May 12, 2021, SOME BLACK COMPOSERS 2 DMV COMPOSERS

Total Page:16

File Type:pdf, Size:1020Kb

May 12, 2021, SOME BLACK COMPOSERS 2 DMV COMPOSERS May 12, 2021, SOME BLACK COMPOSERS 2 DMV COMPOSERS c GEORGE THEOPHILUS WALKER June 27, 1922-Aug. 23, 2018 Lyric for Strings played by the BBC Prom https://www.youtube.com/watch?v=gZLLVacAT6Y Walker’s music was firmly rooted in the modern classical tradition, but also drew from African-American spirituals and jazz. His nearly 100 compositions range broadly, from intricately orchestrated symphonic works and concertos to intimate songs and solo piano pieces. “His music is always characterized by a great sense of dignity, which is how he always comported himself,” says composer Jeffrey Mumford, who, as a music professor at Lorain County Community College in Ohio, uses examples of Walker’s music in his classes. Lyric for Strings, which has become his most often-performed work. We will listen to the BBC Prom perform this work under Kevin John Edusei. Jeffrey Mumford born June 22, 1955 Insight into his composition “Let Us Breathe” 2020 https://www.youtube.com/watch?v=kRaGuuB-NJc “Let Us Breathe” https://www.youtube.com/watch?v=q4NeMD_XPHc Jeffrey Mumford (born June 22, 1955) is a U.S. composer who teaches music at Lorain County Community College. Mumford was born in Washington, D.C., and holds degrees from the University of California, Irvine (B.A., 1977) and the University of California, San Diego (M.A., 1981). Dr. ADOLPHUS HAILSTORK Manhattan School of Music Alumni Awards https://www.youtube.com/watch?v=nd6TE3mVXMI “I Will Life Up Mine Eyes”, Mov’t III Alleluia https://www.youtube.com/watch?v=gepfsA70TUE “Shout for Joy” excerpt https://www.youtube.com/watch?v=UxwSUUks7v4 Adolphus Hailstork (born Adolphus Cunningham Hailstork III, April 17, 1941) is a Black American composer and educator. He was born in Rochester, New York and grew up in Albany, New York, where he studied violin, piano, organ, and voice. He currently resides in Virginia Beach, Virginia, and is Professor of Music and Eminent Scholar at Old Dominion University in Norfolk. Has composed: 3 Operas, 7 Piano works, 11 solo instrumental works, 12 Choral & orchestral works, 14 orchestral works, 30 chamber works. Hailstork is of African American ancestry and his works blend musical ideas from both the African American and European traditions. His newest works include THE WORLD CALLED (based on Rita Dove’s poem TESTIMONIAL), a work for soprano, chorus and orchestra commis- sioned by the Oratorio Society of Virginia (premiered in May 2018) and STILL HOLDING ON (February 2019) an orchestra work commissioned and premiered by the Los Angeles Philharmonic. He is currently working on his Fourth Symphony, and A KNEE ON A NECK (tribute to George Floyd) for chorus and orchestra. Dr. ANWAR GABRIEL MYRON OTTLEY Born November 18, 1984 “Sabbath Hymn” sung by the Aeolian Alumni https://www.youtube.com/watch?v=2s7SQUjUnqk “Old Rugged Cross” arr. by Myron S. Ottley, sung by Anwar Ottley https://www.youtube.com/watch?v=WRAS8hOsb0s “My Faith Looks Up to Thee” arr. by Anwar Ottley https://www.youtube.com/watch?v=n0qPss9H3c0 From a very young age Anwar Ottley has been immersed in the field of music as he was born into a musical family. As a child, he attended the Ottley Music School, founded 48 years ago by his aunt, Nevilla E. Ottley. Ladies and Gentlemen, let us welcome to our class today Dr. Anwar Ottley, my nephew, pastor and educator. He pursued graduate studies at Andrews University where he received his Master of Music degree in Choral Conducting with a secondary emphasis in Music Theory and Composition. Anwar is an active composer and arranger published by GIA Publications. He currently serves as the Pastor of Worship at the Takoma Park Seventh- day Adventist Church located in Takoma Park, Maryland, and as Assistant Professor/Director of Choral Activities at WAU. Dr. Ottley completed coursework towards a Doctor of Worship Studies degree in 2020 at Liberty University. EVELYN SIMPSON-CURENTON born 1953. My Faith Has Found Refuge in You https://www.youtube.com/watch?v=fmK8HheqdlY “O Glory” sung by Kathleen Battle and Metropolitan Opera Chorus https://www.youtube.com/watch?v=dS8ELJauF5E Evelyn-Simpson Curenton was a child prodigy. She played the piano at the age of two. She began piano lessons at age five. When she was seven years old she began to perform with the Singing Simpsons of Philadelphia, a family group, After graduating from Germantown High School she earned a B.M., Music Education and Voice from Temple University. She has been commissioned to write works for the American Guild of Organists, George Shirley, Duke Ellington, and her sisters Joy Simpson and Marietta Simpson; arranged music for the Carnegie Hall Concert of Spirituals for Kathleen Battle, Jessye Norman, and the Porgy and Bess Chorus of the New York Metropolitan Opera, and has performed with musical organizations such as the Philadelphia Orchestra, Philadelphia's National Opera Ebony (later renamed Opera North). Based in the Washington, D.C., area, Evelyn Simpson-Curenton is Music Director of the Washington Performing Arts Society's Men and Women of the Gospel and an associate of the Smithsonian Institution. She has given lectures and participated in workshops on early 18th-century black religious music and the music of African-Americans during the Civil Rights era. Ladies and Gentlemen, the famed Evelyn Simpson-Curenton is with us today. Let us welcome her. .
Recommended publications
  • Royal Umd 0117E 18974.Pdf (465.4Kb)
    ABSTRACT Title of Dissertation: SELECTED WORKS OF COMPOSERS ASSOCIATED WITH HOWARD UNIVERSITY Guericke Christopher Royal, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Chris Gekker School of Music Throughout its over 100 year history, Howard University has produced and attracted many talented composers of many musical genres. Limiting this project to any one genre or focus would have lessened the overall impact of the music they created and the inspiration that has been a lauded part of the institution. The project will demonstrate the various harmonic, melodic, rhythmic and emotional contributions of the selected composers through interpretation of their music on the trumpet. Composers have been connected to the university in three general ways: as students, alumni and faculty; as commissioned artists; and through the performance of their works by notable performers associated with Howard. The pieces selected for this project exemplify a wide range of musical expressions and compositional techniques, and hopefully have been presented in a way that allows the emotional impact of each piece to resonate in a unique fashion. The selected works tended to fall into the categories of A. Trumpet and Brass Works B. Spirituals/ Meditational/ Religious Works C. Popular and Jazz Pieces D. Organ or other Instrumental Works E. Works of Historical Reference or Significance In some cases, certain pieces may be categorized across multiple categories (e.g. an organ piece based on religious material). As this was also a recording project, great care was taken during the recording process to capture as much emotional content as possible through stereo microphone techniques and the use of high quality equipment.
    [Show full text]
  • Annotated Bibliography of African American Carillon Music
    Revised February 3, 2021 Annotated Bibliography of African American Carillon Music by Tiffany Ng User’s Guide T his comprehensive annotated bibliography lists carillon scores by African American composers and/or based on African American music. While most of the items are published, a few are unpublished but in informal circulation, or are pending publication. Carillonneurs are invited to use this resource to identify music to perform and teach. Despite the length of this bibliography, there are currently only four published original carillon works by African American composers. The vast majority of items are arrangements by white composers, and most of these arrange- ments are of spirituals, pointing to an essentialization of African American music that omits major genres (ex. jazz, soul, and rhythm and blues, to name a few) and freezes musical development in the 19th century. These imbalances point to an ongoing need for the commissioning of original works by Black composers. This survey also indicates that there are only four original carillon works by Black women, all of which I helped com- mission. Furthermore, of the 74 carillon arrangements of works that can be attributed to specific composers, only 11 arrangements (15%) are of works originally composed or co-written by women—Katherine Stockwell Hazzard, Betty Jackson King, Florence Beatrice Price, and contemporary songwriters Beyoncé and Mary J. Blige. Carillonneurs seeking to commission composers are thus encouraged to explore the intersection of race and gender when identifying potential collaborators, and to ask colleagues of races and genders other than their own for outside referrals to composers who will diversify their collaborative relationships.
    [Show full text]
  • A Descriptive Analysis of the Musical Elements and The
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 11-2020 “THIS IS HOW WE DO IT”: A DESCRIPTIVE ANALYSIS OF THE MUSICAL ELEMENTS AND THE BLACK CHURCH CULTURAL INFLUENCES IN ADOLPHUS HAILSTORK’S I WILL LIFT UP MINE EYES: A CANTATA FOR TENOR, CHOIR, AND CHAMBER ORCHESTRA Alfonzo Cooper Jr University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Cooper Jr, Alfonzo, "“THIS IS HOW WE DO IT”: A DESCRIPTIVE ANALYSIS OF THE MUSICAL ELEMENTS AND THE BLACK CHURCH CULTURAL INFLUENCES IN ADOLPHUS HAILSTORK’S I WILL LIFT UP MINE EYES: A CANTATA FOR TENOR, CHOIR, AND CHAMBER ORCHESTRA" (2020). Student Research, Creative Activity, and Performance - School of Music. 150. https://digitalcommons.unl.edu/musicstudent/150 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “THIS IS HOW WE DO IT”: A DESCRIPTIVE ANALYSIS OF THE MUSICAL ELEMENTS AND THE BLACK CHURCH CULTURAL INFLUENCES IN ADOLPHUS HAILSTORK’S I WILL LIFT UP MINE EYES: A CANTATA FOR TENOR, CHOIR, AND CHAMBER ORCHESTRA by Alfonzo Cooper, Jr. A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music (Vocal Performance) Under the Supervision of Professor William Shomos Lincoln, Nebraska November, 2020 “THIS IS HOW WE DO IT”: A DESCRIPTIVE ANALYSIS OF THE MUSICAL ELEMENTS AND THE BLACK CHURCH CULTURAL INFLUENCES IN ADOLOPHUS HAILSTORK’S I WILL LIFT UP MINE EYES: A CANTATA FOR TENOR, CHOIR, AND CHAMBER ORCHESTRA Alfonzo Cooper, Jr., D.M.A.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2011
    iT":""" _ » 3i»^T*X' FSSu* ymphoimVorchestr LI A HULY e Berkshires SCHANTZ ALLERJES ntemporary art 3 Elm Street Stockbridge, MA 413.298.3044 BERKSHIRE MONEY MANAGEMENT We?tl ntaJob vt easy to mov&youvportfolio. November 15, 2007 Sample Market Calls (sell) of Berkshire Money Management July 14 2010 (buy) S&P 500 INDEX DAILY DATA 1/02/2001-12/31/2010 March 6, 2009 (buy) © Copyright 201 1 Ned Davis Research, Inc. Further distribution prohibited without prior permission. All Rights Reserved. See NDR Disclaimer at www.ndr.com/copyright.html. For data vendor disclaimers refer to www.ndr.com/vendorinfo/. May 11, 2001 (sell) May 10, 2002 (sell) November 15, 2007 (sell) "Don't get too scientific.just ask yourself; "If [the NASDAQ] pierces the 1600 level "The obvious answer is a temporary position does it feel like a recession? We don't think again, the prudent investor will not hold in cash." it feels as bad as 1990-1991, but it is bad out for another relief rally...the NASDAQ is The stock market fell 48.9% after that sell enough." setting up for a retest of the September signal. [2007] lows of the 1400s." The stock market fell 16.5% until our next buy signal. October 11, 2002 (buy) March 6, 2009 (buy) "Expect a bottom for the S&P 500 at 660 September 28, 2001 (buy) "The VIX broke 50 [on October 10th], and points." that is my buy signal this time." "Equity valuations are better than they have The stock market rose 63.2% from that buy been in years." The stock market rose 80% until our next signal to the end of 2009.
    [Show full text]
  • Eleanor Lee November 11 2020 Program
    The D’Angelo Department of Music at Mercyhurst University presents Faculty Recital Eleanor Lee, cello Chiaroscuro An Unaccompanied Recital Walker Recital Hall Wednesday, November 11, 2020 8:00pm www.mercyhurst.edu/music PROGRAM Suite No. 5 for Solo Cello in C Minor J.S. Bach Prelude (1685-1750) Allemande Courante Sarabande Gavottes Gigue Brief Pause (5 minutes) Variations on a Theme of Paganini Hans Bottermund (1892-1949) Arr. Janos Starker (1924-2013) Spring Song Augusta Read Thomas (b. 1964) Theme & Variations on “Draw the Sacred Circle Closer” Adolphus Hailstork Theme: Moderately (b. 1941) Variation I: Spritely Variation II: Playfully-Dramatic-Playfully-Dramatic Variation III: Adagio Variation IV Variation V: Animated The use of recording devices is strictly prohibited. Please turn off and stow all electronic devices. Thank you. NOTES Chiaroscuro - (n.), from Italian chiaro, “light,” and scuro, “dark”, technique employed in the visual arts to represent light and shadow as they define three-dimensional objects; used to dramatically enhance emotive effect and psychological impact - Encyclopedia Britannica 2020 has been an emotionally fraught year for our nation and the world at large. With COVID-19 and political division ever-looming, as a collective, we have known isolation, insecurity, grief, anger, and fear. Music and musicians have suffered some of the worst consequences, limited in our ability to both collaborate and to share. While it is true that most of our training comprises independent activities - spending countless hours practicing, score-studying, and listening - music, in its final execution, is meant to be social: a celebration of civilization, of universal human experience. If ever there was a time when we needed music, it is now.
    [Show full text]
  • An American Port of Call Adolphus Hailstork (1941–) Written: 1985 Movements: One Style: Contemporary American Duration: Nine Minutes
    An American Port of Call Adolphus Hailstork (1941–) Written: 1985 Movements: One Style: Contemporary American Duration: Nine minutes Virginia resident Adolphus Hailstork received his doctorate in composition from Michigan State University, where he was a student of H. Owen Reed. He had previously studied at Manhattan School of Music under Vittorio Giannini and David Diamond, at the American Institute at Fontainebleau with Nadia Boulanger, and at Howard University with Mark Fax. Currently, Dr. Hailstork is Professor of Music and Eminent Scholar at Old Dominion University in Norfolk, Virginia. Before that appointment he was Professor of Music and Composer–in– Residence at Norfolk State University. Dr. Hailstork has written in a variety of genres, producing works for chorus, solo voice, piano, organ, various chamber ensembles, band, and orchestra. His early compositions include Celebration, recorded by the Detroit Symphony in 1976; and two works for band (Out of the Depths, 1977, and American Guernica, 1983), both of which won national competitions. Dr. Hailstork’s works have been performed by such prestigious ensembles as the Philadelphia Orchestra, the Chicago Symphony, and the New York Philharmonic, under the batons of leading conductors such as James DePreist, Daniel Barenboim, Kurt Masur, and Lorin Maazel. Dr. Hailstork’s Second Symphony was commissioned by the Detroit Symphony. His second opera, Joshua’s Boots, was commissioned by the Opera Theatre of St. Louis and the Kansas City Lyric Opera. Dr. Hailstork’s Second and Third Symphonies were recorded by the Grand Rapids Symphony Orchestra, under David Lockington, on a Naxos label disc released in January 2007. Recent works include Earthrise, a new large scale choral work premiered by James Conlon, Three Studies on Chant Melodies for the American Guild of Organists, and Whitman’s Journey, a cantata for chorus and orchestra, premiered by the Master Chorale of Washington, D.C.
    [Show full text]
  • Gabrielle Hartman, Bassoon Saturday, April 3, 2021, at 7:00 PM View the Concert On
    presents A Degree Recital: Gabrielle Hartman, bassoon Saturday, April 3, 2021, at 7:00 PM View the concert on: https://youtu.be/RA0SyoiyA58 Bassoon Set Adolphus Hailstork Moderato con anima (b. 1941) Vivo Lento e teneramente Allegretto Bassoon Sonata in G Major, Op. 168 Camille Saint-Saëns Allegro moderato (1835-1921) Allegro scherzando Molto adagio - Allegro moderato with Gwyyon Sin, piano Concert ‘Le Phénix’ Michel Corrette Allegro (1707-95) Adagio Lento e teneramente Allegretto Koncert for Fagot & Orkester Launy Grøndahl Allegro moderato (1886-1960) Quasi una fantasia, adagio Rondo giocoso with Gwyyon Sin, piano Program Notes Bassoon Set by Adolphus Hailstork Adolphus Hailstork is an American composer, music educator, and current professor of music and composer-in-residence at Old Dominion University. Hailstork studied with well- known composer Nadia Boulanger at the American Conservatory at Fontainebleau and continued his studies at the Manhattan School of Music and Michigan State University, where he graduated with a PhD in composition. His other teachers included Vittorio Giannini and David Diamond. His Bassoon Set was written for the students of the National Association of Negro Musicians in 2003. The four movements of this piece are all quite short, yet each explore the different sounds of the bassoon. The first two movements are relatively fast-paced and energetic, and are followed by a melancholy and sober third movement. The final movement is light and moves forward with a sense of ease. Bassoon Sonata in G, Op. 168 by Camille Saint-Saëns Camille Saint-Saëns, a French composer, pianist, and organist, is best known for his piano and cello concertos, Danse macabre, and The Carnival of the Animals.
    [Show full text]
  • 559700 Bk Hanson US
    559722 bk Hailstork US_559722 bk Hailstork US 23/03/2012 10:10 Page 2 Adolphus Hailstork (b. 1941): tribute to the adventurous spirit of all people setting out on all women and men to join with him as he launches out on O to sail the sea in a ship! I launch all men and women with me forward An American Port of Call the seas of life. The texts used in this piece are among the life’s great journey. To leave this steady, unendurable land! into the Unknown. early, youthful poems in Whitman’s Leaves of Grass. The clock indicates the moment – Composer and College Professor Adolphus Cunningham 2004 with the Berkshire Symphony, and Mark Peskanov They depict Whitman’s vigorous optimism and his call to Adolphus Hailstork To leave the tiresome, tiresome sameness but what does eternity indicate? Hailstork, born April 17th, 1941 in Rochester, New York, as soloist. His cantata Crispus Attucks was first given in of the streets, the sidewalks, and houses; began his musical studies with piano lessons as a child. October 2005, in Norfolk, Virginia. Other new To leave you, O solid, motionless land. I launch all men and women forward with me He studied at Howard University and Manhattan School of commissions include Earthrise, a large scale choral work into the Unknown. Music, spending the summer of 1963 at the American for James Conlon and the 2006 Cincinnati May Festival, O to have a life henceforth a poem of new joys! We have thus far exhausted trillions of winters Institute at Fontainebleau, France.
    [Show full text]
  • Organ Literature of Twentieth-Century Black Composers: an Annotated Bibliography
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I Un1vers1ty Microfilms International A Bell & Howell InformatiOn Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313.'761-4700 800.'521-0600 Order Number 9314581 Organ literature of twentieth-century black composers: An annotated bibliography Harrell, Paula Denise, D.M.A. The University of North Carolina at Greensboro, 1992 Copyright @1992 by Harrell, Paula Denise.
    [Show full text]
  • Adolphus Hailstork and the Navigation of Duality [Final Draft V.2]
    Adolphus Hailstork and the Navigation of Duality [Final Draft v.2] Andy Jarema MUH 7360: Studies in Twentieth-Century Music December 6, 2017 Duality and the Experience of the African-American Composer In The Souls of Black Folk, Harlem Renaissance author W.E.B. Du Bois asserts the inherent duality in living as an African-American person in America, lamenting that African- Americans “ever [feel their] twoness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.”1 It follows that the foundations of African-American music would also embody this duality, as Eileen Southern shows the way spirituals and the blues were shaped by “the black man’s experiences in the New World” and “[possess their] own distinctive style, basically oriented in the African tradition but reflecting some of the features of European music.”2 Southern further suggests this duality proposes a challenge to the African-American composer, who is “constantly being confronted with the problem of what kind of music to write.”3 Jason Dungee echoes these remarks by noting the “tension between the individual composer’s experience, and the collective historical experience of those who share his or her racial identity.” As a result, Dungee concludes African-American composers are acutely aware of “the conscious decision of what influences to allow to be present in your music.”4 Carol Oja demonstrates that William Grant Still, the first African-American composer to have a symphony premiered by a major American orchestra, “led a slightly schizoid existence” in his navigation between the spheres of European music and African-American music.5 1 W.E.B.
    [Show full text]
  • Out of the Silence: a Celebration of Music
    BARD MUSIC FESTIVAL PRESENTS Out of the Silence: A Celebration of Music PROGRAM TWO SATURDAY, SEPTEMBER 12, 2020 Bard BARD MUSIC FESTIVAL PRESENTS Out of the Silence: A Celebration of Music PROGRAM TWO UPSTREAMING Saturday, September 12 4:30 pm Composer Roundtable: Joan Tower, moderator; Adolphus Hailstork; Jessie Montgomery; and Alvin Singleton 5:30 pm Performance: The Orchestra Now, conducted by Leon Botstein, James Bagwell, Andrés Rivas, and Zachary Schwartzman Livestream directed by Ashley Tata JESSIE MONTGOMERY (b. 1981) Strum (2018) ALVIN SINGLETON (b. 1940) After Choice (2009) ADOLPHUS HAILSTORK (b. 1941) Sonata da Chiesa (1990) Exultate O Magnum Mysterium Adoro Jubilate Agnus Dei Dona Nobis Pacem Exultate ANTONĺN DVOŘÁK (1841–1904) Serenade for Strings, Op. 22 (1875) Moderato Tempo di valse Scherzo: Vivace Larghetto Finale: Allegro vivace Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social distance. Musicians sharing a stand also share a home. This program is made possible in part through the generosity of our donors and the Boards of the Bard Music Festival, The Orchestra Now, and the Fisher Center at Bard. Programs and performers are subject to change. PROGRAM TWO NOTES JESSIE MONTGOMERY Violinist, educator, and composer Jessie Montgomery grew up in Manhattan’s Lower East Side during a time of vibrant artistic experimentation and community activism in which her jazz musician father and theater-artist mother were engaged. Thus were sown the seeds of artistic eclecticism and commitment that have marked her performing, teaching, and composing career.
    [Show full text]
  • The World Called Music by Adolphus Hailstork Text by Rita Dove
    The World Called Music by Adolphus Hailstork Text by Rita Dove Televised thanks to VPM: Virginia's Home for Public Media Thursday, September 3rd - 8:30 pm and Saturday, September 5 - 6:30 pm Program Notes We are delighted to present a work which was commissioned for the occasion. It is the creative product of two people who, like so many of us, have chosen to call Virginia home. This collaboration calls upon unique experiences to express the universality of human experience. Dove's poem "Testimonial" is the seventh of eight in "Freedom: A Bird's-Eye View" - a section of her book On the Bus with Rosa Parks. The poems in this section speak of expressing the world through youthful eyes:riddles, rhymes, a first book, discovering the library. Hailstork's musical setting of "Testimonial" (which Dove personally helped paint onto a public mural in Charlottesville) is vibrant with the air of discovery, giving us a glimpse of the world unfolding before a young person's senses. The opening motif gives a taste of what is to come: with a nod to one of the poet's other favorite pursuits - ballroom dancing - Hailstork casts much of the poem with dancelike rhythms. The choral fanfare establishes the theme of the work: "The world called, and I answered" - though this is neither the title nor the first line of Dove's poem. A playful gesture from the woodwinds dispenses with any brief solemnity in the "answer." The story begins in earnest "back when the world was new." While this phrase could refer to deep time and the planet's beginnings, I think here it rather evokes the sense of discovery in every new human who encounters the wilderness of the world.
    [Show full text]