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Bach to Black Acknowledgments Bach To Black Recorded in Foellinger Great Hall at Piano technicians – Yamaha Concert SUITES FOR PIANO Krannert Center for the Performing Arts, Technician Shane Hoshino and The University of Illinois at Urbana- Registered Piano Technician John Minor Champaign, Illinois, United States of America, September-November 2020. Piano – Yamaha CFX, courtesy of Yamaha Artist Services, Inc. Rochelle Sennet Works by H. Leslie Adams and Frederick Tillis published by American Composers’ Photography by Bauwerks, Inc. piano Alliance https://composers.com (cover photo) and Darrell Hoemann Photography (inside cover) Work by Jeffrey Mumford published by the composer. www.jeffreymumford.com Makeup by Amy Banas (cover photo) Recording engineer – Richard M. This project was partially funded by the Scholwin University of Illinois Campus Research Board. Special thanks to all who JOHANN SEBASTIAN BACH Audio mastering – Graham Duncan supported Bach to Black! SAMUEL COLERIDGE-TAYLOR JEFFREY MUMFORD WWW.ALBANYRECORDS.COM R. NATHANIEL DETT TROY1869-71 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 H. LESLIE ADAMS ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 FREDERICK TILLIS © 2021 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Disc 1 Disc 2 Johann Sebastian Bach Johann Sebastian Bach English Suite No. 5 in E Minor, BWV 810 English Suite No. 6 in D Minor, BWV 811 1 Prélude [5:11] 1 Prélude [8:54] 2 Allemande [3:50] 2 Allemande [4:11] 3 Courante [2:12] 3 Courante [2:33] 4 Sarabande [3:21] 4 Sarabande and Double [3:20] 5 Passepied I en Rondeau and Passepied II [3:30] 5 Gavotte I and Gavotte II [4:02] 6 Gigue [3:01] 6 Gigue [3:45] Samuel Coleridge-Taylor R. Nathaniel Dett Four Characteristic Waltzes, Op. 22 In the Bottoms 7 Valse Bohémienne [2:08] 7 Prelude (Night) [3:56] 8 Valse Rustique [3:10] 8 His Song [2:53] 9 Valse de la Reine [5:02] 9 Honey (Humoresque) [1:25] 10 Valse Mauresque [3:17] 10 Barcarolle (Morning) [5:35] 11 Dance (Juba) [2:20] Johann Sebastian Bach English Suite No. 3 in G Minor, BWV 808 Johann Sebastian Bach 11 Prélude [3:27] English Suite No. 2 in A Minor, BWV 807 12 Allemande [3:39] 12 Prélude [4:59] 13 Courante [2:19] 13 Allemande [3:54] 14 Sarabande et les agréments de la même Sarabande [3:37] 14 Courante [1:57] 15 Gavotte I alternativement and Gavotte II ou la Musette [3:18] 15 Sarabande et les agréments de la même Sarabande [4:04] 16 Gigue [2:57] 16 Bourrée I alternativement and Bourrée II [4:52] 17 Gigue [3:49] Jeffrey Mumford 17 four dances for Boris [5:24] Total Time = 59:33 H. Leslie Adams Samuel Coleridge-Taylor Contrasts African Suite, Op. 35 18 Sentence [:24] 9 Introduction: Allegro alla marcia [4:44] 19 Lament [1:00] 10 Love-Song [5:22] 20 Ragtime [:46] 11 Valse [4:08] 21 Procession [2:00] 12 Danse Nègre [5:09] 22 Etude [:38] 23 Prelude [1:09] Johann Sebastian Bach 24 Frolic [1:13] English Suite No. 4 in F Major, BWV 809 25 Romance [2:16] 13 Prélude [4:55] 26 Dialogue [:56] 14 Allemande [3:51] 27 Episode [1:35] 15 Courante [1:38] Total Time = 78:41 16 Sarabande [4:16] 17 Menuet I and Menuet II [3:24] 18 Gigue [3:33] Disc 3 Johann Sebastian Bach Frederick Tillis English Suite No. 1 in A Major, BWV 806 Three Movements for Piano 1 Prélude [2:26] 19 Con brio [2:25] 2 Allemande [4:41] 20 Molto Adagio, ad libitum con espressione [3:37] 3 Courante I [1:39] 21 Con bravura [5:35] 4 Courante II – Double I [2:07] Total Time = 76:21 5 Double II [1:11] 6 Sarabande [4:20] 7 Bourrée I and Bourrée II [4:23] 8 Gigue [2:45] ABOUT BACH TO BLACK: SUITES FOR PIANO Disc 1: The title of this recording is intended to encourage conversation regarding the a. J.S. Bach: English Suite no. 5 in E Minor, BWV 810 / often-misunderstood topics of inclusion and equity in Classical music. Bach to Samuel Coleridge-Taylor: Four Characteristic Waltzes, Op. 22 Black represents my strong interest in performing repertoire by Black composers b. J.S. Bach: English Suite no. 3 in G Minor, BWV 808 / Jeffrey Mumford: in combination with works of Johann Sebastian Bach. The suites included on this four dances for Boris (2004) recording represent beauty, excellence, contrast, celebration of dance style, and dialogue. The targeted audience: those who enjoy music by a variety of Black com- Disc 2: posers, those who enjoy the music of Johann Sebastian Bach, those have not yet a. J.S. Bach: English Suite no. 6 in D Minor, BWV 811 / R. Nathaniel Dett: been exposed to music of Black composers or J.S. Bach, and those who fall into In the Bottoms (1913) more than one category. I welcome the opportunity to spread the message that b. J.S. Bach: English Suite no. 2 in A Minor, BWV 807 / H. Leslie everyone deserves to be included in the Classical music space regardless of race, Adams: Contrasts (2001) ethnicity, gender, gender identity, or cultural background. Disc 3: Much has been already been written about the English Suites by J.S. Bach, and a. J.S. Bach: English Suite no. 1 in A Major, BWV 806 / S. Coleridge- here I offer my humble interpretation. Originally intended for Baroque keyboard Taylor: African Suite, Op. 35 instruments such as clavichord and harpsichord, all six suites by J.S. Bach includ- b. J.S. Bach: English Suite no. 4 in F Major, BWV 809 / Frederick Tillis: ed in this three-volume set feature an opening Prélude, Allemande (slow dance in Three Movements for Piano (1964) duple meter), Courante (faster dance in triple meter), Sarabande (slower Spanish dance in triplet meter), Gigue (quick dance in triple meter), and an additional fifth Contrary to the suites of J.S. Bach, very little has been written about Black com- dance (Passepied, Gavotte, Bourrée, Menuet). Baroque composers such as J.S. posers and their contributions to the piano suite, and the notes that follow will Bach understood that the chosen key of the piece is meant to evoke certain emo- focus on discussion of these works exclusively. In addition to the pieces of beloved tions, and tempo/meter articulated the essence of each dance. As a way to tell the composers Samuel Coleridge-Taylor, R. Nathaniel Dett, and Frederick Tillis, com- musical story, I have paired the sets as follows based on similarities in key, mode, positions of two living composers, H. Leslie Adams and Jeffrey Mumford, are rhythmic energy, and occasional disruption of tonal expectations. featured. Note: Some may be triggered by the name “Bach,” and others may be triggered by the word “Black.” The goal is to encourage all toward greater dia- logue, while also celebrating the music of these wonderful composers. Thank you for listening! —Rochelle Sennet ABOUT THE COMPOSERS OF AFRICAN DESCENT symphonic in nature. The fourth dance, “Danse Negré,” captures the pomp and Samuel Coleridge-Taylor (1875-1912) vivacity of a lively dance. Born in England, Samuel Coleridge-Taylor attended the Royal College of Music in London, with studies in violin, piano, and voice. He later served as Lecturer at R. Nathaniel Dett (1882-1943) Croydon Conservatoire, and Professor of Composition at Trinity College of Music, Originally from Canada, R. Nathaniel Dett was the first person of African descent Crystal Palace School of Art and Music, and Guildhall School of Music. A highly to graduate from Oberlin Conservatory, with a double degree in piano and compo- prolific composer of instrumental works, vocal music, chamber music, and orches- sition. He was also awarded honorary doctorates from Howard University in 1924 tral repertoire, Coleridge-Taylor captures the essence of the vocal and dance style and Oberlin in 1926, and he received a master’s degree from Eastman School of prevalent in British music of the late 19th and early 20th century. Music in 1931. Dett is one of the most prolific Black composers of the early 20th century, and he uses a considerable amount of Black folk idioms in his music. Four Characteristic Waltzes, Op. 22, was published in 1903. A set of four waltzes, From the composer’s original notes: “In the Bottoms is a Suite of five numbers this elegant collection is easily accessible and reflects four contrasting approaches giving pictures of moods or scenes to Black life in the river bottoms of the to this classic dance. “Valse Bohémienne” is a waltz in E Minor, the same key Southern sections of North America.” Dett further states that “as it is quite utilized J.S. Bach’s English Suite no. 5. With its affable melody, charm, and possible to describe the traits, habits and customs of a people without using elegance, one can draw similarities to the style of Edward Elgar. The second waltz, the vernacular, so it is similarly possible to musically portray racial peculiarities “Valse Rustique (Rustic Waltz)”, is in A Major, and possesses a transparent tex- without the use of national tunes or folk songs.”1 The opening “Prelude: Night” ture and a beautiful cantabile line. The third dance, “Valse de la Reine (Queen’s utilizes perfect 5ths and octaves at the beginning and end of the piece. With Waltz),” is in E Major, and its chordal texture showcases its regal nature. The syncopated rhythms and variety of tempi between sections, this piece immediately final waltz, “Valse Mauresque (Moorish Waltz),” returns to the key of E minor, captures the essence of Southern life.
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