A Pioneering Twentieth Century African-American Musician: the Choral Works of George T

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THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

A PIONEERING TWENTIETH CENTURY AFRICAN-AMERICAN MUSICIAN: THE CHORAL WORKS OF GEORGE T. WALKER

JEFFERY L. AMES

A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy

Degree Awarded: Spring Semester, 2005

The members of the Committee approve the Dissertation of Jeffery L. Ames defended on March 31, 2005.

______André J. Thomas Professor Directing Dissertation

______Patrick J. Meighan Outside Committee Member

______Judy K. Bowers Committee Member

______Kevin A. Fenton Committee Member

Approved:

______Jon R. Piersol, Dean, College of Music

The Office of Graduate Studies has verified and approved the above named committee members.

This dissertation is affectionately dedicated to:

God for His awesome work in my life!

Kimberly Ames, my wife - Thank you for praying with me, encouraging me, And being the one God ordained to walk by my side on this journey. I love you Princess!

and

My mother Mrs. Erma Ames, and the memory of my father Therman E. Ames, Sr.

I have good plans for you, not plans to hurt you. I will give you hope and a good future. And when you search for me with all your heart, You will find me.

Jeremiah 29: 11, 13

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ACKNOWLEDGEMENTS

I would like to thank Dr. George Walker for his willingness to share his life, his time and knowledge, and for welcoming me with open arms. I consider it an honor to have sat with a pioneering African-American musician whose talent, works, and achievements identify him as an outstanding pianist and composer.

The day after I turned 14 years old, my father passed away. Since that day, God has strategically placed surrogate fathers in my life. I consider Dr. Thomas as a surrogate father, who has through his own professional and personal life, supported and encouraged my professional advancement as a choral conductor and music educator.

Dr. Fenton has reminded me, through his life, to live peaceably with others. Dr. Bowers has reaffirmed the importance of making a difference in people’s lives. And Professor Meighan has demonstrated the importance of being a great musician with passion and commitment.

I am thankful God placed these professors in my life for such a time as this.

Special thanks are extended to Joe Derhake and Michelle Greenlaw of MMB Music; Bill Peterson, Professor of Jazz Studies at The Florida State University College of Music; Christine Corrado, Director of Alumni Relations at The Eastman School of Music; Anne O’Donald, Director of Alumni and Parent Relations at the Curtis Institute of Music; and Larry Zucker, Executive Director of Town Hall in New York.

TABLE OF CONTENTS

List of Tables ...... Page vii List of Figures ...... Page viii Abstract ...... Page xiv

1. INTRODUCTION...... Page 1

2. A BLACK PERSPECTIVE ON TWENTIETH CENTURY CLASSICAL MUSIC...... Page 8

3. GEORGE WALKER: A BIOGRAPHICAL SKETCH ...... Page 18

Early Years and Education ...... Page 18 Career as a Performer and Composer...... Page 20 Career as a Teacher ...... Page 23 Compositional Output, Commissions, and Awards ...... Page 24 A Pioneering African-American Musician...... Page 25

4. A DESCRIPTIVE ANALYSIS OF CHORAL WORKS...... Page 28

The Bereaved Maid ...... Page 28 Take, O Take Those Lips Away ...... Page 33 O Western Wind...... Page 36 O Praise the Lord...... Page 42 O Lord God of Hosts...... Page 45 Praise Ye the Lord...... Page 48 Sing unto the Lord...... Page 53 Give Thanks unto the Lord ...... Page 58 Gloria In Memoriam...... Page 61 Stars………...... Page 65 With This Small Key...... Page 69 Blow, Blow Thou Winter Wind...... Page 75 A Babe is Born...... Page 81

5. A DESCRIPTIVE ANALYSIS OF EXTENDED CHORAL WORKS ...... Page 85

Canvas……...... Page 85 Mass………...... Page 97 Cantata……...... Page 123

6. SUMMARY AND CONCLUSION...... Page 137

APPENDICES ...... Page 144

A Catalogue of Works...... Page 144 B List of Commissions, Honors and Awards ...... Page 149 C Transcript of Interview with George Walker...... Page 153 D Communications and Permissions...... Page 175

REFERENCES ...... Page 179

BIOGRAPHICAL SKETCH ...... Page 187

LIST OF TABLES

Table 4.1: Phrase Analysis of O Lord God of Hosts ...... Page 46

Table 4.2: Phrase Analysis of Praise Ye the Lord ...... Page 49

Table 4.3: Phrase Analysis of Sing unto the Lord ...... Page 53

Table 4.4: Phrase Analysis of Give Thanks unto the Lord ...... Page 58

Table 4.5: Phrase Analysis of Gloria In Memoriam ...... Page 62

Table 4.6: Form of Stars...... Page 66

Table 4.7: Phrase Analysis of Blow, Blow Thou Winter Wind ...... Page 75

Table 5.1: Formal Structure of Extract III...... Page 87

Table 5.2: Formal Structure of Kyrie...... Page 99

Table 5.3: Formal Structure of Gloria...... Page 103

Table 5.4: Formal Structure of Credo ...... Page 111

Table 5.5: Formal Structure of Sanctus...... Page 117

Table 5.6: Formal Structure of Agnus Dei...... Page 120

Table 5.7: Formal Structure of Psalm 23 ...... Page 124

Table 5.8: Phrase Analysis of Psalm 24...... Page 131

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LIST OF FIGURES

Figure 4.1: The Bereaved Maid, measures 5-6...... Page 29

Figure 4.2: The Bereaved Maid, measures 10-23 ...... Page 30

Figure 4.3: The Bereaved Maid, measures 44-63 ...... Page 31

Figure 4.4: The Bereaved Maid, measures 58-62 ...... Page 31

Figure 4.5: The Bereaved Maid, measures 72-76 ...... Page 32

Figure 4.6: The Bereaved Maid, measures 90-94 ...... Page 33

Figure 4.7: Take, O Take Those Lips Away, measures 3-6, 9-11, 20-22, 25-27 . Page 34

Figure 4.8: O Western Wind, measures 1-4...... Page 37

Figure 4.9: O Western Wind, measures 6-9 ...... Page 37

Figure 4.10: O Western Wind, measure 29 ...... Page 38

Figure 4.11: O Western Wind, measures 27-29 ...... Page 39

Figure 4.12: O Western Wind Accompaniment, measures 1-4, 11-12, 25 ...... Page 40

Figure 4.13: O Praise the Lord, measures 6-7 ...... Page 43

Figure 4.14: O Praise the Lord, measures 10-12 ...... Page 44

Figure 4.15: O Praise the Lord, measures 66-67 ...... Page 45

Figure 4.16: O Lord God of Hosts, measure 6 ...... Page 47

Figure 4.17: O Lord God of Hosts, Harmonic Structure ...... Page 48

Figure 4.18: Praise Ye the Lord, measures 12, 15-16 ...... Page 50

Figure 4.19: Praise Ye the Lord, measures 38-42 ...... Page 51

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Figure 4.20: Praise Ye the Lord, measures 55-59 ...... Page 52

Figure 4.21: Praise Ye the Lord, measures 50-55 ...... Page 52

Figure 4.22: Sing unto the Lord, measures 1-5 ...... Page 54

Figure 4.23: Sing unto the Lord, measures 19-20 ...... Page 54

Figure 4.24: Sing unto the Lord, measures 5-8 ...... Page 55

Figure 4.25: Sing unto the Lord, measures 13, 16, 22-23 ...... Page 55

Figure 4.26: Sing unto the Lord, measures 10-12 ...... Page 56

Figure 4.27: Sing unto the Lord, measures 49-52 ...... Page 57

Figure 4.28: Give Thanks unto the Lord, measures 7-8 ...... Page 59

Figure 4.29: Give Thanks unto the Lord, measures 26-28 ...... Page 60

Figure 4.30: Give Thanks unto the Lord, measures 59-60 ...... Page 61

Figure 4.31: Gloria In Memoriam, measures 7-8 ...... Page 63

Figure 4.32: Gloria In Memoriam, measures 15-17 ...... Page 64

Figure 4.33: Gloria In Memoriam, measures 25-30 ...... Page 64

Figure 4.34: Stars, measures 1-4 ...... Page 67

Figure 4.35: Stars, measures 7, 11 ...... Page 67

Figure 4.36: Stars, measures 14-18 ...... Page 68

Figure 4.37: Stars, measures 19-22 ...... Page 68

Figure 4.38: With This Small Key, measures 1-3 ...... Page 69

Figure 4.39: With This Small Key, measures 14-19 ...... Page 70

Figure 4.40: With This Small Key, measure 25 ...... Page 71

Figure 4.41: With This Small Key, measures 26-30 ...... Page 71

Figure 4.42: With This Small Key, measures 35-37 ...... Page 72

Figure 4.43: With This Small Key, measures 50-52 ...... Page 72

Figure 4.44: With This Small Key, measures 61-63 ...... Page 73

Figure 4.45: With This Small Key, measures 9, 16, 38, 67, 73 ...... Page 74

Figure 4.46: Blow, Blow Thou Winter Wind, measures 4-5 ...... Page 76

Figure 4.47: Blow, Blow Thou Winter Wind, measures 11-13 ...... Page 78

Figure 4.48: Blow, Blow Thou Winter Wind, measures 31-34 ...... Page 79

Figure 4.49: Blow, Blow Thou Winter Wind, measures 60-63 ...... Page 80

Figure 4.50: A Babe is Born, measures 1-3 ...... Page 82

Figure 4.51: A Babe is Born, measures 7-8 ...... Page 82

Figure 4.52: A Babe is Born, measures 16-17 ...... Page 83

Figure 4.53: A Babe is Born, measures 22-23 ...... Page 84

Figure 4.54: A Babe is Born, measures 47-50 ...... Page 84

Figure 5.1: The Octatonic Scale ...... Page 88

Figure 5.2: Octatonic Collections ...... Page 89

Figure 5.3: C Aeolian Scale ...... Page 89

Figure 5.4: Canvas, measures 9-17 ...... Page 90

Figure 5.5: C Mixolydian Scale ...... Page 91

Figure 5.6: C Phrygian Scale ...... Page 91

Figure 5.7: Canvas, measures 29-31 ...... Page 92

Figure 5.8: C Locrian Scale ...... Page 92

Figure 5.9: Canvas, measures 34-35 ...... Page 93

Figure 5.10: Canvas, measures 39-40 ...... Page 93

Figure 5.11: Canvas, measures 54-56 ...... Page 94

Figure 5.12: Canvas, measures 57-59 ...... Page 95

Figure 5.13: “Kyrie” from Mass, measures 9 ...... Page 100

Figure 5.14: “Kyrie” from Mass, Rehearsal 1/1-2 ...... Page 101

Figure 5.15: “Kyrie” from Mass, Rehearsal 2/1-2 ...... Page 101

Figure 5.16: “Kyrie” from Mass, Rehearsal 4/1-3 ...... Page 102

Figure 5.17: “Kyrie” from Mass, Rehearsal 6/9 ...... Page 104

Figure 5.18: “Kyrie” from Mass, Rehearsal 6/13-15 ...... Page 104

Figure 5.19: “Gloria” from Mass, Rehearsal 7/1-2 ...... Page 105

Figure 5.20: “Gloria” from Mass, Rehearsal 7 ...... Page 105

Figure 5.21: “Gloria” from Mass, Rehearsal 9-10 ...... Page 107

Figure 5.22: “Gloria” from Mass, Rehearsal 10/2-3 ...... Page 108

Figure 5.23: “Gloria” from Mass, Rehearsal 11 ...... Page 108

Figure 5.24: “Gloria” from Mass, Rehearsal 11/7-8 ...... Page 108

Figure 5.25: The Holy Trinity ...... Page 109

Figure 5.26: “Gloria” from Mass, Rehearsal 12/2 ...... Page 109

Figure 5.27: “Gloria” from Mass, Rehearsal 14/1-4 ...... Page 110

Figure 5.28: “Credo” from Mass, Rehearsal 14/16-18 ...... Page 112

Figure 5.29: “Credo” from Mass, Rehearsal 16/4-5 ...... Page 113

Figure 5.30: “Credo” from Mass, Rehearsal 17/2-4 ...... Page 113

Figure 5.31: “Credo” from Mass, Rehearsal 17/7-9 ...... Page 114

Figure 5.32: “Credo” from Mass, Rehearsal 21/3-4 ...... Page 115

Figure 5.33: “Credo” from Mass, Rehearsal 23/5-6 ...... Page 116

Figure 5.34: “Sanctus” from Mass, Rehearsal 26/9-10 ...... Page 118

Figure 5.35: “Sanctus” from Mass, Rehearsal 28/1-2 ...... Page 119

Figure 5.36: “Agnus Dei” from Mass, Rehearsal 33/7-34 ...... Page 121

Figure 5.37: “Agnus Dei” from Mass, Rehearsal 36/1-3 ...... Page 122

Figure 5.38: “Agnus Dei” from Mass, Rehearsal 37/1-4 ...... Page 122

Figure 5.39: “Agnus Dei” from Mass, Rehearsal 38 ...... Page 123

Figure 5.40: Cantata, Motive 1 measure 3...... Page 126

Figure 5.41: Cantata, measures 5-6 ...... Page 126

Figure 5.42: Cantata, Rehearsal 2/1-3 ...... Page 126

Figure 5.43: Cantata, Rehearsal 3/3 ...... Page 127

Figure 5.44: Cantata, Rehearsal 3/4-6 ...... Page 127

Figure 5.45: Cantata, Rehearsal 10/1-3 ...... Page 128

Figure 5.46: Cantata, Rehearsal 12 ...... Page 129

Figure 5.47: Cantata, Rehearsal 15/1-4 ...... Page 130

Figure 5.48: Cantata, Rehearsal 16/9-10 ...... Page 132

Figure 5.49: Cantata, Rehearsal 17/1-3 ...... Page 133

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Figure 5.50: Cantata, Rehearsal 20-21 ...... Page 134

Figure 5.51: Cantata, Rehearsal 21/1-3 ...... Page 135

Figure 5.52: Cantata, Rehearsal 22/2-23/2 ...... Page 135

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ABSTRACT

Finding scholarly research on the choral music by significant American composers is limited. Moreover, a search for scholarly resources on the choral works by significant African- American composers is more limited. Spiritual arrangements of Negro folk songs by well-known African-American composers such as William Dawson, Jester Hairston, and Hall Johnson are respected and still admired by choral conductors today. These arrangements, which were based upon work, holler, or slave songs, had a tremendous impact upon the cultural development of African-Americans in North America. Hale Smith, a prominent African-American composer states, “Without these people [Dawson, Hairston, Johnson, et.al.] and their contributions, American music would be altogether different.” Thus, the music of African-Americans became a vital component of American history and American music. Equally, but not always noted, are the contributions by African-American composers of the western European tradition. Many people, including choral directors, are not aware of the vast array of non-spiritual compositions that have been composed by African-Americans. There is a considerable number of African-American composers who continue to make significant contributions in all genres of music, however only a limited amount of resources, primarily compilations, are available that describe their life, compositional style, and works. The purpose of this study is three-fold: 1) to provide an additional scholarly resource devoted to the musical contributions of Pulitzer Prize winner George Walker; 2) to present his choral works in the form of a descriptive analysis; and 3) to provide a summary of his career as a performer, conductor, teacher, and composer. Chapter One introduces the composer and briefly discusses the need for continued research in the area of twentieth century African-American composers of the western European tradition. A review of related literature in Chapter Two provides a Black perspective on twentieth century classical music.

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Chapter Three explores Walker’s life by examining family and childhood experiences, his education, and career as a concert pianist, teacher, and composer. Chapters Four and Five are devoted to the musical analysis of his choral octavos and extended works. Each work is presented in a descriptive manner and contains special insight about the work from the composer. Chapter Six summarizes and reflects upon the life and accomplishments of George Walker and his choral compositions.

CHAPTER ONE INTRODUCTION

In Gardner’s dissertation entitled An Analysis of the Technique and Style of Selected Black-American Composers of Contemporary Choral Music she states: A typical discussion of black music will immediately bring to mind the obvious styles: jazz, blues, soul, gospel, and/or spirituals. Persons entering the discussion will probably be able to name, without too much difficulty, several prominent musicians in each of these categories. Discussions in other areas of musical style, however, would reveal a lack of awareness to the numerous blacks who have consistently made contributions.1

While it is important that young musicians understand the important contributions made by African-American composers, Taylor believes society has labeled these styles as the only noteworthy contributions by the African-American composer. Such a label has and continues to misguide society’s perceptions of the breadth and depth of the African-American composer.2 Prominent contemporary black composer Hale Smith asks the question, “Can you imagine American music without the work of black composers or without black music in general?” He further states, “Without these people and their contributions, American music would be altogether different.” Thus, the music of African-Americans became a vital component of American history and American music.3 After an extensive investigation of the choral works by twentieth century American composers, it was found that scholarly resources on the choral works by significant Black American composers were limited. Yet, it would be interesting to research the number of significant colleges, universities, and high schools around the country that house choral music, especially the spiritual arrangements, by African-American composers. The writer suspects a considerable amount of this literature would be discovered in the music libraries within our nation.

1 Effie Gardner, An Analysis of the Technique and Style of Selected Black-American Composers of Contemporary Choral Music. (Ph.D. diss., Michigan State University, 1979), 1.

2 Darryl Taylor, “The Importance of Studying African-American Art Song.” Journal of Singing 54/3 (1998): 9.

3 William Banfield, Musical Landscapes in Color: Conversations with Black American Composers. (Boston: Scarecrow Press, 2003). Reference taken from the Forward of the book written by Hale Smith.

1 Many people, including choral directors, are not aware of the vast array of non-spiritual compositions that have been composed by African-Americans.4 Non-spiritual compositions by African-Americans date as far back as the antebellum era (c. 1847-1860). For example, O Give Thanks for mixed chorus by Henry Williams (1813-1903), Recognition March of the Independence of Hayth for flute and piano by Frank Johnson (1792-1844), and John Tyler’s Lamentation for male chorus by William Appo (c.1808-c.1877).5 Since the Harlem Renaissance (c.1920-1929), there has been a significant increase in the number of African-American non-spiritual composers. African-American composers now write in every compositional style including twentieth century idioms using aleatoric trends, pan- Africanisms, atonality/bitonality/polytonality, electronic tape, vocal effects, and the use of whole tone and/or twelve tone scales.6 These composers include William Grant Still (1895-1978), Hale Smith (b. 1925), David Baker (b.1931), and Olly Wilson (b.1937) to name a few.7 Furthermore, Banfield includes composers such as George Walker (b.1922), Hale Smith, and Adolphus Hailstork (b. 1941), as the third generation of African-American composers who continue to incorporate contemporary idioms in their music.8 There are a considerable number of African-American composers who have and continue to make significant contributions in all genres of music, however limited sources are available that describe their life, compositional style, and output. The majority of these composers are found in compilations such as The International Dictionary of Black Composers by Samuel Floyd9, Choral Music by African-American Composers: a Selected Bibliography by Evelyn

4 Evelyn White, Selected Bibliography of Published Choral Music by Black Composers. (Washington, D.C.: Evelyn White, 1975), 1.

5 Horace Boyer, “The New England Afro-American School.” The Black Perspective in Music 4/2, 221-224.

Eileen Southern, “The Philadelphia Afro-American School.” The Black Perspective in Music 4/2, 240-242, 254-256.

6 George Walker. “Make Room for Black Classical Music.” The New York Times 3 November 1991.

7 Eileen Southern, Music of Black Americans: A History 2nd ed. (New York: Norton, 1983), 32.

8 Banfield, xii.

9 Samuel A. Floyd Jr., International Dictionary of Black Composers. (Chicago: Fitzroy Dearborn Publishers, 1999).

2 Davidson White10, and Bibliographical Dictionary of Afro-American and African Musicians by Eileen Southern.11 Statement of the Problem The purpose of this study is three-fold: 1) to provide an additional scholarly resource solely devoted to the contributions of George Walker, a prominent twentieth century African- American non-spiritual composer; 2) to provide an analysis of his choral works; and 3) to provide a summary of his life, achievements, and honors to date. To assist in this study, research questions, similar to the following examples, will be considered. 1. What childhood experiences influenced Walker to become a musician?

2. What were the major events, and who were the influential teachers that shaped Walker’s life and career as a prolific composer?

3. What inspired Walker to become a composer of the western European tradition rather than strictly an arranger of Negro folk songs?

Definitions Pioneering: The term pioneering is used to describe a person who is the first to achieve significant accomplishments within any field of study. For example, George Walker is an African-American musician who has many “firsts” to his credit as a concert pianist, composer, and distinguished teacher. Therefore in this study, Walker will be considered a pioneering composer.

Negro Folk Songs: Songs sung by slaves that were retained by generations of former slaves, and now African-Americans. During the Civil War, and following the enactment of the Emancipation Proclamation of 1863, these types of songs were often performed. In 1867 a volume entitled A Collection of Spirituals and Slave Songs in the United States was compiled and became the only compilation of works by African-Americans. All of the pioneer black

10 Evelyn Davidson White. Choral Music by Afro-American Composers: A Selected Annotated Bibliography. (Metuchen, N.J.: Scarecrow Press, 1987).

11 Eileen Southern, A Biographical Dictionary of Afro-American and African Musicians. (Westport, C.T.: Greenwood Press, 1982).

3 composers, such as Hall Johnson, Jester Hairston, and William Dawson arranged spirituals based upon these Negro Folk Songs.

Non-spiritual Compositions: Other works by African-American composers that are written in the western European tradition. These compositions do not refer to, nor are based upon Negro folk songs.

African-American: An American citizen having a lineage of African descent. This descriptive may be used interchangeably with Black or Black-American.

Delimitations Although the vastness of Walker’s non-choral compositions has undoubtedly influenced or inspired his choral works, it will not be the purpose of this study to analyze his instrumental or solo vocal works as investigated by Holley, Boe, O’Donnell, and Newson. This study will not include Walker’s compositions for solo voice. Analyses in this area have been examined by Taylor and Toppin. 12 The purpose of this study is to provide a descriptive analysis of his accompanied and unaccompanied choral works. Although there is a need for further study of his numerous orchestral and instrumental works, this investigation will include an analysis of only his Mass, a large-scale choral/orchestral work; Canvas, scored for wind ensemble, soloists, and chorus; and Cantata for Soprano, Tenor, Boys Choir, and Chamber Orchestra.

12 Timothy Ware Holley, Summary of Dissertation Recitals: Three Programs of Violoncello Music of African-American Composers. (AMusD diss., University of Michigan, 1996).

Dennis Leonard Boe, The Evolutionary Development of Compositional Technique and Style in the Piano Sonatas of George Walker: A Study of the Sonata No. 4 and Analytical Comparison of the Four Sonatas. (DMA diss., University of North Texas, 1996).

Patrick John Stephen O’Donnell, Three Programs of Piano Chamber Music. (AMusD diss., University of Michigan, 1990).

Roosevelt Newson, Jr., A Style Analysis of the Three Piano Sonatas (1953, 1957, 1976) of George Walker. (DMA diss., Peabody Institute of The Johns Hopkins University, 1977).

Darryl Taylor, Summary of Dissertation Recitals: Contemporary Art Songs of African-Americans. (DMA diss., University of Michigan, 1996).

Antoinette Louise Toppin, Three Programs of Vocal Music. (AMusD diss., University of Michigan, 1990).

4 Assumptions It is assumed that the general populations of choral and instrumental conductors know little information about George Walker, his life, and his works. This dissertation will provide a thorough examination of his life and an analysis of his choral works. Therefore, all conductors will be able to perform his compositions more effectively and with greater understanding.

Need For the Study During the latter half of the nineteenth century, white editors were the primary producers of periodicals dedicated to the arts, specifically music. Not satisfied with the content, Amelia L. Tilghman published the Musical Messenger in Washington D.C. in 1886 to promote performances and compositions by African-Americans. At the turn of the century, the Musical Messenger was the first publication of its type that later gave birth to The Negro Music Journal in 1902 and Music and Poetry in 1921.13 There are several compilations containing the published works by African-American composers. Quite a few explore the works of three or more twentieth century African-American composers such as Ennett 1973,14 Tischler 1981,15 and Thomas 1983.16 Realizing the need to increase the public’s knowledge of the contributions made by African-American composers, dissertations were written by African-Americans themselves such as McBrier 1967,17 Hadley 1972,18 and Jones 1980. 19 Regrettably, an extensive search resulted in less than ten bio- biographies devoted to an African-American composer of the twentieth century were discovered.

13 Juanita Karpf, “The Early Years of African-American Music Periodicals, 1886-1922: History, Ideology, Context.” International Review of Aesthetics and Sociology of Music 28/2 (1997): 144-145.

14 Dorothy Ennett, An Analysis and Comparison of Selected Piano Sonatas by Three Contemporary Black Composers: George Walker, Howard Swanson, and Roque Cordero. (Ph.D. diss., New York University, 1973).

15 Alice Tischler, Fifteen Black American Composers: A Bibliography of Their Works. (Detroit: Information Coordinators, 1981).

16 André Thomas, A Study of the Selected Masses of Twentieth-Century Black Composers: Margaret Bonds, Robert Ray, George Walker, and David Baker. (DMA diss., University of Illinois at Urbana-Champaign, 1983).

17 Vivian McBrier, The Live and Works of Robert Nathaniel Dett. (Ph.D. diss., Catholic University, 1967).

18 Richard Hadley, The Published Choral Music of Ulysses Simpson Kay-1943 to 1968. (Ph.D. diss., University of Iowa, 1972).

19 John Jones, The Choral Works of Undine Smith Moore: A Study of Her Life and Work. (Ed.D. diss., New York University, 1980).

5 The investigation supports Sims whose statement that music by black composers suffers a lack of exposure and has not been given appropriate attention by performing musicians or musicologists.20 Furthermore, the investigation supports Walker’s statement that the new generation of African-American composers possesses a diversity of musical styles, and is no longer bound to incorporate African-American idioms in their works. Contemporary composers now possess a freedom to explore styles, timbres, and no longer adhere to the Negro-folk idioms of the past.21 As an example, Harris considers composers such as Margaret Bonds, Hale Smith, and Ulysses Kay black innovators who diverge from the former practices of incorporating black idioms within their compositions and create their own unique style.22 Although this study on the life and choral works of George Walker is not a biography, it will offer a greater representation of the choral works written in the Western European tradition by an African-American. It will also make a significant contribution to the study of twentieth century American and African-American composers. This investigation will document the historical, analytical, and philosophical views of George Walker’s choral works. Additional material, such as a listing of complete works and publisher information, will also support the study.

Methodology Primary sources about the life and choral works in this dissertation will be: 1) music; 2) analysis of the music; 3) personal interview with the composer; 4) Walker’s literary writings found in the following documents: Music Quarterly, New York Times, and Music Journal; 5) reviews of performances written by critics; 6) conversations with the composer via telephone or e-mail; and 7) interviews with his immediate family members. Secondary sources will include: 1) textbooks and encyclopedias; 2) dissertations and theses; and 3) articles in periodicals.

20 D. Maxine Sims, “An Analysis and Comparison of Piano Sonatas by George Walker and Howard Swanson.” The Black Perspective in Music 4/1 (Spring 1976), 70.

21 George Walker, “Make Room for Black Classical Music.” The New York Times 3 November 1991.

22 Carl G. Harris, “Three Schools of Black Choral Composers and Arrangers 1900-1970.” Choral Journal 14/8 (1974): 15, 17.

6 Organization of the Study The research is reported in six chapters. Chapter 1, “Introduction,” outlines the need and methodology of the study. Chapter 2 provides a review of related literature discussing “A Black Perspective on Twentieth Century Classical Music. Chapter 3, “A Biographical Sketch” explores Walker’s family background, his musical training, professional development, life as a composer, and prestigious honors and awards. Chapter 4, “Choral Works” examines and provides descriptive analyses of his choral output. Personal commentary from the composer will increase the knowledge of each individual work as it is discussed. Chapter 5 examines Walker’s extended works that include Canvas, Mass, and Cantata. An analysis of each movement, or choral movement when applicable, will be provided. The project concludes with a summary of the research in Chapter 6, “Summary and Conclusions.” The study also includes appendices that provide a catalogue of works, a transcript of an interview the writer conducted with the composer, and a listing of commissions and awards. Walker’s compositions are listed by performance medium and include the title, year of composition, and publisher information.

7 CHAPTER TWO A BLACK PERSPECTIVE ON TWENTIETH CENTURY CLASSICAL MUSIC

Arrangements of Negro folk songs and spirituals are commonly recognized and attributed to well-known black composers such as Jester Hairston (1902-2000), Hall Johnson (1888-1970), and William Dawson (1898-1990). These composers and their works are still respected and admired by musicians today. Their arrangements, based upon work, holler, or slave songs, had a tremendous impact upon the cultural development of blacks in North America; and in turn became a vital component of American history. Consequently many Americans, as well as Europeans, believe that spiritual arrangements are the only noteworthy contribution by African- American composers.23 This belief is not supported by the depth of output by the Black American composer. In the mid to late nineteenth century, many Black Americans became interested in composition. Several tried to assimilate themselves by emulating the classical style of their white contemporaries. Hildred Roach, in her book Black American Music: Past and Present, makes the statement that black composers were incorporating musical forms that were based upon European models. Before the mid-nineteenth century, composers were accustomed to composing music within the traditional forms that included preludes, intermezzos, etudes, symphonic poems, motets, canons, and dance forms like the gigue, gavotte, and bouree. Furthermore, the sonata, opera, ballet, mass, and fugue were some of the most popular musical forms black composers developed and mastered. Although African-Americans were composing in the classical idiom, they did not receive the recognition they desired and were not considered serious musicians. 24 This belief supports Smith’s statement that suggests American music was polarized by two music contemporaries, Scott Joplin and Charles Ives. Ives was considered the classical composer while Joplin was the creative composer.25

23 Edward G. Perry, Negro Creative Musicians (New York: Frederick Ungar, 1984), 220-223. 24 Hildred Roach, Black American Music: Past and Present 2nd ed. (Malabar, FL: Krieger Publishing Co., 1992), 110.

25 Leo Smith, “American Music.” The Black Perspective in Music II, (Fall 1974): 111.

8 Unfortunately, the contributions of black composers who compose in the western European tradition are not always noted. Many people, including choral directors, are not aware of the vast array of non-spiritual compositions that have been composed by Black Americans. Due to the significant contributions of black composers in the western European tradition, the writer will address the following questions:

1. What factors could have influenced society’s perception that spiritual arrangements were the only note-worthy contribution of the Black American composer?

2. What obstacles did Black American composers encounter as they sought recognition for their choral contributions?

3. What factors or events were major influences upon the accomplishments of Black American composers?

4. And, who are some significant Black American composers of the western European tradition?

During the Civil War, there was not a substantial representation of choral works composed by blacks; nor, following the enactment of the Emancipation Proclamation of 1863.26 The majority of songs performed were Negro folk songs sung by soldiers of the black Union army or by slaves. In 1867, many of these songs were compiled in a volume entitled, A Collection of Spirituals and Slave Songs in the United States. This was the only compilation of works by Black Americans at the time.27 The emergence of black Minstrelsy could have possibly influenced society’s perception of the black composer. Ethiopian Minstrelsy became a form of entertainment in America during the 1820s. The first part of this period was dominated by whites who blackened their faces to impersonate rural and urban blacks. Although this form of entertainment was primarily by whites, the first permanent all-black minstrel troupe was organized in 1867. From that period on, black minstrel shows were as common as its white counterpart. These black minstrel shows evolved into the black musical theater that utilized the talents of black singers, dancers, and

26 Eileen Southern, Music of Black Americans: A History, 2nd ed. (New York: W.W. Norton and Co., 1983), 204-216.

27 Ibid.

9 instrumentalists.28 African-American composers began to write for these productions, which were known as Tin Pan Alley, in New York’s commercial music district.”29 In an interview with respected Black American music scholar Dr. Dominique-René De Lerma, the establishment of choral ensembles at predominately black colleges was a great advancement for the black race.30 Two flagship ensembles, the Fisk Jubilee Singers and the Hampton Institute Singers, were founded for the purpose of promoting and preserving the traditional Negro spiritual.31 Although these ensembles performed other works by western European composers, the purpose of these ensembles was to sing spirituals and settings of poetry depicting the black lifestyle became popular among the black community. In response, music directors at other historically black colleges formed choral ensembles having a primary purpose to perform spirituals.32 In addition to the Fisk Jubilee Singers, the Hampton Institute Singers, and the formation of other black collegiate ensembles, prestigious black choral societies were formed. Around the turn of the nineteenth century, choral societies began to spring up among large black communities. Afro-Anglo composer Samuel Coleridge-Taylor, Hall Johnson, and Eva Jessye were influential choral society pioneers that supported the initiative to promote and preserve the Negro spiritual. 33 With the establishment of choral ensembles at historically black colleges and professional black choral societies, the black composer became a successful spiritual arranger. Regrettably, when Black American composers began to write in the western European tradition, they battled a common obstacle of that era: racial discrimination.34

28 Eileen Southern, ed., “In Retrospect: Black Musicians and Early Ethiopian Minstrelsy,” The Black Perspective in Music, III (Spring 1975), 77.

29 Southern, Music of Black Americans, 228. 30 Dominique-René De Lerma of Lawrence University Conservatory of Music, interview by the writer, 23 September 1994, Tallahassee.

31 Southern, Music of Black Americans, 221-240.

32 Ibid. 33 Ibid., 289-290, 412-413. 34 Ibid., 414.

10 Since many perceived that spirituals were the only note-worthy contribution created by black composers, racial discrimination became the dominating force that hindered blacks that were aspiring to become respected composers of the western European tradition.35 Non-spiritual compositions composed by Black Americans have been traced as far as the antebellum era (c.1847-1860). At that time there were only a few composers such as, William Appo (c.1808-c.1877), Henry Williams (1813-1903), and Frank Johnson (1792-1844) writing in the western European style. The antebellum period can be recognized as a period of awakening for black composers and musicians. The primary composer and advocate of this era was Frank Johnson, who was responsible for raising the standards of music performed by blacks to a higher artistic level. Because of Johnson’s leadership, many in the United States and abroad began to acknowledge black classical musicians.36 Nevertheless, respected white musicians found it difficult to accept the authorship of compositions that were written by blacks. For illustration, Lowell Mason was one of the first who expressed doubts regarding the authorship of the anthem “O Give Thanks.” When he was informed antebellum composer Henry Williams composed the anthem, Mason remarked, “It was a pity one so talented should be kept down merely on account of the color of his face.”37 Nathaniel Dett, Director of the Hampton Institute Singers, speaks of a conversation following his choir’s performance of “Ave Maria” at the Cathedral of Salzburg. As we neared the exit, he [the tour guide] was full of praise and thanks. “That was the most beautiful Ave,” he said, “but I don’t believe I ever heard it before. Whose is it?” Not wishing to create a scene within sacred precincts, I waited until we were outside before saying as softly as I could, “Mine!”38

At the turn of the twentieth century, the subtle discrimination experienced by Dett proved that Black Americans were not fully recognized as composers of the western European tradition.

35 Clark, 132-133.

36 Eileen Southern, “Musical Practices in Black Churches of Philadelphia and New York, ca. 1800-1844.” Journal of the American Musicological Society 30 (Summer 1977): 298-299.

37 James Trotter, Music and Some Highly Musical People (Boston: Franklin Press, 1878), 111. 38 Anne Key Simpson, Follow Me: The Life and Music of R. Nathaniel Dett (Metuchen, N. J.: Scarecrow Press), 181.

11 Moreover, the decades of the 1920s and 1930s were turbulent times for black concert musicians and composers. Many performers, regardless of their talent or level of skill, could not begin a career in the United States because of the color of their skin; therefore, the barriers of racial discrimination forced many performers to begin a career elsewhere, usually Europe. Ironically, this period of social unrest produced three black artists who were among the top ten most highly paid concert artists in the United States. Yet for the black classical composer, it was a challenging to get their works published and performed.39

Harry T. Burleigh, the first African-American composer to arrange Negro spirituals for the solo voice, stated in an interview in 1960 that: I started a string quartet…I would like to do work in different fields, but…you see, I have a mission. I must make my music known, and songs are the only things it pays a publisher to issue. A chamber piece may be played once and forgotten. You can’t get it published. You get a little discouraged and you go back to writing songs.40

During the mid-twentieth century, a great extent of the non-spiritual compositions written by Black American composers still remained largely unknown to the public. From a historical view point, many blacks felt that musicians of the Western tradition were traitors to their heritage. However, blacks in classical music began long before the era of jazz in the United States and included Black-American musicians such as Elizabeth Greenfield and Blind Thomas Bethune, Black-European pianist George Bridgetower, and Black-West Indian composer Chevalier de Saint Georges. Therefore the ‘traitor’ philosophy is not supported. Another opinion was voiced by White Americans who accepted blacks as entertainers, art musicians, and vocalists. Blacks were viewed as musicians of the popular tradition and not fully appreciated or capable of producing other styles of music. On the other hand, blacks viewed themselves as a people who should develop their own music, such as jazz, blues, and gospel. These views produce an interesting paradox. Whites believed that Black Americans were too inferior to practice concert or art music, while Black Americans found it undesirable to compose, conduct, or perform art music.41

39 Southern, Music of Black Americans, 414. 40 Ellsworth Janifer, “H.T. Burleigh Ten Years Later.” Phylon 21/2 (1960), 144.

41 Roach, 317.

12 During this time, art music in the United States was unrightfully associated with the educated, privileged, and typically the White American. Somehow it was out of the mental reach of most Black Americans. This uncalled for approach supported segregation and associated certain types of people with certain types of music. This supports a reason why blacks have been omitted from the history of music. It also explains why Debussy’s Golliwog’s Cakewalk is catalogued within art music while Scott Joplin’s Maple Leaf Rag is placed in jazz.42 Even during the 1970s, it was very difficult for black composers to receive the recognition they deserved. During this decade, it was difficult for serious white composers to have a performance of their works and being a black contemporary composer presented greater challenges.43 The dilemma that black composers face is the descriptive ‘black.’ 44 In an effort to rectify the predicament of the time, Columbia Masterworks devoted a five-year recording series devoted to the works of black composers. Despite the toils of discrimination, several major factors helped Black American composers gain the recognition they deserved. In 1870, the leading firms of the country published many works by black composers in a volume entitled The Complete Catalogue of Sheet Music and Musical Works Published by the Board of Music Trade of the United States of America.45 This volume was the first to contain compositions in the western European tradition by black composers. Large corporations, such as Rosenwald and Rockerfeller, began to provide fellowships to promising black composers. Many recipients included William Dawson, Margaret Bonds, and Florence Price. These composers elevated their stature by wining prestigious competitions and later became distinguished composers of the United States. In addition to the national recognition came a significant increase in the number of concerts featuring their works. 46 Black composers received formal training from conservatories such as Oberlin, and the National Conservatory, or through private lessons by prominent white composers. Around 1920,

42 Roach, 110. 43 Hubert Saal, “Black Composers,” Newsweek, April 15, 1974, 82.

44 Lon Tuck, “Segregated Music: The Dilemma of the Black Classical Composer,” The Washington Post, September 2, 1977, sec. 2, B9.

45 Southern, Music of Black Americans, 258.

46 Ibid., 225-228, 418.

13 the National Association of Negro Musicians was formed, and the organization began providing scholarships, workshops, clinics, and also sponsored concerts featuring works by black composers.47 In support of Spenser’s statement, Southern provides a historical observation:

…For the first time in history, major symphony orchestras performed works written by Negroes, major opera companies used black singers in leading roles, Negroes conducted symphony orchestras and radio orchestras, Negroes wrote scores for full-length movie films, and Negroes appeared in drama and ballet productions on Broadway. More than ever before, individual Negroes received recognition for achievement. Successful composers, for example, were given commissions to write additional works and opportunities for performance.48

The Harlem Renaissance (c. 1920-1929) was another historical event affording black composers an opportunity to gain exposure and well-deserved recognition.49 During this decade in American history, New York’s Harlem became the center of black intellectual life. Writers, poets, artists, and musicians joined together to protest the social injustice among people of color. According to Floyd, “the thinkers and leaders of the Renaissance hoped for great achievement within the realm of concert music…they desired to see music written and performed by accomplished black musicians.”50 The Harlem Renaissance was a period of enlightenment that focused on the folk music of the African-American race. Popular folk songs and rhythms became the primary source for musical compositions. The Renaissance produced a stronger awareness of Black Nationalism. Some composers had previously employed nationalistic trends advocated by Dvořák in 1895.51 Composers wrote art songs to poems and prose written by other black poets, interpolated melodies and harmonies from spirituals and the blues, and exploited African rhythms. As a

47 Spenser, 93; Southern, Music of Black Americans, 396. 48 Southern, Music of Black Americans, 414. 49 Ibid., 397.

50 Samuel A. Floyd Jr., ed., Black Music in the Harlem Renaissance: A Collection of Essays (New York: Greenwood Press, 1990), 12-18.

51 Antonín Dvořák, “Real Value of Negro Melodies, “ New York Herald 21 May 1893, quoted in Tilford Brooks, America’s Black Musical Heritage (Englewood Cliffs, NJ: Prentice-Hall), 203. This article was written a few years after Dvořák was appointed as the Director of the National Conservatory of Music.

14 result of these practices, concert series began to emerge and consisted exclusively of music by black composers.52 The writer associates the composers of the Harlem Renaissance with the Russian moguchay kuchka (mighty five): Borodin, Cui, Balakirev, Mussorgsky, and Rimsky-Korsakov. The “mighty five” focused upon writing music of their people and nationality. They incorporated folk songs and idioms into their compositions to instill a sense of pride among its people.53 In support of the writer’s theory, Southern identifies Harry T. Burleigh (1866-1949), Clarence Cameron White (1880-1960), Nathaniel Dett (1882-1943), Harry Lawrence Freeman (1869-1954), Florence Price (1888-1953), William Dawson, and Margaret Bonds (1913-1972) as Black Nationalist composers, and the “first school of Afro-American composers in the art-music tradition.54 During the second decade of the century, a distinctive style of black classical music began to evolve. Composers began to experiment with larger forms such as the oratorio, ballet, symphony, and chamber music. Compositions were written in the traditional European form, but composers consciously incorporated black folk elements.55 During the third and fourth decades, composers were highly influenced by the trends of the neo-Classical and neo-Romantic styles. Howard Swanson (1907-1978) is a representative from this group. His Short Symphony is predominately neo-Classical in texture and intensely developed from a central theme. The melodies in each movement illustrate the free use of chromaticism and can be found throughout the symphony. Swanson uses typical Afro-American musical traits in this work that include repetition, overlapping call-and-response patterns, and the classical blues form.56

52 Southern, Music of Black Americans, 413. 53 Douglass Seaton. Ideas and Styles in the Western Musical Tradition. (Mountain View, CA: Mayfield Publishing Co., 1991). 339.

54 Southern, Music of Black Americans, 266-277. 55 Eileen Southern, “America’s Black Composers of Classical Music: Because We Are Black, We Are Making Black Music!” Music Educators Journal 62/3 (November 1965), 48.

56 Shaylor L. James, Contributions of Four Selected Twentieth-Century Afro-American Classical Composers: William Grant Still, Howard Swanson, Ulysses Kay, and Olly Wilson (Ph.D. diss., The Florida State University, 1988), 86, 174-175.

15 The 1930s and 1940s produced a new generation of Black American composers that included Thomas J. Anderson (b.1928), Arthur Cunningham (b.1928), Ulysses Kay (1917-1995), Julia Perry (1924-1979), Hale Smith (b.1925), and George Walker (b.1922). These composers received numerous commissions from various civic, governmental, educational, and social organizations. Music publishers began to accept the manuscripts of black composers, although obtaining performances or recordings of their works was still an obstacle.57 In 1968, a younger generation of black composers and black performers established the Society of Black Composers in New York.58 Composers in this society included Talib Rasul Hakim (1940-1988), Noel Da Costa (1929-2002), William Fishcher (b.1935), Carman Moore (b.1936), Dorothy Rudd Moore (b.1940), John Price (1935-1995), Alvin Singleton (b.1940), Frederick Tillis (b.1930), Olly Wilson (b.1937), Primous Fountain (b.1949), and Wendell Logan (b.1940). These composers also received prestigious honors and commissions during the 1970s. Regarding their compositional style, they should not be considered neo-Classicists or serialists.59 Many of these composers have experimented with dodecaphonic methods and Olly Wilson’s electronic composition Cetus won first prize in the world International Electronic Music Competition held at Darthmouth in 1968.60 The Civil Rights movement of the 1960s brought about a renewed sense of purpose for the black composer. The assassination of Dr. Martin Luther King brought an awareness of the struggle for equality blacks have endured in the United States. Compositions in honor of Dr. King were written and performed by both jazz and classical composers. Since the time of that historical event, black composers became more in tuned with their ethnicity.61 From the antebellum period, through the Harlem Renaissance, and post-Renaissance, Black Americans have overcome subtle and blatant discrimination in order to be accepted and recognized as worthy composers of the western European tradition. Yet, even in the twenty-first century, it is still evident that black composers of this tradition still seek to be recognized as

57 Southern, “America’s Black Composers,” 51-52.

58 Southern, Music of Black Americans, 535.

59 Ibid., 536.

60 Southern, A Biographical Dictionary, 59. 61 Ibid.

16 noteworthy contributors to all genres of music. Today, all musical organizations benefit from the vast array of literature written by Black Americans. Music by Black American composers must continue to be studied and performed throughout the world, especially in the United States, in order to ensure its survival and support by performers, conductors, and educators of all races and nationalities. The writer believes the closing statement by Hildred Roach strongly defends the importance of studying music by black composers by stating: Knowledge and acceptance of this music, no matter what its definition, semantics and interchange, will not be affected without the benefit of concerned Americans. This music should be promoted, learned, studied, probed and considered as being American. All should invest in the enrichment of these compositions through performance and listening experiences. Publishers and recording industries must join in with the public to support the heritage of a music which is interwoven with American tradition and whose message for all minds speaks of freedom now!62

The new generation of African-American composers from the 1930s and 1940s continue to incorporate contemporary idioms in their music. These idioms include modal harmonies, atonality, vocal effects, and the use of whole tone and/or twelve tone scales. These traits are most commonly observed in the works of composers that include Hale Smith and Adolphus Hailstork. Likewise, George Walker has distinguished himself as a composer who has mastered and surpassed the aforementioned contemporary idioms in his instrumental and choral works.

62 Roach, 319.

17 CHAPTER THREE GEORGE T. WALKER: A BIOGRAPHICAL SKETCH

Early Years and Education Dr. George T. Walker is a well-respected concert pianist, composer, distinguished professor, and pioneering African-American musician. Walker was born on June 17, 1922 in Washington, D.C. His father, George T. Walker Sr., immigrated to the United States from the West Indies to attend medical school at Temple University in Philadelphia. After medical school, Walker Sr. became a practicing physician in Washington and his wife, Rosa King, was a housewife. Music was always a part of young Walker’s childhood experience and his home environment was filled with a love for music. Both his mother and father loved music and at that time they exposed Walker to ‘good music,’ which to them meant Bach, Beethoven, and Chopin.63 Although Walker’s parents loved music, they were not musical. Some sources indicate that Walker came from a musical family but the reality was neither parent played an instrument. Walker’s mother enjoyed singing and was said to have a lovely, lyric voice as she sang around the house.64 Since Walker had the annoying habit of going to the piano and banging on it, his mother thought she could occupy his time with piano lessons. She supervised Walker’s first piano lessons with Miss Mary Henry, who used to come to their neighborhood and teach piano lessons in people’s homes. It was not uncommon at the time for students to study piano. In Washington D.C., the poor and middle class had pianos in their homes and it was common for children take lessons – always studying classical music. Walker believed the music lessons taught him good, cultured music.65 When his mother realized how rapidly he was mastering the piano, both she and Miss Henry decided it was in Walker’s best interest to find a better teacher. His family learned that Howard University had a Junior Preparatory Division where students could enroll to receive two half-hour lessons a week and theory class on Saturday. Walker’s parents were consistently

63 George Walker, interview with author 5 March, 2005.

64 Ibid.

65 Ibid.

18 supportive and his father transported him from school to his lessons, while fulfilling his responsibilities as a practicing physician. He never missed or was late for his lessons. At Howard University, Walker studied piano with Lillian Mitchell, who saw his potential and made him aware what quality piano literature consisted of. At the age of fourteen, Walker presented his first public recital at Howard University’s Andrew Rankin Memorial Chapel where he played a solo program of Bach, Beethoven, Chopin, and Debussy.66 Walker was academically precocious, skipping two years of high school, and graduating from Dunbar High School at the age of fourteen. Walker thought about majoring in pre-med, to please his parents, however, they primarily wanted him to be a person of good character. Long before choosing a college, Walker decided to major in music.67 In regards to choosing a college, Lillian Mitchell offered two suggestions for Walker. He could either receive a four-year scholarship at Howard University or possibly attend Oberlin College. Even at the age of fourteen, Walker was considered a better pianist than the seniors at Howard and he wanted to go away for the college experience – live in a dormitory and play sports, especially tennis. Oberlin was the ideal place for Walker. He received a four-year scholarship in music (1937-41), played freshman tennis, and studied piano with David Moyer.68 Walker graduated from Oberlin at the age of 18 with the highest honors in his conservatory class. He was admitted to the Curtis Institute of Music in 1941 and in 1945, he earned two Artist Diplomas, in piano and composition. Walker chose Curtis as the institution for graduate work after receiving their catalogue after reading their commitment to train great artists.69 While at Curtis, Walker was accepted as a student to Rudolph Serkin. It was generally accepted that he was clearly the best pianist at Curtis and the best student Serkin had at the time, which included Eugene Istomin, Seymour Lipkin, Gary Graffman, and Jacob Lateiner.70 After

66 Walker, interview 5 March, 2005.

67 Ibid.

68 Ibid.

69 Ibid. Personal stories about his experience at Curtis can be read in the interview with the author found in Appendix B.

70 Mickey Thomas Terry, “An Interview with George Walker,” The Musical Quarterly 84, no.3 (Fall 2000): 376.

19 about a month at Curtis, Walker pursed the desire to study composition because he was tired of practicing five hours a day.71 After submitting two works to the composition professor, Rosario Scalero, he was also accepted as one of his students. After graduating from Curtis, Walker studied piano with Robert Casadesus at the American Conservatory at Fountainebleau in France in 1947. There he earned another Artist Diploma in piano. Walker entered the Eastman School of Music in 1955 and earned a Doctor of Musical Arts degree in 1957. Eastman was the first School of Music to establish the DMA program and was directed by Howard Hanson, who also taught Walker composition. The musical environment at Eastman provided an outlet during one of the most challenging times of Walker’s life. During his first semester, his father passed away and his mother was very ill. Walker did not begin his doctoral studies until the spring semester and intended to attend school year round. However a week after the summer program began, he received a telegram stating his mother was very ill. Walker had to postpone his studies until the next fall semester.72 At Eastman, Walker was a piano student of José Echánitz. Walker respects Echánitz for viewing him as a colleague more than a student. They had a good relationship, and Echánitz encouraged him to earn another Artist Diploma in piano.

Career as a Performer and Composer Walker began his professional career as a concert pianist at the age of seventeen with a concert in 1939 at the Shiloh Baptist Church in Washington, D.C. His first concerto performance of the Tchaikovsky Piano Concerto in B-Flat Minor was with the Oberlin College Orchestra in 1941. The concert that nationally launched his career was his New York debut at Town Hall in 1945. This historical debut was possible under the auspices of Mr. and Mrs. Efrem Zimbalist, directors of the Curtis Institute of Music. Walker believes his career as a concert pianist was launched by generosity of the Zimbalist’s. For his debut, they made the arrangements for the hall and paid for the publicity and photos.73

71 Walker, interview 5 March, 2005.

72 Ibid.

73 Ibid.

20 The New York Times printed an admirable review of Walker’s debut and described him as: …an authentic talent of marked individual and fine musical insight…a rare combination of elegance, sincerity, and understanding [with] a technical competence and sensitiveness rarely heard at debut recitals.74

Although a piano student of Serkin, Walker did not believe he had the support from his teacher. Walker stated Serkin did not discuss the repertoire he should perform and for Walker, this was a very disappointing experience. He believed he was the best pianist at Curtis, even though there were two other pianist, Eugene Istomin and Seymour Lipkin, who had major careers. Walker’s recital was well received, however he finds it difficult relieve the disappointing experience with Serkin.75 Two weeks after his New York debut, Walker played the Rachmaninoff Third Piano Concerto with Eugene Ormandy and the Philadelphia Orchestra. This performance was the prize for winning the Philadelphia Youth Auditions. Walker became the first African-American to win the prize. Regarding the Rachmaninoff Walker states, “I played the Third Piano Concerto with Ormandy before virtually any American pianist. Not only that, I played the complete version.”76 The version that was recorded by Horowitz and Rachmaninoff contained cuts, as recordings at that time were reproduced on 78s.77 In 1946, Walker performed the Brahms Second Piano Concerto with the Baltimore Symphony as a result of his successful performance with Ormandy and the Philadelphia Orchestra. In 1950, Walker signed with National Concert Artists, a major concert management company. It was a tedious process trying to be signed by a major company as an African- American concert pianist. Walker reflects by saying: There were only two major concert management agencies at the time, National Concert Artists and Columbia, and they couldn’t embrace the idea of a Black concert pianist playing for essentially white audiences. So often I would hear from Columbia, “we were very impressed with your performance but we want you to come back and play for us again.” I would come back and play another terrific audition to get the same response.

74 George Walker, George Walker in Recital., TROY 117 (Albany Records, 1994). Annotation from CD liner jacket.

75 Walker, interview 5 March, 2005.

76 Ibid.

77 Ibid.

21 This went on for five years. Now with National Concert Artists, I didn’t even have to play an audition. One of my friends spoke to management about me and they accepted me. My father had said to me some years earlier that I would not be recognized here as a Black concert pianist and that he ought to go to Europe.78

With National Concert Artists, Walker made an extensive performing tour of seven European countries that included Sweden, Denmark, Holland, Germany, Switzerland, Italy, and England in 1947. He states, “The results of this tour were phenomenal in terms of the concert reviews and audience response.”79 Unfortunately, Walker became seriously ill during his first European tour and returned to the United States. In an interview with Jim Lehrer of the PBS Newshour, Walker states, ”I realized that I would be severely handicapped in attempting to pursue a career as a concert pianist when I wasn’t physically at my best.”80 Walker’s compositional accomplishments have also distinguished him as an esteemed composer. In 1957, he returned to the American Conservatory at Fountainebleau on a Fulbright Fellowship and a John Hay Whitney Fellowship to study composition with Nadia Boulanger. Boulanger had a tremendous impact upon his composing career. Walker said Boulanger was the first person to recognize his talent as a composer. In his first lesson, he presented her a song setting of The Bereaved Maid. After reviewing his work she stated, “You’re a composer!” In subsequent lessons, Walker presented his First and Second Piano Sonatas. Impressed with his work, Boulanger programmed his First Piano Sonata several times, arranged for him to go to Fountainebleau during the summer months, and submitted the sonata to the Lili Boulanger competition.81 Boulanger was also very supportive of Walker’s compositions and never tried to influence his style, but instead offered suggestions so his desired effect may be easily attained. She offered minute suggestions to change the color of a chord.82

78 Ibid.

79 Walker, interview 5 March, 2005.

80 http://www.pbs.org/newhour/bb/entertainment/pulitzer_music_4-11.html

81 Walker, interview 5 March, 2005.

82 deLerma, Dominique-René, “The Choral Works of George Walker,” American Choral Review 23:1 (1980): 4-5. .

22 The premiere of Lament for Strings in 1947, later renamed Lyric for Strings, is his most widely performed orchestral piece. Although an adept orchestrator, his masterpiece for solo piano, Sonata No. 2, was written in 1956 as his doctoral dissertation for Eastman. In 1972, his Symphony for Orchestra was featured on a WNET television presentation, “Music of Black Composers.” Two examples of Walker’s mature voice date from 1975 with Piano Sonata No. 3 and Music for Brass (Sacred and Profane). Both works are angular and reflect his fascination with sonority.

Career as a Teacher In 1959, Walker had his second European tour performing in France, Holland, and Italy. Although Walker had phenomenal reviews by European critics, his success abroad did not change the perception of an African-American concert pianist performing for virtually white audiences, and therefore he could not get a continuing contract in the United States with National Concert Artists. Shortly thereafter, a man by the name of Shaw, who used to be with Columbia, started his own concert agency called Shaw Concerts and gave Walker his first performing contract in the United States. He performed with Shaw Concerts for one year before deciding to become a full-time teacher.83 Walker has held teaching positions at a number of music faculties in the United States. His first university position was at Dillard University (1953) in New Orleans. He taught piano and theory for one year prior to pursuing a doctorate at Eastman. His teaching career continued in 1960 with appointments to two schools in New York: the Dalcroze School of Music and The New School for Social Research, where he introduced a course in Aesthetics. Other faculty appointments included Smith College – piano and theory (1961-68), the University of Colorado at Boulder – Visiting Professor of piano and piano literature (1968-69), the Peabody Institute Conservatory – piano and composition (1975-78), the University of Delaware – Distinguished Professor of Music (1975-76), and Rutgers University – piano, theory, music history, and composition from 1969 until his retirement in 1992. Walker also served as Chair of the Music Department at Rutgers from 1975-77.

83 Walker, interview 5 March, 2005.

23 Compositional Output, Commissions, and Awards Walker has published over ninety works that include orchestral, chamber music, vocal solos, wind, piano, strings, organ, brass, woodwinds, and choral works. His orchestral works have been performed by virtually every major orchestra in the United States. The New York Philharmonic, with Zuben Mehta, premiered In Praise of Folly in 1981 for the nationally televised PBS program, “Great Performances.” Additionally, the New York Philharmonic performed five of Walker’s orchestral works between 1977 and 1984. In 1996, Walker became the first African-American to receive the Pulitzer Prize in Music for his work, Lilacs for Voice and Orchestra. This piece was premiered in 1995 by the Boston Symphony, Seiji Ozawa conducting. During the PBS Newshour interview, Lehrer asked Walker if being the first Black to win the Pulitzer Prize has a special meaning. Walker responds by saying: Well, the meaning for me is essentially a kind of culmination of the aspiration of success in this particular area, a major prize, and of course it does mean something to me to know that I have been selected to win it, and because I am black, and because no other blacks have won the competition, that I’m therefore the first.84

Walker has received and continues to receive numerous commissions from many well- known organizations around the nation. His honors and awards are as extensive and prestigious as his commissions. A list of commissions, honors and awards are found in Appendix B. Walker’s compositions have been recorded on Columbia, Mastersound, Desto, Serenus, Da Camera Magna, SuMMit, Sony, Klavier, CRI, Orion, Mercury, GM, BIS, and Albany Records. Albany Records currently has eight recordings released of Walker’s compositions and solo piano performances. Major conductors such as Comissiona, DePriest, Jarvi, Levi, Maazel, Mata, Zuben Mehta, Muti, Ozawa, Rostropovich, Skrowaczewski, Slatkin, and Zinman have performed and/or premiered Walker’s major works.

84 www.pbs.org/newshour/bb/entertainment/pulitzer_music_4-11.html.

24 A Pioneering African-American Musician Walker is considered a pioneering twentieth century African-American musician and has paved a road that many African-American musicians now travel. He was the first African- American musician to win the Philadelphia Youth Auditions in 1941, resulting in a performance with the Philadelphia Orchestra conducted by Eugene Ormandy.85 In 1957, Walker was the first African-American to earn a DMA and Artist Diploma in piano from the Eastman School of Music.86 The “firsts” continue as the first American composer to receive a John Hay Whitney Fellowship in 195787, the first to receive the Minority Distinguished Chair recognition from the University of Delaware in 1975,88 and the first living African-American composer to receive the Pulitzer Prize in Music in 1996.89 In retrospect of his historical accomplishments, Walker did not set out to become a pioneering black musician. His love for the piano literature began with Lillian Mitchell at Howard University and he knew he wanted to become a concert pianist.90 Walker’s career is filled with challenges many African-American composers of the Western tradition faced after World War II. His music calls for racial equality, however this realization has not come into fruition. In an interview with Mickey Thomas Terry, Walker makes the statement that racism continues to be a prominent force within the genre of classical music. Its prejudice has influenced performers and academics. Regrettably, there is an exclusionary view of the importance and value of the works by black composers.91

85 Nicolas Slonimsky and Laura Kuhn, eds. Baker’s Biographical Dictionary of Musicians v. 6 Centennial Edition. (New York: Schirmer, 2001), 3832.

86 E-mail correspondence with Christine Corrado Director of Alumni Relations, Eastman School of Music.

87 Slonimsky and Kuhn, eds. Baker’s Biographical Dictionary, 3832.

88 Ibid.

89 http://www.pulitzer.org/year/1996 and http://brainyencyclopedia.com/encyclopedia/p/pu/Pulitzer_prize_for _music.html

90 Walker, interview 5 March, 2005.

91 Terry, 380.

25 Walker further elaborates with a personal story regarding the Pulitzer Prize winning composition Lilacs.

…when the Boston Symphony decided to put out a series of CDs of music that has been broadcast by their orchestra and they don’t include Lilacs, how can you explain this? This is a work that they commissioned and broadcasted. How do you explain this? Years ago when Black composers organized to promote their own music, they latched onto the philosophy of neglect. Their music has been neglected. Well, it’s more than neglect when you have somebody who won a prize and you aren’t willing to include one performance of that work…It becomes a very racial thing.92

Samuel Floyd states the following regarding a purpose behind Walker’s life and career: While Martin Luther King advocated passive but determined resistance, and Malcolm X called for an aggressive campaign that threatened to use any means necessary to redress racial wrongs, Walker and his music responded to an earlier and more idealistic strategy – vindication. Frequently voiced by writers such as W.E.B. DuBois, Alain Locke, and Charles S. Johnson during the period of the Harlem Renaissance, this strategy held that social and economic equality that would follow the path of cultural equality. 93

Floyd also believes that Walker’s noteworthy achievements validate and accomplish the sought after ideals by the leaders of the Harlem Renaissance.94

The separation of races is observed when authors and editors group black composers together. His statement is supported by the numerous compilations on the works by black composers. Black composers should not all be grouped together since each person has a different background and separate careers. Some black composers began with a strong jazz background like Arthur Cunningham and T.J. Anderson, while others like Ulysses Kay and Howard Swanson did not.95 What relates black composers to one other is their ethnicity. Walker does not want to disassociate himself, but respect everyone’s differences.96

92 Walker, interview 5 March, 2005.

93 Samuel A. Floyd Jr., International Dictionary of Black Composers. (Chicago: Fitzroy Dearborn Publishers, 1999), 1173..

94 Ibid.

95 Southern, Music of Black America, 530.

96 Ibid.

26 Walker has had to pull out the “race card,” as he calls it, throughout his career (his personal stories may be found in interview transcript found in Appendix B). It is imperative that more information about African-American composers, their works, and analyses of their compositions should be included in reference texts on contemporary American music. Furthermore, Walker desires to no longer see others challenged by the overt and covert factions of discrimination he experienced as a student, performer, and composer. He hopes that one day his message of cultural equality will prevail in the realm of classical music.

27 CHAPTER FOUR A DESCRIPTIVE ANALYSIS OF CHORAL WORKS

For nearly fifty years, Walker has included music for choruses in his compositional output. His choral works have ranged from a capella mixed settings to extended works for chorus and orchestra and even wind symphony and chorus. Walker has been composing music for strings since 1946 and songs for solo voice and piano since 1953. He wanted to be a contemporary African-American composer who is represented in various mediums; therefore he began to compose his first choral pieces in 1953. His choral output includes thirteen octavos and three extended works. This chapter will provide a descriptive analysis of Walker’s octavos and include insight from the composer about each work. Three Lyrics for Chorus Three Lyrics for Chorus is a choral cycle with piano accompaniment composed in 1958. The texts used in this cycle are by Shakespeare and anonymous writers from the Medieval period. The choruses are entitled: The Bereaved Maid; Take, O Take Those Lips Away; and O Western Wind. The Bereaved Maid is the first piece of the cycle and was originally a setting for solo voice and piano. This was the first piece Walker showed to Boulanger when he began to study composition at Fountainebleau in 1957. Walker vividly remembers the experience: I didn’t take anything ‘big’ to Boulanger. The first thing I showed here were my songs. This one song, The Bereaved Maid, she said was a masterpiece and asked me to write a choral setting of the piece. She was the first to say, “You’re a composer!”97

After a choral setting of that song was completed, Walker thought of the other two settings and combined them to form a cycle. His decision with the order of the pieces was quite random, and O Western Wind was chosen to be last, as it has a stronger ending.98

97 Walker, interview 5 March, 2005.

98 Ibid.

28 The text to The Bereaved Maid is a lamenting carol written by an unknown writer from the medieval period that Walker found in an anthology. The carol tells the story of how the ‘falcon’ (death) has carried away a woman’s husband. Lully, lully. The falcon has borne my mate away. He bare him up, he bare him down, He bare him into an orchard brown.

In that orchard there was a hall that was hanged with purple and pall, And in that hall there was a bed, it was hanged with gold so red. And in that bed there lieth a knight his woundes bleeding by day and night.

By that bedside kneeleth a may. And she weepeth both night and day. And by that bedside there standeth a stone, Corpus Christi written thereon.

The structure of this opening piece is in A B A form and is based upon the Phrygian mode on C. The mode is realized in the opening vocal accompaniment figures and in the melody line (measures 10-41). The opening vocal accompaniment sets up the mood of this haunting lullaby in 3/8 time. The “Lully” motive of a half-step is first established by the soprano in measure 5 and is often varied by occurring on beat two of a measure. When this occurs, it provides a feeling of syncopation that supports the lilting quality of the piece. A pattern of tension and release is achieved with the use of half-steps that are resolved by a descending third.

Figure 4.1 – “Lully” motive measures 5-6.

The first line of text is introduced by an alto soloist. The range of the melodic line is relatively small, having a Perfect fourth as its largest interval, and moves in step-wise motion. It is interesting to note there is a constant shift between B-flat, which is in the Phrygian mode on C, and B-natural, a non-harmonic tone.

Figure 4.2 – C Phrygian modal scale and corresponding alto melody measures 10-23.

Walker’s exploration with modal harmonies is another non-traditional method of establishing tonality and character. There are four modes that are based upon the minor scale: Dorian, Aeolian, Phrygian, and Locrian. The largest number of flats will produce the darkest sounding tonality, the Locrian mode. The next darkest is the Phrygian mode. In this opening melodic line, Walker uses the Phrygian mode in order to establish a distinctive flavor to this lamenting text. Additionally, the use of the alto voice, typically warmer in tone, helps to set the character of the piece.99 Section B contrasts the material previously heard having major differences in tempo, voicing, accompaniment, and vocal range. The tonal center of this section is on A. The melody is in the bass line and Walker uses the male voice color the text “And in that bed there lieth a knight his woundes bleeding by day and night.” As seen in the following figure, the melodic contour far exceeds the initial statement by the alto.

99 Vincent Persichetti, Twentieth-Century Harmony (New York : W.W. Norton & Company, 1961), 35.

Figure 4.3 – Bass melody measures 44-63.

In measures 45-57, the tenors join the basses on the melody while the upper voices accompany with the “Lully” motive until measure 58. The soprano then joins the basses on the melody “And she weepeth both night and day,” while the tenor accompanies them with a “weeping” melisma. Walker’s use of melismas is a trademark of his compositional style. In measures 58-62, the tenor functions as an accompaniment figure, yet the character of the melisma is clearly recognized as a woman who is weeping.

Figure 4.4 – Tenor “weeping” melisma measures 58-62.

31 The climax is reached in measures 67-78 and several factors support the importance of this phrase. For example, (1) the phrase begins with a forte dynamic, unlike the previous markings of piano and pianissimo; (2) the climax has a homophonic texture, sung in unison octaves, and incorporates an octave leap; and (3) has a thicker accompaniment. The crux of the phrase, “Corpus Christi written thereon,” is strongly stated with superimposed fourths/fifths and quartal harmony among the vocal parts, accents, and a fortissimo dynamic marking.

Figure 4.5 – Section B climax with compound chords in measures 72-76.

The return of A in measure 82 is a variation of the opening passage and has a tonal center on G. The bass divisi is rhythmically similar to the tenor and bass lines found in measures 2-9; however it is transposed down a Perfect fourth. Likewise, the “Lully” motive remains the same with the exception of being transposed up a Perfect fifth. In this section, there is a greater

32 expansion of range between the outer voices, which perhaps foreshadows the final by the alto soloist.

Figure 4.6 – Measures 90-94.

The accompaniment begins in a skeletal fashion that primarily consists of a sustained pedal point on C re-attacked every three to five measures. There is little variation in the accompaniment until Section B. In measure 43, the left hand accompaniment alternates between the intervals of a Perfect fourth and fifth while the right hand plays a rhythmic ostinato formed on a major ninth. As the accompaniment intensifies, superimposed fourths, fifths, and octaves dramatically support the vocal lines and text in measure 67. The return of A contains a sustained pedal point on G, and the postlude (measure 98) utilizes the same accompaniment figures found in Section B. The second piece within the set is Take, O Take Those Lips Away. The text is from a song that opens the fourth act of Shakespeare’s Measure for Measure. Walker is very fond of this text and also found it in an anthology. He did not believe a setting of the text had been done prior to 1958. However in 1925, Vaughan Williams set this text was in his Three Songs from Shakespeare.100

100 Hugh Ottaway, ed. Stanley Sadie, “Ralph Vaughan Williams.” The New Grove Dictionary of Music and Musicians v. 19 (New York: Grove’s Dictionaries of Music Inc., 1995), 579.

33 Take, O take those lips away, That so sweetly were forsworn; And those eyes, the break of day, Lights that do mislead the morn.

But my kisses bring again, bring again; Seals of love, but seal’d in vain, seal’d in vain.

This piece is in A B A form and its tonality centers on D minor. The use of tertian harmony to clearly establish the key is not present, and chords are formed predominantly using quartal harmonies. At major cadence points, the third scale degree is typically missing therefore producing open chords that aid in producing a melancholic character for this setting of the text. A recurring motive is first introduced by the soprano at the beginning of the piece. Variations of this motive are found four times throughout this setting: (A)

Measures 3-6. (B)

Measures 9-11. Figure 4.7 – Piano reductions of motive variations.

34 (C)

Measures 20-22. (D)

Measures 25-27. Figure 4.7, Continued

Melodically, the motive begins on C5 and descends in stepwise motion to the open D chord with an added G, a non-harmonic tone. The motive is always supported homophonically and followed by a three voice contrapuntal “answer” that completes the phrase. Section B (measures 14-19) has more of a stagnant harmony for it alternates between two chords. In a previous examination of this setting, the incorporation of vertical set theory technique is employed. Gardner states, There are eleven different sets of harmonic intervals in this section. The set 0, 2, 5 is found six times and this same 0, 2, 5 structure can be mapped into three additional chords which were reduced to 0, 3, 5, 8. Although transposition is evident, nine of the eleven chords are intervallically the same and account for the harmonic similarity found in this section.101

101Effie Tyler Gardner, An Analysis of the Technique and Style of Selected Black-American Composers of Contemporary Choral Music, (Ph.D. diss., Michigan State University, 1979), 63.

35 Additionally, the chordal harmonies within Section B are superimposed fourths, fifths, sevenths, and ninth chords. Quartal harmony is prevalent in the tenor and bass lines, use of fifths are mainly found in the tenor and soprano lines, and sevenths and ninths are clearly recognized in the inner voices. Although the return of A does not contain the same melodic material as the initial motive, the homophonic rhythmic pattern and a three voice contrapuntal answer links the two sections together. The return of the text, “And those eyes, the break of day,” is more reminiscent to the material seen in measures 9-11; however the ornamentation is not as complex. In the final measures (measures 29-34), the soprano, tenor, and bass sustains an open D chord while the alto continues to lament the word “morn” with a melisma that ends with a very brief duet with the tenor. The accompaniment is very sparse, and its primary purpose is to function as an introduction in measures 1-3 and a postlude in measures 30-34. With the use of superimposed fourths, fifths, and open chords, deLerma suggests perhaps Walker decided to end the piece having a flavor of fauxbourdon.102 The final piece in this cycle is O Western Wind. Its passionate text is also by an unknown writer from the medieval period. Walker chose this text based upon a previous setting by Stravinsky. O Western Wind when wilt thou blow? That the small rain down can rain. Christ, if my love were in my arms And I in my bed again.

The texture within this setting contains three distinctive sections for analyses. Section one (measures 1-11) has a homophonic texture within the upper voices. Section two (measures 12- 25) contrasts the homophony with counterpoint within the same voices. In section three (measures 25-42) new musical ideas are introduced. In section one (measures 1-11), the tonality centers on A major and is based upon two repeating motives in the bass clef and treble clef of the accompaniment.

102deLerma, “The Choral Works of George Walker,” 9.

Figure 4.8 – Piano accompaniment motives measures 1-4.

The Western Wind theme, found in the soprano, alto, and tenor voices, is in homophonic rhythm and functions as a vocal introduction leading to section two.

Figure 4.9 – Western Wind theme measures 6-9.

The A major tonality continues in the second section (measures 12-25). Here, the alto states the melodic line and is accompanied by the tenor and soprano voices that continue the Western Wind theme in a canonic style until measure 15. In measures 17-24, polytonal techniques are applied to the Western Wind theme as each voice enters with the statement. The tenor makes the first statement in F-sharp. In measure 18, the bass makes its initial entrance by stating the theme in C-sharp, and the alto dovetails its entrance with a tonal center of G-sharp. This polytonal development continues for two measures and in measure 22, a stable tonality returns as superimposed fourths and fifths produce minor seventh chords (“when wilt”), followed by a major seventh chord (“thou”), and ends with an open D-sharp chord (“blow”). The transition to section three begins at measure 25 with an open D chord followed by a sforzando octave E as the tenor and bass state octave punctuations on the word “Christ.” These vocal punctuations are always stated by the tenor and bass and a major second below the alto. At each recurrence, the character is heavily accented with a sforzando marking followed by a descresendos that typically lasts for two to three beats (see Figure 4.10).

37 Accompaniment or percussive punctuations are seen in Walker’s instrumental works, especially within a section of Canvas, which will be discussed in Chapter Five. The writer feels the recurrence of these figures do not meet all the necessary criteria to be considered a true motive. In support of the writer’s argument, Kohs defines a motive as a short, continuously recurring musical figure or shape having a distinctive character.103 The material associated with the text “Christ” does have a distinctive character that cannot be confused with other vocal or accompaniment material in the setting. On the other hand, this material is too short to be considered a ‘musical figure’ and has an inconsistent recurrence. Therefore, the term ‘punctuation’ is being used and remains consistent with other analyses. Walker himself refers to these figures as percussive punctuations that typically begin a new musical phrase.

Figure 4.10 – Percussive punctuation on “Christ” measure 29.

Immediately after the vocal punctuation, the sopranos and altos introduce what the writer considers the “Love” motive. This particular figure is repeated six times and masterfully varied for thirteen measures.

103 Ellis B. Kohs, Musical Form (Santa Barbara: Kinko’s Publishing Group, 1984), 7.

Figure 4.11 – “Love” motive measures 27-29.

Walker develops this motive by shifting meters and incorporating mixed meter. Additionally, the harmonic structure of measures 25-39 is interesting to examine. The first statement of the motive by the soprano and alto alternates between a perfect fourth and a minor sixth. In measure 27, the tenor joins the texture a major third below the alto. Then in measure 29, the bass enters a perfect fourth below the tenor. A distinctly quartal sound is obtained as the soprano/alto and tenor/bass move in contrary motion. On the fourth repeat of the motive, the soprano and alto motive is transposed down a third and alternates between a perfect fourth and fifth. The final statement, “And I in my bed,” is strictly in an accented, homophonic style. Since Walker’s primary instrument is the piano, his accompaniments are often quite challenging. However, he sometimes uses the accompaniment as a vehicle to introduce a theme, harmonically support a melodic line, or present independent ideas of its own that enhance what he has composed, in this case, for the choir. O Western Wind is seen to have three primary ideas in the accompaniment that support the thematic material in the vocal lines. These ideas present a certain image or achieve certain tone colors that accentuate the text. The writer considers two accompaniment figures as motives and Walker considers the third a percussive punctuation. They are as follows:

(A) “Wind” Motive

Measures 1-4.

(B) “Rain” Motive

Measures 11-12.

Measure 25. Figure 4.12 – Musical ideas from the piano accompaniment.

40 The “Wind” motive consists of octaves and is seen in the piano introduction. The octaves are accented, at a forte dynamic, and dramatic in quality. This motive appears whenever the Western Wind theme is prominent, such as the introduction and in measures 17-24. The “Rain” motive begins in measure 11 as the alto states the melody. This motive is to be played quietly, lightly, and is designed to portray the softness of the rain. The percussive punctuation commences in measure 25 and occurs after every statement of the word “Christ.” This punctuation is at a forte dynamic, accented, has a secco quality, and sometimes the harmonic structure is varied to include an octave with an added minor second, or a minor second with a superimposed fourth. With the assistance of a fine accompanist, O Western Wind can be a very dramatic closer to this choral cycle. Technically, the accompaniment is not difficult, however the pianist should understand the concepts behind the musical material in order to have an effective performance.

The Psalm Settings The book of Psalms is one of Walker’s favorite books of the Old Testament; he is also quite fond of the book of Proverbs. Walker decided to compose five settings from the Psalms in hopes that these pieces “could be used in a church service and elevate church music.”104 The Psalm settings were written during a span of ten years (1953-63). This is a time period that began before his doctoral studies at Eastman and continued during his teaching appointment at Smith College. Of the Psalm settings three are accompanied by organ and the two that remain are a capella. Walker states, “The accompaniment was based upon the lyrics and the character of the piece. I was intrigued by certain texts and decided to use organ with some.”105 Although the pieces are often listed in a certain order by the publisher, Walker shares that they do not fit together in a specific way. For this discussion, the Psalm settings will be analyzed in chronological order.

104 Walker, interview 5 March, 2005.

105 Walker, interview 5 March, 2005.

41 O Praise the Lord is the first of the Psalm settings composed by Walker in 1953. It is an a capella setting scored for SATB choir. Walker shares with a chuckle, “O Praise the Lord is the easiest of the Psalm settings and of the works I’ve ever written.”106 The Morgan State University Chorus, under the direction of Dr. Nathan Carter, has recorded many of Walker’s choral works, and O Praise the Lord is included on one of their albums. Some of Walker’s works are dedicated to special people. Oftentimes a dedication is listed in an indistinct form. For example, this piece is dedicated to “uncle J,” who is Walker’s uncle John King. Furthermore, his Lyrics for Strings (1946) is dedicated to the memory of his grandmother and others would not be aware of this for the reason that the only information provided is a person’s initials. His sister, Frances Walker, wished he would not write his dedications in this manner. Nevertheless, Walker felt it was appropriate to make a dedication to all his immediate family members, regardless of how he lists them. The text is taken from Psalm 117, which only has two verses and reads: O praise the Lord, all ye nations: praise him, all ye peoples. For his merciful kindness is great toward us: And the truth of the Lord endureth for ever. Praise ye the Lord.

This setting is in A B C A B Coda form and centers on a C major tonality. The opening unison statement of the theme by all voices is in a homophonic texture. The character of the piece is very energetic and Walker specifies a rather speedy tempo of 152 to the quarter note. Other Psalm settings begin with a unison statement that lasts one or two measures. However in this setting, the unison texture has a duration of six measures before dividing into a four-part texture. Of interest is the frequent use of the flat major sixth in measure 4 that later reveals the implied flat major sixth chord in measure 7 (see Figure 4.13). Since the flat major sixth recurs ten times within this setting, the writer considers it the ‘signature chord’ of the piece.

106 Ibid.

Figure 4.13 – “Signature Chord” measures 6-7.

Section B (measures 10-30) begins with the tenor and bass a Perfect fifth apart followed by the soprano and alto a Perfect fourth apart in canon. The tenor and bass provide a drone-like accompaniment to the brief quartal harmony that is stated by the soprano and alto. Typically, a 2:2 voicing ratio (see Figure 4.14) is followed by a homophonic measure. An eighth note melisma, first started by the soprano and alto in measure 25, is imitated by all voices in measure 27 and leads to the final cadence on an open C chord. Section C (measures 36-57) introduces a contrasting tonality, mood, and tempo to support the text, “For His merciful kindness is great…” With a slower metronomic tempo and meno mosso and dolce indications, this section begins with a trio of soloist, soprano, alto, and tenor, who are supported by the bass section (divisi). The soprano begins the canon with an ascending E minor triad. The alto entrance makes a stepwise descent, however continues to keep the basic framework of the melody.

Figure 4.14 – Example of 2:2 voicing ratio measures 10-12.

Interestingly, the tenor includes characteristics of both statements. It begins with a stepwise descent, however stays consistent with the original statement of the melody in measure 37. Throughout this section, the bass has two functions: (1) to provide the root of all chordal changes and (2) maintain harmonic stability with the use of a pedal tone on E. At the tutti entrances beginning at measure 41, the melody continues to outline a minor triad, however this time the soprano in E and the alto in B. In measures 51-53, the tenor line is highlighted with its chromatic inflections as the cadence brings closure on an open E chord. A transition lasting five measures leads us back to the return of A. The return of A (measures 63-92) is similar to the initial harmonic structure; however the rhythmic stress is shifted by beginning on the beat rather than a pickup note. Additionally, the opening statement is no longer in homophonic style, but uses layered, syncopated imitative entrances over three measures. The use of the flat major sixth chord occurs as predicted in measure 67, but what immediately follows is a Neapolitan chord. This is an unexpected harmonic change that only happens once.

Figure 4.15 – Harmonic difference at A1 measures 66-67.

The return of B (measure 73) begins with the tenor and bass transposed up a fourth and fifth respectively. The 2:2 voicing ratio is completely in quartal harmony. There are small variances within this return, yet remains consistent with the original material until measure 91. Here, the cadence ends on the flat major sixth rather than an open C chord. This chord functions as a deceptive cadence setting up the closing material found in the Coda. The Coda is based upon an open C chord with chromaticism in the alto, tenor, and baritone lines. Meanwhile, the soprano and bass maintain a pedal point on C. One last statement of the signature chord is given before the final cadence on an open C chord.

O Lord God of Hosts has special meaning to Walker. This setting was composed in 1960 and is dedicated to his mother. After he graduated from Eastman in 1957, his mother passed away. O Lord God of Host was composed during a time of remembrance of his mother. He later submitted this setting in a competition for choral music and the work received an Honorable Mention. Walker was fond of the text, which is taken from Psalm 84 verses 8-12 and reads:

45 O Lord God of hosts, hear my prayer: Give ear, O God of Jacob. Behold, O God, our shield and look upon the face of thine anointed. For a day in thy courts is better than a thousand. I had rather be a doorkeeper in the house of my God, than to dwell in the tents of wickedness. For the Lord God is a sun and shield: the Lord will give grace and glory, No good thing will He withhold from them that walk uprightly. O Lord of hosts, blessed is the man that trusteth in Thee.

The setting is scored for SATB chorus, tenor and bass soloist, and with an organ accompaniment. The piece is structured in A B C A form and as in Walker’s other choral works, new musical material designates a new phrase. The following table is a phrase analysis of the work.

Table 4.1 Phrase analysis of O Lord God of Hosts

Phrases Measures Phrase Length Organ Introduction 1-5 5 measures A 5-9 5 B 10-14 5 A A1 15 1 B1 16-17 2 A2 18-19 2 C 20-24 5 Organ Interlude 24-29 6 D (Tenor Solo) 29-35 7 B E (Bass Solo) 36-41 6 Organ Interlude 42-44 3 F 44-47 4 A3 48-49 2 G 50-54 5 C Organ Interlude 54-56 3 A4 56-58 3 H 59-60 2 G1 50-65 16 Organ Introduction 65-67 3 A A5 68-74 7 Organ Postlude 75-85 11

The organ introduction sets up the tonality centered on D minor. The entrances of the voices in measure 5 follow the compositional trends seen in other choral pieces by Walker. For

46 instance, the soprano and tenor begin the phrase at unison pitch then divides an octave apart. While the soprano holds the D, the tenor begins a melisma in stepwise motion. Furthermore, the alto and bass voices enter in a syncopated manner and color the harmonic structure within the measure. The melisma in the tenor line is quoted several times throughout the piece and will be considered Motive A.

Figure 4.16 – A melisma designated as Motive A measure 6.

Phrase B (measures 10-14) begins with a tonal center on C-sharp, however in measure 14 the initial D minor tonality returns. Walker stresses the pleading quality of the text, “Lord, God of hosts,” by beginning with a homophonic texture in measure 10. In measure 11, there is a 3:1 voicing ratio and the request for God to “hear my prayer” is indicated by a melisma in the alto voice. Measures 15-19 revisit material from phrases A and B, and imitate Motive A. Phrase C presents a new musical idea using homophonic texture and a 2:2 voicing ratio. The importance of the text is stressed by accent markings on nearly every note. The brief organ interlude that follows incorporates Motive A, continues on a D minor tonal center until measure 28 where the tonality shifts to E minor. Section B (phrase D) is a contrasting middle section that begins with a tenor solo, a softer dynamic, and a slower tempo. It is difficult to determine the tonality that supports the highly chromatic bass solo (phrase E) in measures 36-41. Section C (phrase F) is a statement of praise and returns to a tonality centered on D minor. Staggered imitation between the soprano/alto and the tenor/bass lines outline a 2:2 voicing ratio in measures 46-49. A declaration of truth seen in phrase G, “No good thing will He withhold from them that walk uprightly,” is presented in homophonic texture and at a louder dynamic marking. The organ interlude (measures 54-56) functions as a transition to the next tonal center on D# where material from phrase A is varied. Phrase H centers on A#, or it can also be argued on Bb since flat accidentals are used. The declaration of truth is once again stated in measures 60-65.

47 The return of A is essentially the same as the introduction, with the exception of the rhythm being shifted by one beat later in the measure. The vocal lines are slightly varied from the original material, however Motive A remains intact and sometimes accompanied by other voices moving in contrary motion. Harmonic analysis reveals that this setting is based upon intervals of a major second, a minor second, and a major third. The following chord is a prominent component of the harmonic structure within this piece.

Figure 4.17 – A reduction showing the prominent harmonic structure of O Lord God of Hosts.

Praise Ye the Lord was dedicated to Walker’s father. Walker was very close to his father who was truly an influential person in his life. Walker has dedicated several pieces in his memory that include the Second Piano Sonata and the Viola Sonata. Walker Sr. did not necessarily have a favorite Psalm but a favorite hymn, In Christ There is No East nor West. A quote from this hymn ends the chamber ensemble piece Abu that was premiered in 2004. Praise Ye the Lord was composed in 1963 for SATB choir and organ accompaniment. The work was premiered by the Montclair State University College Choir. The text is taken from Psalm 148 verses 1-5, and 7 that reads: Praise ye the Lord. Praise ye the Lord from the heavens: Praise Him in the heights. Praise ye Him, all His angels: Praise ye Him, all His hosts. Praise ye Him, sun and moon: Praise him, all ye stars of light. Praise Him, ye heavens of heavens. Let them praise the name of the Lord: for He commanded, and they were created. Praise the Lord from the earth, ye dragons, and all deeps.

48 This setting is primarily homophonic, contains through-composed material, and includes a brief contrapuntal section. Although highly chromatic, tonal centers are distinguishable and vary throughout the piece. The following table outlines the phrase structure and includes tonal centers.

Table 4.2 Phrase Analysis of Praise Ye the Lord Phrase Measures Phrase Length Tonal Center A 1-7 7 (measures) B minor B 8-11 4 C 12-14 3 Bb minor D 15-18 4 A E 19-20 2 F 21-22 2 A minor G 22-25 4 H 25-27 3 E minor I 27-31 5 Interlude 32-37 6 J (Canon) 38-44 7 B minor K 45-49 5 B L 50-52 3 E# M 53-54 2 A# minor N 55-60 6 Coda 62-70 9

The table reveals how the overall structure could be considered binary since an organ interlude (measures 32-37) separates the first four verses from the latter verses of the Psalm. Therefore, Section A consists of phrases A-I and the Section B of phrases J(canon)-N. The setting begins with a 2:2 voicing ratio; the soprano and alto are in unison while the tenor and bass sing different material an octave apart. A 2:2 ratio remains consistent throughout measures 1-11, however the couplings may vary (bass/alto, tenor/soprano). With a harmonic foundation provided by the accompaniment, a tonal center based on B minor is established. Measures 12-18 utilize both a homophonic texture and voicing ratios of 2:2 and 3:1 (see Figure 4.18). The tonality centers on Bb minor and the vocal lines of the tenor and bass are extended into the upper range.

Figure 4.18 – Various choral textures in Praise Ye the Lord measures 12, 15-16.

In measure 20, a superimposed fifth in the soprano/alto lines over a fourth in the tenor/bass lines function as a pivot chord leading to the next tonal center of A minor. Similar to measures 12-18, the next group of phrases (measures 21-31) incorporates duets between the middle voices, 2:2 voicing ratios, and homophonic texture. A tonal center of E minor is present and continues with the organ interlude. A strong closure to this tonality occurs in measure 37 where an octave E is played. The contrast achieved in Section B is quite effective for the material found in the previous section is basically homophonic. All parts begin a new phrase simultaneously. Walker employs an a capella canon and utilizes different contrapuntal techniques that make Section B (measures 38-60) unique and unlike the other sections in the work. For instance, the canon begins in the tenor line who outlines an ascending B minor tonality. The alto entrance is a third above the tenor and follows the same rhythmic pattern in the melody. The soprano is the third voice to enter and melodically follows the original statement; however it incorporates the contrapuntal device of augmentation. The bass is the last voice to enter and is in a melodic inversion.

Figure 4.19 – Section B that employs contrapuntal devices measures 38-42.

After the contrapuntal section, unity is once again established by using a homophonic, unison texture found in measures 45-49. By using these devices, Walker provides strength to the text…”For He commanded and they were created.” The climax begins in measure 50 with a unison statement of the text, “Praise the Lord from the earth ye dragons and all deeps.” Walker has a tendency to emphasize dramatic and/or climatic moments by employing unison treatment of the text. Most often, the text is observed in octave unisons. In measure 50, the unison statement is based on E# and found in the upper three voices. Meanwhile the bass strongly supports this tonality by maintaining a pedal point on E#. At measure 53, the intensity continues to build upon A# minor as all voices are in unison beginning on the downbeat. Here, Walker uses an upward melodic contour in order to build intensity. The attitude of “praise” is boldly stated twice with an open chord on A#. Walker brings attention to the action word “praise” by repeating it three times. The first statement remains at a forte dynamic. The second statement is accented, and more stress is added to the third statement by producing a feeling of syncopation.

Figure 4.20 – Measures 55-59.

The organ accompaniment is highly chromatic and dissonant. Phrases are mostly short and when there are longer passages, the rhythmic activity is slower. Sometimes the root of the chord helps determine the tonal center; however this is not always consistent. A harmonic analysis reveals frequent use of the perfect fourth, major seventh and flat ninth chords in the accompaniment. There is no significant indication of tertian harmony; therefore no tertian sound is achieved.

Figure 4.21 – Example of the dissonant organ accompaniment in measures 50-55.

52 Sing unto the Lord was composed in 1963 while Walker was a professor at Smith College. He recalls this being a setting that was recorded by the Morgan State University Concert Choir. Walker states, “They [the Morgan State University Concert Choir] did a fabulous job with this piece that is very difficult and complicated.”107 Sing unto the Lord is an a capella setting scored for SATB choir and the text is based upon Psalm 96 verses 1-7. The paraphrased text reads: Sing unto the Lord, all the earth. Shew forth from day to day His salvation Declare His glory among the people, His marvelous works among all nations, For great is the Lord, and greatly to be praised, He also is to be feared among all nations, Glory and honor are in His presence, Strength and gladness are in His place. Give unto the Lord ye kindreds of the people Give unto the Lord glory and strength and honor.

This Psalm setting is also through-composed and is constructed by ten musical phrases with material repeated from segments of two phrases. The phrase structure to Sing unto the Lord is analyzed in the following table: Table 4.3 Phrase analysis of Sing unto the Lord

Phrases Measures Phrase Length A A 1-10 10 measures B 11-14 4 C 15-17 3 D 18-20 3 E 21-25 5 B F 26-29 4 G 30-34 5 H 35-38 4 G1 38-43 6 I 43-48 6 J 49-53 5 A A1 53-67 15

107 Walker, interview 5 March, 2005.

53 The phrase analysis reveals this setting is in A B A form. A homophonic texture unifies Section A while Section B functions as a massive contrapuntal etude. This setting is highly chromatic and the frequent shifts in tonality make it difficult to see and hear definitive tonal centers. An interesting concept to examine is Walker’s use of melismas that are prominent within the tenor voice, which is featured several times throughout the composition.

Figure 4.22 – Melismatic material found in Sing unto the Lord measures 1-5.

Frequently, voices sing in their upper tessitura and wide leaps are often prevalent. For instance in measures 19-20, the bass begins on A#1, leaps an octave to b1, returns to A#, and melodically ascends to d#1.

Figure 4.23 – An example of the wide ranges employed measures 19-20.

The piece begins with a homophonic, unison statement of the text “Sing unto the,” however the word “Lord” splits into a four-part texture with a tenor melisma, as previously discussed. Walker’s use of the fourth, fifth, and seventh intervals form the foundation for this piece. Other prominent characteristics include Walker’s use of syncopated entrances, homophonic statements of the text, and 3:1voicing ratios.

Figure 4.24 – Measures 5-8.

Section B (measures 10-53) is a masterfully crafted, contrapuntal segment that has a basic rhythmic motive of . This motive may be found in three different forms: (A) on the beat, (B) off the beat, and (C) with major seventh leaps.

(A)

Measure 13. (B)

Measure 16. Figure 4.25 – Forms of motives.

55 (C)

Measures 22-23. Figure 4.25, Continued

The combination of imitative syncopated entrances and large leaps propel drive the rhythm and emotion in this piece. Walker’s overall compositional devices beautifully accentuate this celebratory text.

Figure 4.26 – Syncopated entrances in measures 10-12.

The next two measure groups, sections E and F (measures 21-29), entirely contrasts the previous contrapuntal section. The rhythmic dialogue between the voices is slower and a 3:1 vocal ratio is used. Measure 30 (section G), begins the climax within this setting. The “Glory” motive is often stated as a descending major third; however greater intervals are sometimes seen. The soprano and alto begin the motive in measure 30, the tenor imitates an octave lower in measure

56 31, and the bass enters a fourth below in measure 32. As the entrances dovetail each other, the rhythmic texture thickens. A significant dynamic and mood change occurs at measure 43 on the text “Give unto the Lord ye kindreds of the people.” In conformity with the text, there is now stepwise movement and considerably smaller leaps. Measure 49 (section J) is the final thrust of the Section B and its text reads, “Glory and strength and honor, give unto the Lord.” Walker beautifully paints this text by using large leaps in the bass part to signify strength, an increased dynamic level, and extreme registers in the soprano part. The combination of homophonic texture and melismatic passages brings the section to a close.

Figure 4.27 – Climax to Section B in measures 49-52.

The return of A begins on the second beat of measure 55 and continues until measure 63. The homophonic texture in measure 58 establishes unity within the work. The section continues having some variation and repetition of text. A small conclusion begins at measure 64 and lasts four measures. A harmonic analysis reveals frequent use of the perfect fourth, perfect fifth, major sixth, major and minor seventh and perfect octaves. There is no significant indication of tertian harmony; therefore no tertian sound is achieved.

57 Some of Walker’s choral works experiment with vocal effects such as undulating whistle- like sounds, tongue rolls, and clicks, to be discussed in his extended work Cantata. Give Thanks unto the Lord employs the use of vocal speech where the singers declaim the text approximating the written pitches but keeping closely to the notated rhythm.108 This setting was composed in 1963 for SSA chorus and organ accompaniment. Walker recalls a wonderful premiere of this difficult piece by Nathan Carter and the Morgan State University Choir. The text is taken from Psalm 105 verses 1-7 that reads: Give thanks unto the Lord; call upon His name: Make known His deeds among the people. Sing unto Him, sing psalms unto Him; Talk ye of all his wondrous works. Glory ye in His holy name; let the heart of them rejoice that seek the Lord. Seek the Lord, and His strength: seek His face evermore. Remember His marvelous works that He hath done; His wonders, and the judgments of His mouth; O ye seed of Israel His servant, ye children of Jacob His chosen ones. He is the Lord our God: His judgments are in all the earth.

As observed in Walker’s other Psalm settings, Give Thanks unto the Lord also contains several musical phrases. A phrase analysis indicates how this setting is constructed of ten musical sections and closes with a Coda. Table 4.4 Phrase Analysis of Give Thanks unto the Lord Phrase Measures Phrase Length Organ Introduction 1-7 7 (measures) A 7-13 7 B 14-19 6 C 20-23 4 D 24-25 2 E 26-27 2 F 28-31 4 E1 31-33 3 G 33-35 3 A1 36-39 4 H (Solos) 40-44 5 I 44-48 5 J 48-54 7 A2 54-58 5 Coda 59-66 8

108 Donald Grout, A History of Western Music 4th ed. (New York: W.W. Norton & Company, 1988), 852.

58 It is important to note the material in A2 (measure 54) does not fully state the initial melodic material; therefore the writer does not consider this piece to be in ternary form. The organ introduction contains a cellular motive that sets its musical statement apart from the rest of the piece. It does, however, give an example of the disjunctive intervals the choir will be required to sing. The tonal center of phrase A is on an E and the opening statement begins with the interval of a major seventh (see Figure 4.28). Throughout the entire psalm setting, the major seventh serves as a unifying device and is designated as the signature interval of the work. Within the opening phrase alone, the signature interval occurs in each voice part.

Figure 4.28 – Signature interval of a major seventh pick-up to measure 8.

Phrase B (measures 14-19) begins with a 2:1 voicing ratio in which the second soprano and alto function as an accompaniment for the melody stated by the first soprano. The melody continues to incorporate the signature interval, and the choral accompaniment begins with an open chord centered on B before moving in contrary motion. In measures 16-17 the same accompaniment pattern occurs and is transposed up one-half step to C. The final ascent is transposed up a whole step to D. Here another 2:1 voicing ratio is employed having the lower voices move in contrary motion. This is the first occurrence of a harmonic sequence within the Psalm settings. Walker sequences a chromatic shift from B to D, a minor third, over the span of six measures. The intensity from this sequence leads into a homophonic texture at phrase C, which completely outlines the interval of a major seventh. Phrase D contains homophonic material setting up the consonant “Glory in His holy name” at phrase E. In measure 26, the boldly stated syncopated rhythm suggests a new motive that is also seen in measures 31-33. This will referred to as the “Glory” motive. Walker appears to be consistent designating a major or minor third with the word “glory.” As previously discussed in Sing unto the Lord, the interval of a descending third is observed (see Figure 4.27). In both works, this descending interval is primarily seen in the soprano line.

Figure 4.29 – Glory motive in measures 26-28.

The contrapuntal material in measure 28, (phrase F) is centered on C# minor. Independent lines continue until the second half of measure 31 where the “Glory” motive briefly returns. Contrapuntal material then returns in measures 33-35 (phrase F). In measure 36, the alto line reiterates the signature interval which is passed on to the first soprano line. The homophonic texture, louder dynamic marking, and extension of vocal ranges emphasize the text “Seek ye the Lord and all His strength.” As a point of reflection, suddenly this texture is reduced to a solo second soprano line in measure 40. The text speaks of remembering the Lord’s marvelous works. The chorus boldly re-enters in measure 44 (phrase I) with a homophonic unison statement in octaves based upon an F. The chorus intensifies modulating a half-step and singing in three-part harmony. The return of A revisits the signature interval and opening text; however the harmonic and rhythmic language is different than the initial statement. The Coda is of special interest. Walker composes in a technique referred to as choral speaking. The precise rhythm, with visible lines of inflection, and the text is notated (see example 4.28). This device is similar to the German Sprechstimme where the performer uses the timbre of speech, follows the high and low contour of musical symbols notated on the staff.

Figure 4.30 – Employment of vocal speech measures 59-60.

The organ accompaniment in this psalm setting opens with a cellular motive based upon a tritone. Further analysis revealed a prominent use of the signature interval of a major seventh, perfect fourths and fifths, quartal harmonies, major ninths, pedal tones, and superimposed fifths over perfect fourths. At times a secure tonal center could be defined by the accompaniment. At the Coda, the organ brings harmonic closure to the setting as the choral parts are spoken.

Other Choral Works Gloria In Memoriam is another sacred setting scored for SSA and organ that has special meaning to Walker. He goes further by stating: One thing I did have the opportunity to do while at Smith was writing a piece for the freshman choir, which consisted of women. The director, Charles Fassett, didn’t have a very good group, so I wrote the piece knowing that it could be done. The impulse was to see if I could combine the common practice techniques with serial techniques. This was my first published work.109

The text used in Gloria In Memoriam is a setting of the Greater Doxology or Ascription of Glory. It is also known as the hymnus angelicus as it begins with the angelic hymn proclaiming the birth of Christ. The hymn is comprised of five parts:

109 Walker, interview 5 March, 2005.

61 1. Hymnus angelicus 2. Acclamations: Laudamus…benedicimus…adoramus…glorificamus 3. Invocations: Domine Deus 4. Petitions: misere..suscipe 5. Doxology: Quoniam110 Text: Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe.

Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, Miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostrum.

Qui sedes ad dexteram Patris, Miserere nobis. Quoniam tu solus sanctus. Tu solus Dominus. Tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in Gloria Dei Patris. Alleluia.

This setting is also scored for soloists. Its structure is similar to the concerto grosso form of the late seventeenth century, where short passages are alternated between the soloists and the full ensemble. Akin to this practice, the solo sections are more chromatic or contrapuntal and alternate with the full chorus. Based upon the melodic material and treatment of the text, the phrases in this setting have been analyzed and grouped into different sections. Table 4.5 describes the phrase analysis.

Table 4.5 Phrase Analysis of Gloria In Memoriam Phrase Measures Phrase Length Treatment of Text A 1-8 8 (measures) Chorus B 8-15 8 Soloists (S2, A) C 15-25 11 Chorus D 25-30 6 Solo (A) E 31-36 6 Chorus

110 Ron Jeffers, Translations and Annotations of Choral Repertoire, Vol. 1: Sacred Latin Texts, (Corvalis, OR: earthsongs, 1988), 50.

62 Table 4.5, Continued

Phrase Measures Phrase Length Treatment of Text D1 36-48 13 Soloists (SSA) F 49-51 3 Chorus G 51-54 4 Soloists (S1, S2) F1 54-56 3 Chorus D2 56-60 5 Soloists (S2, A) F2 60-61 2 Chorus H 61-73 13 Chorus I 73-81 9 Chorus

Phrase A is primarily in homophonic texture and begins with a 2:1 voicing ratio with the soprano and alto doubled at the octave while the second soprano moves in a diatonic five-note ascending pattern. This pattern is also seen in measures 14, 18, and 31. Harmonically, phrase A is based upon the F Mixolydian mode. The first stationary chord consisting of superimposed perfect fourths occurs in measure 6 and major/minor dissonance on the second scale degree is found in the vocal lines in measures 7-8.

Figure 4.31 – Stationary chords in measures 7-8.

Phrase B introduces the first solo passage in the work. The initial statement of the melody is presented by the alto and the second soprano contrapuntally imitates the line a major third above. The entrance of the chorus in measure 15 begins phrase C and revisits the 2:1 voicing ratio. The phrase begins with a syncopated entrance, which a prominent rhythmic trend seen throughout this setting. This phrase also demonstrates Walker’s technique of beginning a

63 musical phrase with at least two voices on the octave and while one holds a pedal point, the other deviates from the pedal. Quite often, as seen in this piece, another voice enters a measure or so later producing a different harmonic structure within the phrase.

Figure 4.32 – Pedal point with deviations in measures 15-17.

The harmonic language is still structured upon the F Mixolydian mode until measure 24. Here, the non-harmonic tones seem to function as a transition setting up the chromatic material found in the alto line at the beginning of phrase D. The intervallic make-up of the melodic material in the second soprano solo line is quite diverse (see Figure 4.32). Walker utilizes the twelve tones within the chromatic scale. He also opens and closes this chromatic passage with the same pitches, but in retrograde.

m3 m2 M2 M7 m3 m3 m2 m2 M6 M7 M7 P5 m2 m3

Figure 4.33 – Intervallic make-up of melodic material measures 25-30.

Variations on this chromatic line occur again in the second soprano (measures 36-42 and 56-60) and in the first soprano (measures 42-48). It is difficult to determine a tonal center in these highly chromatic solo passages; however, the tonality is discernable at the choral entrances at measure 31 (Bb tonal center) and measure 49 (E tonal center).

64 The next succession of phrases consists of brief solo passages and choral responses. The solo passages are imitative, with entrances a minor third apart, and remain chromatic. The choral passages function as an anchor to contrast the contrapuntal, chromatic activity of the soloists. After each solo passage, the chorus responds in a simplistic, homophonic manner that is always centered on an E. Voices either remain on the pedal point or may vary slightly using stepwise motion. Phrase H (measures 61-73) is considered the climax of this piece. By utilizing a homophonic, unison statement of this phrase in octaves, Walker emphasizes the importance of the text which translates, For Thou alone art holy. Thou alone art the Lord. Thou alone art the most high, Jesus Christ. With the Holy Spirit in the glory of God the Father.111

The use of a descending third unifies the last phrase (measures 73-81) with the beginning of the piece. Another unifying device is the incorporation of the diatonic ascending scale patterns in the second soprano and alto lines. This closing section is similar to the discant style of the medieval period. The first soprano voice cites the chant-like melody while the other voices have melismatic material. Although a 6-8 cadence is typically recognized in two voices, Walker’s final cadence can be seen as a 6-8 cadence with a pedal point in the second soprano voice. The use of the organ accompaniment is very minimal. The voicing is typically written for the bass clef manuals and the pedal. However, within the climatic portion of the piece, measures 61-73, Walker supports the voices with a more active accompaniment that uses the upper manuals of the organ.

In 1953, Walker composed a piece entitled Stars. While reading The New York Times, Walker discovered a poem by Susan F. Keeney and it immediately caught his attention. He openly shares what this text means to him personally.

111 Jeffers, 50.

65 This piece is dedicated to my sister [Frances]. I think that the text has this sentiment of reaching up beyond your difficulties. My sister’s problems were enormous. Here was a young child at the age of five burned so severely, nobody thought she would live. And to have to live with that as a family…I know there are obviously people who have troubles and situations worse than that for their entire lives, but for this to be a kind of intrusion in our lives meant everything has to be focused upon how to keep her alive and allow her to live in a world where most people are completely normal. She still can’t raise her arms up over her head, yet here is a wonderful pianist.112

The text reads: I cannot always stand upon the peak and touch the stars. Sometimes the wind is thick with snow and bleak, And there are scars of sorrow that are long since past. How long they last, how long they last.

Stars is the only choral work of Walker’s that maintains a consistent time signature of 3/4 throughout the entire piece and does not incorporate metrical shifts. Walker indicates that the piece can be conducted in either 3/4 or 6/8 time; however the writer feels a more lyrical effect is achieved in a 3/4 meter. Similar to the harmonic makeup in O Praise the Lord, the intervals in Stars are basically triadic. Although several harmonic shifts occur throughout the piece, a tonal center is always discernable. Stars is in A B A form and ends with a short Coda. The form and tonality are summarized in the following diagram.

Table 4.6 Form of Stars Section A B A Coda Measures 1-10 10-18 18-24 24-30 Tonal Center Em~Dm~C#m Cm Em Am

An imitative texture is found in the opening section with a lyrical statement of the text in the soprano line. Melodically, the soprano/tenor and alto/bass share the same material. Rhythmically, the tenor and bass lines have syncopated entrances, a characteristic of Walker’s style. The imitative texture and syncopated entrances in the opening passage are seen in the following figure.

112 Walker, interview 5 March, 2005.

Figure 4.34 – Stars measures 1-4.

Another style characteristic that is evident is the use of melismas as seen in the alto line measure 7 and the soprano line measure 11.

Figure 4.35 – Melismatic material in vocal lines measures 7, 11.

Section B has a tonal center on C minor. This nine measure contrasting section is scored for three-part women’s chorus, varies in texture (homophonic v. imitative), expands the vocal ranges and dynamics, and provides a clear sense of triadic harmony.

Figure 4.36 – Example of a homophonic and triadic passage measures 14-18.

As the voices overlap at the return of A, a dovetail affect occurs between the soprano/alto and tenor/bass lines. Here, the tenor states the melody and is accompanied by the bass. Similar to the opening passage, an imitative texture occurs with syncopated entrances in the alto and soprano lines. Of interest is the Neapolitan chord in measure 21.

Figure 4.37 – Harmonic analysis and imitative texture measures 19-22.

68 The Coda defines itself by having a slower tempo, a tonal center of A minor, and a syncopated, homophonic texture that repeats the opening line of text, “I cannot always stand upon the peak and touch the stars.” The harmonies found in the Coda fit within the tonal center with the exception of the final chord, an open chord on B.

Walker composed another secular work for a capella mixed chorus entitled With This Small Key. This setting was composed in 1975 after his interest in the text written by Sister M. Therese. The poem reads as follows: With this small key I softly shall unlock the wide rooms of your silences, And stand clear of the labyrinth of hurt and shock, safe in the acres of a speechless land. Knowing if you but hold me in your thought, I am well housed if in your inmost heart you speak my name. I am superbly taught though girders of all knowledge break apart. I had not dreamed that any mortal weather would blow me a love as gracious and wise, Nor all the larks of April singing together match the brave music of your quiet eyes. Beyond all friends have given of light and grace, Have I been blessed by looking at your face.

With This Small Key is in A B A form and contains a short closing section. This piece begins with an imitative figure that is rhythmically layered by the tenor and bass voices. Besides the opening statement, Section A is basically in a homophonic texture.

Figure 4.38 – With This Small Key measures 1-3.

69 Two tonal centers, based upon B and G, are distinguishable within this section; however transitional measures are highly dissonant having intervals of a minor second, major seventh, and superimposed Perfect fourths and fifths. A sense of shifting rhythms is established by Walker’s effective use of mixed meter. Within Section A, the following meters are used: 5/4, 4/4, 3/4, 5/8, 7/8, 9/8, 6/8, 3/8, and 4/8. The use of shifting meters in this section, and entire setting, can be seen as a tool to ensure proper textual declamation.

Figure 4.39 – Example of shifting meters for proper text declamation measures 14-19.

Section B (measures 24-40) contains several different compositional trends that contrast the previous section. What is first observed is how the section begins with a 3:1 vocal ratio. The melody is written in the soprano line while the other voices harmonize on a C11 chord in homophonic texture. This is the first occurrence of a melodic line being designated to one voice part supported by a chordal accompaniment (see Figure 4.39). Furthermore, contrast is also achieved with the use of smaller note values that cause the rhythmic language to be more complex. Additionally, more intricate imitative figures are seen throughout Section B. For instance, Figure 4.40 demonstrates Walker’s use of complex rhythms and intricate imitation. Both compositional techniques have been observed and discussed in Walker’s other choral works. His use of intricate rhythms constitutes the majority of his output regardless of the medium. Walker admits his music is difficult and requires extreme attention to rhythmic accuracy and detail.

Figure 4.40 – Chordal accompaniment on C11 measure 25.

Figure 4.41 – Example of complex rhythms and imitation measures 26-30.

71 Also of interest is Walker’s technique of incorporating a three part melisma within a four voice texture as seen in the next figure.

Figure 4.42 – Measures 35-37.

The return of Section A opens in an altered form; however similarities, such as imitative figures, use of homophonic textures, vocal ratios of 2:2 and 3:1, and frequent shifts in meter are prevalent. A prime example of text painting occurs in measures 50-55.

Figure 4.43 – Example of text painting measures 50-52.

72 The climatic point of this piece is characterized by its extended vocal ranges, as evident in the soprano, tenor, and bass lines.

Figure 4.44 – Extended vocal ranges in measures 61-63.

The closing section contains another imitative figure with varied entrances by the tenors and basses, and ends in a contemplative mood. The most harmonically intriguing characteristic of this setting is Walker’s use of jazz modal chords and widespread use of the half-step/whole-step scale on a certain tonic pitch. The following excerpts display the harmonic language found within this piece.

Figure 4.45 – Measure 9, modal chord on C, or a C∆13 (add 11).

Measure 16 is based upon the F half-step/whole-step scale, or a F∆7(b5).

Measure 38 is based upon the G half-step/whole-step scale, or a G13(b9).

Measure 67 can be described as a G13 (add ∆7).

The final chord of the piece can be described as G∆7 (add 6) no third. Figure 4.45, Continued

74 During the early 1970s, Walker was commissioned to compose a work for a choral ensemble in Montclair, New Jersey; however he does not recall the name and the ensemble has since disbanded. For the commission, Walker chose to compose an a capella setting of Shakespeare’s Blow, Blow Thou Winter Wind. Blow, blow thou winter wind, Thou art not so unkind as man’s ingratitude. Thy tooth is not so keen, because thou art not seen, although thy breath be rude. Heigh ho unto the green holly! Most friendship is feigning most loving mere folly. Then heigh ho the holly! This life is most jolly.

Freeze, freeze thou bitter sky, That dost not bite so nigh as benefits forgot: Though thou the waters warp, thy sting is not so sharp, As friend remembered not.

This setting is comprised of seven musical phrases in strophic form. There are small variances throughout the repeat of the musical material, in addition to the omission of one complete phrase. Additionally, there are frequent meter changes throughout the entire work. A phrase analysis is provided in the following table.

Table 4.7 Phrase Analysis of Blow, Blow Thou Winter Wind Phrase Measures Length Commentary 1 1-7 7 measures 2 7-11 5 3 11-13 3 4 13-18 7 5 18-24 7 6 25-28 4 7 28-34 7 End of Strophe 1

75 Table 4.7, Continued Phrase Measures Length Commentary 1 35-43 9 Beginning of Strophe 2 2 43-47 5 3 47-49 3 4 49-54 6 5 54-57 4 6 Omitted 7 57-63 7

Phrase 1 of this setting begins with a homophonic texture and a tonality centered on E. This is clearly heard and seen within in the first three measures of the work. Tonal centers are interspersed between atonal passages or others having a harmonic structure based upon superimposed fourths and/or fifths. The first occurrence of dissonance is observed in measures 4-5 and is used to text paint the word “ingratitude.”

Figure 4.46 – Dissonance used for text painting in measures 4-5.

76 Phrase 2 incorporates imitation at close intervals. For example, the bass begins the melodic line and is followed by the soprano three beats later. Of interest is how Walker uses what the writer calls a textual overlay. Before the line of text “Thy tooth is not so keen” is finished by the basses, the tenors begin with the following line “Because thou art not seen.” This same technique is applied within the tenor and soprano line. Several compositional elements are employed in Phrase 3. In the Figure 4.46, the use of syncopated entrances, imitation, melismatic writing, extended ranges, and melodic inversion and augmentation over three measures are observed and labeled accordingly. Furthermore, the first three notes of the bass entrance are contrapuntally applied in augmentation over two measures across the remaining sections of the choir. The first rhythmic and harmonic cadence occurs at the end of Phrase 4. Walker begins Phrase 5 in canon between the alto, tenor, and bass lines. The melodic material contains grace- notes, which is a unifying device used in Walker’s works, and melismatic lines. The alto begins the canon, is followed by the tenor transposed down a major third, and ends with the bass transposed down a major sixth from the tenor. The bass line contains rhythmic and melodic variations from the previously stated material. Harmonically, this phrase presents atonal material to assist in painting the text, “Most friendship is feigning.” Phrase 6 returns to a homophonic texture and briefly introduces tertian harmony and contains several superimposed fourths and fifths. This is sharply contrasted by the Phrase 7 which revisits atonal harmony and syncopated entrances. The cadence that ends this phrase uses superimposed fourths before resting on a chord that may be enharmonically described as Ab9, with the ninth in the bass (see Figure 4.47). The return of Phrase 1 (measures 35-43) is very different than its initial statement. Walker opens this phrase with superimposed fourths, which is often utilized. Dissonance continues to be used for text painting purposes. In Phrase 2 (measures 43-47), the melody is only seen in the bass line and is accompanied by the remaining voices that have either a textual overlay or extended ranges. In contrast to the initial Phrase 2, the material in measures 43-47 is non-imitative. The same contrapuntal devices in Phrase 3, measures 11-13, are observed in measures 47-49. The only difference observed in Phrase 4 (measures 49-54) is the lack of a cadence. The end of this phrase immediately proceeds into the next. Phrase 5 houses the same

77 text, however incorporates different musical material that is now homophonic rather than in canon.

Figure 4.47 – Compositional devices used in measures 11-13.

Superimposed fourths Ab9

Figure 4.48 – Cadence point at measures 31-34.

79 Phrase 6 is omitted within Strophe 2. Phrase 7 retains the shifts in meter and atonal harmony. The cadence that ends this phrase continues to use superimposed fourths before resting on an entirely different chord that may be enharmonically described as Eb13.

Figure 4.49 – Final cadence in measures 60-63.

Walker mentioned that this was a difficult setting and after an analysis, his comments are valid. Several aspects make this a difficult piece to teach and perform. For example, the alternation of stable tonal centers and atonality can easily cause problems with intonation. Likewise the shifting meters, as found in all but two of his choral works, call for extreme rhythmic accuracy. On the other hand, it is interesting to observe how Walker makes a gradual shift from a homophonic texture at the beginning of the piece, to an imitative texture that begins at measure 8, to a fully contrapuntal section that begins at measure 11. After observing these compositional traits in Blow, Blow Thou Winter Wind, the writer recognizes Walker is a very methodical composer. The intricacies to his compositions are both numerous and unique.

80 In 1976, Walker accepted an invitation to compose a piece for the annual Christmas Concert performed by Dr. Nathan Carter and the Morgan State University Concert Choir. George Walker and the late Nathan Carter were dear friends for many years. Walker highly praises the work that Carter did with the Morgan State University Concert Choir and for premiering and/or recording many of his choral works. In appreciation for the exposure Carter provided for him, Walker composed A Babe is Born. Walker states: Nathan Carter asked me to write something for his annual Christmas Concert and this [A Babe is Born] was the piece. I recall I was fascinated with the rhythm of the text. This piece is included in an album of various college choirs in the nation of which Morgan State was the only black choir selected to participate.113

This piece is an a capella setting with a text from the Medieval period. The Latin phrases that end each verse are the first lines of hymns used in the church services of the time. It is understood that this particular style of writing was very popular among medieval carolists.114 A Babe is born all of a may, Who brings salvation unto us, To them we sing both night and day, Veni Creator Spiritus.

At Bethlehem that blessed place, The child of bliss now born He was, And Him to serve God give us grace, O lux beata Trinitas.

There came three kings out of the East, To worship the King that is so free, With gold and myrrh and frankincense, A solis ortus cardine.

The herdsmen heard an angel cry, A merry song that night sang he, O why are you so sore aghast? Iam ortus solis cardine.

The angel came down with a cry, A lovely song sang he, In worship of that darling child, Gloria tibi domine.

113 Walker, interview 5 March, 2005.

114 http://www.cyberhymnal.org/htm/b/a/babeborn.htm

81 Verse one of this setting begins with a two-part texture introduced by the soprano and alto voices. Two points of interest can be immediately observed: the use of voice crossing and the incorporation of a highly chromatic melisma in the alto voice. With such heavy chromaticism in this opening passage, it is difficult to distinguish a tonal center.

Figure 4.50 – A Babe is Born measures 1-3.

The first line of Latin text has a distinctive rhythm, is based upon the Aeolian mode on D, and is scored for soprano, alto, and tenor soloists.

Figure 4.51 – Aeolian mode on D with complex rhythms measures 7-8.

Since tritones occur quite frequently within verse two, it is difficult to distinguish a tonal center.

82 In contrast, O lux beata Trinitas begins with a harmonically rich, and sonorous E add 6/9 chord as a way to paint the text that translates as “O blessed light of the Trinity.” This colorful chord is enhanced by a rhythmic motive that is repeated after the basses state, “There came three kings out of the East.”

E add 6/9 Figure 4.52 – Example of sonorous harmonies measures 16-17.

Verse three begins with the basses stating the text and melody. This is the first time a non-modal tonality on E is established and becomes a foundation for tonal stability. The response, “O lux beata” continues with the same harmonic structure that was previously stated. The E add6/9 chord is intensified with a five part divisi. The text of the verse then continues with a homophonic texture observed in the alto, tenor, and bass lines. Intensity continues to build in measures 22-26 with a pedal tone on the dominant pitch, B, with an added ninth. This section is heavily accented, in a homophonic texture, and utilizes octave leaps. Occasionally, the leaps reach the major ninth scale tone. An extended range is observed in the tenor line that is now in exact unison with the soprano. Additionally, the rhythm is divided in groups of three eighth notes. This grouping brings about a clear sense of syncopation that is accentuated by the large leaps. The characteristics of this section can be observed in the following figure. The phrase that follows is a declamatory statement of “A solis ortus cardine” at a fortissimo dynamic.

Figure 4.53 – Measures 22-23.

Verse four is a complete contrast from the previous section. Walker beautifully word paints the text, “The herdsmen heard an angel cry,” with only two voices and in a slower tempo. The next statement, “A merry song that night sang he,” has a faster tempo, is rhythmic, and heavily articulated. The verse ends in a homophonic texture and melisma in the alto line that dovetails into the next verse. The final verse is scored for two voices per part where the melodic material and the text are interwoven among the vocal lines. The final statement “Gloria tibi domine” is sung by three soprano voices and revisits the exact harmonic structure, the Aeolian mode on D, as found in measures 7-8.

Figure 4.54 – Closing statement of A Babe is Born measures 47-50.

84 CHAPTER FIVE A DESCRIPTIVE ANALYSIS OF EXTENDED CHORAL WORKS

Canvas In 1999, Gary Hill, Director of Bands at the University of Arizona, contacted George Walker regarding a proposition from the College Band Directors National Association (CBDNA) to compose a work for wind orchestra. Walker was very interested in this project that would be premiered at the CBDNA Biennium National Conference to be held at the University of North Texas in February 2001. The Commissioning Committee of the CBDNA proposed the following guidelines regarding the commission: 1. The composition will set a text for narrator or voice, the setting and text to be determined by Walker. 2. The wind band instrumentation utilized will be at Walker’s discretion, but likely will comprise that of a standard wind orchestra. 3. The work will be from eight to twelve minutes in length. 4. The composition will be complete in one year from now, ensuring a properly prepared premiere performance at the CBDNA National Conference in Denton, Texas in February 2001.115

Walker entitled the commissioned work for the CBDNA Canvas. It was completed in September of 2000 and dedicated to his parents. Canvas is a unique work divided into three movements that incorporates dramatic speakers as well as a chorus. These three movements in Canvas, called Extracts, can be performed together or separately. Extract I Landscape – “The View Below” is scored for wind symphony and is arch-like in its formal construction. Extract II Commentary – “Voices in the Corridor” is scored for five dramatic speakers, with original text by Walker, and wind symphony. Extract III Psalm 121 – “The Horizon and Beyond” is scored for SATB chorus, tenor soloist, and wind symphony. The work was premiered by Eugene Corporon, the North Texas Wind Symphony and A Capella Choir. Walker was very much pleased with the performance and remarkable attention to detail by Corporon. “He never let a measure go by if it wasn’t right.”116

115 Ryan Nelson, Octatonic Pitch Structure and Motivic Organization in George Walker’s Canvas for Wind Ensemble, Voices, and Chorus. (DMA diss., University of North Texas, 2003), 18. Correspondence from Gary Hill, CBDNA, to George Walker, 6 January 2000.

116 Walker, interview 5 March, 2005.

85 Extract II Commentary is an integral part of the work and Walker desired to present a text that would address the social and political issues within our society. It is necessary to examine this sensitive, yet highly poetic text in order to understand the significance of the entire work. The narrative is as follows: Baritone: If I were you… Tenor 1: It’s just a thought; mind you, just a thought. Tenor 2: Pure speculation, I would say, that stretches even my imagination. Tenor 1: Clearly a hypothetical factor when measured on a scale of one to nine hundred sixty-eight and a half with only a 2% margin of error. Baritone: The old cheese, is still, still porous! Bass: Hah, he’s at it again – there’s obviously a message that he wants to send. Tenor 2: Whatever’s on his mind may augur something important in due time. Tenor 1: Consider if you will, certain issues that remain unchanged and unresolved still. Baritone: Think about it! Tenor 1: Certain attitudes that persist towards persons displaced, excluded and stigmatized by race should be excised now, if we insist. Tenor 2: Fill us in brother! Baritone: We could converse on many subjects like this, even worse. Tenor 1: It can be said with some assurance, that may be perceived by some as arrogance, that if we are determined to obliterate the strata of inequity that victimizes the dispossessed, and if we repudiate the polarizing patterns embedded in years of sanctioned neglect, and if we voice our objection to the propagation of the violent activity that threatens to destroy the moral fabric of our society… Soprano: Let’s not forget those pandering, posturing, political puppets! Tenor 1: I’m sure that you understand the drift of this… Tenor 2: It can be said, yes, it should be said, and certainly must be said… Baritone: Another word to be heard? Tenor 1: With this, I venture to say, regarding other matters of extreme gravity – there’s more to be said; but, we must move ahead. Soprano: I must confess – this leaves me more than a little bit distressed. Bass: May I ask, who will be challenged by this task? Tenor 2: It’s just a thought, just a thought, mind you. Baritone: If I were you… Bass: A premise, in this case, to be considered another time – another place.117

Walker shares his insight regarding Canvas: Extract III presents a conclusion to what I had done previously in the second movement. When I had the concept for this work, which is philosophical like the social commentary in the second extract, it needed a religious perspective for the third extract, I

117 George Walker, Canvas (St. Louis: MMB Music, 2001), v.

86 took a look at what I’ve done, adjusted the orchestration, and then was quite happy with the way it turned out.118

Upon hearing the impending completion of the work from Walker, Gary Hill responded: It was with great pleasure that I read your note concerning the wonderful outcome of the CBDNA project that you so graciously agreed to just one year ago. In fulfilling this commission, you not only have met our expectations, but have surpassed many of our dreams! Canvas is just the work that we needed at this time and, more importantly, that will meaningfully enrich the permanent literature of the wind band. I know that I speak for all when I tell you that we most anxiously await the premier performance five months from now!119

Walker replied: Many thanks for your very kind message. I am very pleased that I have the opportunity of composing for a wind ensemble as well as having the chance to hear a choral setting performed. I have had very little success in even getting this genre considered by conductors. One of my fondest hopes is that I will have another performance of my Mass, the longest of all my works (but still only 26 minutes in length).120

Extract III Psalm 121 – “The Horizon and Beyond” The final movement of Canvas is structured by its choral text. Extract III is divided into four sections as seen in the following table. Each section contains two verses of the Psalm.

Table 5.1 Formal Structure of Extract III Divisions Measures Text______Introduction 1-4 Section 1 5-28 I will lift up mine eyes unto the hills, from whence cometh my help. My help cometh from the Lord, which made heaven and earth.

Section 2 29-42 He will not suffer thy foot to be moved: He that keepeth thee will not slumber.

118 Walker, interview 5 March, 2005.

119 Nelson, 20. Email correspondence from Gary Hill to George Walker, 24 September 2000.

120 Ibid. Email correspondence from George Walker to Gary Hill, 26 September 2000.

87 Table 5.1 Continued

Divisions Measures Text______(Section 2 Continued) Behold, He that keepeth Israel shall neither slumber nor sleep.

Section 3 43-53 The Lord is thy keeper: the Lord is thy shade upon thy right hand. The sun shall not smite thee by day, nor the moon by night.

Section 4 54-76 The Lord shall preserve thee from all evil: He shall preserve thy soul. The Lord shall preserve thy going out and thy coming in from this time forth, and even forevermore.

Coda 77-79 The Lord shall preserve thy going out and thy coming in from this time forth, and even forevermore. Credo in unum Deum.

Unlike the previous movements of this work, Extract III leans more toward a tonal harmonic structure based on the key of C. Ryan Nelson’s dissertation entitled, “Octatonic Pitch Structure and Motivic Organization in George Walker’s Canvas for Wind Ensemble, Voices, and Chorus,” discovers the use of octatonic pitch structures and motivic material in this movement are less formal than the other movements; however both are integrated within Extract III.121 Since this discussion will consider Nelson’s analysis, the writer feels it necessary to discuss some basic octatonic principals that specifically pertain to Extract III. The octatonic scale is a collection of eight pitches arranged by alternating half-steps and whole-steps.

m2 M2 m2 M2 m2 M2 m2

Figure 5.1 – The Octatonic Scale

121 Ryan Nelson, 108.

88 According to Allen Forte’s textbook The Structure of Atonal Music122, three transpositions of an octatonic set, or collection, are possible and labeled as:

Collection I (CI) Collection II (CII) Collection III (CIII)

Figure 5.2 – Octatonic Collections

According to Nelson’s investigation, Canvas incorporates all the collections throughout the work. However, the basic framework of Extract III is built upon Collection II and modal harmonies.123 The opening instrumental introduction is linear in structure and clearly outlines the CII set (see Figure 5.2). The sequence of pitches is in this order: “C – D – Ab – Eb – F# – D.” After the winds state “C – D” at the beginning of the sequence in Section 1, the choir presents the text “I will” on the pitches “G – Ab” in measures 6-7, which changes the harmonic structure from the CII octatonic set to the C Aeolian mode. Harmonic support for the Aeolian mode continues in measures 9-13 with the pitches C – D – Eb.124

Figure 5.3 – C Aeolian modal scale.

Since the beginning of the movement, the choral part has primarily consisted of homophonic octave unisons and minor seconds, while the winds emphasized the pitches within the CII set. However in measure 11, triadic harmony occurs for the first time. A stable Ab major seventh chord becomes the focal chord for three measures. Additionally, a section of imitative

122 Allen Forte, The Structure of Atonal Music (New Haven: Yale University Press, 1973), 210.

123 Nelson, 29.

124 Ibid., 110.

89 writing is observed in measures 11-16 with the text, “unto the hills,” where entrances always begin on a weak beat. The altos begin, and are followed by the tenors who repeat the exact intervallic patterns as the alto. When the basses and sopranos imitate the text, their intervals are reduced to a minor third and major second, respectively. These points of interest are seen in the following figure.

Figure 5.4 – Points of interest in measures 9-17.

90 A change in texture occurs in measure 16 that includes silence, followed by a forte dynamic, and shift in tonality. The harmonic structure within the text “from whence cometh my help” shifts from the C Aeolian to the C Mixolydian mode.

Figure 5.5 – C Mixolydian modal scale.

For two measures E and A replace their lower neighbors, and Bb, the lowered seventh in the mode, is added to the chord by the trombone and vibraphone. Measure 18 revisits the opening instrumental material re-establishing the minor tonality to the C Aeolian mode.125 In measures 22-23, “my help cometh from the Lord” contains the same pitch structure (G – C – D – Eb) as found in measures 9-13 and leads to a re-voiced Ab major seventh chord. After the arrival of the chord, imitative writing occurs through the end of the section using two different phrases of text, “cometh from the Lord” and “which makes heaven and earth.” Overall, the tonality of Section 1 has been based upon the C modal harmonic framework. Section 2 (measures 29-42) begins by showcasing some of Walker’s compositional techniques, such as heavy accents, syncopations, and linear structures. After a beat of silence, a homophonic, unison Db is stated by the soprano, alto, and tenor voices who support the harmonic shift to the C Phrygian mode.126

Figure 5.6 – C Phrygian modal scale.

“He will not suffer thy foot to be moved” is structured upon this mode. Hypothetically, if the material in the bass line did not exist in this section, one would consider the possibility of a

125 Nelson, 110-112.

126 Ibid., 112.

91 modulation to Db, especially in measure 29 as we see tonic and dominant pitches in Db. However in measure 30, the bass line clearly demonstrates a tonal foundation on C.

Figure 5.7 – Measures 29-31.

Changes in texture and tempo, coupled with highly syncopated imitative lines in measures 33-36, warrant a shift in tonality. The Gb observed in the bass line at measure 35 beautifully colors the chord on the word “slumber.” The chord at measure 35 may be analyzed as a Gb major seventh. The pitches that precede the Gb major seventh are no longer a part of the Aeolian modal scale, but members of the C Locrian mode.127

Figure 5.8 – The C Locrian modal scale

The following figure provides an example of the pitch class of the C Locrian modal scale and the corresponding material found in measures 34-35.

127 Nelson, 112-113.

Figure 5.9 – Measures 34-35.

The wind orchestra begins a transition in measure 37 that is based upon the same linear structure as the introduction, however transposed up a fourth. The pitches within this transition, F – G – Db – Ab, are a part of the CI set (see Figure 5.2). The tenor solo has a high tessitura and is well-supported by the winds. This set continues through the tenor solo and attention is drawn to the block chordal punctuations observed in the horn and trombone parts. The following figure provides a piano reduction of the tenor solo along with the chord changes in measures 40-41 heard by the horns and trombones

Figure 5.10 – Tenor solo with chordal punctuations measures 39-40.

93 A stable tonality can not be determined with the choral response, “Shall neither slumber nor sleep.” What can be determined is the interplay between the trombone, bass trombone, and timpani with the pitches D and Eb. These two notes are structurally important to the C Aeolian mode. Section 3 (measures 43-53) begins with imitation using syncopated entrances and returns to the C Aeolian mode. The harmonic support under this chromatic shift still remains in the Aeolian mode, and interestingly, in measure 45, the soprano briefly joins the lower voices accentuating the minor third between Eb and C of the mode. Walker’s trademark of syncopated entrances continue with the text, “The sun shall not smite thy by day nor the moon by night.” Another Walker trademark is the sparse instrumental accompaniment that is observed in this section. The winds primarily sustain tones during the beginning and ending measures of Section 3. After a period of silence, Section 4 (measures 54-76) begins with a slower tempo and an a capella setting of “The Lord shall preserve thee.” Only three measures within this section are of the C Dorian mode.

Figure 5.11 – C Dorian modal scale and corresponding material from measures 54-56.

94 Measure 57 introduces the C Lydian mode that lasts through the a capella portion of this section. The vocal scoring has material that is homophonic in places and melismatic in others. Furthermore, Walker conveniently utilizes a block style of writing to emphasize the text. For example, in the following figure homophonic entrances occur at measure 57. Also observed are melismas on the word “evil” that is shared between the tenor and alto in consecutive measures. The block, chordal style of writing is seen with the text “He shall preserve thy soul.”128

Figure 5.12 – C Lydian modal scale and corresponding material from measures 57-59.

There is an immediate shift in tonality at measure 68 where the winds provide an accompaniment for the chorus who continues the text, “and thy coming in from this time forth.” The chord observed on the word “forth” clearly establishes a tonality based upon the CII set. Likewise, the supporting harmonic material, seen in the lower winds, brass and timpani, aids in bringing the movement to its climatic point in measures 71-75. The Coda (measures 77-79) marks the arrival of the C Ionian mode as the text repeats “The Lord shall preserve thy going out and thy coming in and even forevermore.” The writer

128 Nelson, 115.

95 sees the switch to a major tonality as a sense of hope, befitting to the text. Moreover, the final statement of the entire work is optimistic. Walker closes Canvas by having the tenor soloist sing the incipit to, “Credo in unum Deum,” which translated means “We believe in one God.” When asked to comment on his inclusion of the Credo incipit, Walker states: The incipit brings resolution. (tears) It’s personal! I imagine God looking down upon the earth, seeing what’s going on, the confusion and strife, the antagonism. Then I realized that you can’t really begin to connect your relationship to any other being – there’s only God.129

As previously noted, the instrumental accompaniment is very sparse throughout the entire movement. Its major influences occur: 1) at the introduction, as it establishes the CII set and later repeats the material at (measures 18-21); 2) at measures 37-39, when it basically repeats the same introductory material transposed up a fourth; 3) at measures 43-45 and 50-53, when it supports the beginning and ending a capella portion, and; 4) at measures 67-76, when it provides the harmonic stability for the C Lydian mode. In Nelson’s investigation of Canvas, he discovered within the final movement there is a large-scale chromatic shift from C to E that reinforces the minor to major structure of the movement. Each section of Extract III centers around one of these five pitches. Throughout Section 1, C dominates the melodic structure. Section 2 (measure 29) begins with the soprano, alto, and tenor stating a unison Db. The next chromatic move happens at measure 43 where the soprano has a pedal point on D; additionally, the final sustained note by the bassoon, contra bassoon, and contra bass in Section 3 is D. The final sustained note by the soprano in measures 68-75 is D#, which concludes Section 4. The large-scale chromatic shift from C to E is realized in the choral imitation based upon E in measures 77-78. Furthermore, the final pitch of the tenor soloist in the final measure of the work is an E.130 Extract III Psalm 121 – “The Horizon and Beyond” deviates from many of the compositional trademarks that have been previously discussed in analyses of his choral works. In comparison with Extracts I and II, there is limited use of motivic cells in this movement; however a stronger harmonic foundation based upon the seven modalities on C. Collections dominate the first two Extracts whereas CII is the most viable collection in this movement.

129 Walker, interview 5 March, 2005.

130 Nelson, 108-117.

96 Collections are also seen in Walker’s other choral works, but not to the level that is observed in Canvas.131 In addition to the premiere, Canvas has been performed by the University of New Mexico Wind Symphony and Chorus. After being commissioned to compose a major work for wind symphony, Walker states: “The way it [Canvas] turned out is just right and it’s how I wanted it to turn out. I just couldn’t imagine doing another work like that. To me, it was the best I could do.”132 Canvas was recorded by The North Texas Wind Symphony and A Capella Choir in 2001. Eugene Corporon was the conductor. The work is included on their CD entitled Time Pieces that was released by Klavier Music Productions.133

Mass Walker’s Mass is his most extensive work for orchestra and chorus. He openly shares some insight about the work by saying: It relates to one childhood experience. On the block where I lived, there was a lady who was Catholic, she was black but married a Catholic believer. I was about 7 or 8 and she became very close to my mother in a touching way. One day she told my mother that she would like to take me and my sister to church with her. And I remember going to that Catholic service and seeing the interior of the church and smelling the incense. I never forgot it. The use of the text is traditional within the Catholic liturgy.134

He goes further by saying:

I simply decided that in the great tradition of Mozart, Schubert, and Brahms that the Mass would make a significant contribution to choral music. But I think what also influenced me was at the time I was really bothered by Bernstein’s Mass. Why go and modernize everything in a hip-style? So I wrote my mass as an antidote to the Bernstein Mass.135

To help fund this project, Walker received a grant from the National Endowment of the Arts and in 1979 his Mass was completed. Finding the forces and a venue to perform the work was challenging, and after several attempts Walker contacted Sergiu Comissiona, music director of

131 Nelson, 116-117.

132 Walker, interview 5 March, 2005.

133 Time Pieces, North Texas Wind Symphony, K 11122 (Klavier Music Productions, 2001).

134 Walker, interview 5 March, 2005.

135 Ibid.

97 the Baltimore Symphony. Comissiona had an interest in performing the compositions by faculty members at Peabody, where Walker was a professor. After reviewing the score, Comissiona was interested in performing the work. Additionally, Dr. Nathan Carter was also interested in performing the work. On April 18, 1979, the Baltimore Symphony Orchestra and the Morgan State University Chorus premiered Walker’s Mass. Soloists included Claudia Lindsey, soprano; Norma Hirsch, contralto; William Brown, tenor; and Abraham Lind-Oquendo, baritone.136 In a review of Walker’s Mass by Dr. Dominique-René De Lerma, he feels the work was well received and appreciated, however the audience was “not yet sensitized to our present century or expressions of the deeply spiritual.” Moreover, he believes the Baltimore audience could have been more enthusiastic about “George Walker’s latest masterwork for choral repertoires.”137 The Mass is a difficult work employing a large orchestra, chorus, and a versatile solo quartet. Ironically, these large forces are used economically throughout the entire setting, and therefore suggest a reason why Walker’s Mass was not enthusiastically received. De Lerma states, …this composition is not a showcase for the chorus, nor for the orchestra, nor for the soloists. The entire ensemble is a unit, sharing their various roles in the presentation of a strikingly effective and moving statement of faith.138

In André Thomas’ investigation of Walker’s Mass, he suggests other reasons why the audience may have been unenthusiastic: (1) the composition does not sound as complex or elaborate, (2) the climax occurs in the middle movement followed by a decline in intensity, and (3) the general public typically needs more than a single performance of a complex work to fully grasp the depth of the composition.139

136 André Thomas, A Study of the Selected Masses of Twentieth-Century Black Composers: Margaret Bonds, Robert Ray, George Walker, and David Baker. (DMA diss., University of Illinois at Urbana-Champaign, 1983), 72.

137 Ibid., 212. DeLerma’s statement is from his personal review of Walker’s Mass that was submitted to The Baltimore Afro-American for publication on 28 April 1979. The archival department of The Baltimore Afro- American was out of commission at the time research was being gathered; therefore a copy of the article could not be obtained.

138 Ibid.

139 Thomas, 73.

98 Although a wonderfully crafted mass, it is unfortunate this work has not had subsequent performances. Walker states the following reasons why the work has not been repeated: Well, it’s a difficult piece, it could be an expensive piece, and you’ve got to be able to rehearse it. There aren’t that many pieces for chorus and orchestra that get performed. I mean this is as big as the Duruflé Mass but with a much bigger orchestration.140

In this extended work, Walker sets the liturgical text from the Ordinary of the Mass rite that includes the following movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The Benedictus is infused into the middle of the Sanctus. As seen in Walker’s other works, motivic material is the main unifying device within this mass. Kyrie The Kyrie movement is divided into three sections and corresponds with the text Kyrie eleison, Christe eleison, and Kyrie eleison. The formal structure is provided in the following table. Table 5.2 Formal Structure of Kyrie

Structural Material Measures Phrase Length Text______Orch. Introduction 1-10 10 measures

A A 1/1-2/3 12 Kyrie eleison

B 2/4-3/4 15 Christe eleison

Orch. Interlude 3/5-7 3

B B cont’d 4/1-3 4

Orch. Transition 4/4-7 4

A A1 5/1-6/8 15 Kyrie eleison

Note: 1/1 represents Rehearsal 1 measure 1 etc.

Prior to the choral opening statement, three repetitions of the following chord are played. Walker states, “Those three chords that appear in the beginning of the Mass are intentional.

140 Walker, interview 5 March, 2005.

99 They stand for the Trinity.”141 The writer designates them as the “Kyrie” chords. This particular chord is also seen at Rehearsals 1/4-5 and 6/5-8.

Figure 5.13 – Piano reduction of “Kyrie” Chord from measure 9.

An analysis of the “Kyrie” chord can produce several interpretations. Using a jazz theory approach, the writer describes this chord as an Eo (add D#, A). On the other hand, Thomas considers it a combination of pitches found in a diminished chord on E and D#.142 Regardless of one’s choice of description, the harmonic language within this chord supports the melodic structure found in the “Kyrie” motive. During the early years of the church in Rome, the Greek language was used in worship. Sometime during the 5th century, the Greek was replaced by a litany from the common Prayer of the Church, however the Greek (Kyrie eleison) was retained as the congregation’s response. In an article by De Lerma entitled “The Choral Works of George Walker,” he comments on the opening “Kyrie” motive by stating: The Kyrie is intentionally approached with thoughts of Islamic, Greek, and Near Eastern influences, as is expressed in the highly embellished melody that serves as the basis for the outer sections of the movement.143

The opening statement is scored for a soprano soloist who introduces the “Kyrie” motive. This motive consists of two parts. The first part contains a descending minor third (Kyrie) and the second part is a melisma (eleison). As seen in the following figure, smaller note values are typically used for the melismas.

141 Walker, interview 5 March, 2005.

142 Thomas, 76.

143 Dominique-René De Lerma, “The Choral Works of George Walker,” American Choral Review, 23/1 (January 1981), 16.

100

Figure 5.14 – “Kyrie” motive from Rehearsal 1/1-2.

It is interesting to note how Walker only uses a trio of soloists, (soprano, alto, and bass) in Section A. The chorus is not utilized until the next section. From the start, Walker sets the basic parameters that distinguish the soloists from the chorus. In this setting, the soloists are individuals whose roles humbly petition the Lord for mercy. All the soloists state the entire motive, with the exception of an augmented bass line.

Figure 5.15 – Augmentation in the bass solo at Rehearsal 2/1-2

The orchestral texture is also sparse. The main melodic idea is scored only for the clarinet and bassoon. The strings, with the exception of the violins, and lower winds primarily provide harmonic and rhythmic support and sustain the sound once the text has been concluded. Also of interest is that none of the instruments, except one brief statement by the oboe, state the motive in its entirety.144 Section B begins with several contrasts. For example, Walker distinguishes this section by changing the tempo, dynamics, articulation, and orchestration along with employing the chorus for the first time. The tenors and basses enter with new melodic material, which the writer calls the “Christe” motive. Akin the “Kyrie” motive, the “Christe” motive is be divided into two parts. The first part contains two unison eighth notes (Christe) followed by a melisma (eleison). This short, accented motive is always stated at least an octave apart. At Rehearsal 3, the alto states the motive and is followed by the soprano in the next measure. In this section, Walker only utilizes a three-part texture where the alto or soprano sings along with the tenors

144 Thomas, 78.

101 and basses. After the orchestral interlude, the climax of the movement occurs at Rehearsal 4. Here, all parts state the motive homophonically, in unison, and an octave apart. Intensity is increased with louder dynamics and stronger accents.

Figure 5.16 – “Christe” motive from Rehearsal 4/1-3.

The return of Section A (Rehearsal 5) is a variation of the “Kyrie” motive. The alto precisely states the first part of the motive, whereas a rhythmic variation occurs on the second part. Walker uses the same trio of soloists to end the movement. Musically, he concludes the movement with three repetitions of the “Kyrie” chord. Overall characteristics of this movement include the use of melismatic writing in solo, soli, and choral passages. This is a trademark of Walker’s compositional style and is seen in his other choral works. Additionally, the choral forces are used sparingly. For instance, the beginning of the movement begins with an alto solo and is later increased to a trio. Unison writing is frequently used, especially in octave intervals, and homophonic textures are employed to increase the level of intensity at climatic moments.

102 Gloria The Gloria is divided into three major sections and eight sub-sections, whose divisions are based upon changes in the musical texture and text. The following table describes the sectional divisions and the text used within the sub-sections.

Table 5.3 Formal Structure of Gloria

Divisions Measures Text______Sub-section 1 6/9-8/3 Gloria in excelsis Deo. A Sub-section 2 8/4-6 Et in terra pax hominibus bonae voluntatis.

Sub-section 3 9/1-10/1 Laudamus te. Benedicimus te. B Adoramus te. Glorificamus te.

Sub-section 4 10/2-9 Gratias agimus tibi propter magnam gloriam tuam.

Sub-section 5 11/1-8 Domine Deus, Rex coelestis, Deus Pater onmipotens. Domine Deus unigenite, Jesus Christe. Domine Deus, Agnus Dei, Filius Patrem.

C Sub-section 6 12/1-13/3 Qui tollis peccata mundi, miserere nobis.

Sucipe deprecationem nostram. Qui sedes ad nostram, Patria miserere nobis.

Sub-section 7 13/4-14/4 Quoniam tu solus sanctus. Tu solus Dominus. Tu solus Altissimus, Jesus Christe.

Sub-section 8 14/5-12 Cum Sancto Spiritu in gloria Dei Patris. Amen.

The Gloria begins with a melodic figure that sets the celebratory character of this movement. Two motives are introduced that correspond with the text, “Gloria in excelsis Deo.” In Figure 5.17, notice the upward direction that ends Motive A.

103

Figure 5.17 – Motive A at Rehearsal 6/9.

The tenors, basses, and instruments execute Motive A with precise articulation and at a fortissimo dynamic level. This statement is sharply contrasted by Motive B, which is more lyrical and at a pianissimo dynamic level.

Figure 5.18 – Motive B at Rehearsal 6/13-15.

Walker is quite clever in utilizing the text to develop contrasting motivic material. He has, in essence, taken musical contrast to the next level. Rather than employing the typical and expected changes, such as dynamics, texture, or timbre, here Walker is seen a master composer who understands how to effectively incorporate motives. This completely explains and supports how the compositional trend of Schoenberg has influenced Walker’s compositional style. Visually, if one were to examine the contrasting motivic material in Figures 5.17 and 5.18, they will notice how similar they are. Both motives are somewhat based upon the same rhythmic language; however aurally they are very different. At Rehearsal 7, Motive A is transposed up a whole-step and includes a four-part homophonic texture in unison. In the following measure, the rhythm is altered.

104

Figure 5.19 – Motive A transposed and with an altered rhythm at Rehearsal 7/1-2.

To enhance the meaning of the text, Walker repeats “Gloria” three times. With each repetition of the word, intensity and dynamics gradually increase.

Figure 5.20 – Repetition of “Gloria” motive at Rehearsal 7.

105 The contrasting style found in Motive B is also altered in Rehearsal 7/8-10. This statement of the motive calls for a sextet of solo voices, three sopranos and altos, and incorporates a melisma with lower neighboring tones. An orchestral interlude, based upon Motive A, concludes Sub- section 1. Contrast is achieved in Sub-section 2 with a brief soprano and alto solo. The use of solo voices alternating with a thicker choral texture is one of Walker’s compositional tools. This technique is seen in many of his works that include the Psalm settings, Three Lyrics for Chorus, other sacred choral works, and extended works Canvas and Cantata. This same type of approach can be heard in his compositions for other mediums that include instrumental and orchestral works.145 Furthermore, this sub-section includes softer dynamics, a slower tempo, and a transparent orchestral accompaniment. Overall the level of intensity is reduced, although fragments of Motive A are observed in the solo lines and orchestral accompaniment. This is also a compositional device of Walker’s. At times, he methodically thinks of the most effective way to disguise a melody, or in this case a motive, using fragmentation. Fragments are frequently passed throughout the vocal lines, instrumental lines, or sometimes both forces. This technique is also observed in his orchestral works. For example, in Antifonys for Chamber Orchestra “fragments of the melody are tossed around as harmonic patterns alternate or are combined with pulsating rhythms.”146 Regardless of the medium, Walker is able to reveal consistency in his writing style. Section B (Sub-section 3) employs a thicker choral and orchestral texture. The orchestral score reveals the use of the full chorus, woodwinds, brass, percussion, and low winds to increase the intensity of this passage.147 The passage is heavily accented, very percussive, and highly dissonant. For example, Walker uses several major sevenths and tritones. Another interesting characteristic is how the cadences generally move in an upward motion. These characteristics are observed in the following figure.

145 George Walker, A Portrait, TROY 136 (Albany Records, 1994). Annotation from CD liner notes.

146 Ibid.

147 Thomas, 83.

106

Figure 5.21 – Rehearsal 9 through Rehearsal 10.

In Sub-section 4, musical contrast is achieved by a softer dynamic and limited use of the orchestral instruments; however the orchestra remains a viable force. At Rehearsal 10/2, the orchestra plays a recurring motive that introduces the melodic material to be heard by the soprano soloist. The relationship between the orchestral transition and the soprano solo can be seen in the figure below. This effect is somewhat hypnotic and is quite an effective approach to initiate a musical idea. Since this recurring orchestral motivic cell always begins immediately

107 after the downbeat of a measure, regardless of the time signature, the writer views this as an ostinato.

Figure 5.22 – Orchestral introduction of soprano melodic material at Rehearsal 10/2-3.

Sub-section 5 contains two specific motives that correspond with the text. The “Domine Deus” motive occurs three times within this sub-section and can be found at Rehearsals 11, 11/3, and 11/5. The writer feels the repetition of this motive: (1) reiterates the importance of the text “Lord God,” and (2) demonstrates the strength of God with accented notes, forte/fortissimo dynamics, and ascending intervals.

Figure 5.23 – “Dominus Deus” motive at Rehearsal 11.

The second motive corresponds with “Filius” and can be observed at Rehearsal 11/7-8.

Figure 5.24 – “Filius” motive at Rehearsal 11/7-8.

108 In comparison with the “Domine Deus” motive, the “Filius” motive is shorter in length, has a softer dynamic (mp), and ends with a descending interval. The “Domine Deus” motive represents God and the “Filius” motive represents His son, Jesus Christ. With these characteristics in mind, the writer concludes that Walker has clearly indicated the importance and order of the Holy Trinity.

GOD

JESUS CHRIST

HOLY SPIRIT

Figure 5.25 – The divine order of the Holy Trinity.

A different motive occurs in Sub-section 6 that is repeated twice and can be observed at Rehearsal 12/2 and 13. The “Miserere” motive is generally characterized by a descending line, for it is translated as, “Have mercy on us.” From the direction of the line, one can sense the humble quality of this prayerful plea.

Figure 5.26 – “Miserere” motive at Rehearsal 12/2.

In contrast, “Qui tollis peccatmundi, suscipe deprecationem nostram,” meaning “Thou who takest away the sins of the world, receive our prayer,” is more declamatory and builds intensity as the vocal ranges are extended. As the climax to this movement approaches, Walker uses Sub- section 6 as a platform to build momentum. Sub-section 7 begins in a canonic texture between the soprano/alto and tenor lines. The climax is reached at Rehearsal 14 and uses a homophonic texture in unison two octaves apart,

109 heavy accents, fortissimo dynamics in the chorus and orchestra, and an extended range in the soprano line.

Figure 5.27 – Climax of Gloria at Rehearsal 14/1-4.

The orchestral transition at Rehearsal 14/5 unifies the movement by stating a rhythmic alteration of Motive A. The movement ends quietly with a slower tempo and unison statements of the melodic material. Credo As seen in the analysis of Extract III from Canvas, Walker has not limited himself by only including the Credo incipit in the Mass setting. His very personal comments have demonstrated the special meaning of the Credo. “We believe in one God” is a profound statement of faith that appears to be a significant component of his life. The Credo has the longest text in the Mass Ordinary and is the climatic movement of Walker’s Mass. The Credo can be divided into three major sections having nine sub-sections; additionally, Sections B and C begin with a brief interlude and will be addressed later in this discussion. The formal structure of this movement is provided in the following table.

110 Table 5.4 Formal Structure of Credo Divisions Measures Text______Sub-section 1 14/3-8 Credo in unum Deo.

Sub-section 2 15/1-6 Patrem omnipotens, factorem coeli et terrae, visibilium omnium et invisibilium.

A Sub-section 3 16/1-9 Et in unum Dominum Jesus Christum, Filium Dei unigenitum. Et ex Patre natum ante omni saecula.

Sub-section 4 17/1-9 Deum de Deo, lumen de lumine, Deum verum de Deo vero.

Orch. Interlude 18/1-3 Sub-section 5 18/4-9 Genitum, non factum,

Sub-section 6 19/1-20/6 consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de caelis. B Et incarnatus est de Spiritu Sancto ex Maria virgine. Et homo factus est.

Orch. Interlude 21/1-2 Sub-section 7 21/3-23/4 Crucifixas, etiam pro nobis sub Pontio Pilato: passus, et sepultus est. Et resurrexit tertia die, secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est in gloria, judicare vivos et mortuos: cujus regni non erit finis.

Orch. Interlude 23/5-6 Sub-section 8 23/7-10 Et in Spiritum Sanctum Dominum, vivificatem: qui ex Patre Filioque procedit.

C Sub-section 9 24/1-26/8 Qui cum Patre et Filio simul adoratur et con glorificatur: qui locutus est per Prophetas. Et unum Sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma peccatorum. Et expecto resurrectionem mortuorum. Et vitam venturi saeculi. Amen.

111 The Credo incipit provides the foundation for the motivic material observed throughout this movement, which is often found with rhythmic alterations. The following figure compares the notation of the incipit, as performed in a traditional mass setting, and Walker’s setting of the Credo theme.

Figure 5.28 – Comparison between the traditional Credo incipit and Walker’s setting Rehearsal 14/16-18.

Since both examples contain identical melodic and intervallic material, Walker’s setting will be labeled as the “Credo” motive in this discussion.

Sub-section 1 begins with two repetitions of the minor third interval on “Credo” before stating the complete motive in Bb. This homophonic, choral passage in unison octaves is doubled by the violin, oboe, and percussion.148 Meanwhile, the rhythmic orchestral accompaniment supports the theme by primarily using the intervals of the major and minor second. As the “Credo” motive concludes in the vocal parts, the orchestra cadences with the first three notes of the motive. This is an example of how Walker uses portions of the “Credo” motive to unify the entire movement.

Sub-section 2 continues with a homophonic texture and centers upon the intervals of the major/minor second and seventh. Within this texture of dissonant intervals and heavily accented syncopation, is a partial statement of the “Credo” motive. This section closes with the support and color of the organ.

148 Thomas, 91.

112 In the orchestral score, Walker suggests a registration be chosen that ensures the appropriate color and timbre.149

Sub-section 3 becomes even more dissonant with the addition of augmented sixth chords and tritones by the full chorus. Even with such dissonance, a partial statement of the “Credo” motive in Gb is seen and heard in the soprano line at Rehearsal 16/4-5 (see Figure 5.29).

This section ends with a solo sextet, and provides a change in texture, dynamics, and style.

Figure 5.29 – Partial statement of “Credo” motive at Rehearsal 16/4-5.

Altered versions of the “Credo” motive are quite prominent within Sub-section 4. The first occurrence of the motive (Rehearsal 17/2-4) has been transposed to the key of F and its rhythm is noticeably different.

Figure 5.30 – Rhythmic alterations to a transposed “Credo” motive at Rehearsal 17/2-4.

Additionally at Rehearsal 17/7-9, the melody has been altered. In the following figure, one can compare the intervallic structure of this “Credo” motive with the previous figure. Notice the E- natural and C-sharp

149 Thomas, 91.

113

Figure 5.31 – Intervallic alterations within the “Credo” motive at Rehearsal 17/7-9.

A prime example of word painting occurs with the text, “Lumen de lumine” (light of light). Here Walker calls for a solo trio of female voices, whose quality represents translucence, and requires the first soprano to sing in the upper register (see Figure 5.30). In contrast, Walker indicates tutti chorus and uses brass to demonstrate power and strength with the text, “Deum verum de Deo vero,” (true God from true God).

The first orchestral interlude occurs at the beginning of Section B (Sub-section 5). This interlude is somewhat similar to an interlude that was previously discussed in the Gloria. Although it does not introduce the melodic material to be sung by the soloist, it does have its own motivic cell that repeats as if it were an ostinato. This section begins at a piano dynamic level, which sharply contrasts the closing of the preceding sub-section. In the orchestra, Walker uses a light accompaniment of woodwinds, strings, and harp. The accompaniment figures are divided between the various instruments rather than played in a block style.150 The orchestra ends Sub-section 5 with a partial statement of the “Credo” motive.

Heavy accents, syncopation, tutti chorus, and a forte dynamic level begin Sub-section 6. Dissonance returns with the frequent use of tritones in the tenor/bass lines and soprano/alto lines. The writing is very declamatory and in a homophonic texture. Although a soli sextet sings the following phrase, the declamatory style continues. Of interest is the incorporation of a partial “Credo” motive statement found in the soprano line at Rehearsal 19/7. At Rehearsal 20, the full chorus returns in a homophonic texture and intensity builds as the vocal ranges are extended. Likewise, the orchestra’s intensity and momentum builds with crescendo markings and a successive sixteenth note accompaniment.

150 Thomas, 94-95.

114 The second orchestral interlude at Rehearsal 21/1-2 is similar to the interlude from the Gloria. Rhythmically, the orchestra introduces the motivic cell the tenor sings on the text “Crucifixas.” The tenor soloist repeats this motive three times, possibly to signify the Trinity. Meanwhile, a small group of sopranos continue the text in a declamatory style. Every note is strongly accented and clearly establishes the mood of the crucifixion (see Figure 5.32). Thomas suggests the use of the claves in this section symbolizes the sound of the “hammer ringing” during the crucifixion.151

Figure 5.32 – “Crucifixas” motivic cell at Rehearsal 21/3-4.

The brief orchestral transition that follows states part of the “Crucifixas” motivic cell and immediately begins a sixteenth note figure that leads to the ‘resurrection.’ This intensifies the text, “Et ascendit in coelum…” Here we observe octave unisons in a homophonic texture and extended ranges, especially in the soprano and tenor lines. Sub-section 7 concludes with a final statement of the “Crucifixas” motive, and ends quietly with a male chorus.

The final orchestral interlude revisits the complete “Credo” motive, however an additional contrapuntal devise, stretto, is added. The upper strings present the motive in F, while the lower strings overlap the motive in C.

151 Ibid., 98.

115

Figure 5.33 – Piano reduction of “Credo” motive in stretto at Rehearsal 23/5-6.

Walker alternates between solo and full chorus passages in nearly half of Sub-section 8. Dynamic contrasts remain consistent, (i.e. solo passages are soft and full chorus passages are loud). Alternating between solo and full choral passages naturally increases intensity, for listeners anticipate the arrival of a climatic moment. At Rehearsal 25, highly syncopated and accented material is written for the full chorus and orchestra.

The final division (Sub-section 9) reaches the climax to this movement. Walker designates one sentence as the pinnacle of the climax, which translates “…and the life of the world to come.” Perhaps Walker scores the full chorus for these three measures to provide a sense of hope. The vocal writing is homophonic and highly syncopated. The orchestral part is also highly syncopated and the use of tom-toms and cow bells create an African flavor.152 The movement concludes quietly with a 2:2 vocal ratio singing “Amen” in octave unisons.

Sanctus

In De Lerma’s analysis he states, “…the intensity and complexity of the mass tend to relax in this movement.”153 The Sanctus is in ABA form having eight sub-sections.

152 Thomas, 99.

153 De Lerma, 18.

116

Table 5.5 Formal Structure of Sanctus

Division Measures Voicing Text______Orch. Introduction 26/9-13

Sub-section 1 27/1-7 Solo (S) Sanctus

A Sub-section 2 28/1-7 Chorus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua.

Sub-section 3 28/7-29/8 Chorus Hosanna in excelsis.

Sub-section 4 30/1-5 Solo (SATB) Benedictus qui venit in nomine Domini. B Sub-section 5 30/6-10 Solo (T) Benedictus qui venit in nomine Domine.

Orch. Interlude 32/1-7

Sub-section 6 31/4-9 Duet (S/A) Sanctus

A Sub-section 7 32/1-7 Chorus Domine Deus Sabaoth. Pleni sunt coeli et terra gloria tua.

Sub-section 8 32/7-33/6 Chorus Hosanna in excelsis.

117 In the orchestral introduction, the first violin repeats a figure that emphasizes the interval of a minor third. This interval is coupled with the second violin that centers on an E; but varies its approach to the pitch by a half-step or whole-step.

Figure 5.34 – Piano reduction of Sanctus introduction Rehearsal 26/9-10.

Within this introduction, the writer observes a clear sense of symbolism. For illustration, the repeated minor third produces an ethereal quality and symbolizes Heaven. The ‘hovering’ effect produced by the undulating half-steps and whole-steps represent the four living creatures who each having six wings and fly around the throne of God proclaiming “Holy, Holy, Holy.” Finally, the continuous sixteenth note accompaniment represents the living creatures’ never- ending praise to God. This theory is supported by Revelation 4:8-9 which reads:

Each of the four living creatures had six wings and was covered with eyes all around, even under his wings. Day and night they never stop saying: Holy, Holy, Holy, is the Lord God Almighty, who was, and is, and is to come.154

At Sub-section 2, the texture changes and incorporates the brass section and full chorus to symbolize the grandeur of the” Lord God of hosts.” Here the chorus and orchestra have a ‘call- and-response’ relationship whereby the chorus begins by stating the text, “Dominus Deus” and the orchestra answers with short, accented bursts of sound. Displaced intervals of a major second and octave constitute the choral writing of this sub-section. It can be observed within the bass/tenor and alto/soprano lines.

154 The Holy Bible, New International Version (NIV), Revelation 4:8-9.

118

Figure 5.35 – Call and response effect at Rehearsal 28/1-2.

At Sub-section 3 (Rehearsal 29), Thomas discovers melodic material that nearly states the complete “Credo” motive.155 Based upon the fortissimo dynamic level, longer note values, heavy accents, and use of full brass, this sub-section is the climax of the Sanctus.

A complete contrast in texture, dynamics, accompaniment, and tempo occurs within the Benedictus, which is scored for a solo mixed quartet and solo tenor. Section B is highly imitative and utilizes displaced major seconds and octaves. The melodic phrase begins with a grace note, which revisits the “Kyrie” motive. Also observed is the use of diminution at the ends of phrases. To unite this movement with the beginning of the mass, Walker ends Sub-section 4 (Rehearsal 30/5) with a re-voiced “Kyrie” chord. The tenor solo that follows requires a versatile singer who has an extended range, is able to handle displaced intervals, and who has the vocal agility to trill in the middle to upper tessitura.

155 Thomas, 102-103.

119 The return of Section A is very similar to the initial melodic and harmonic material. The introduction remains the same, however texture within the orchestra and chorus often change. The orchestra now provides more harmonic support and increases the level of intensity as the movement ends.

Agnus Dei

The Agnus Dei is the final movement of the mass and is divided into three major sections with five sub-sections. The formal structure of this movement is provided in the following table.

Table 5.6 Formal Structure of Agnus Dei

Divisions Measures Voicing Text______Orch. Introduction 33/7-34/8

Sub-section 1 35/1-8 Solo (S) Agnus Dei, qui tollis A peccata mundi:

Sub-section 2 36/1-6 Duet (T/A) miserere nobis.

Sub-section 3 37/1-5 Duet (S/A) Agnus Dei, qui tollis B peccata mundi:

Sub-section 4 37/6-9 (S/A) miserere nobis.

C Sub-section 5 38/1-7 Solo (S) Dona nobis pacem.

Based upon the phrase analysis, Walker’s approach to the Agnus Dei is different from traditional settings of the movement. He sets only two of the three statements of “Agnus Dei, qui tollis peccata mundi: miserere nobis” before closing with the “Dona nobis pacem.” De Lerma describes this movement as the most tranquil of all where the orchestra provides a stable harmony with a pedal point on B.156

156 De Lerma, 18.

120 The role of the orchestra is significant in this closing movement. Once again Walker uses the orchestra to introduce the melody that will be heard by the voices, and emphasizes the major seventh interval, as blocked in the following figure. Although embedded within lush instrumental harmonies, the Agnus Dei melody, seen circled in the following figure, is very lyrical and presented here in the key of B major.

Figure 5.36 – Piano reduction of Agnus Dei orchestral introduction outlining the melody Rehearsal 33/7-34.

At Rehearsal 35 (Sub-section 1), the melody is scored for a soprano soloist who presents an embellished version in the key of F#. The melodic material observed in the “miserere nobis” (Sub-section 2) is similar to the beginning of the “Kyrie” motive (see Figure 5.14), for it contains grace notes and a descending minor third, as seen in the following figure.

121

Figure 5.37 – Rehearsal 36/1-3.

Sub-section 3 features the soprano soloist who states the melody in Bb. The soprano soloist is accompanied by an alto soloist who presents the melody transposed down a fourth in F and employs diminution.

Figure 5.38 – Transposed Agnus Dei melody with diminution at Rehearsal 37/1-4.

In Sub-section 4, Walker chooses to set the text “miserere nobis” three times. To give a sense of the mood in this sub-section, Walker indicates lacrimosa, which is poetically translated ‘tearfully.’ The first statement is a duet by the soprano and alto soloists. They begin the phrase a minor third apart, but end with a minor second. The second statement calls for a soli octet and the final statement is the first time within this movement that the full chorus is employed. “Dona Nobis Pacem” brings attention to the descending seventh that was first heard in the orchestral introduction. After a second statement of the phrase by the soprano and alto sections, the full chorus closes the movement with the word “Pacem,” which translated means “peace.”

122

Figure 5.39 – Descending seventh interval at Rehearsal 38.

The mass closes without an elaborate or theatrical ending. Overall, the mood of the movement is peaceful and serene. In De Lerma’s article he states, “It was the composer’s intention to give preference to a terse conclusion over an extended coda.”157 This movement continues to focus on the soloists and sparingly uses the orchestral and choral forces. Even the soloists’ material is simple in nature. Within the orchestral parts, Thomas observes that the main melodic ideas are linear and shared between the winds and strings. Therefore, non-imitative writing exists throughout the movement.158 Not only does Walker desire to unify several sections within a movement, but the complete mass setting. By employing devices, such as imitation, motivic cells, grace notes, frequent use of the descending minor third and minor seventh, he is considered a master composer who brings unification to one of his fondest extended works for chorus and orchestra. After an analysis of this mass, the writer feels this work is a major contribution to the choral-orchestral literature. Walker’s Mass should be studied and performed college ensembles to make others aware of and gain an appreciation for the creativity of its composer.

Cantata The Cantata for Soprano, Tenor, Boys Choir, and Chamber Orchestra was commissioned by the Boys Choir of Harlem, New York. The project began in February of 1982 and was completed a few months later in April. The premiere performance was presented in Alice Tully Hall, Lincoln Center, on June 20, 1982 with Joyce Mathis, soprano, Walter Turnbull, tenor, the Boys Choir of Harlem, and the Orchestra of St. Luke’s.159

157 De Lerma, 18.

158 Thomas, 110.

123 The Cantata is a setting of Psalm 23 and four verses of Psalm 24 from the King James Version of the New Testament. Walker states the following about his choice of text: The text was left up to me. I thought, “Can I do this 23rd Psalm.” Well, I held my nose, jumped in the pool, and hoped I wouldn’t sink to the bottom! (laughter) I had certain guidelines determined by Walter Turnbull, director of the Harlem Boys Choir: a work for soprano and tenor soloist, boys choir, and chamber orchestra. After setting the 23rd Psalm, I realized it wasn’t going to be long enough, and then I tried the 24th Psalm.160

The chamber ensemble consists of one flute alternating with alto flute, two oboes, three trumpets, timpani, and strings. A variety of auxiliary percussion instruments is used and includes crotales, triangle, glockenspiel, vibraphone, and suspended cymbals. The work is divided into two parts. The first part is of the Psalm 23 and its structure is provided in the following table.

Table 5.7 Formal Structure of Psalm 23 from Cantata

Division Measures Voicing Text______Orch. Introduction 1-2/1

Sub-section 1 2/1-2/4 Solo (T) The Lord is my shepherd

Sub-section 2 3/1-6 S/A I shall not want.

A Orch. Interlude 4/1-4

Sub-section 3 5/1-4 Solo (S) The Lord is my shepherd

Orch. Interlude 5/4-5

Sub-section 4 6/1-4 S He maketh me to lie down in B green pastures.

Sub-section 5 7/1-5 Solo (T/S) He leadeth me beside the Chorus (S/T) still waters.

159 George Walker, Cantata for Soprano, Tenor, Boys Choir, and Chamber Orchestra (St. Louis: MMB Music, 1982), program notes insert.

160 Walker, interview 5 March, 2005.

124 Table 5.7, Continued

Division Measures Voicing Text______Sub-section 6 8/1-8/4 Chorus (S/T) (Vocal Effects) B Sub-section 7 9/1-2 Solo (T/S) He restoreth my soul

Orch. Interlude 9/3-4

Sub-section 8 9/5-10/6 Full Chorus He leadeth me in the paths of righteousness for his name’s sake.

Sub-section 9 11/1-7 Solo (S/T) Yea though I walk through the valley of the shadow of death,

C Sub-section 10 12/1-5 S/A I will fear no evil for thou art with me thy rod and staff they comfort me.

Sub-section 11 13/1-14/3 Solo (T/S) Thou preparest a table before in the presences of mine enemies. Thou anointest my head with oil, my cup runneth over.

Orch. Interlude 14/3-5

Coda 15/1-16/8 Chorus Surely goodness and mercy shall follow me all the days of my life, and I will dwell in the house of the Lord forever.

The work begins with an introduction by the chamber orchestra that “suggests the pastoral ambiance of the Psalm 23.”161 A primary rhythmic motive, which will be called Motive 1, is heard throughout the introduction and unifies the entire setting.

161 Walker, Cantata, program notes insert.

125

Figure 5.40 – Motive 1 measure 3.

Also observed in the introduction are two additional musical ideas: rapid, florid passages and longer sustained tones. The florid passages are scored for the violins while the woodwinds provide contrast with sustained tones (see Figure 5.41). The alternation of these ideas formulates a pattern of tension and release that is seen throughout this setting of the Psalm. Several key intervals, such as the minor second, major seventh, and tritone, are also prominent in the introduction and are observed in the entire work.

Figure 5.41 – Florid passage followed by sustained tones measures 5-6.

At Sub-section 1, the initial verse is intoned by the tenor soloist. As the Psalm develops, this intonation is heard several times.

Figure 5.42 – Tenor intonation at Rehearsal 2.

Apparent text painting is seen with “I shall not want.” Walker chooses to repeat the words “shall not” several times to reiterate its meaning in the context of the verse.

126

Figure 5.43 – Word painting at Rehearsal 3/3.

Melismatic imitation with syncopated entrances, a Walker compositional trademark, is observed on the word “want.” He adds texture and depth to this imitative section by including the strings on the final entrance. Also note the heavy use of the tritone interval as blocked in the figure.

Figure 5.44 – Piano reduction showing imitation with syncopated entrances at Rehearsal 3/4-6.

The material in the orchestral interlude is very similar to the introduction, and at Sub-section 3, the soprano states an embellished version of the intonation that completes Section A. Section B begins with a strong statement of Motive 1 by the soprano. Other points of interest include the use of vocal speech, melismas, and szforzando accents. The brass answers the accented choral statement in the same style. The tenor soloist begins Sub-section 5 with Motive 1 and repeats the text “he” three times. The writer views this as a ‘call’ and the soprano soloist responds by continuing the line of text “…leadeth me beside the still water.” Walker seizes this opportunity to evoke special vocal effects from the choir to emulate sounds associated with water. His sounds include: undulating whistle-like tones, tongue rolls, and tongue clicks.

127 As these effects are put into context with the musical score, one can hear a flowing stream or babbling brook. At Sub-section 11, the soprano and tenor soloist reverse the call and response order. The soprano repeats the word “yea” twice before the tenor soloist continues the text with melismatic material. Walker also employs vocal effects within this tenor solo. The tenor is instructed to repeat a thirty-second note pattern on the voiced syllable “sh” before singing short vowels to finish the word “shadow.” The solo ends with a dramatic thrust emphasizing the word “death.” These vocal effects set up the next section of the text. A change in texture at Section C incorporates the first full chorus entrance. At Rehearsal 10, Motive 1 is observed in the soprano line; however in the following measures, variations of the motive employ augmentation. The key intervals of a second and tritones are still evident.

Figure 5.45 – Augmentation of Motive 1 Rehearsal 10/1-3

Motive 3 (Rehearsal 12) is associated with death. The instruments play a haunting, secco pattern that repeats throughout the section. Additionally, the basses insert a brief ‘death’ pattern lasting for one measure. In contrast, the soprano soloist boldly states the line “I will fear no evil”

128 using material based upon Motive 1. The rhythmic motive in the orchestra is utilized throughout this sub-section.

Figure 5.46 – Text painting at Rehearsal 12.

A well-crafted contrast occurs at the Coda. Here, a full chorus is utilized and sings in a soft, sostentuto style. This section also has several points of interest to discuss. Walker begins the text “surely goodness and mercy” in F major. The key intervals of the minor second and major seventh are apparent in the vocal and instrumental parts. However, the first solid presence of triadic harmony happens on the word “days.” Additionally, this final verse offers a brief quote from the black spiritual, “Steal Away.” Occasionally, Walker will quote a Negro Spiritual in a way that is very subtle, as heard in his Sonata No. 2 for Violin and as seen in this Coda. He gives the following comments regarding what makes him decide when to quote a spiritual or folk song by saying: It’s a manner of exploring, within you, all the possibilities and absorbing the all the influences making them a part of my stylistic presentation. At some point in a particular work, it occurs to me, “maybe I could introduce this if I can actually get it to work.” You may not recognize this, perhaps, as a work by a Black composer because Black composers don’t always compose in the Black idiom. But if I tell you that in the Second Sonata there is a spiritual, which you would not know, this is my little secret.162

162 Walker, interview 5 March, 2005.

129

Within this appropriate tranquil ending is the interjection of the intonation of the initial verse, first by the tenor soloist at Rehearsal 15/4 and finally by the oboe at Rehearsal 16/3.

Figure 5.47 – Coda outlining melody to “Steal Away” and triadic harmony Rehearsal 15/1-4.

130 Part II of the work is a setting of Psalm 24, verses 7-10. Walker states, “When I looked at it [Psalm 24], I knew I couldn’t set the entire Psalm, so I chose to set only four verses, which enabled the work to be a desirable length.”163 The musical material in the second part is quite powerful for it revels in the glory of God. The text is as follows: Lift up your heads, O ye gates; and be ye lifted up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory? The Lord strong and mighty, the Lord mighty in battle. Selah.164

In comparison to the first movement, this movement is shorter in length and lasts less than three minutes. Part II is in strophic form, with small variances throughout the repeat of the musical material. A phrase analysis is provided in the following table.

Phrase Analysis of Psalm 24 from Cantata Phrase Measures Length Commentary 1 16/9-14 6 measures 2 17/1-18/6 10 End of Strophe 1 Orch. Interlude 18/7-9 3 1 19/1-20/1 6 Contains variances 2 20/1-22/4 12 Contains variances Closing 23/2-4 3

This setting of Psalm 24 produces a dramatic contrast from the peaceful ending of the previous movement. It begins with an explosive statement that is first introduced by the chorus and then imitated by the orchestra. The spirit of the text is enhanced by a declamatory homophonic choral texture, forte dynamic, syncopation, and accented articulation. Although the character of this movement is completely different, Walker unifies the two movements using the key intervals of a minor second and major seventh in the opening statement.

163 Walker, interview 5 March, 2005.

164 Walker, Cantata, program notes insert.

131

Figure 5.48 – Piano reduction of Psalm 48 from Cantata Rehearsal 16/9-10.

Of interest is the prominent use of the organ at the beginning of Phrase 2. Walker, a former organist, frequently uses the instrument for bursts of color or to initiate changes in timbre. In Part II, the organ is a principal instrument and used in several transitions before a new line of text begins. When Walker scores for organ, he is often vague in terms of suggesting registrations; however he overall prefers a brighter registration in order to be heard through the texture. At Rehearsal 17, the soprano soloist states a motivic cell on the text “and the King of glory” that is repeated using augmentation by the chorus. This cell is frequently used in this setting and is often varied. In the accompaniment, the strings provide a change in texture with short melismatic passages. The latter part of the phrase, “shall come in,” is an exact repeat of the intervals found in the opening statement of the movement and employs the full orchestra.

132

Figure 5.49 – Piano reduction of Rehearsal 17.

A double duet occurs at Rehearsal 18 between the soprano and tenor soloists and the flute and oboe. After a brief organ interlude, a homophonic setting on the text “the Lord strong and mighty” begins softly, builds in intensity, and ends at a fortissimo with the text “mighty in battle.” At this point, Walker depicts an actual battle scene within the orchestra using the trumpets, organ, oboe, flute, and strings. During this interlude, one can hear battle calls, sirens, arrow shots, and the chaotic atmosphere associated with a battle.

133 Phrase 3 is an exact repetition of the opening statement. However four measures within the phrase, there is a difference in the rhythm and text. Another variation is Walker’s use of full choral and orchestral forces. Phrase 4 has major changes in texture. The tenor soloist now states motivic cell “and the King of glory” rather than the soprano. Furthermore, this line is repeated by all tenors, altos, and the soprano soloist.

Figure 5.50 – Repetition of motivic cell Rehearsal 20-21.

At Rehearsal 21, an antiphonal effect occurs where all the sopranos and altos ask the question “Who is the King of glory?” followed by a tutti response from the tenors and basses who answers, “The Lord.”

134

Figure 5.51 – Antiphonal effect at Rehearsal 21.

After the completion of another dialogue between the winds at Rehearsal 22, the intensity builds and climaxes at Rehearsal 22/2-4. Walker ends the movement with a single boy soprano chanting “Selah” three times, each decreasing in volume, to bring the work to a tranquil close.

Figure 5.52 – Climax and closing material from vocal score Rehearsal 22/2-23/2.

135 Walker’s reasoning for closing the Cantata with a solo boy soprano on the word Selah is similar to way he chooses to end Canvas. The last statement in both works is simple in nature, yet very direct in its meaning. As previously discussed, the final line in Canvas is translated, “I believe in one God.” Likewise, the final word in Cantata poetically means to pause and reflect upon what has been said. The boy soprano chants “Selah” three times to represent the Trinty. Cantata for Soprano, Tenor, Boys Choir, and Chamber Orchestra was also recorded by Joyce Mathis, Walter Turnbull, the Boys Choir of Harlem and the Orchestra of St. Luke’s in 1994. Warren Wilson was the conductor. Cantata is included on a CD entitled George Walker, A Portrait that was released by Albany Records. The work has been performed with the Boys Choir of Arizona with guest conductor, Walter Turnbull.

136 CHAPTER SIX SUMMARY AND CONCLUSION

Pulitzer Prize winning George Walker has been described as “the quintessential composer-pianist of the 20th and 21st century. In achieving extraordinary success in both composition and performance he has attained a remarkably unique status.”165 This sophisticated African-American gentleman of 82 years has experienced a life time of incredible successes and challenges for the sake of promoting black classical music. Although Walker’s home environment was one without any preconceived notion that he was going to be a musician of some kind, this academically precocious child was a prodigy, and destined for success to become a musical savant. Lillian Mitchell, at Howard University, saw Walker’s potential to develop into a fine pianist and began to cultivate his exceptional talent. He was unmistakably suited for a prestigious career as a concert pianist. His professional career began in 1941 as the first African- American to win the Philadelphia Youth Auditions. Winning this audition afforded Walker the opportunity to perform the Rachmaninoff Third Piano Concerto with Eugene Ormandy and the Philadelphia Orchestra. His prestige continued with his recital debut at Town Hall in New York, which received stunning reviews from music critics. For several years during the 1950s and 1960s, Walker had a successful career as a touring virtuoso in the United States and abroad. Walker is very thankful for his father who financed virtually his entire career as a concert pianist. The writer views Walker as a pianist of the highest caliber. His abilities provided professional, as well as educational, opportunities allowing him to perform in world famous concert halls and earn degrees from distinguished colleges such as Oberlin, the Curtis Institute for Music, and the Eastman School of Music. Walker received two Artist Diplomas at Curtis and was the first African-American to receive a DMA from Eastman. It is for these reasons Walker is considered a pioneering twentieth century African-American musician. Although Walker is first and foremost a pianist, he has a remarkable career as a composer. He was the first ever composer to win a John Witney Hays Fellowship to help finance his second trip to the American Conservatory in Fountainebleau, France in 1957. He

165 George Walker – Composer Pianist, TROY 697 (Albany Records, 2005). Annotation from CD liner notes.

137 spent two years in Paris where he studied composition with Nadia Boulanger. She was the first teacher who affirmed that he was a composer and frequently programmed his music. With such an affirmation, Walker decided to become a full-time composer. During the interview with the writer, Walker was asked to define his compositional style. Surprisingly, Walker finds it impossible to define his own compositional style for the simple reason that he tries not to repeat himself and aims to make each work different. He further elaborates by stating: With the aesthetic that I have tried to pursue, it becomes difficult to define my style in terms of a period. I explore different ideas in constructing a work. For example, Music for 3 is an atonal piece from 1971. It has a completely different sound from Lilacs, which is also atonal. Prayer, an organ work from 1996, is more closely related to my Lyric for Strings (1946) than any other piece. Perhaps the consistent underlying element is ‘economy of means.’ Another element that is not fully comprehended in my music is the use of rhythm. The asymmetrical aspects of some of the earlier works as the Address for Orchestra have been supplanted by a freer, bar-less approach that attempts to achieve a fluidity that negates a consistent pulse. Also, clusters that appear as vertical constructions are more likely to be formed from linear movement in my most recent works. Dissonant relationships are more muted as the result of this technique.166

Overall, Walker has over ninety works for orchestra, chamber orchestra, piano strings, voice, organ, clarinet, guitar, brass, woodwinds, and chorus published by MMB Music in St. Louis, Missouri. His works have been performed by major orchestras in the United States, including the New York Philharmonic and the Boston Symphony who premiered the winning composition for the 1996 Pulitzer Prize in music entitled Lilacs for Voice and Orchestra. On the contrary, it is unfortunate his choral works have not been performed by major choruses in the United States. Since George Walker’s choral works are not as familiar as his more popular and widely performed piano works, orchestral pieces, or solo sonatas, the primary purpose of this study was to analyze and describe his choral works.

After an in-depth investigation and analysis of the composer’s choral works, the writer has discovered several compositional traits that describe Walker’s style. Six musical elements will be addressed.

166 George Walker, E-mail correspondence, 2005.

138 Rhythm – his works appear very intricate and complex. However, a closer observation of his rhythmic language reveals total clarity, which is essential within the ensemble. There are frequent syncopated entrances.

Melody – a high priority in his works and varies from lyrical to disjunct, as it may be passed between several voices.

Harmony – Walker prefers a linear structure. There is typically an avoidance of tertian harmony, except in isolated areas. Walker also composes with a high degree of chromaticism. Moreover, he may incorporate quartal, tonal, atonal, twelve-tone, compound (superimposed) or jazz harmonies within his works. His intervallic content reveals consistent use of the second, fourth, fifth, tritone, and seventh.

Texture – utilizes homophony and counterpoint. Contrapuntally there is extreme use of imitation and canon. These contrapuntal (imitative) sections often contrast homophonic sections to provide textual variety.

Form – is mainly traditional. Most of his works can be grouped into a ternary, strophic, or sonata form. Some works are grouped differently when the musical texture changes from one section to another.

Text – consistently sets them well within a composition. He focuses on clear declamation.

His choral output of thirteen octavos and three extended works represents a portion of this total works. All of his choral works are for mixed ensemble, except for two – Gloria In Memoriam and Give Thanks unto the Lord – which are scored for three part women. The most recognizable trend is Walker’s use of motives that serve in a number of capacities. Some reflect a particular mood, as observed in the somber “Lully” figures from The Bereaved Maid or in the jubilant “Glory” figures from Sing unto the Lord. Motivic material is sometimes observed in the keyboard accompaniments. The most vivid examples are found in O Western Wind from Three Lyrics for Chorus. The piano is specifically used to introduce a

139 dramatic mood with the use of accented octaves or a calming mood as achieved by the “Rain” figure. Walker also uses melismas in his choral works for two reasons: 1) to continue a mood as observed in the “weeping” melisma in The Bereaved Maid and 2) for contrapuntal texture as found in Sing unto the Lord. However, at times a recurring melisma, as seen in O Lord God of Hosts, may be considered motivic material. In Stars and other octavos by Walker, the alternation of homophonic and imitative textures is observed. Walker specifically uses homophonic texture, sometimes seen in unison or two-parts, to emphasize a certain word or line of text. This is observed in the “praise” chords from Praise Ye the Lord. Additionally, this particular setting is an excellent example demonstrating Walker’s mastery incorporating contrapuntal devices. As it relates to extended ranges, Walker treats each vocal part equally. His choral works oftentimes involve dramatic vocal extensions. For example, Stars houses extended ranges in every vocal line and Blow, Blow Thou Winter Wind has extended ranges in the tenor and alto lines. After studying these works, it is evident Walker has a particular keenness for the tenor voice. In many other works, he requires them to sing in the upper tessitura encompassing the high A – C range. Another major component of Walker’s compositional vocabulary is the frequent use of superimposed fourths and/or fifths. This is clearly seen in O Praise the Lord and Blow, Blow Thou Winter Wind. Several key intervals, such as the major/minor second, seventh, and the tritone, are prominent in his choral works. Oftentimes a certain interval, like the major seventh, functions as a unifying device in Give Thanks unto the Lord. The twelve-tone species is also a part of Walker’s compositional tools and is observed in a melodic line from Gloria In Memoriam. Moreover, Walker consistently incorporates syncopated entrances in all his works. These entrances may be in block style, or layered throughout the vocal lines. With this in mind, syncopation and shifting rhythms are highly visible in virtually every choral work and he carefully ensures proper text declamation by frequent shifts in meter. This technique is seen in With This Small Key. Also within this setting is a prime example of text painting. In regards to the accompaniments in Walker’s choral works in general, they can be described a sparse. They usually consist of chords that are sparingly placed in strategic places to

140 support the text. He avoids tertian sound by not employing tertian harmony. Some organ accompaniments, such as Praise Ye the Lord, are highly chromatic, dissonant, and do not necessarily support or determine a tonal center. The investigation of Walker’s choral octavos is comparable to studying a choral etude. His octavos truly demonstrate his compositional facility in composing for the voice. Complex harmonies and rhythms are prevalent throughout the majority of his octavos and are also observed in his extended works. As it relates to Walker’s three extended works, the writer concludes the following: Canvas is structured upon the octatonic scale and contains a vast amount of motivic activity that both heard and seen. Motivic material is produced from the group of three Collections as previously discussed. The material composed within the choral movement avoids triadic harmonies and uses the seven modal scales to meander its way through the C major/minor tonalities. The final movement of Canvas professes a strong sense of hope and comfort from the antagonism and turmoil of this life that was expressed in the Commentary. Walker ends the work with a message to remain steadfast with faith in God despite our societal ills. The large chromatic shift from C to E is quite ingenious. Not only does Walker methodically push the movement from minor to a major tonality, but in doing so, an emotional metamorphosis occurs as the work reaches its most poignant phrase, which is translated “We believe in one God.” The Mass is Walker’s most extensive work for chorus and orchestra. The work requires strong choral and orchestral forces. The orchestral accompaniment varies between a sparse and dense texture that is determined by the text. The first two movements from the Mass, the Kyrie and Gloria, are structured upon motivic material. Walker text paints by having melodic lines go upward when the text speaks of praise or God, and the lines go downward when pleading for mercy. The Credo develops a theme that is structured upon the incipit. This theme is developed throughout the movement by employing harmonic and rhythmic alterations. Text painting is the major component of the Sanctus, and in the Agnus Dei, Walker’s most lyrical melody in the Mass quietly closes the work. The Mass is a major contribution to contemporary choral-orchestral literature and subsequent performances are warranted. Cantata is in two parts and the first is a setting of Psalm 23. There is extensive use of the soprano and tenor soloists in the entire work. Of interest is Walker’s ingenious method of using

141 vocal effects as a means of text painting water. The first part closes with an embedded spiritual in the melody line. The second part is a dramatic setting of four verses within Psalm 24. The form is basically strophic, and contains variances in the repeated material. This part contains text painting, antiphonal singing, and ends quietly with a soloist singing Selah, which poetically means to pause and reflect upon what has been said. Walker’s choral works can be categorized by decades, the 1950s, 1960s, and 1970s. During the 1950s, O Praise the Lord (1953), Stars (1953), and The Three Lyrics for Chorus (1958) were composed. Characteristics of this earlier decade include harmonic stability, in ABA form, and employs tertian harmony. The 1960s introduce the remaining Psalm settings: O Lord God of Hosts (1960), Praise Ye the Lord (1963), Give Thanks unto the Lord (1963), Sing unto the Lord (1963), and the sacred Latin setting of Gloria In Memoriam (1963). This decade involves more harmonic and intervallic dissonance, frequent use of the major/minor second and major seventh, non-tertian harmony, high chromaticism and syncopation, variations in the texture of the choral parts, and encompasses contrapuntal techniques such as augmentation and melodic inversion. From the 1970s are Blow, Blow Thou Winter Wind (1971), A Babe is Born (1975), and With This Small Key (1975). This era contains Walker’s most difficult choral works. When tonal centers are distinguishable, they are closely followed by highly dissonant transitional measures having minor second, major seventh and compound intervals. The music of this decade has a tremendous amount of meter shifts, extended vocal ranges, heavy chromaticism, atonality, incorporates modal jazz chords, and heavier use of contrapuntal techniques. In the writer’s opinion, Walker’s Mass (1979) does not appear as dissonant but consonant, and it is definitely not atonal. The characteristics of this work, for the most part, fit more within the realm of the 1960s. Part I of Cantata (1982) is very similar to his style in the 1970s. For example, Cantata contains atonal harmony, heavy chromaticism, and intervals of a minor second and major seventh. The Coda of Part I is very tonal and is similar to the style in the 1960s. Part II of Cantata continues in the style of the 1960s. Canvas (2000) incorporates characteristics from all the decades. The low brass provides harmonic stability with pedal points. However, the choir presents tertian harmony, harmonic/intervallic dissonance, and modal jazz chords. After reviewing Walker’s octavos, a clear shift in compositional trends is observed over the three decades. That is not necessarily the case for his extended works. Even though Walker

142 tries not to repeat himself, his style characteristics within a certain decade remains fairly consistent. As evident from the descriptive analysis, it can be concluded that Walker’s music is not a collage of modern styles. His music has its own unique voice. This analysis of George Walker’s choral output serves to help familiarize and describe his musical works. It is hoped that the detail of the analysis will help conductors, teachers, and performers to become acquainted with his life, choral works, and compositional style. It is also hoped that Walker’s musical journey will provide insight, encouragement, and determination for other musicians. George Walker has fused classical, modern, popular, and folk materials into a challenging yet expressive language that speaks directly to the listener. He can be seen as the quintessentially American composer, able to draw from any cultural tradition and to make innovations in the Western musical tradition that he has mastered.167

167 Floyd, 1174.

143

APPENDIX A

CATALOGUE OF WORKS

144 INSTRUMENTAL SOLOS

Violin

Sonata No.1 for Violin and Piano 1958 St. Louis: MMB Music Sonata No. 2 for Violin and Piano 1975 St. Louis: MMB Music

Viola Viola Sonata 1989 St. Louis: MMB Music

Cello Sonata for Cello and Piano 1957 St. Louis: MMB Music

Clarinet Five Fancies for Clarinet and Piano Four Hands 1974 St. Louis: MMB Music “Perimeters for Clarinet and Piano” 1966 St. Louis: MMB Music

Piano “Bauble.” 1979 St. Louis: MMB Music “Guido’s Hand” 1986 St. Louis: MMB Music Prelude and Caprice 1945 St. Louis: MMB Music Sonata No. 1 for Piano 1953/91* St. Louis: MMB Music Sonata No. 2 for Piano 1956 St. Louis: MMB Music Sonata No. 3 for Piano 1975/94 St. Louis: MMB Music Sonata No. 4 for Piano 1984 St. Louis: MMB Music Sonata No. 5 for Piano 2003 St. Louis: MMB Music “Spatials: Variations for Piano” 1961 St. Louis: MMB Music “Spektra” 1971 St. Louis: MMB Music

* = revision date

145 Two Pianos “Music for Two Pianos” 1985 St. Louis: MMB Music Sonata for Two Pianos 1956 St. Louis: MMB Music

Organ Spires 1998 St. Louis: MMB Music Three Pieces for Organ 1960s St. Louis: MMB Music Two Pieces for Organ 1997 St. Louis: MMB Music

SMALL INSTRUMENTAL ENSEMBLE Strings “Music for 3” (violin, cello, and piano) 1970/94 St. Louis: MMB Music String Quartet No. 1 1946 St. Louis: MMB Music String Quartet No. 2 1967 St. Louis: MMB Music

Woodwinds “Wind Set” for woodwind quintet 1999 St. Louis: MMB Music

Brass “Music for Brass (Sacred and Profane)” 1975 St. Louis: MMB Music

Wind Symphony Canvas 2000 St. Louis: MMB Music

CHAMBER ORCHESTRA Abu 2003 St. Louis: MMB Music Antiphonys for Chamber Orchestra 1968 St. Louis: MMB Music Lyric for Strings 1946/90 St. Louis: MMB Music Modus 1998 St. Louis: MMB Music Orphesus for Chamber Orchestra 1994 St. Louis: MMB Music Serenata for Chamber Orchestra 1983 St. Louis: MMB Music

146 ORCHESTRA Address for Orchestra 1959/91 St. Louis: MMB Music An Eastman Overture 1983 St. Louis: MMB Music Folk Songs for Orchestra 1974/90/92 St. Louis: MMB Music Icarus in Orbit 2003 St. Louis: MMB Music In Praise of Folly Overture 1980 St. Louis: MMB Music Pageant and Proclamation 1997 St. Louis: MMB Music Sinfonia No. 1 for Orchestra 1984 St. Louis: MMB Music Sinfonia No. 2 for Orchestra 1990 St. Louis: MMB Music Sinfonia No. 3 for Orchestra 2002 St. Louis: MMB Music Tangents for Chamber Orchestra 1999 St. Louis: MMB Music Variations for Orchestra 1971 St. Louis: MMB Music

ORCHESTRA (CHAMBER OR FULL) WITH SOLOISTS OR CHORUS Cantata for Soprano, Tenor, Boys Choir, and Orch. 1982 St. Louis: MMB Music Cello Concerto 1982 St. Louis: MMB Music Concerto for Piano and Orchestra 1975 St. Louis: MMB Music Concerto for Trombone and Orchestra 1957 St. Louis: MMB Music Concerto for Violin and Orchestra 1984 St. Louis: MMB Music Dialogus for Cello and Orchestra 1976/96 St. Louis: MMB Music Lilacs for Soprano or Tenor and Orchestra 1995 St. Louis: MMB Music Mass for SATB soloists, Chorus, and Orchestra 1979 St. Louis: MMB Music Poem for Soprano and Chamber Ensemble 1986 St. Louis: MMB Music Poème for Violin and Orchestra 1989/91 St. Louis: MMB Music

SOLO VOICE “And Wilt Thou Leave me Thus” (baritone) 2002 St. Louis: MMB Music “The Bereaved Maid” (medium voice) 1953 St. Louis: MMB Music Emily Dickinson Songs (high voice) 1982 St. Louis: MMB Music “Hey Nonny No” (medium voice) 1975 St. Louis: MMB Music “I Went to Heaven” (high voice) 1953 St. Louis: MMB Music

147 SOLO VOICE CONTINUED “Lament” (medium voice) 1971 St. Louis: MMB Music “Leaving” (medium voice) 1994 St. Louis: MMB Music “A Red, Red Rose” (medium voice) 1971 St. Louis: MMB Music “Response” (medium voice) 1941 St. Louis: MMB Music “So We’ll Go No More A-Rovin (medium voice) 1971 St. Louis: MMB Music “Softly, Blow Lightly” 1998 St. Louis: MMB Music “Sweet, Let Me Go” (high voice) 1954 St. Louis: MMB Music Three Songs (high voice) 1992 St. Louis: MMB Music Three Spirituals for Voice and Piano (medium) 1992 St. Louis: MMB Music “With Rue My Heart is Laden” (medium voice) 1953 St. Louis: MMB Music

CHORAL MUSIC “A Babe is Born” (SATB) 1975 St. Louis: MMB Music “Blow, Blow Thou Winter Wind” (SATB) 1971 St. Louis: MMB Music “Give Thanks Unto the Lord” (SSA with organ) 1963 St. Louis: MMB Music “Gloria In Memoriam” (SSA with organ) 1963 St. Louis: MMB Music “O Lord God of Hosts” (SATB with organ) 1960 St. Louis: MMB Music “O Praise the Lord” (SATB) 1953 St. Louis: MMB Music “Praise Ye the Lord” (SATB with organ) 1963 St. Louis: MMB Music “Sing Unto the Lord” (SATB) 1963 St. Louis: MMB Music Three Lyrics for Chorus (SATB with piano) 1958 St. Louis: MMB Music “Stars” (SATB) 1953 St. Louis: MMB Music “With This Small Key” (SATB) 1975 St. Louis: MMB Music

148

APPENDIX B

A SELECTIVE LIST OF COMMISSIONS, HONORS AND AWARDS

149 COMMISSIONS 1972 National Endowment of the Arts 1974 Atlanta Symphony 1974 National Endowment of the Arts 1974 David Ensemble Five Fancies for Clarinet and Piano Four Hands 1975 Leon Bates Piano Sonata No. 3 1975 Hans Kindler Foundation 1976 Cleveland Orchestra Dialogus for Cello and Orchestra 1976 Maryland Piano International Competition Bauble 1979 Kennedy Center for the Performing Arts Violin Sonata No. 2 1982 Fisk University 1982 The Boys Choir of Harlem Cantata 1982 New York Philharmonic Cello Concerto 1983 Michigan Chamber Orchestra 1983 Eastman School of Music An Eastman Overture 1986 Affiliate Artists and Xerox Guido’s Hand 1994 Cleveland Chamber Symphony Orpheus 1995 Boston Symphony Lilacs for Voice and Orchestra 1996 American Guild of Organists Spires 1997 New Jersey Symphony Pageant and Proclamation 1998 Mary Flagler Cary Charitable Trust Modus 1999 Columbia Pro Musica Chamber Orchestra Tangents 1999 New Jersey Chamber Music Society Wind Set 2001 College Band Directors National Assoc. Canvas

150 HONORS AND AWARDS

1941 Philadelphia Youth Auditions, winner 1941 Pi Kappa Lambda 1957 Fulbright Fellowship 1958 John Hay Whitney Fellowship, first ever awarded to a composer 1961 Religious Arts Festival Award 1961 Eastman School of Music, Alumni Citation 1963 Bok Foundation, grant for European concerts 1963 Carnegie Mellon Institute 1963 Harvey Gaul Prize 1963 Federic Chopin Society, honorary member 1966-1969 MacDowell Colony Fellowships, summers 1967/1968 Bennington Composers Conference Fellowship 1967 Rhea A. Soslund Chamber Music Award, Honorable Mention 1968 University of Colorado Grant 1969/1988 Guggenheim Fellowship 1969 Yaddo Fellowship 1969-1974 Rutgers University Research Council Grant 1971/1974 Rockefeller Fellowship 1971/1975 National Endowment of the Arts Grant 1975 University of Delaware, first Minority Distinguished Chair 1978/1984 National Endowment of the Arts Grant 1982 American Academy and Institute of Arts and Letters 1982 Lafayette College, honorary doctorate 1983 Oberlin College, honorary doctorate 1988/1998 Koussevitzky Award 1990/1993 New Jersey Council for the Arts Grant 1996 Pulitzer Prize for Music 1996 University of Rochester, Distinguished Scholar medal 1997 Curtis Institute, honorary doctorate 1997 Montclair State University, honorary doctorate

151 1997 Bloomfield College, honorary doctorate 1997 Proclamation of June 17th as “George Walker Day” in Washington D.C. 1998 Lancaster Symphony, Composers Award 1998 American Music Center, Letter of Distinction 1999 American Academy of Arts and Letters, induction 2000 American Classical Music Hall of Fame, induction 2000 Harlem School of the Arts, Dorothy Maynor Outstanding Arts Citizen Award 2001 Spelman College, honorary doctorate 2001 Detroit Symphony, Classical Roots Award for lifetime achievement in American music 2002 Delaware Symphony, A.I. Dupont Award 2003 Washington D.C. Music Hall of Fame, induction 2005 Ebb and Flow Arts, honorary President (Maui, Hawaii)

152

APPENDIX C

TRANSCRIPT OF INTERVIEW WITH GEORGE WALKER

153 An Interview with George Walker

This interview was conducted on March 4, 2005 at Dr. Walker’s residence in Montclair, New Jersey. Walker had just returned from the William Levi Dawson Celebration at Emory University in Atlanta, Georgia where he participated in panel discussions and attended a performance that included his Poeme for Soprano and Chamber Ensemble.

Jeffery Ames: I understand that music was always a part of your childhood experience. Could you describe what your home environment was like and the musical influence your parents had upon you and your sister as young children.

George Walker: My father was a physician and my mother was a housewife. Both my mother and father loved music and at that time we were exposed to what they called ‘good music.’ Good music meant Bach, Beethoven, Chopin but not jazz. My mother had a lovely lyric voice and she liked to sing songs around the house occasionally. Earlier people stated I came from a musical family and that’s a mistake because neither one of my parents played an instrument. My mother could read music, initiated lessons that I had with a wonderful lady who used to come to our neighborhood and teach children in their homes, and she supervised my first piano lessons. The summer before I turned five, I remember there being a piano in our house. Since I had the annoying habit of going to the piano and banging on it, my mother thought she could occupy my time during the long, hot, sticky, summer months by studying piano. So I began with this wonderful lady whose name was “Miss Mary Henry.” A tiny little lady, with a raspy voice, and an extraordinary twinkle in her eye. So this environment was one without any preconceived notion that I was going to be a musician of some kind. I simply continued to take piano lessons.

After 4-5 years both my mother and my teacher realized that my teacher could not teach me any longer. This was a terrible time to decide what to do at that point. When we learned that Howard University had a preparatory department, it was called a junior department, you could enroll to get two half-hours lessons a week and one class on Saturday. So, this was my last year of junior high school and lasted my two years in high school. My father picked me up in junior high school and in high school for my piano lessons. This man was a physician…never missed, never was late that entire period. I mean he picked me up to drive me 2.5 miles to high school, wait in the car till I came out, drive me out to my music lessons at Howard University and then wait in the car for another forty-five – fifty minutes until my lessons was over and then drive me home…for years.

But people ask about my early influences. My parents didn’t know anything about music. I was very fortunate to have Lillian Mitchell, my teacher at Howard University who saw my potential and who gave me some of the repertoire that made me aware of what the piano literature consisted of. So in my first public recital, I played Bach, Beethoven, Chopin, and Debussy.

As I said, I started piano at five, my sister started at four and a half.

154 Ames: And your sister’s name?

Walker: Frances.

Ames: She’s also a pianist correct?

Walker: A very fine pianist. She taught at Oberlin for about fifteen years. And when she graduated, she came the year after I left and still lives in Oberlin. She had a very unfortunate experience of having been burned at the age of five. But she overcame that despite the scars are still there.

Ames: During your childhood, did other families of the black and white persuasion find it strange for black children to be involved in the arts?

Walker: This was not uncommon for children to study piano in Washington DC. Everybody, everybody…the poor and middle class had a piano in their home and parents made their children take lessons; and it was always classical music. This is what I’ve always tried to make clear. This taught us what was good, what was proper, what was desirable, what was cultured, and what was not cultured. This obviously was something that was peculiar and particular to Washington DC.

Jazz, just like we know, was an off-colored remark. As I was explaining my talk yesterday at a Black Music Festival in Atlanta, you have probably seen these statements about the Washington DC that Ellington knew. I knew the places where he went to hear music called the Howard Theater and you wouldn’t be caught dead going to the Howard Theater.

I didn’t even know where the jazz speak-ezzies were. Signs were posted everywhere about jazz performers and performances, and we’d walk by them everyday but never go in. Never go in. The other aspect was the fact that we could recognize jazz as music for dancing, not music for listening. But for my parents they went to the jazz clubs, even though neither one of them knew how to dance. This whole idea of music being a cultural necessity wasn’t a veneer. It was something that was viewed as essential for being a person who has a certain intellectual orientation, a person to has a certain cultural orientation, and a person to respect.

Ames: Your father had a prestigious career as a practicing physician. Was there an embedded expectation to go to college and have a successful career?

Walker: Nobody knew I was going to be a musician! I was just studying piano. In fact, when they [my parents] discovered that I was academically precocious, I skipped two years of high school and graduated when I was just fourteen. The question was now, “what are you going to major in college?” I said, “Well maybe I ought to take pre-med.” My parents said, “We just want you to be a person of good character. Whatever you do, do it well.” So I decided before I played my first public recital at Howard University when I was fourteen that I was going to major in music at college.

155 Ames: Were you familiar with other black professionals, mainly music, and if so, what impact did they have upon you?

Walker: Yes. At Howard University there were important people teaching there who were related to the political environment. Todd Duncan was teaching there when he was chosen to do Porgy and Bess. In my church, there was a woman who directed the choir by the name of Willamenia Patterson whose brother was the President of Tuskegee. I then became acquainted with the name William Dawson. One summer when I was the organist for the junior choir, Nathaniel Dett came to see her [Willamenia Patterson] and she introduced me to him. Nathaniel Dett, of course, was one of two prominent composers connected with Oberlin. I had friends that studied piano, I had friends that studied violin and I would play for them. But I didn’t have any kind of musical connection with anybody. It may seem strange.

My piano teacher at Howard suggested to my mother that I should be allowed to go hear Roland Hayes. My mother just adored Roland Hayes, his voice and even what he stood for as a person…he didn’t smoke and always took care of his voice. I met him very briefly and I wasn’t able to establish a specific connection. I don’t really remember if he said anything to me, I was about twelve or thirteen. When I was asked to compose a work for the Boston Symphony, I included a quote from “Little Boy How Old Are You,” which was Hayes’ signature song.

These people [Duncan, Dawson, Dett, and Hayes] really weren’t ‘connections’ in terms of musical influences

Ames: While in high school, you studied piano at Howard University SOM preparatory division. What made you decide to attend Oberlin for your music degree rather than continuing at Howard?

Walker: My teacher at Howard University, who had prepared me for my recital, began to suggest two things: I would be offered a four-year scholarship at Howard University or the possibility of going to Oberlin College. Well, I immediately ruled out four years at Howard University because even then at the age of fourteen, I was considered a better pianist than the seniors and besides, I wanted to go away for college and live in the dormitory. Principally, it appeared I had literally outgrown Howard University, even though I didn’t have a lot of theory.

I requested a catalogue from Harvard and when I found out that they didn’t offer instrumental music, I immediately ruled out Harvard because I wanted to study piano. My interests were not at all concentrated in music and that enabled, actually, to persuade the admissions officer who came down to see who I was and to talk with my family about Oberlin. While the admissions officer and my parents were talking, my mother said I was only fourteen and you could see the look [of disbelief] in this man’s eye. (laughter)

I liked sports and had interest in the football team and tennis was very big for me then. So, the idea of going away for college, Oberlin was the ideal place. I could live in the dormitory, I could study music, and I could be a part of the athletic teams…I played freshman tennis.

156 I played piano for my church. I was asked to be the pianist for the Sunday School. I would sight-read two or three hymns before the kids would go off to their classes. There was only an upright piano and I would try to get the maximum sonority by doubling the bass. (laughter) I think it was my teacher who suggested I should apply for a scholarship at Oberlin. The summer before I started in the fall, my father, who hated to drive, drove the family to the conservatory to meet with the Dean. The Dean asked me to play and then he gave me a hymn to sight-read and I had to remind myself not to double the bass. (laughter) This was too easy. It was that one audition, because no one had tested my ears, that I found out I had perfect pitch.

Ames: Likewise, what influenced your decision to attend the Curtis Institute? I understand you were the first black graduate at that institution. Where there other black students or teachers? What was the climate like at the school during that time?

Walker: When I was in high school, my music teacher would take us to concerts that were part of the university’s concert series. They would have a few pianists from Julliard come down and play. I wasn’t terribly impressed. So, when I had to decide where I was going after Oberlin, I certainly didn’t want to teach and my mother was a strong advocate by saying, “you have to get a Master’s degree,” I would have to go some place. I immediately ruled out Julliard. Somehow I heard about Curtis and remembered their small white catalogue. Inscribed on the first pages was something about “continuing the tradition of great artists.” I knew that’s the place where I wanted to go.

Rudolph Serkin came to play on our concert series; we [Oberlin] had a fantastic concert series. This is [performing] what was most important to me. It’s not like the concert series at Oberlin now where they bring in some jazz group. I had the privilege of hearing some great artists.

On the afternoon of Serkin’s recital, I was on my way to dinner and heard music playing in the chapel. I quietly opened the door and stood behind a pillar about one-third of the way into the hall. I couldn’t see too well, so I stepped in front of the pillar. After about ten minutes, Serkin looked around and saw me. By this time another fellow had come in and we were both standing there. For some reason Serkin said, “Can anyone come up and play so I can hear how the hall sounds.” So the other fellow nudges me and I go up and play. I was studying the Brahms Paginini Variations and I had forgotten he [Serkin] was playing the Listz Paginini Variations. (laughter)

After the concert I went back stage and told him I had applied at Curtis. And he said something like, “I’ll have a chance to see you there.” I went for my audition and by the time my father and I got home, we found out I had been accepted by Serkin. That very day! And it says very specifically in the catalogue, “Please do not expect to be notified until we mail you the results of your audition. (laughter)

After a month at Curtis, I talked with a lot of students who were studying composition; and I thought, I would like to study composition because it’s boring practicing five hours a day. Most of the classes were not taken seriously because everyone knew the most important thing was to have a good lesson. So I asked the secretary at the school if I could submit two works to Rosario Scalero and he accepted me.

157

Ames: What about other Black students at Curtis?

Walker: When I arrived at Curtis, there was Muriel Smith, a mezzo soprano, who was there for a year. The year I started, there was a violist named Romain Brown who had been accepted as a fellow. Muriel dropped out after a few years to do the show Carmen Jones. She came back to finish her degree when the show closed. Romain Brown only lasted a year.

Ames: Do you remember how it felt to attend major SOM’s in the country at the ages of 14 and 18? Furthermore, winning the Philadelphia Youth Auditions affording you the opportunity to perform the Rachmanioff Third Piano Concerto with Ormandy and the Philadelphia Orchestra?

Walker: It was quite different at 18 than 14 because at 18 I felt like the ‘old pianist.’ At 14 it was different. I remember attending freshman week/orientation at Oberlin; Oberlin was a very small town and had a small Black population. I was standing on the corner waiting to cross the street. I had on my beanie cap and this Black woman comes up and says, “Ehh…boy, how old are you?” (laughter) But I never had a greater time in my life. The one thing I regret is not being able to get a single room in my dormitory.

Winning the Philadelphia Youth Auditions and performing with Ormandy was a very unusual experience. I don’t believe I have spoken to anyone about this. After my first year, there was a girl who came to Oberlin who was born in Lithuania and spent many years in a concentration camp. We became good friends and her name was Esther. After her first year, my third year, she started telling me about being at some type of summer camp as a pianist where she studied with William Kappel, the American pianist at the time. He had established a good relationship with a number of conductors and had become very close with Ormandy. When I had my audition, I was judged by Kappel and Ormandy. A few weeks after returning to Washington DC, I received a letter stating I had won the audition. And I know that Esther had talked to Kappel about me.

I played the Rachmaninoff Third Piano Concerto with Ormandy before virtually any American pianist. Not only that, I played the complete version. The version that was recorded by Rachmaninoff and Horowitz contained cuts because at the time they were on 78s. Even Horowitz claimed that Rachmaninoff agreed to the cuts that he took.

Ames: And you performed the uncut version?

Walker: Yes. We did a rehearsal of the entire concerto that morning and I played the performance that night.

Ames: You were also the first black to receive a DMA from Eastman. What was the climate like at that institution?

Walker: Well for me, it was an enormous relief because it was the lowest point of my life. My father died and my mother was ill. I received a graduate scholarship to start in the fall. But because my father died, I had to ask them if I could start in the middle of the year. I had

158 intended to attend school year round. But a week after the summer program started, I received a telegram saying my mother was very ill. I had to leave and didn’t come back until the fall. Yet, I finished the whole program in one year. I did everything that was required: three full piano recital programs, two chamber programs, and a lecture. Additionally, I played the Brahms’ Second Piano Concerto with the Baltimore Symphony and had a work done at the Eastman Festival. Since I finished in the middle of the year, I asked if I could stay and continue my fellowship in opera coaching.

After my second full year, Howard Hanson, who designed the DMA degree, required doctoral students to take another course using the text that he wrote. Since this was a performing degree, writing a dissertation was not required but we could compose a piece. So, I decided to write my Second Piano Sonata incorporating the things he stressed in his book…therefore the second sonata is tertian.

Ames: What opportunities and persons do you feel launched your career as a concert pianist?

Walker: My career was actually launched by Mr. & Mrs. Efrem Zimbalist at Curtis because they paid the way for my debut at Town Hall in New York. They are totally responsible for that. It was very unusual because this was not the result of any kind of reward or for being an outstanding student. According to what Serkin told me, they [the Zimbalist’s] wanted to do something for me. They did everything…arranged for the hall, did the publicity, photos, etc.

Ames: Did you feel you were supported by Serkin?

Walker: No. He never discussed what I was going to play or anything about the debut. It was very disappointing experience in a number of respects. I was clearly the best pianist at Curtis and the best of his student’s at that time. There were two other pianist who had major careers [Eugene] Istomin and [Seymour] Lipkin. Istomin left Curtis to perform in a chamber ensemble established by Adolph Busch, Serkin’s father-in-law. Istomin came back to Eastman and Serkin was able to establish a relationship with him and did absolutely nothing for me! The thing that hurt most was when I auditioned for a major competition; he was on the jury and didn’t vote for me. I’ve never forgiven him. Even the last time I saw him, which was in 1975, he came up, gave a big hug and said “I’ve heard so much about your compositions.” I said, “Oh really, you know I was your piano student. I was the one whose review about the New York recital was sensational.” Inexplicable…inexplicable!

I arranged for my sister to play for him and he accepted her. He never told her anything about how he felt about her playing and then he cut her off after a year, which upset my father enormously. My father wrote him a letter and people misinterpreted the letter inclining my father had threatened his family because shortly thereafter, he had a son die during childbirth. My sister actually ‘came to terms’ with him because he came back to Oberlin and she told me they hugged and made up. I could never quite forgive him.

At that time in my life, I never played badly. I’ve always known whether in an exam or competition, I did exactly what I wanted to do and there was no question about my audition. In fact with one competition, they were posting the names of those who were moving on to the next

159 audition. I wondered why I didn’t see my name there. I found out that Adolph Busch and Serkin were the judges. Serkin told me, “Adolph said he had never heard the Schubert played so beautifully.”

Ames: I can understand how that can be very disappointing.

Walker: Very disappointing because I was his student and he knew what I had done.

Ames: Were there other Black pianist touring here and abroad during the time you were on the circuit?

Walker: No. Hazel Harrison was a Black pianist who had a career in Europe, but she wasn’t playing during my time.

Ames: As the first black to be signed by a major concert management agency, was it a tedious process?

Walker: Yes. There were only two major concert management agencies at the time, National Concert Artists and Columbia, and they couldn’t embrace the idea of a Black concert pianist playing for essentially white audiences. So often I would hear from Columbia, “we were very impressed with your performance but we want you to come back and play for us again.” I would come back and play another terrific audition to get the same response. This went on for five years. The last Columbia audition I had was arranged by Leonard DePaur. He had come to my first New York recital and I said, “Leonard can you get me another audition?”

Now with National Concert Artists, I didn’t even have to play an audition. One of my friends spoke to management about me and they accepted me. But even after being with National Concert Artists for three years, I played less than ten concerts total than my friends who were getting thirty concerts a year. My father had said to me some years earlier that I would not be recognized here as a Black concert pianist and that he ought to go to Europe.

Through National Concert Artists, they arranged for seven recitals in Europe. The results were phenomenal in terms of the reviews and audience response. I started in Sweden, came back to Denmark, Holland, Germany, Italy, Switzerland, and England. I came back to the States and it didn’t change anything! I ended up without a contract from National Concert Artists. And then something strange happened. A man by the name of Shaw, who used to be with Columbia, started his own concert agency called Shaw Concerts. In fact, Horowitz started out with Columbia and then went to Shaw. I had this first contract with Shaw before I started teaching and was scheduled to play concerts. After a year, I decided to teach full-time.

Ames: Was it ever a personal goal to receive a Pulitzer Prize for music? What was the process?

Walker: Winning it in ’96 was not the first time I had applied. I really didn’t know about prizes and competitions, or even ASCAP until ’65 or ’66. The Pulitzer is such an open prize and people don’t understand it. Anybody, whether you’ve written anything before or not, can fill out

160 the form, submit the fee, a recording, and something that resembles a manuscript, and that’s it. My youngest son, Ian, sent in the information for the Pulitzer.

Ames: Did you set out to become a pioneering black musician in so many different ways to raise an awareness of the capabilities black musicians exemplify?

Walker: No. To me, I just wanted to be a concert pianist. There weren’t any Black concert pianists at the time. I just knew that I loved the literature and it was what I wanted to do. I had one semester of composition at Oberlin. At Curtis, Scalero taught theory, which consisted of counterpoint, harmony, writing motets, chorale and preludes. That’s not composition as it’s taught now. I went to Boulanger, and she was the first to say, “You are a composer.”

In terms of pioneering, I didn’t even know any Black composers. It wasn’t until 1968 that we all became aware of other Black composers. I met TJ [Anderson] for the first time when I play a concert at Tennessee State when he was there. When I went to Europe and played in Italy, I made a point to see Rome because Ulysses Kay was at the academy and wanted to meet him. TJ had given me a cassette of his music. My first success was playing Juba Dance by Dett when I was ten years old. And when I played it in high school, I was a celebrity. But to think of being a pioneer, I was just doing what I wanted to do.

As I talked about in Atlanta a few days ago, Black composers are often lumped together. Why should we be lumped together? Each one of us is different and has had separate careers; we’re not all related. So to me, it’s a little offensive that in order to get recognition we have to be lumped together. I can’t tell you the number of times I’ve been interviewed and the person will say, “Now there are other Black composers...” Why lump us all together? It’s not that I want to disassociate myself from them, but everyone is different.

Ames: Have your prestigious milestones changed your life as an individual or as a musician?

Walker: No, not really. I’ve learned as a pianist one success doesn’t lead to another success, or one commission doesn’t lead to another commission. I think over a period of time, the awareness of what you’ve done may in fact make it possible to get another opportunity, and any of my commissions are basically opportunities. There is such a stretch of time before something happens.

Two years after receiving the Pulitzer I didn’t have a commission. Then last year, I had two commissions. Now all of a sudden when I wasn’t thinking about commissions because I’ve started on my own orchestral piece, I get a commission to write a work for the 100th anniversary of the Las Vegas Philharmonic and a commission from Eastman. So, if one is patient, I guess, and resigned to the fact that things don’t happen in the kind of immediacy or sequential time span that one expects, things, more or less, do happen.

161 Composition

Ames: Since the American Conservatory at Fountainebleau was founded, many young American composers, including you, had an opportunity to study composition with Nadia Boulanger. What impact did her tutelage have upon your composing career?

Walker: She was the first person to recognize and support me as a composer. I was at Fontainebleau for the first time in 1947. Hanson never said a word to me after the Second Piano Sonata. It was a tremendous success. The only thing I heard from Scalero was from his brother- in-law who said I had written the best canons than any student he ever had.

Ames: But he never told you this directly?

Walker: No.

Ames: Somewhat similar to Serkin’s reactions?

Walker: Yes, the same.

I didn’t take anything ‘big’ out to Boulanger. The first thing I showed her were my songs. This one song, The Bereaved Maid, she said was a masterpiece. After that I showed her my First and Second Piano Sonatas. She liked my First Piano Sonata so much she programmed it in Paris and then arranged for me to get a scholarship to go to Fontainebleau in the summer, and programmed the First Sonata there in Fontainebleau. She sent, using her own money, the First Piano Sonata to the Lili Boulanger competition.

Ames: Do you feel your professional performing career as a concert pianist has influenced your compositional style?

Walker: No. When I started teaching, many people wrote me off the charts as a concert pianist. (laughter) I remember in Eileen Southern’s book Music of Black Americans she listed me first and foremost as a pianist. At Smith [College] and [University of] Colorado I played a few concerts, but then I was not very healthy. So, I chose not to make a point about being a concert pianist.

Ames: Is it possible to define your compositional style?

Walker: No. I really try not to repeat myself. I try to make each work different.

Ames: Some composers hear musical ideas in their heads and then transcribe their thoughts, others compose at the piano. What is your process of beginning a new work?

Walker: I do a little of everything. Finding a beginning idea is essentially in my head. I do depend upon the piano to a certain extent because I want to make certain that what I want to put down is accurate. The intervallic relationships have a certain capacity to be suggested. So it’s

162 very important to have the exact interval and rhythm. Then it’s trying out different dispositions of those intervals, which I can do quite well in my head.

Ames: Where do your ideas or inspiration come from?

Walker: I have to work it. I have to determine what the initial character of a work should be and then determine how the work should be intervallically and rhythmically. It means taking a few notes and re-shaping them. It’s the process of ‘finding,’ which is the word Boulanger liked to use. Finding something does not occur on a consistent basis. It’s only happened a few times in my life.

Ames: You mentioned ‘finding something.’ Is this like inspiration?

Walker: I don’t like the word inspiration. From my perspective, it’s misleading. I don’t really feel compelled to write. I really don’t know what inspiration is. It’s something I don’t get from someone else, what they did, or what they said. To me it’s a choice and what’s involved is [one’s] will. I have to will myself into that state in which to compose.

Ames: Many other contemporary composers have dedicated their careers to arranging spirituals and folksongs. On the other hand, you occasionally will quote a Negro spiritual in a way that is very subtle (Sonata #2 for Violin, Part I Cantata). What made you decide to become a composer of the western European tradition rather than strictly an arranger of spirituals and folk songs?

Walker: This is a very intriguing question. Being aware of Still’s Negro Symphony, Dawson’s spirituals, the idiom, and my own background I wanted to make a contribution in a wider sense than having a connection with the style of the spiritual. Those possibilities could only come from understanding the Western tradition rather than trying to connect myself to something that has limitations. It’s limited from an expressive point of view.

Another aspect I must have considered my respect writing for the piano and my awareness of wanting to compose pieces with some substance, not just small, short character pieces. Then there is the personal aspect. It [spirituals or folk songs] was very personal for Still and Dawson, but it’s not so personal for me. So, it’s a manner of exploring, within you, all the possibilities and absorbing the all the influences making them a part of my stylistic presentation. You may not recognize this, perhaps, as a work by a Black composer because Black composers don’t always compose in the Black idiom. But if I tell you that in the Second Sonata there is a spiritual, which you would not know, this is my little secret.

Ames: What makes you decide when to use a spiritual or folk song melody?

Walker: That is something I really don’t understand. At some point in a particular work, it occurs to me, “maybe I could introduce this if I can actually get it to work.” The second movement of the First Piano Sonata, Oh Bury Me Beneath the Willow is given in its entirety. In the Music for Brass, I used a popular tune. Sometimes these interpolations result in creating a connection that I’ve had with some experience. I remember as a freshman at Oberlin, after dinner there was a ‘rec [recreation] hour.’ There were some students who had a jazz combo and

163 students would come and dance for an hour. I didn’t dance, but since it was in the same building I would come down and listen. A popular tune of the time is in the Music for Brass.

In other pieces there is this special kind of connection. I’m reminded that in this work call Serenata that is recorded, it was commissioned by a man in Montclair whose wife had died with cancer. I wanted to show something that could relate to the happy side of their relationship. There are actually two quotes, Tea for Two, which is actually recognizable, and the other is As Time Goes By. I wanted to check on the correct melodies and went to a music store here in Montclair and asked for the sheet music to As Time Goes By. The person said, “You know that song was composed right here in Montclair by a gentleman named Hupfeld.” So, here’s this connection with Montclair.

In Praise of Folly, conducted by Zuben Mehta, has four quotes: America the Beautiful, My Blue Heaven, A Tisket a Tasket, and La Cucaracha. (laughter)

Choral Works

Three Lyrics for Chorus

Ames: Three Lyrics was written in 1958, correct?

Walker: Yes. The Bereaved Maid was first a song setting that I took to Boulanger. She asked me to write a choral setting of the piece. That was done, and then I thought of the other two. I worked so hard to get the whole set performed. They were done at the University of Colorado in ’69.

Ames: How did you choose the text?

Walker: The Bereaved Maid and Take O Take Those Lips Away were found in an anthology. The third piece, O Western Wind was previously set by Stravinsky. Take O Take, I believe, had never been set. I just like the text so much.

Ames: How did you decide on the order?

Walker: The order is quite random. I will say that O Western Wind is last because it has a stronger ending.

Psalm Settings

Ames: Could you explain the Psalm settings?

Walker: The book of Psalms is one of my favorite books of the Old Testament, along with Proverbs. I’ve always thought about working in this medium [choral]. Just the idea that you can be represented in various mediums and people have said to me, “You write only for piano?” So, I wanted to write something that can be used in a church service and elevate church music. But it never happened.

164

Ames: How did you decide whether to use piano or organ accompaniment, or keep it an a capella setting?

Walker: I was intrigued by certain texts and using organ with some. The accompaniment was based upon the lyrics and character of the piece.

Ames: How was the order chosen that is listed on some octavos?

Walker: There is not a certain order, or fit together in a certain way.

Ames: O Lord God of Hosts was written in 1960, correct?

Walker: Yes.

Ames: Could you explain the dedication to your mother?

Walker: It was after I finished Eastman and my mother had just passed away. This was a time of remembrance and the piece was dedicated to her.

Ames: Was Psalm 84 one of her favorite scriptures?

Walker: No. I just liked the text. This piece won Honorable Mention in a choral competition (I can’t remember who exactly sponsored it).

Ames: Was Sing unto the Lord written in 1963 or 1975?

Walker: ’75 sounds like a publication date. 1963. This was written while I was at Smith. It’s a difficult piece and very complicated.

Ames: Does this piece have any special meaning?

Walker: No, but this piece was recorded by Morgan State University on one of their albums. They did a fabulous job with this piece.

Ames: Give Thanks unto the Lord also has two dates: 1963 and 1975.

Walker: 1963. This was another piece that Nathan Carter performed.

Ames: Any particular reason why you chose Psalm 105?

Walker: No, but I liked what I did with the vocal speech at the end. This is a difficult setting and was premiered by Nathan Carter and the Morgan State University Choir. They did it wonderfully!

165 Ames: O Praise the Lord was written in 1953 and is dedicated to your Uncle J.

Walker: Yes, this piece is dedicated to my uncle, John King.

Ames: Was this dedication because it was his favorite Psalm?

Walker: This particular psalm was not a favorite of my uncle’s, but I wanted to make a dedication to all my immediate family members. This is the easiest of the Psalm settings and of the works I’ve ever written. I was told by a choir member at Riverside Church in New York that they difficulty with this piece after one or two rehearsals. I couldn’t understand why. This piece was also recorded by Morgan State and on one of their albums.

Ames: Praise Ye the Lord was written in 1963 and dedicated to your father, correct?

Walker: Yes. This piece was dedicated to my father along with others, Second Piano Sonata and the Viola Sonata.

Ames: Was this a favorite Psalm of your father’s?

Walker: No, I don’t know that he had a favorite Psalm, but I was aware of certain hymns. Abu, a piece that was premiered last year, ends with a quote of my father’s favorite hymn, In Christ There is No East nor West. This piece was premiered by the Montclair State University College Choir.

Other Works

Ames: Is there any special meaning associated with Gloria In Memoriam?

Walker: One thing I did have the opportunity to do while at Smith was writing a piece for the freshman choir, which consisted of women. The director, Charles Fassett, didn’t have a very good group, so I wrote the piece knowing that it could be done. The impulse was to see if I could combine the common practice techniques with serial techniques. This was my first published work. At the time, Smith College was a part of a group of colleges associated with a publisher called Valley Press. Valley Press only published composers whose schools were affiliated with their company.

Ames: A Babe is Born was written for Nathan Carter and the Morgan State Choir. Is there any special information you would like to share about this piece?

Walker: Nathan Carter asked me to write something for his annual Christmas Concert and this was the piece. I recall I was fascinated with the rhythm of the text. This piece is included in an album of various college choirs. During the mid-70s, a recording engineer decided to produce an album that contained fifteen college choirs. Morgan State was the only Black college choir.

166 Ames: Does Stars have any special meaning to you?

Walker: This piece is dedicated to my sister. I think that the text has this sentiment of reaching up beyond your difficulties. My sister’s problems were enormous. Here was a young child at the age of five burned so severely, nobody thought she would live. And to have to live with that as a family…I know there are obviously people who have troubles and situations worse than that for their entire lives, but for this to be a kind of intrusion in our lives meant everything has to be focused upon how to keep her alive and allow her to live in a world where most people are completely normal. She still can’t raise her arms up over her head, yet here is a wonderful pianist.

To have that faith, we could deal with it. It wasn’t a question if we would have enough money. Money means nothing when you have these types of problems.

I found this text many years ago when the New York Times used to publish poems every week in the interview section.

Ames: With This Small Key was composed in 1975.

Walker: I’ve never heard this piece and I don’t believe it’s ever been done.

Ames: What is your fascination with this piece?

Walker: You realize how difficult it is and I’m not sure anyone is willing to spend the time with it. (laughter) The text was written by Sister M.Therese, a nun of the Catholic Church. This secular text was also found in the New York Times.

Ames: I just received Blow, Blow Thou Winter Wind a few days ago. What can you tell me about this piece?

Walker: This was commissioned by a group here in Montclair. They sang it once and the group is disbanded…I don’t remember their name. They wanted a piece by a Montclair composer. It’s been three years since I’ve seen the woman who commissioned it. 1971 may be an incorrect date, it seems later than that.

The text was also taken from an anthology and at one point, I may have thought about setting it as a solo song.

Ames: Would you consider this a difficult piece?

The group that performed this seemed to have some trouble with intonation. It wasn’t a very good sounding group.

167 Extended Works

Ames: You hold your Mass in high esteem, and rightly so. Would you share some insight about this work for chorus and orchestra?

Walker: It relates to one childhood experience. On the block where I lived, there was a lady who was Catholic, she was black but married a Catholic believer. I was about 7 or 8 and she became very close to my mother in a touching way. My mother, in the last years of her life, would hear daily stories from this woman who talked about her job and life. So my mother established this relationship with her. One day she told my mother that she would like to take me and my sister to church with her. And I remember going to that Catholic service and seeing the interior of the church and smelling the incense. I never forgot it.

The use of the text is traditional within the Catholic liturgy. I did get a grant from the National Endowment of the Arts to complete and fund the work. I couldn’t get anyone to do the work, so I must have contacted the Baltimore Symphony with Comissiona and he agreed to do it with Morgan State. They decided to do this one performance and I had to play the ‘race card.’

The Mass is scored for four professional soloists and I asked who were going to do the solos. They said, “Oh we’ll pick some people from the choir.” I said, “Oh no…you’re not going to do that. If you hire professional soloists for everyone else you’re going to have to hire professional people to do it.” This was virtually an untrained choir…Carter had people in there who could not even read notes and he did an incredible job. This man put this choir on the map with the persons he had to teach by rote to sing and he did a fantastic job. This is not an easy piece. So I said, “You wouldn’t do this for any white composer!” And they said, “Alright, we’ll let you choose by auditions.” I called Paul Freeman and asked if he could put me in touch with some singers and I’ll come to New York. I got a studio, did auditions, and selected the soloists.

Fortunately, I was able to get a tape of the one performance. It just seems like I did the impossible. I hoped somebody would say, “Let’s get a choir and orchestra together and do the piece again.” But it hasn’t been done.

Ames: Why do you think it hasn’t been repeated?

Well, it’s a difficult piece, it could be an expensive piece, and you’ve got to be able to rehearse it. There aren’t that many pieces for chorus and orchestra that get performed. I mean this is as big as the Duruflé Mass but with a much bigger orchestration. I mean, even for the performance where there’s an organ required, or a portatif, they want to get a synthesizer. (laughter)

Well to me, although I will never hear another performance of that [his Mass] that was a major effort because I simply decided that in the great tradition of Mozart, Schubert, and Brahms that the Mass would make a significant contribution to choral music. But I think what also influenced me was at the time I was really bothered by Bernstein’s Mass. Why go and modernize everything in a hip-style? So I wrote my mass as an antidote to the Bernstein Mass. One of my obligations as a teacher was to correct things that I found disturbing. The Bernstein was disturbing and I wanted to have a connection to something that is very basic; the five parts

168 of the liturgy. Those three chords that appear in the beginning of the Mass are intentional. They stand for the Trinity

Ames: Was the work well received?

Walker: I think so. It was really quite impressive and a brilliant performance.

Ames: Another extended work, Canvas, was commissioned by the CBDNA. For Extract III you chose the text to Psalm 121 for any particular reason?

Walker: Extract III presents a conclusion to what I had done previously in the second movement. When I had the concept for this work, which is philosophical like the social commentary in the second extract, it needed a religious perspective for the third extract, I took a look at what I’ve done, adjusted the orchestration, and then was quite happy with the way it turned out.

Ames: I’m curious to know your reason to use the Credo incipit at the end of the work.

Walker: Interesting enough, when the performance took place in North Texas, one woman came up and said, “I’m aware that you had quoted from Palestrina.” I said, “No…I quoted from myself. I quoted from my Mass. The incipit brings resolution. (tears) It’s personal!

Ames: The text is very powerful. For me, the older I get the more personal it becomes. It also becomes more meaningful when I realize what I’m really here for. I understand your tears.

Walker: Yes.

Ames: What a wonderful way to end the work. From your comments, I understand the piece…I see the big picture.

Walker: Yes.

Ames: There’s so much turmoil in our society, as poetically stated in the commentary, but in the end “I believe in one God.”

Walker: Yes. Sometimes these things come after I’ve composed a work. And I imagine God looking down upon the earth, seeing what’s going on, the confusion and strife, the antagonism. Then I realized that you can’t really begin to connect your relationship to any other being - there’s only God.

Ames: Were you pleased with the premier of Canvas?

Walker: Yes, very much so. Corporon is a remarkable conductor. He never let a measure go by if it wasn’t right.

Ames: What about Jerry McCoy?

169 Walker: Yes, he had little input as far as the rehearsals because everything was controlled by Eugene. They were very much concerned about pitch. Eugene and I had the kind of relationship where he would send me tapes of the rehearsals. He’s a fantastic person. The attention to detail was remarkable.

Ames: Have there been other performances?

Walker: I was told that New Mexico [University] did a performance, and the person from the institution was very apologetic because the chorus was not very good and they didn’t have a good ensemble for it. This is not an easy piece.

Oddly enough, Eastman contacted me asking if I would accept a commission for wind symphony and chorus because there were virtually none. I said, “Have you seen my Canvas?” (laughter) I really don’t think I would do another piece for wind symphony and chorus. The way it [Canvas] turned out is just right and it’s how I wanted it to turn out. I just couldn’t imagine doing another work like that. To me, it was the best I could do.

Ames: You shared with me the book of Psalms is one of your favorite books of the Old Testament. You chose to set the 23rd Psalm and verses of the 24th for the Cantata. Was that a guideline for the commission or was the text left up to you?

Walker: Text was left up to me. I thought, “Can I do this 23rd Psalm.” Well, I held my nose, jumped in the pool, and hoped I wouldn’t sink to the bottom! (laughter) I had certain guidelines determined by Walter Turnbull, director of the Harlem Boys Choir: a work for soprano and tenor soloist, boys choir, and chamber orchestra. After setting the 23rd Psalm, I realized it wasn’t going to be long enough, and then I tried the 24th Psalm. When I looked at it, I knew I couldn’t set the entire Psalm, so I chose to set only four verses, which enabled the work to be a desirable length.

Ames: The way you end the Cantata is similar to the ending of Canvas with “Selah,” meaning to reflect upon what has been said.

Walker: Yes, yes.

The rehearsals were at a church on 155th Street and the premier performance was at Alice Tully Hall. I remember that Warren Wilson, the conductor, was fuming because he wanted another rehearsal but it wasn’t possible. The recording took place at the same church where Harry T. Burleigh was a soloist. They only way they could use the church is if the organist could play on the recording. But in the recording session, the organist couldn’t seem to get anything coordinated. I knew this wasn’t going to work out. So what happened was, we had another organist play the part separately and edited it in (Laughter).

I was horrified by Turnbull’s rehearsal technique! He was like a drill sergeant, a nasty drill sergeant. He had them stand for this tedious rehearsal. I asked, “Walter why don’t you have them sit down.” I was horrified that here is an institution for youngsters concentrating in music, but they were treated like convicts. His physical dress was also unprofessional. The boys had

170 nothing to look up to…I just found it disappointing. Here is a chance to encourage young boys to go to college and study music, but he [Turnbull] looked like someone off the streets. And the way he would speak to them, it was something I have found with Black men in particular. Talking to their children like convicts. I didn’t like it! He gets results but the other aspect has to do with the sound of the group.

Ames: Did you like their sound?

Walker: No! It’s really raw and not very warm. Fortunately, the ambiance was enhanced on the recording.

Ames: In the recording, I love the colors you use in the organ. Do you suggest registrations?

Walker: Only in vague terms; except in my organ pieces. I always have to remind organists to use bright registrations.

Ames: Part II is very exciting.

Walker: Yes.

Ames: Have there been subsequent performances?

Walker: Turnbull did one with the Boys Choir in Arizona, but I don’t think he’s done another performance with his choir, which is frustrating.

Closing Questions

Ames: Is there a certain message or idea you wish to convey to your audience through your compositions?

Walker: No…I never think about my audience. The reason for that is, there’s no way I can convey to a group of people the same message. It’s astounding to me the way people react to certain things. I sent off a CD to a woman whom I’ve never met, who’s the daughter of a man I’ve never met, and to my great surprise she remarked how much she liked the song called Wild Nights. I never thought anyone would attach themselves to Wild Nights. This is a setting for piano and voice of an Emily Dickinson poem. And her father liked listening to Prelude and Caprice for piano before he died. Before going into a comma on his death bed he says, “That Prelude and Caprice” is a great piece. They played my recording at his funeral. While living, he contacted me because he heard the Lyric for Strings and was moved by the things I would say in the piece and the way I would say them. He listened to it on his cassette player in his pick-up truck in the 80s. He would hear more than these people today with their CDs. So, I can’t say that I’m addressing the audience.

I hope that they can find something in the music that relates to the quality that I try to put into it. I can’t relate or expect that they will understand, necessarily, the emotional content, which doesn’t come to me immediately. It’s only when I finish the piece…only when I put in the

171 dynamics that I really understand that there are things that should strike them [the audience], but may not. So, I just hope that they will be willing to find something that would encourage them to listen to it again and again because then I know that they will still find more things to the piece. If they hear it only once, they may find something, or they may not. I’ve played recordings over and over again until I’m worn out. I never expected that.

There was a man who writes for Audiophile magazine who came to my house and found a copy of the original master of my Piano Concerto. After playing the recording, he said, “I don’t understand this at all, but there’s something in it I realize I’m missing.” It’s interesting when one hears about a reaction to a certain piece that one wants to be touched. At the same time, one can’t understand a piece like the Serenata…this is a very special piece. This piece was composed because a man was asked by a chamber orchestra to have a piece written in memory of his wife. He comes down and brings two books of photographs. He shows me photographs of his wife and the trip they took to Europe. I can’t say I could attach it to anything but Tea for Two and As Time Goes By, and to me it’s very touching…the relationship I tried to establish. He didn’t understand the piece, and at the reception, he never spoke to me. I feel badly, in one sense, that he commissioned a piece that doesn’t mean anything to him.

Ames: Overall, do you feel your choral works have accomplished what you set out for them to do?

Walker: I would never publish anything unless I was satisfied. Now, I have this wonderful luxury of having anything published. I didn’t have that before. Pieces I haven’t been pleased with, I’ve just torn them up. (laughter)

Ames: The power of the composer, right?

Walker: (laughter) Yes! Sometimes you do this at your own risk because there was one piece I wrote and I wish I still had that piece. I didn’t think I would ever want to publish it, I just wish I could see it. (laughter)

Ames: Are there any future projects?

Walker: The things I like to do just simply take a lot of time. I would like to be able to finish this piece that I’m writing on in order to go back to piano music. I have the potential for another CD involving a mixture of works. I’ve always wanted to come out with a new recording of my Lyrics for Strings. The first recording is just so atrocious. With Ormandy, it’s not bad, but I talked with a friend of mine who has applied for a grant and would like to put together an ensemble for another recording.

Ames: As an aspiring black choral conductor, I have an obligation to make others aware of the significant contributions of other black musicians. In your distinguished career as a performer, composer, teacher, and administrator on the collegiate level, do you feel the educational system has placed enough emphasis on black classical music and musicians?

172 Walker: Absolutely not! I talk all the time about what’s lacking in the books on American music and I get furious that nothing has changed in reference to Black composers, their music, or the analysis of their music. I’m furious and stay furious.

It becomes a very racial thing. Fifteen years ago I wasn’t disposed about talking about race in the way that I do now. As I was telling the people in Atlanta, when the Boston Symphony decided to put out a series of CDs of music that has been broadcast by their orchestra and they don’t include Lilacs, how can you explain this? This is a work that they commissioned and broadcasted. How do you explain this? Years ago when Black composers organized to promote their own music, they latched onto the philosophy of neglect. Their music has been neglected. Well, it’s more than neglect when you have somebody who won a prize and you aren’t willing to include one performance of that work.

The whole city of Boston was mobilized for this concert. CDs were given away of Roland Hayes spiritual recordings. There were lectures and videos of Roland Hayes. AT&T sponsored this event, and you’re going to say you don’t remember this? Even other works that I’ve written and they’ve performed were not included in this recording. How could they do this? This was after the Pulitzer Prize.

It’s hard to accept there’s omission because the lack of ignorance. What else can you blame it on? You can’t say you weren’t aware of this. For my recordings, this is my money and I’m not getting paid for the recordings I’ve produced. Again I have a luxury with Albany Records. I make the recordings, turn it over to them, I don’t have to pay anything, and I don’t get anything in return for it. I don’t get any royalties because they have to sell one thousand CDs before I get one cent; and it hasn’t happened yet. But recordings are out there. It’s gotten to the point that my last CDs have not even been reviewed.

It’s an ongoing process, it’s not just me. I should be noted in books other than books written by Blacks about what they have done.

Ames: And it needs to be documented by more than Black doctoral students writing a dissertation.

Walker: Exactly because to your credit you’ve made a selection in which I’m touched by and that goes on microfilm for someone else to read it and say, “Well he’s already done that so I have to do something different.”

Ames: What words of wisdom would you like to share to aspiring young black performers and composers?

Walker: The only thing that I can offer is that you must find your own way, and that’s not a cop out. Thinking about the black composer, and even white composer, you know that each one has made a decision what they wanted to do. Some have moved, in part, away from his background. I’m the only [living] Black composer with no jazz background. All the others, T.J. Anderson, Olly Wilson, Hale Smith, they have moved away without completely blemishing their connections in that regard and having some roots. But this decision is one that is made with a

173 certain amount of determination, perseverance, and the realization that they have to find all the means that they can to try and achieve something they want to achieve. When I started spending more time with composition and confronted with a particular obstacle, I had to find a way of going around it, or going over it. This is something with every goal…I don’t like to think of goals like most people do. I think, “I want to finish this work.” If there is something you want to do, you make every effort to try and bring it to fruition.

Ames: Thank you for expressing your insight and taking the time to talk with me about your life and works. This has been a very special!

Walker: Well, I’m just delighted that you have chosen to pursue this.

174

APPENDIX D

COMMUNICATIONS AND PERMISSIONS

175 January 4, 2005

TO: Ms. Marcia Goldberg MMB Music Inc. Fax: (314) 531-8384

FROM: Jeffery L. Ames 4506 Hickory Forest Circle Tallahassee, Florida, 32303-6911 Home (850) 514-2158 Fax (850) 644-6100 E-mail [email protected]

Dear Ms. Goldberg :

I am a Doctoral Candidate in Choral Conducting at The Florida State University in Tallahassee, Florida. My doctoral dissertation is a study on the choral works of Dr. George Walker. I am requesting your permission to include excerpts of his complete choral output, including extended works, in my analyses that include: (1) A Babe Is Born (2) Give Thanks Unto the Lord (3) Gloria In Memoriam (4) O Lord God of Hosts (5) O Praise the Lord (6) Praise Ye the Lord (7) Sing Unto the Lord (8) Stars (9) Three Lyrics for Chorus (10) With This Small Key (11) Canvas (12) Cantata for Soprano, Tenor, Boys Choir & Chamber Orchestra (13) Mass

The excerpts used in this study are solely for the purpose of scholarly research. Should you require further information, please feel free to contact me. Your consideration is appreciated.

Sincerely,

Jeffery L. Ames

Jeffery L. Ames The Florida State University

176 Date: Tue, 18 Jan 2005 11:07:06 -0600 To: [email protected] From: Michelle Greenlaw Subject: Re: your music excerpt request Cc: Bcc: X-Attachments: Hi, Jeffery,

Thanks for following up with me about this. Please call me at 314-531-9635 if you have any questions. Our response is below--you can print it out as proof of your permission from the publisher.

Cheers! Michelle Greenlaw

Dear Jeffery,

Thank you for contacting us with your request for permission to include the music of Dr. George Walker in your doctoral dissertation at The Florida State University in Tallahassee. The works to be included are:

1. A Babe Is Born 2. Give Thanks Unto the Lord 3. Gloria In Memoriam 4. O Lord God of Hosts 5. O Praise the Lord 6. Praise Ye the Lord 7. Sing Unto the Lord 8. Stars 9. Three Lyrics for Chorus 10. With This Small Key 11. Canvas 12. Cantata for Soprano, Tenor, Boys Choir & Chamber Orchestra 13. Mass

MMB Music, Inc. grants you permission for a one-time use of up to 20% of the works listed above in your dissertation. The fee for this use is $75.00.

It is agreed that if you publish and/or make the dissertation available for sale now or in the future, you will make a new request to MMB Music, Inc. regarding this matter.

Please send a check payable to MMB Music, Inc. for $75.00 (US$), or call me directly if you would like to use your Mastercard or Visa.

With all best wishes for your continued musical success,

Michelle Greenlaw For MMB Music, Inc. Contemporary Arts Building 3526 Washington Avenue St. Louis, MO 63103-1019

177 -----Original Message----- From: Jeffery Ames [mailto:[email protected]] Sent: Friday, April 01, 2005 7:29 AM To: Corrado, Christine Subject: Alumni George Walker

My name is Jeffery Ames and I am a doctoral candidate at Florida State University. My dissertation is on the choral works of George Walker and I am trying to verify if he was the first black student to receive a DMA from Eastman in 1956. Howard Hanson was the director of the doctoral program at that time.

I appreciate your consideration.

Jeffery Ames [email protected]

Dear Jeffery,

Indeed, Dr. Walker was the first.

I wish you well in researching and writing your dissertation.

All the best,

Christine -- Christine E. Corrado Director of Alumni Relations Eastman School of Music, University of Rochester www.rochester.edu/Eastman/alumni Office: 219 Miller Center Mail: 26 Gibbs Street * Rochester * NY * 14604 Tel 585.274.1048 (direct) * 866.345.2111 (toll-free) Fax: 585.276.2057

178 REFERENCES

Dissertations

Boe, Dennis. “The Evolutionary Development of Compositional Technique and Style in the Piano Sonatas of George Walker: A Study of the ‘Sonata No. 4’ and Analytical Comparison of the Four Sonatas, Together with Three Recitals of Selected Works of Haydn, Beethoven, Schubert, Chopin, Listz, Brahms, Debussy, Kodaly, and Poulenc.” DMA diss., University of North Texas, 1995.

Brooks, Tilford. “A Historical Study of Black Music and Selected Twentieth Century Black Composers and Their Role in American Society: A Source Book for Teachers.” Ph.D. diss., Washington University, 1972.

Carter, Marva. “Hall Johnson (1888-1970): Preserver of the Old Negro Spiritual.” MA. diss., Boston University, 1975.

Cox, Donna. “A Descriptive Analysis of Selected Choral Works of Lena Johnson McLin.” Ph.D. diss., Washington University, 1986.

Delphin, Wilfred. “A Comparative Analysis of Two Sonatas by George Walker: Sonata No. 1 and Sonata No. 2.” DMA diss., University of Southern Mississippi, 1976.

Ennett, Dorothy. “An Analysis and Comparison of Selected Piano Sonatas by Three Contemporary Black Composers: George Walker, Howard Swanson, and Roque Cordero.” Ph.D. diss., New York University, 1973.

Gardner, Effie. “An Analysis of the Technique and Style of Selected Black-American Composers of Contemporary Choral Music.” Ph.D. diss., Michigan State University, 1979.

Hadley, Richard. “The Published Choral Music of Ulysses Simpson Kay-1943 to 1968.” Ph.D. diss., University of Iowa, 1972.

Harris, Carl. “A Study of Characteristics Stylistic Trends Found in the Choral Works of a Selected Group of Afro-American Composers and Arrangers.” DMA diss., University of Missouri, Kansas City, 1972.

Holley, Timothy. “Summary of Dissertation Recitals: Three Programs of Violoncello Music by African-American Composers.” AMusD. diss., University of Michigan, 1996.

James, Shaylor. “Contributions of Four Selected Twentieth Century Afro-American Classical Composers: William Grant Still, Howard Swanson, Ulysses Kay, and Olly Wilson.” Ph.D. diss., The Florida State University, 1988.

179 Jones, John. “The Choral Works of Undine Smith Moore: A Study of Her Life and Work.” Ed.D. diss., New York University, 1980.

McBrier, Vivian. “The Life and Works of Robert Nathaniel Dett.” Ph.D. diss., Catholic University, 1967.

Morrow, David. “The Choral Music of Wendell Whalum.” DMA diss., University of Cincinnati, 1995.

Nelson, Ryan. “Octatonic Pitch Structure and Motivic Organization in George Walker’s Canvas f or Wind Ensemble, Voices, and Chorus.” DMA diss., University of North Texas, 2003.

Newson, Roosevelt. “A Style Analysis of the Three Piano Sonatas of George Walker.” DMA diss., Peabody Institute of The Johns Hopkins University, 1977.

O’Donnell, Patrick. “Three Programs of Piano Chamber Music.” AMusD. diss., University of Michigan, 1990.

Ramos-Vazquez, Carlos. “Pablo Casals: An Examination of His Choral Works.” Ph.D. diss., The Florida State University, 2002.

Taylor, Darryl. “Summary of Dissertation Recitals: Contemporary Art Songs of African American Composers.” DMA diss., University of Michigan, 1996.

Thomas, André. “A Study of the Selected Masses of Twentieth Century Black Composers: Margaret Bonds, Robert Ray, George Walker, and David Baker.” DMA diss., University of Illinois at Urbana-Champaign, 1983.

Toppin, Antoinette. “Three Programs of Vocal Music.” AMusD. diss., University of Michigan, 1990.

Watkins, Wilbert. “Selected Sacred Choral Works of György Orbán: A Historical, Analytical and Critical Examination.” Ph.D. diss., The Florida State University, 1999.

Books

Baker, David, Lida Belt, and Herman Hudson. The Black Composer Speaks. Bloomington, IN: Indiana University, 1978.

Banfield, William. Musical Landscapes in Color: Conversations with Black American Composers. Boston: Scarecrow, 2003.

Brooks, Tillford. America’s Black Musical Heritage. Englewood Cliffs, NJ: Prentice-Hall, 1994.

180 Cazort, Jean and Constance Hobson. Born to Play: The Life and Career of Hazel Harrison. Wesport, CT: Greenwood Press, 1983.

Dallin, Leon. Techniques of Twentieth Century Composition. Dubuque, IA: W.C.Brown Co., 1974.

David Ewen. The Complete Book of 20th Century Music. New York: Prentice Hall, 1952.

Edmunds, John and Gordon Boelzner. Some Twentieth Century American Composers: A Selected Bibliography Volume II. New York: The New York Public Library, 1960.

Floyd, Samuel. International Dictionary of Black Composers. Chicago: Fitzroy Dearborn Publishers, 1999.

______. Black Music in the Harlem Renaissance: A Collection of Essays. New York: Greenwood Press, 1990.

Garrretson, Robert. Choral Music: History, Style and Performance Practice Englewood Cliffs, NJ: Prentice Hall, 1993.

Green, Mildred. Black Women Composers: A Genesis. Boston: Greenwood, 1994.

Gray, John. Blacks in Classical Music: A Bibliographical Guide to Composers, Performers, and Ensembles. Westport: Greenwood, 1988.

Grout, Donald and Claude Palisca. A Hstory of Western Music. New York: Norton & Co., 1988.

Hobson, Constance. Ulysses Kay: A Bio-bibliography. Westport: Scarecrow, 1994.

Howard, John. Our Contemporary Composers: American Music in the Twentieth Century New York: Thomas Crowell Co., 1941.

Jeffers, Ron. Translations and Annotations of Choral Repertoire, Volume I: Sacred Latin Texts. Corvallis, OR: Earthsongs, 1988.

Kohs, Ellis. Musical Form. Santa Barbara, CA: Kinkos Publishing Group, 1984.

LaBrew, Arthur. Studies in 19th Century Afro-American Music: Francis Johnson (1792-1844). Baton Rouge: Southern University, 1974.

______. Elizabeth Taylor Greenfield: The Black Swan. Baton Rouge: Southern University, 1969.

Lerma, Dominique-René De. Bibliography of Black Music. Westport: Greenwood, 1981.

181

Martin, Joseph and Cecil Drossin. Music of Twentieh Centuy. Englewood Cliffs, NJ: Prentice Hall, 1980.

Ottaway, Hugh. “Ralph Vaughan Williams.” Edited by S. Sadie. Vol. 19, The New Grove Dictionary of Music and Musicians. New York: Grove’s Dictionaries of Music Inc., 1995.

Perry, Edward. Negro Creative Musicians. New York: Frederick Ungar, 1984.

Press, Jaques. Who’s Who in American Classical Music. New York: R.R.Bowker Co., 1985.

Reis, Clair. Composers in America. New York: MacMilian Co., 1947.

Roach, Hildred. Black American Music:Past and Present. Malabar, FL: Krieger Publishing Co., 1992.

Salzman, Eric. Twentieth Century Music: An Introduction. Englewood Cliffs, N.J.: 1974.

Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. Mountain View, CA: Mayfield Publishing Co., 1991.

Simpson, Anne. Follow Me: The Life and Music of R. Nathaniel Dett. Metuchen, NJ: Scarecrow Press, 1993.

Sloninsky, Nicolas and Laura Kuhn eds. Baker’s Biographical Dictionary of Musicians v.6 Centennial Edition. New York: Schirmer, 2001.

Southern, Eileen. A Biographical Dictionary of Afro-American and African Americans. Westport, CT: Greenwood Press, 1982.

______. Music of Black Americans: A History 2nd ed. New York: Norton, 1983.

Tischler, Alice. Fifteen Black American Composers: A Bibliography of Their Works. Detroit: Information Coordinators, 1981.

Trotter, James. Music and Some Highly Musical People. Boston: Franklin Press, 1878.

White, Evelyn. Choral Music by African-American Composers: A Selected, Annotated Bibliography. Lanham, MD: Scarecrow Press, 1996.

White, Evelyn. Selected Bibliography of Published Choral Music by Black Composers. Washington, D.C.: Evelyn White, 1975.

182 Periodicals

Boyer, Clarence. “The New England Afro-American School.” The Black Perspective in Music 4/2 (July 1976): 213-237.

De Lerma, Dominique-René. “The Choral Works of George Walker.” American Choral Review, USA 23/1 (1981): 1-30.

Clark, Edgar. “The Negro Composer: A Mid-Century Review.” The Negro History Bulletin 17 (March 1954): 132-133.

Egbert, L. “Norman Dello Joio’s Secular Choral Music: Conversations with the composer.” Choral Journal 39/3 (October 1998): 15-22.

Ellsworth, Janifer. “H.T. Burleigh Ten Years Later.” Phylon 21/2 (1960): 144-154.

Harris, Carl. “Three Schools of Black Choral Composers and Arrangers 1900-1970).” Choral Journal 14/8 (1974): 11-18.

Karpf, Juanita. “The Early Years of African American Music Periodicals, 1886-1922: History Ideology, Context.” International Review of the Aesthetics and Sociology of Music 28/2 (1997): 143-168.

Saal, Hubert. “Black Composers,” Newsweek, April 15, 1974, 82.

Sims, Maxine. “An Analysis and Comparison of Piano Sonatas by George Walker and Howard Swanson.” The Black Perspective in Music 4/1 (Spring 1976): 70-81.

Smith, Leo. “American Music.” The Black Perspective in Music II (Fall 1974): 111-118.

Southern, Eileen. “In Retrospect: Black Musicians and Early Ethiopian Minstrelsy,” The Black Perspective in Music III (Spring 1975), 77-99.

______. “Musical Practices in Black Churches of Philadelphia and New York, ca. 1800- 1844.” Journal of the American Musicological Society 30 (Summer 1977): 296-312.

______. “America’s Black Composers of Classical Music: Because We Are Black, We Are Making Black Music!” Music Educators Journal 62/3: 48-51.

______. “The Philadelphia Afro-American School.” The Black Perspective in Music 4/2 (July 1976): 238-256.

Taylor, Darryl. “The Importance of Studying African-American Art Song.” NATS Journal of Singing 54/3 (1998): 9-16.

183 Terry, Mickey. “An Interview with George Walker.” Musical Quarterly 84/3 (Fall 2000): 372-388.

Tuck, Lon. “Segregated Music: The Dilemma of the Black Classical Composer.” New Washington Post, September 2, 1977, sec. 2, B9.

Walker, George. “Make Room for Black Classical Music.” The New York Times 3 Nov, 1991.

______. “Let’s Consider the Listener.” Music Journal 19/1: 40, 104.

Interviews

Walker, George. Interview with writer. 5 March, 2005, Montclair, NJ

DeLerma, Dominique-René. Interview with writer. 23 September 1994, Tallahassee, FL

Correspondence

Email correspondence between writer and George Walker regarding choral works.

Email correspondence between writer and Gregory Walker, George Walker’s son.

Email correspondence between writer and Christine Corrado, Director of Alumni Relations, Eastman School of Music.

Websites

George Walker Homepage http://www.geocities.com/Vienna/1617/

Online NewsHour: George Walker http://www.pbs.org/newshour/bb/entertainment/pulitzer_music4-11.html

George Walker: A Conversation with Bruce Duffie http://www.bruceduffie.com/walker.html

Pulitzer Prize for Music http://www.brainyencyclopedia.com/encyclopedia/p/pu/pulitzer_prize_for_music.html

1996 Pulitzer Prize Winners http://www.pulitzer.org/year/1996/

184 From Sonata to ‘Satin Doll’: The Piano Music of George Walker http://www.jeffreychappell.com/kb_walker.htm

George Walker http://www.findarticles.com/p/articles/mi_amgm/is_W/ai_amgm6596/print

Corpus Christi Carol – Anonymous http://www.mtsn.org.uk/staff/staffpages/cer/fire/corpus.htm

Take, O Take Those Lips Away http://eir.library.utoronto.ca/rpo/display/poem1875.html

O Western Wind http://www.cis.upenn.edu/~skulick/delis/tomorrow-is-a-long-time.html

A Babe is Born http://www.cyberhymnal.org/htm/b/a/babeborn.htm

Scores (George Walker)

Stars (SATB) 1953 St. Louis: MMB Music O Praise the Lord (SATB) 1953 St. Louis: MMB Music Three Lyrics for Chorus (SATB with piano) 1958 St. Louis: MMB Music O Lord God of Hosts (SATB with organ) 1960 St. Louis: MMB Music Give Thanks Unto the Lord (SSA with organ) 1963 St. Louis: MMB Music Gloria In Memoriam (SSA with organ) 1963 St. Louis: MMB Music Praise Ye the Lord (SATB with organ) 1963 St. Louis: MMB Music Sing Unto the Lord (SATB) 1963 St. Louis: MMB Music Blow, Blow Thou Winter Wind (SATB) 1971 St. Louis: MMB Music A Babe is Born (SATB) 1975 St. Louis: MMB Music With This Small Key (SATB) 1975 St. Louis: MMB Music Mass (SATB with orchestra) 1979 St. Louis: MMB Music Cantata (Boys Choir, Soloist, and Chamber Orch) 1982 St. Louis: MMB Music Canvas (Wind Symphony, Chorus, Soloist) 2000 St. Louis: MMB Music Piano Sonata No. 1 1953 St. Louis: MMB Music

185 Recordings

George Walker. Canvas. North Texas Wind Symphony – Eugene Corporon, conductor. Klavier Records, K 11122, 2001

Natalie Hinderas. Piano Music by African-American Composers. CRI, CD 629, 1992.

George Walker: Composer/Pianist. Albany Records, TROY 697, 2005.

George Walker: A Portrait. Albany Records, TROY 136, 1994.

186 BIOGRAPHICAL SKETCH

Jeffery L. Ames is the first recipient of the ACDA 2004 James Mulholland Choral Music Fellowship. He is a native of Virginia, received a Master of Choral Music Education degree from Florida State University, and a Bachelor of Music degree, with at double major in Vocal Performance and Piano Accompanying, from James Madison University.

For seven years, Ames taught in the state of Florida, and is the former Director of Choral Activities at Edgewater High School in Orlando and Lincoln High School in Tallahassee. During his tenure at Lincoln High School, the Continental Singers and Men’s Chorale performed at State ACDA Conventions. Mr. Ames’ other advanced choirs performed twice at Carnegie Hall, and his Gospel Choir was selected to give a special concert for former Secretary of State Colin Powell.

As an accompanist, Ames has performed with well-known conductors such as André Thomas, Anton Armstrong, Allen Crowell, Dan Krunnfusz, and Bradley Ellingboe.

Ames’ choral music has been premiered by the National ACDA Conference, the Southern Division of ACDA, the Florida American Choral Directors Association, and the Florida Music Educators Association. His compositions are published with Colla Voce Music and Walton Music Corporation.

Prior to the completion of the Ph.D. in Choral Conducting/Music Education from The Florida State University, he was appointed as the Associate Director of Choirs at Baylor University in Waco, Texas.

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