Rise up Singing! Oh Freedom a Black History Celebration Mr
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Everything Man Paul Robeson the Form and Function Of
EVERYTHING THE MAN FORM AND FUNCTION PAUL OF ROBESON SHANA L. REDMOND EVERYTHING MAN refiguring american music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor duke university press | durham and london | 2020 EVERYTHING MAN THE FORM AND FUNCTION OF PAUL ROBESON shana l. redmond © 2020 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Cover designed by Drew Sisk Text designed by Matthew Tauch Typeset in Whitman by Copperline Book Services Library of Congress Cataloging- in- Publication Data Names: Redmond, Shana L., author. Title: Everything man : the form and function of Paul Robeson / Shana L. Redmond. Description: Durham : Duke University Press, 2020. | Includes bibliographical references and index. Identifiers:lccn 2019015468 (print) lccn 2019980198 (ebook) isbn 9781478005940 (hardcover) isbn 9781478006619 (paperback) isbn 9781478007296 (ebook) Subjects: lcsh: Robeson, Paul, 1898–1976. | Robeson, Paul, 1898–1976—Criticism and interpretation. | Robeson, Paul, 1898–1976—Political activity. | African American singers— Biography. | African American actors—Biography. Classification: lcc e185.97.r63 r436 2020 (print) | lcc e185.97.r63 (ebook) | ddc 782.0092 [b]—dc23 lc record available at https://lccn.loc.gov/2019015468 lc ebook record available at https://lccn.loc.gov/2019980198 Cover art: Norman Lewis (1909–1979), Too Much Aspiration, 1947. Gouache, ink, graphite, and metallic paint on paper, 21¾ × 30 inches, signed. © Estate of Norman Lewis. Courtesy of Michael Rosenfeld Gallery llc, New York, NY. This book is freely available in an open access edition thanks to tome (Toward an Open Monograph Ecosystem)— a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of Arcadia, a charitable fund of Lisbet Rausing and Peter Baldwin, and the ucla Library. -
25 Recommended Recordings of Negro
25 Recommended Recordings of Negro Spirituals for Solo Vocalist Compiled by Randye Jones This is a sample of recordings recommended for enhancing library collections of Spirituals and, thus, is limited (with one exception) to recordings available on compact disc. This list includes a variety of voice types, time periods, interpretative styles, and accompaniment. Selections were compiled from The Spirituals Database, a resource referencing more than 450 recordings of Negro Spiritual art songs. Marian Anderson, Contralto He’s Got the Whole World in His Hands (1994) RCA Victor 09026-61960-2 CD, with piano Songs by Hall Johnson, Harry T. Burleigh, Lawrence Brown, J. Rosamond Johnson, Hamilton Forrest, Florence Price, Edward Boatner, Roland Hayes Spirituals (1999) RCA Victor Red Seal 09026-63306-2 CD, recorded between 1936 and 1952, with piano Songs by Hall Johnson, John C. Payne, Harry T. Burleigh, Lawrence Brown, Hamilton Forrest, Robert MacGimsey, Roland Hayes, Florence Price, Edward Boatner, R. Nathaniel Dett Angela Brown, Soprano Mosiac: a collection of African-American spirituals with piano and guitar (2004) Albany Records TROY721 CD, variously with piano, guitar Songs by Angela Brown, Undine Smith Moore, Moses Hogan, Evelyn Simpson- Curenton, Margaret Bonds, Florence Price, Betty Jackson King, Roland Hayes, Joseph Joubert Todd Duncan, Baritone Negro Spirituals (1952) Allegro ALG3022 LP, with piano Songs by J. Rosamond Johnson, Harry T. Burleigh, Lawrence Brown, William C. Hellman, Edward Boatner Denyce Graves, Mezzo-soprano Angels Watching Over Me (1997) NPR Classics CD 0006 CD, variously with piano, chorus, a cappella Songs by Hall Johnson, Harry T. Burleigh, Marvin Mills, Evelyn Simpson- Curenton, Shelton Becton, Roland Hayes, Robert MacGimsey Roland Hayes, Tenor Favorite Spirituals (1995) Vanguard Classics OVC 6022 CD, with piano Songs by Roland Hayes Barbara Hendricks, Soprano Give Me Jesus (1998) EMI Classics 7243 5 56788 2 9 CD, variously with chorus, a cappella Songs by Moses Hogan, Roland Hayes, Edward Boatner, Harry T. -
The Harlem Renaissance: a Handbook
.1,::! THE HARLEM RENAISSANCE: A HANDBOOK A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY ELLA 0. WILLIAMS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA JULY 1987 3 ABSTRACT HUMANITIES WILLIAMS, ELLA 0. M.A. NEW YORK UNIVERSITY, 1957 THE HARLEM RENAISSANCE: A HANDBOOK Advisor: Professor Richard A. Long Dissertation dated July, 1987 The object of this study is to help instructors articulate and communicate the value of the arts created during the Harlem Renaissance. It focuses on earlier events such as W. E. B. Du Bois’ editorship of The Crisis and some follow-up of major discussions beyond the period. The handbook also investigates and compiles a large segment of scholarship devoted to the historical and cultural activities of the Harlem Renaissance (1910—1940). The study discusses the “New Negro” and the use of the term. The men who lived and wrote during the era identified themselves as intellectuals and called the rapid growth of literary talent the “Harlem Renaissance.” Alain Locke’s The New Negro (1925) and James Weldon Johnson’s Black Manhattan (1930) documented the activities of the intellectuals as they lived through the era and as they themselves were developing the history of Afro-American culture. Theatre, music and drama flourished, but in the fields of prose and poetry names such as Jean Toomer, Langston Hughes, Countee Cullen and Zora Neale Hurston typify the Harlem Renaissance movement. (C) 1987 Ella 0. Williams All Rights Reserved ACKNOWLEDGEMENTS Special recognition must be given to several individuals whose assistance was invaluable to the presentation of this study. -
Folklorist of the Brush and Palette: Rare Winold Reiss Exhibition
“Folklorist of the Brush and Palette”: Rare Winold Reiss Exhibition Features Distinct, Illuminating Portraits of Harlem Figures by Victoria L. Valentine on May 3, 2018 • 8:58 am WINOLD REISS, “Harlem Girl with Blanket,” circa 1925 FORTY WORKS BY A HARLEM LEGEND are on view in midtown Manhattan. “Winold Reiss Will Not Be Classified” at Hirschl & Adler gallery presents works spanning the German American artist’s four decade career. Winold Reiss (1886–1953) was variously considered an artist, designer, illustrator, architect, printmaker, and muralist. The exhibition, the first compre- hensive presentation of Reiss’s work in three decades, features oil paintings, watercolors, pastels, prints and drawings that capture a range of subjects, including a handful of works about Harlem. Reiss famously made portraits of W. E. B. Du Bois, Mary McLeod Bethune, Paul Robeson, Charles S. Johnson, James Weldon Johnson, and Alain Locke. Nearly a century ago, Locke edited a special issue of Survey Graphic dedicated to black artistic expression. The March 1925 edition of the social science journal was full of essays by writers and intellectuals such as Du Bois, Albert C. Barnes, Arthur Schomburg, who were shaping the cultural discourse, and selec- tions by young African American poets, including Countee Cullen, Langston Hughes, Anne Spencer, and Jean Toomer, who would come to define the Harlem Renaissance. The seminal publication was both a literary and visual record. Titled “Harlem: Mecca of the New Negro,” the issue was illustrated by Reiss, who contributed stylized portraits of Harlem figures, Art Deco graphics, and a cover portrait of Roland Hayes, the composer and tenor vocalist regarded as the first internationally recognized African American concert performer. -
“Were You There”—Roland Hayes (1940) Added to the National Registry: 2013 Essay by Randye Jones (Guest Post)*
“Were You There”—Roland Hayes (1940) Added to the National Registry: 2013 Essay by Randye Jones (guest post)* By the end of the 1930’s, tenor Roland Hayes (1887-1977) had already accomplished more as a professional concert recitalist than any African American of his or earlier generations. The son of former slaves, Hayes had found substantial acclaim in Europe—including a command performance before British royalty—before returning to the United States for several successful tours. He had also supported the careers of numerous other African American singers, including Marian Anderson, Paul Robeson, Dorothy Maynor, Edward Boatner and William Warfield. The Depression had depleted his finances and forced him once again to set up his own engagements. The spreading clouds of war in Europe made it unsafe for him to seek work there. The tenor split his time between concertizing in the United States and making a failed effort to develop the plantation, Angelmo Farms, that he had bought years earlier and named for his mother. And he returned to the recording studio. Years earlier, as a struggling young African American musician, Hayes had found the path to a professional career as a concert singer to be virtually untrod. He was determined not only to clear that path for himself, but to make it easier for others who wished to travel it as well. He decided to pay, out of his own limited funds, to make several records on Columbia, a label with an established reputation for quality Classical releases. Among the songs he selected for this 1918 project was H. -
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’. -
February/March 2017 Volume XIII, No. 4
Volume XIII, No. 4 February/March 2017 PRESERVING A HISTORIC HAVEN: THE WALKER HOME Corey Rogers, Chief Historian Lucy Craft Laney Museum of Black History, Augusta with introduction by Melissa Jest, African American Programs Coordinator, HPD he modest two-story frame house that served as the This home joins many local tributes to Walker such as the Thome of Reverend Charles Thomas (C.T.) Walker first African American Legion in Augusta, C.T. Walker stands quietly on the bustling boulevard that bears his Elementary School; Gwinnett Street renamed Laney- name near downtown Augusta. One could imagine it Walker Boulevard in 1976. was a quiet respite for the preacher who drew crowds and became know as the Black Spurgeon for his dynamic Rev. C.T. Walker was born on February 5, 1858, near oratory. Hephzibah, Georgia to Thomas and Hannah Walker. Although his father died Although the home long the day before he was born, ago passed out of the Walker was surrounded ownership of the Walker by an extended family that family, Historic Augusta not only assisted in his Foundation, Inc. (HAF) upbringing, but also served worked with heirs of a as role models that would later owner for several inspire his spiritual and years to prepare the professional life. property for preservation. On October 1, 1877, at Last fall, HAF purchased the age of 19, he was the home. It will called to pastor Franklin move forward to Covenant Baptist Church in rehabilitate the house Hephzibah. Between 1877 and to help stabilize the and 1885, Reverend Walker neighborhood. Located would lead no less than at 1011 Laney-Walker Boulevard. -
A Little Night Music
WELCOME It is a real pleasure to welcome you to the Quarry before last, and who share the role of Fredrika in Theatre for the first time in many months for our A Little Night Music. It’s a thrill to be able to perform co-production of Stephen Sondheim’s A Little Night Sondheim’s work in Jonathan Tunick’s original Music. This latest collaboration between Leeds orchestrations, with the brilliant Orchestra of Opera Playhouse and Opera North represents a significant North conducted by one of the world’s leading step for both organisations on the road back to a full interpreters of classic musical theatre, Jim Holmes. programme of performances for live audiences. Behind the scenes, our staff have been working The partnership between our two companies has incredibly hard to ensure a safe environment flourished since our work together five years ago for performers and audiences alike, and that on another Sondheim musical, Into the Woods, and will continue to be a top priority as we plan for has grown all the stronger during the pandemic. performances without restrictions in the coming Against the odds we made an all too brief return months. There is much to look forward to from to live performance together last October with both companies, with Pam Gems’ sensational play the Connecting Voices season, which included about the life of Edith Piaf at the Playhouse later Orpheus in the Record Shop, an extraordinary new this summer, and an autumn season that includes work by Leeds-based artist Testament, which was the magical Christmas show Wendy and Peter subsequently filmed for BBC4’s Lights Up festival. -
RH June 12 Press Release
Contact: Rob Daves, Co-chair Hidden Brookline, HIDDEN a committee of the Town of Brookline’s Office of Diversity, Inclusion and Community Relations Phone (617) 566-7334 BROOKLINE [email protected] BROOKLINE, MA May 17, 2016: Press Release BROOKLINE TO HONOR WORLD-RENOWNED AFRICAN AMERICAN TENOR AND TRAILBLAZER ROLAND HAYES WITH THE DEDICATION OF A PLAQUE AND A CEREMONY IN FRONT OF THE HOME WHERE HE LIVED FOR ALMOST 50 YEARS SUNDAY, JUNE 12, 2016 AT 3 TO 4 PM (rain or shine) In the street in front of 58 ALLERTON STREET, BROOKLINE (between High Street and Pond Avenue) Free and open to all. Roland Hayes grew up on a farm where his mother had been enslaved, yet he rose up to become one of the world’s greatest tenors, breaking racial barriers across the United States and throughout the world, a trailblazer for others like Marian Anderson and Paul Robeson. In 1923 he became the first African American to solo with the Boston Symphony Orchestra. Proud of his heritage, he always included African American Spirituals in his concerts. He was a giant in the history of American music, yet here in the town where he made his home and was once revered, there is no permanent memorial to honor him. This will change on June 12th, when we dedicate a bronze plaque in front of his home and honor a man with a voice that enlightened, brightened and changed the world. • Music, story and Brookline connections will be the heart of the program. • Members of the Hayes family will unveil the plaque, which features an image of Hayes, carved by the renowned sculptor Robert Shure. -
Download Booklet
MAG IC L A N T Sophie Daneman ~ soprano Beth Higham-Edwards ~ vibraphone E D Alisdair Hogarth ~ piano Anna Huntley ~ mezzo-soprano R A George Jackson ~ conductor Sholto Kynoch ~ piano O N Anna Menzies ~ cello Edward Nieland ~ treble H Sinéad O’Kelly ~ mezzo-soprano Natalie Raybould ~ soprano - T S E Collin Shay ~ countertenor Philip Smith ~ baritone Nicky Spence ~ tenor A Mark Stone ~ baritone Verity Wingate ~ soprano C L N A E R S F L Y R E H C Y B S G N O S FOREWORD Although the thought of singing and acting in front of an audience terrifies me, there is nothing I enjoy more than being alone at my piano and desk, the notes on an empty page yet to be fixed. Fortunately I am rarely overheard as I endlessly repeat words and phrases, trying to find the music in them: the exact pitches and rhythms needed to portray a particular emotion often take me an exasperatingly long time to find. One of the things that I love most about writing songs is that I feel I truly get to know and understand the poetry I am setting. The music, as I write it, allows me to feel as if I am inhabiting the character in the poem, and I often only discover what the poem really says to me when I reach the final bar. This disc features a number of texts either written especially for me (Kei Miller, Tamsin Collison, Andrew Motion, Stuart Murray), or already in existence (Kate Wakeling, Ian McMillan, 4th century Aristotle). -
Music by BENJAMIN BRITTEN Libretto by MYFANWY PIPER After a Story by HENRY JAMES Photo David Jensen
Regent’s Park Theatre and English National Opera present £4 music by BENJAMIN BRITTEN libretto by MYFANWY PIPER after a story by HENRY JAMES Photo David Jensen Developing new creative partnerships enables us to push the boundaries of our artistic programming. We are excited to be working with Daniel Kramer and his team at English National Opera to present this new production of The Turn of the Screw. Some of our Open Air Theatre audience may be experiencing opera for the first time – and we hope that you will continue that journey of discovery with English National Opera in the future; opera audiences intrigued to see this work here, may in turn discover the unique possibilities of theatre outdoors. Our season continues with Shakespeare’s As You Like It directed by Max Webster and, later this summer, Maria Aberg directs the mean, green monster musical, Little Shop of Horrors. Timothy Sheader William Village Artistic Director Executive Director 2 Edward White Benson entertained the writer one One, about the haunting of a child, leaves the group evening in January 1895 and - as James recorded in breathless. “If the child gives the effect another turn of There can’t be many his notebooks - told him after dinner a story he had the screw, what do you say to two children?’ asks one ghost stories that heard from a lady, years before. ‘... Young children man, Douglas, who says that many years previously he owe their origins to (indefinite in number and age) ... left to the care of heard a story too ‘horrible’ to admit of repetition. -
FRIDAY SERIES 4 Thomas Adès, Conductor Christianne Stotijn
26.10. FRIDAY SERIES 4 Helsinki Music Centre at 19:00 Thomas Adès, conductor Christianne Stotijn, mezzo-soprano Mark Stone, baritone György Kurtág: Ligatura – Message-Hommage 3 min à Frances-Marie Uitti (The Answered Unanswered Question), Op. 31b Jean Sibelius: The Swan of Tuonela, Op. 22/3 8 min Sanna Niemikunnas, cor anglais Jean Sibelius: Tapiola, Op. 112 18 min INTERVAL 20 min Thomas Adès: Totentanz 35 min 1 The LATE-NIGHT CHAMBER MUSIC will begin in the main Concert Hall after an interval of about 10 minutes. Those attending are asked to take (unnumbered) seats in the stalls. Kyeong Ham, oboe József Hárs, French horn Jouko Laivuori, harpsichord Thomas Adès: Sonata da caccia Op. 11 14 min 1. Gravement 2. Gayëment 3. Naïvement 4. Galament Interval at about 19.40. The concert will end at about 20.45, the late-night chamber music at about 21:15. Broadcast live on Yle Radio 1 and Yle Areena. A recording of the concert will be shown in the programme “RSO Musiikkitalossa” (The FRSO at the Helsinki Music Centre) on Yle Teema on 11.11. and 18.11. with a repeat on Yle TV 1 on 17.11. and 24.11. 2 GYÖRGY KURTÁG Kurtág. In the latter, the violins and cel- los play at the same time, but so that (b. 1926): LIGATURA – their bar lines do not coincide. In the fi- MESSAGE-HOMMAGE nal bars, a celesta joins in, rounding off À FRANCES-MARIE this enigmatic, introverted and at times UITTI (THE ANSWERED almost stagnant miniature lasting only a few minutes.