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. The second movement, “His Song” alter- and rounds out the set with its energetic nature and rhythmic motives. nates between the keys of D minor and D Major, and the composer encourages the performer to take liberties with the melodic line in the opening section. The African Suite, Op. 35, comprised of four dances, was published in 1898, the third movement, “Honey: Humoresque,” is brief and light-hearted. “Barcarolle: same year as one of his most significant works: cantata The Song of Hiawatha, Morning” is contemplative in nature and based on short motives. With the ostinato Op. 30. The first three dances were originally composed for piano. The final left hand that pervades much of the dance, the frequent use of perfect intervals dance was originally written for piano and string quartet, and later orchestrated in (4ths) and repeated-note figures, the final movement, “Juba: Dance” brings this 1901. The first movement, “Introduction,” opens with a mysterious fanfare, and suite to an energetic conclusion. maintains its majestic nature throughout. The second movement, “A Negro Love- Song,” is reminiscent of Afro-American spirituals with its free-flowing rhythms in the bass, rich harmonies, and pleading melody. The third movement, “Valse,” is 1 Dett, R. Nathaniel. In the Bottoms Suite. Composer’s Preface. Chicago: Clayton F. Summy quite charming, while also displaying moments of dense chordal textures that are Co, 1913, pg. 3. Frederick C. Tillis (1930-2020) Contrasts is an early piano set composed during Adams’ time in New York City Born in Galveston, Texas, Frederick Tillis received degrees from Wiley College in (late 1950s). In ten short movements, this piece is reflective of Adams’ vocal Marshall, Texas, University of North Texas, and University of Iowa. He was consid- style which also showcases playful, reflective, virtuosic, and dance moments. Each ered by many to represent the group of Black eclectic composers emerging from movement is titled, and introduces a variety of tempi and textures. He pays hom- the 20th century. His style shows several idioms including twelve-tone technique, age to 19th century idioms with titles such as “Prelude,” “Etude,” “Romance,” jazz, and African American music. while also employing innovative harmonies, syncopated rhythms, and occasional use of dissonant intervals. From the composer: “I was preparing to play a concert Composed in 1964, Three Movements for Piano is an 11-minute work exploring at Steinway Hall…, and wanted an opening work. The concert featured first per- the extreme registers of the piano, while utilizing atonal elements such as disso- formances of the Contrasts, Nightsongs for voice and piano, Empire Sonata for nant intervals, irregular rhythms, unmeasured sections, and constant meter chang- horn and piano, and Violin Sonata. The Ira Aldridge Society of New York were the es. This piece has no programmatic titles and represents an intuitive approach to sponsors. As this concert was not covered by the press, the same program was writing a piano composition that is suite-like in nature. The first movement, “Con repeated in Judson Hall a year later; that event was reviewed by the New York brio,” opens with superimposed intervals of fourths between both hands which Herald Tribune.”2 are separated by a tritone. The second movement, marked “Adagio, ad libitum con espressione,” is recitative in nature with a great deal of rhythmic variety. The Jeffrey Mumford (b. 1955) movement ends with a slow trill on the extreme ends of the keyboard (C-B in right Guggenheim Award-winning composer Jeffrey Mumford continues to garner criti- hand, A-B in left hand), which gradually increases in speed in and volume. The cal acclaim for his visionary approach to composition and diversity of musical final movement, “Con bravura,” brings this piece to an intense resolution with elements in his works. He has taught at the Washington Conservatory of Music, unexpected rhythms, highly dissonant intervals, and utilizing the entire register of served as Artist-in-Residence at Bowling Green State University, and held an the keyboard. appointment as Assistant Professor of Composition and Composer-in-Residence at the Oberlin College Conservatory of Music. Touted as a protégé of late com- H. Leslie Adams (b. 1932) poser Elliott Carter, Mumford is currently Distinguished Professor at Lorain Dr. Adams holds degrees from Oberlin Conservatory of Music, Long Beach State County Community College in Northern Ohio. Mumford has received numerous University, and Ohio State University. He has worked in all media, including sym- fellowships, grants, awards and commissions, including the “Academy Award phony, ballet, chamber, choral, instrumental and vocal solo, and keyboard. Adams’ in Music” from the American Academy of Arts & Letters, a Fellowship from the music has been performed by the Prague Radio Symphony, Iceland Symphony, Guggenheim Foundation, and an ASCAP Aaron Copland Scholarship. He was Buffalo Philharmonic, and Indiana Symphony, and commissioned by The also the winner of the inaugural National Black Arts Festival/Atlanta Symphony Cleveland Orchestra, Ohio Chamber Orchestra, and Cleveland Chamber Symphony, among many others. Adams is winner of the “Life Achievement Award” of the 2 Cleveland Arts Prize “for his career as musician and composer.” Email correspondence from the composer, 2020. Orchestra Composition Competition. Mumford’s most notable commissions include ABOUT THE PERFORMER those from The Cleveland Orchestra, Chicago Symphony Orchestra, the Walter W. Dr. Rochelle Sennet has established herself as a well-known performer, teacher, Naumburg Foundation, Chamber Orchestra of Philadelphia, the Fulcrum Point and scholar. Her recital programs showcase her versatility at the keyboard, with New Music Project through New Music USA, the Sphinx Consortium, Cincinnati frequent performances of repertoire by Bach, Beethoven, and African American Symphony Orchestra, the Argento Chamber Ensemble, and the Haydn Trio composers such as H. Leslie Adams, Jeffrey Mumford, James Lee III, and Pulitzer Eisenstadt of Vienna. Prize-winning composer George Walker. She received the Bachelor of Music degree from San Francisco Conservatory of Music, the Master of Music degree The four dances for Boris were written for pianist Lura Johnson to perform as part from University of Michigan, Artist Diploma from Texas Christian University, and of ‘Enter Race’ choreographed by Boris Willis. The title ‘Enter Race’ takes inspira- the Doctor of Musical Arts degree from University of Illinois. She was co-winner tion from the landmark Loving vs. Virginia Supreme Court case from 1967, which for the Krannert Center Debut Artist Competition, national finalist at the MTNA declared interracial marriage legal in the United States. Jeffrey Mumford’s charac- Steinway & Sons Young Artist piano competition, and a prize winner in numer- ter piece includes idioms of African American culture and Mumford’s unique sty- ous competitions such as the Kingsville International Piano competition, San listic feature of mimicking sound colors. It was premiered on Millennium Stage at Antonio Tuesday Musical Club Piano Competition, and the US Open Music Piano John F. Kennedy Center for the Performing Arts, Washington, D.C. in 2003. From Concerto Competition. She currently serves as Associate Professor of Piano in the the composer: “Music, on some level can be seen as kind of a cry of the heart, the School of Music, and is also the inaugural Associate Dean for Diversity, Equity, deepest need to express in sound the yearnings of the soul—something we share and Inclusion in the College of Fine and Applied Arts at University of Illinois at with birds and other species. All music is a primary expression of human emotion, Urbana-Champaign. shaped through our intellects into comprehensible forms. The music I write comes from just such a cry of the heart, and it is formed into abstract shapes in which I Her first solo recording, titled Alkebulan’s Son: The Solo Piano works of James delight.”3 Lee III, was released in 2014 on Albany Records, and garnered critical acclaim. Her recording of George Walker’s Piano Concerto with Sinfonia Varsovia in Poland was released on the Albany Records label in 2012. She also recorded eighteenth- 3 Email correspondence from the composer, 2017. century composer Leopold Kozeluch’s Piano Concerto no. 2 and three harpsichord sonatas for four-hands with the Classical Chamber Players, which was released on the Mark Records label. In addition, her duo’s debut recording, Gathering Shatters, was released in 2018 on Albany Records.

Recent performances include solo appearances at the Four Seasons Arts in Oakland California, Nizhny Novgorod State Conservatory and Balakirev Music College in Russia, Eastman School of Music in Rochester, Texas Christian University in Fort Worth, the University of Michigan in Ann Arbor, and University of Memphis. She performed Samuel Barber’s Piano Concerto with the Blue Lake Festival Orchestra in Michigan, which was broadcast live on WBLV-Blue Lake Public Radio. She gave the world premiere of James Lee III’s Concerto for Piano and Winds with the Morgan State University Symphonic Band in Baltimore, Maryland. She has also made guest appearances as a soloist with ensembles such as Prizm Ensemble in Tennessee, University Philharmonia Orchestra in Michigan, the Sewanee Festival Orchestra in Tennessee, and the San Francisco Conservatory of Music Orchestra. She performed Etude Fantasy by Oscar-winning composer John Corigliano at University of Illinois concert, in which the composer was in attendance and praised her performance. As an accomplished chamber performer, she was a co-founder of Duo MemDi, a piano-violin duo established in 2010 with Russian international violin performer Igor Kalnin, on the principles of diversity and performing works by memory, a rarity in the field of chamber music. Recent Duo MemDi performances have included appearances throughout the United States, Central Asia, and Europe. As a committed scholar and educator, Dr. Sennet has presented frequent guest lectures, masterclasses and clinics. She is an avid advocate for outreach performances, and is in demand as an adjudicator at numerous piano competitions. Rochelle Sennet is a Yamaha Artist. BACH TO BLACK: SUITES FOR PIANO • ROCHELLE SENNET, PIANO TROY1869-71 Disc 2 Johann Sebastian Bach 1-6 English Suite No. 6 in D Minor, BWV 811 [26:45] Bach To Black SUITES FOR PIANO R. Nathaniel Dett 7-11 In the Bottoms [16:09]

Rochelle Sennet Johann Sebastian Bach piano 12-17 English Suite No. 2 in A Minor, BWV 807 [23:25] H. Leslie Adams 18-27 Contrasts [11:57] Disc 1 Total Time = 78:41 Johann Sebastian Bach 1-6 English Suite No. 5 in E Minor, BWV 810 [21:05] Disc 3 Johann Sebastian Bach Samuel Coleridge-Taylor 1-8 English Suite No. 1 in A Major, BWV 806 [23:25] 7-10 Four Characteristic Waltzes, Op. 22 [13:37] Samuel Coleridge-Taylor Johann Sebastian Bach 9-12 African Suite, Op. 35 [19:23] 11-16 English Suite No. 3 in G Minor, BWV 808 [19:17] Johann Sebastian Bach Jeffrey Mumford 13-18 English Suite No. 4 in F Major, BWV 809 [21:37] 17 four dances for Boris [5:24] Total Time = 59:33 Frederick Tillis 19-21 Three Movements for Piano [11:37] Total Time = 76.21

WWW.ALBANYRECORDS.COM TROY1869-71 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2021 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. BACH TO BLACK: SUITES FOR PIANO • ROCHELLE SENNET, PIANO TROY1869-71 BACH TO BLACK: SUITES FOR PIANO • ROCHELLE SENNET,