Stan’ Still JordanBurleigh: Steal AwayBurleigh: O Rocks, Don’t Fall on MeAn advance warning: this podcast program may have you humming all day long. Our program features eminently sing-able works by two composers: Dvorak and Harry Burleigh.We’ll start with Dvorak’s Cypresses for string quartet, an instrumental piece based on a set of songs the composer wrote as a young man, settings of the poetry of the Moravian writer Gustav Pfleger-Moravsky The poems are steeped in the emotion of young love. Some movements also touch on the deep pain felt when a first love is lost. The string quartet arrangement has 12 brief movements, totaling about 20 minutes. The performance we’ll hear is by Musicians from Marlboro.Then, we have performers from the New York Festival of Song, offering up a number of short works by the African-American composer and arranger Harry T. Burleigh. In the 1920’s, Burleigh’s songs and arrangements of spirituals were immensely popular recital fare. The selections we’ll hear include both originals, such as the first piece “A Birthday Song,” and arrangements, including “Steal Away” and “Stan’ Still Jordan.” The podcast ends with all three singers—sopranos Julia Bullock & Dina Kuznetsova, and baritone James Martin—performing “O Rocks, Don’t Fall on Me.”

In the 1600s, African-born slaves in the United States were prohibited from playing-or even possessing-musical instruments. Regardless, the plantation fields still swayed with music as Blacks sung a capella (without instruments) to the rhythms of work. Slaveowners strove to Christianize their slaves, and many Blacks sympathized with the struggle of Jesus and found comfort in the hope of heaven. Slaves were forbidden from gathering, but conducted religious services in secret. At these meetings, informal worksongs evolved into intricate songs of redemption, struggle, and Christian faith that came to be known as "spirituals." The multi-part harmonies of these spirituals set in motion a long tradition of Black choral music. In the late 19th century, Harry Burleigh-a protege of Antonin Dvorak-took the musical style to new heights with choral arrangements informed by his classical training. Modern choral music takes on many different forms, and is often accompanied by the piano, percussion, and bass.

In the 1600s, African-born slaves in the United States were prohibited from playing-or even possessing-musical instruments. Regardless, the plantation fields still swayed with music as Blacks sung a capella (without instruments) to the rhythms of work. Slaveowners strove to Christianize their slaves, and many Blacks sympathized with the struggle of Jesus and found comfort in the hope of heaven. Slaves were forbidden from gathering, but conducted religious services in secret. At these meetings, informal worksongs evolved into intricate songs of redemption, struggle, and Christian faith that came to be known as "spirituals." The multi-part harmonies of these spirituals set in motion a long tradition of Black choral music. In the late 19th century, Harry Burleigh-a protege of Antonin Dvorak-took the musical style to new heights with choral arrangements informed by his classical training. Modern choral music takes on many different forms, and is often accompanied by the piano, percussion, and bass.