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Home , Hall Johnson, Leonard De Paur, Robert McFerrin

School of the Arts and the Arts Diversity Series present

Christopher C. Jordan, Cindy St. Clair, piano

in

SONGS OF THE SOUL: An Evening of Music by African American

Sunday, February 21, 2021 Brock Recital Hall 7:00 p.m. Program

Drei Lieder für Bariton mit Klavierbegleitung (Hesse) Robert Owens Fremde Stadt (1925–2017) Eine Geige in den Gärten Im Nebel

Five Creole arr. Camille Nickerson Chère, Mo Lemmé Toi (Creole Love ) (1888–1982) Danse Conni Conné! (Creole Nursery Song) Lizette, Ma Chêre Amie (Creole Love Song) Fais Do Do (Creole Lullaby) Michieu Banjo (Creole Folk Song)

Intermission (10 minutes)

The Negro Speaks of Rivers (Hughes) Margaret Bonds (1913–1972)

The Barrier (McKay) Charles S. Brown (b. 1940)

I, Too (Hughes) Bonds

Spirituals from Twenty-Four Negro Melodies, Op. 59 arr. Samuel Coleridge-Taylor Sometimes I Feel Like a Motherless Child (1875–1912) Cindy St. Clair, piano

Sometimes I feel like a motherless child, A long way from home, a long way from home.

Witness arr. (1888–1970)

Give Me Jesus arr. Moses Hogan (1957–2003)

Ride on, King Jesus! arr. Johnson

We appreciate your assistance in silencing all devices during the performance. Photography and unauthorized recording of the performance are prohibited.

Recital ushering provided by the Omicron Gamma Chapter of Delta Omicron International Music Fraternity. Robert Lee Owens III (1925–2017) was born into a musical family in Denison, Texas. Shortly after his birth, the family moved to Berkeley, California. He first studied piano with his mother starting at the age of four. At eight years old, Robert told his father that he wanted to live in Germany because he was so moved by the music of composers like Schubert and Schumann. After a short stint in the military, piano studies in Paris, and a move to Hamburg to become an actor, Owens eventually set up his permanent residence in Munich in 1964. In 1970, Robert Owens completed his first , Kultur! Kultur! In 1998, his work for voice and piano, Drei Leider Für Bariton Mit Klavierbegleitung, Op.20, was published by Orlando-Musikverlag (München). The song cycle expresses feelings of heart-wrenching loneliness and restless longing for a sense of home.

Drei Lieder für Bariton mit Klavierbegleitung, Op. 201 Hermann Hesse, Poet Robert Owens,

Fremde Stadt

How strange—how sad it is To wander through the empty streets Of a sleeping city, the moon shining Down on thatched roofs.

And high above the chimney sweeps, The clouds flow by, mysteriously Im Nebel Like lost, wandering ghosts, Seeking for a place called home. How odd, to wander through the fog!

Then suddenly, stillness overwhelms you— Each bush and each stone is alone,

You give into this strange magic, One tree does not fathom the next tree, Drop the heavy load from your shoulder Each tree stands alone. And weep long and sob bitterly. Once the world was full of friends, As my life still glowed brightly; Eine Geige in den Gärten Now that the fog has settled in, I can perceive no one. From far away—from distant, dark valleys— The blackbird’s sweet song reaches my ear, Truly, no one is wise,

And my heavily beating heart listens That hasn’t gone through this darkness, And quivers ‘til dawn. That separates him—quietly but relentlessly— From everyone else. The moon shines down For hours on my knowing Longings— How very curious it is to wander through the fog! They suffer from hidden wounds, Living means: being alone. Which bleed all through the Night. One person does not fathom another person, Each one remains alone. A fiddler in the garden Bows his melancholy tones Up to my ears and a sudden tiredness Lulls me to sleep. *

Gypsy fiddler, down in the garden— Where do you find those soothing tones, Which comfort my restless Longings?

1 Translations by Robert Owens. Camille Lucie Nickerson’s (1888–1982) inspiration to explore the Creole folksongs came directly from her experiences growing up in New Orleans, Louisiana. Nickerson was familiar with the music and dialect of her native culture2 having lived in the French Quarter at the turn of the century. She heard many of these songs in her home, neighborhood, and church. She was a lauded educator having taught at Howard University from 1926–1962. Camille arranged, performed, and educated others about the Louisiana Creole culture and was widely recognized as “The Louisiana Lady”.

On her Five Creole Songs, Ms. Nickerson writes:

“The Creole folk songs herein represented originated on the plantations of the French and Spanish colonists of Louisiana much in the same manner as the and works songs of the American Negro. But, whereas the latter is in part a product of Anglo-Saxon environment, the former reflects the influence of a Latin regime; hence there are differences in the two folk creations.”

Five Creole Songs3 Camille Nickerson, Arranger Chère, mo lemmé toi Lizette, Ma chêre amie

Dear, I love you, Lisette has left the plantation, Dear, I love you, I have lost my happiness; Yes, I love you, My eyes seem like fountains With all my heart I love you. Since I have not seen you. During the day when I cut sugar cane, I think of my love; Dear, I love you, At night when I am in my bed, Dear, I’m crazy ‘bout you, In my sleep [my dreams] I see you. Yes, I love you Like a pig loves mud. If you go to the city,

You [will] find young Candios, If I ever stop loving you, Who have to deceive girls If I ever stop loving you, With mouths [words] sweeter than syrup. I’ll take a knife and cut my neck. You are going to believe him to be very sincere, While in fact, he is a mere thief. It’s like the Snake that pretends to cry Rat, to fool them. Dansé Conni Conné! Fais Do Do Dance for the Nursey My little papa! Go to sleep Mama’s little son. When the potato is done If Baby doesn’t go to sleep We will eat it! A wagon of sheep will come and eat him. And even if it’s not cooked

We will eat it! Go to sleep Mama’s little son. If Baby doesn’t go to sleep The “Big Bad Wolf” is going to eat him!

2 For more information on Louisiana Creole (Kouri-Vini), please visit www.mylhcv.com. 3 Translations by Cliford St. Laurent and Christopher C. Jordan. Michieu Banjo Look at that little Mulatto over there, Mister Banjo He’s so full of himself!

Hat turned on one side, Mister Banjo, Walkin’ cane in hand, Handkerchief in his pocket, Mister Banjo Cigar in his big mouth.

Hair all smooth an’ slick, Mister Banjo, Necktie so very red, Pants so full, little Banjo, But shoes that cry “Crank, Crank!”

Eyes a-rollin’ up an’ down, Mister Banjo, With a flower in his buttonhole, little Banjo,

Playing up his own abilities, But he’s ugly as the Devil!

Margaret Allison Bonds (1913–1972) was born into a musical family in Chicago, Illinois. While in high school, she also studied piano with renowned composer Florence Price, and a staple in the choral world, William Levi Dawson. Her formal education includes a bachelor’s and master’s degree in music from Northwestern University in Evanston, Illinois, with further study at the . During her time at Northwestern, she had her first direct exposure to racism. In an interview with James Hatch, Bonds had this to say about the experience:

“I was in this prejudiced university, this terribly prejudiced place--I was looking in the basement of the Evanston Public Library where they had the poetry. I came in contact with this wonderful poem, "The Negro Speaks of Rivers," and I'm sure it helped my feelings of security. Because in that poem he [Langston Hughes] tells how great the black man is: And if I had any misgivings, which I would have to have--here you are in a setup where the restaurants won't serve you and you're going to college, you're sacrificing, trying to get through school--and I know that poem helped save me.”

Bonds would eventually meet Langston Hughes in 1936 and went on to compose music to several of his poems including “The Negro Speaks of Rivers” (1942) and “I, Too [Sing America]” (1959). “The Negro Speaks of Rivers” connects the soul and heritage of the African American community to four great rivers in the Middle East, Africa, and America. In this way, the poem charts the journey of Africans and and links this community to the birth of civilization. “I, Too” is a part of Bonds’ Three Dream Portraits (1959), which also includes “Minstrel Man” and “Dream Variations.” In this piece, the singer claims his patriotic right as an American even though he is a “darker brother.” When he is often cast aside, the singer laughs at the hypocrisy of his fellow Americans because he knows that “tomorrow”, everyone will see his beautiful contributions to the American culture – “and be ashamed.”

The Negro Speaks of Rivers Langston Hughes, Poet Margaret Bonds, Composer

I've known rivers: I've known rivers ancient as the world and older than the flow of human blood in human veins.

My soul has grown deep like the rivers.

I bathed in the Euphrates when dawns were young. I built my hut near the Congo and it lulled me to sleep. I looked upon the Nile and raised the pyramids above it. I heard the of the Mississippi when Abe Lincoln went down to New Orleans, And I've seen its muddy bosom turn all golden in the sunset.

I've known rivers: Ancient, dusky rivers.

My soul has grown deep like the rivers.

I, Too Langston Hughes, Poet Margaret Bonds, Composer

I, too, sing America.

I am the darker brother. They send me to eat in the kitchen When company comes, But I laugh, And eat well, And grow strong.

Tomorrow, I’ll sit at the table When company comes. Nobody’ll dare Say to me, “Eat in the kitchen,” Then.

Besides, They’ll see how beautiful I am And be ashamed. Charles S. Brown (b. 1940) is a Detroit native and graduate of The University of Michigan (BM ’74, MM ’75). He also studied music at Morehouse College in Atlanta, GA. This multi-faceted musician has performed internationally with his beautiful baritone voice and has taught at universities in Missouri and City. Mr. Brown currently resides in .

In “The Barrier”, Brown sets music to the 1922 poem by African American poet Claude McKay which discusses racial injustice and its effect on interracial relationships. The singer expresses his affection for another by noting their undeniably “sun-illumined” beauty. Yet, because of the barrier of race, he is conditioned to know that he must withhold his true feelings of love and not approach the object of his desire.

The Barrier Claude McKay, Poet Charles S. Brown, Composer

I must not gaze at them although Your eyes are dawning day; I must not watch you as you go Your sun-illumined way;

I hear but I must never heed The fascinating note, Which, fluting like a river reed, Comes from your trembling throat;

I must not see upon your face Love’s softly glowing spark; For there’s the barrier of race, You’re fair and I am dark.

Composer, arranger, and choral director, Francis Hall Johnson (1888–1970) was born into an upper-middle class family in Athens, Georgia. He earned a bachelor’s degree in music from the University of Pennsylvania. Johnson began focusing on arranging and composing Negro spirituals after sitting in orchestra pits on Broadway for many years listening to “barbershop-quartet” styled arrangements that he felt were inauthentic. He decided to draw upon his roots mixed with his formal training to present a style of African American spiritual that is full of rich harmonies and expression. He became a champion of the genre and coached famous vocalists and conductors including , Robert McFerrin, , Harry Belafonte, and .

The two Hall Johnson Spiritual arrangements that I chose represent a snapshot of the Christian faith, in particular, the works and power of Jesus Christ.

Witness Ride on, King Jesus! (King of Kings)

Oh, Lord, what manner of man is dis? Ride on, King Jesus! All nations in Him are blest; No man can-a hinder me. All things are done by His Will, Ride on, King Jesus, ride on! He spoke to de sea an’ the sea stood still. No man can-a hinder me.

Now ain’t that a witness for my Lord? For He is King of kings, Ain’t that a witness for my Lord? He is Lord of lords, Ain’t that a witness for my Lord? Jesus Christ, duh first an’ las’, Ma soul is a witness for my Lord. No man works like Him.

Now dere was a man of the Pharersees, King Jesus rides a milkwhite horse, His name was Nicodemus an’ e’ didn’ believe. No man works like Him.

De same came to Chris’ by night, Duh river of Jerdin He did cross. Wanted to be taught out o’ human sight. No man works like Him. Nicodemus was a man desired to know How a man kin be born when he is ol’. For He is King of kings, Chris’ tol’ Nicodemus, as a frien’, He is Lord of lords, “Man, you mus’ be born again.” Jesus Christ, duh first an’ las’, Oh! Said, “Marvel not, man, ef you wanter be wise, Repent, believe, an’ be baptize.” King Jesus rides in de middle o’ de air, Oh! He calls duh saints from ev’rywhere. Ah! Den you’ll be a witness for my Lord.

You’ll be a witness for my Lord. Ride on, King Jesus! You’ll be a witness for my Lord. No man can-a hinder me.

Soul is a witness for my Lord. Ride on, King Jesus, ride on! No man can a hinder me. You read about Samson, from his birth Stronges’ man dat ever lived on earth. ‘Way back yonder in ancien’ times He killed ten thousan’ of de Philistines.

Den ol’ Samson went wandrin’ about; Samson’s strength was never found out Till ‘is wife sat upon ‘is knees. She said, “Tell me where yo’ strength lies, ef you please.” Now Samson’s wife, she talk so fair, Samson said, “Cut off-a my hair. Shave my head jes as clean as yo’ han’ ‘An my strength will ‘come lak a natchul man.

Ol’ Samson was a witness for my Lord, Samson was a witness for my Lord, Samson was a witness for my Lord. Soul is a witness for my Lord.

Da’s another witness, Now da’s another witness, Da’s another witness, Ma soul is a witness for my Lord, Ma soul is a witness for my Lord!

Pianist, conductor, and arranger Moses Hogan (1957-2003) was a native of New Orleans, LA. He studied piano with noted musician Ellis Marsalis and won a scholarship to Oberlin College in his pursuit to become a classical pianist. He later studied at The Juilliard School. He returned to New Orleans and started the New World Ensemble in 1980 and founded the Moses Hogan Chorale and the Moses Hogan Singers in the 1990s. His arrangements are celebrated for their pure, warm, and expressive style. Hogan revitalized interest in the “arranged spiritual”, continuing the tradition of H.T. Burleigh, William Dawson, and Hall Johnson. At the time of his death, Hogan was artist-in-residence at both Dillard and Loyola universities.

“Give Me Jesus” comes from the heart of the believer who understands that the artificial comforts of the ‘world’ are nothing compared to the absolute and eternal love of Jesus. (Matthew 16:26)

Give Me Jesus Arranged by Moses Hogan

In the morning when I rise In the morning when I rise In the morning when I rise, give me Jesus

Give me Jesus Give me Jesus You can have all of this world Give me Jesus

Dark midnight was my cry Dark midnight was my cry Dark midnight was my cry, give me Jesus

When I comes to die When I comes to die When I comes to die, give me Jesus

Give me Jesus Give me Jesus You can have all of this world Give me Jesus

South Florida native Christopher C. Jordan has a dynamically diverse performance and academic background. His repertoire encompasses opera, oratorio, art song, musical theatre, pop and Gospel.

On the operatic stage, Christopher has performed leading and comprimario roles in The Consul, Hansel and Gretel, The Mikado, Patience, H.M.S. Pinafore, and the titular roles in Don Giovanni and Paul Bunyan. He also performed the roles of Barone Douphol in La Traviata with Opera Birmingham and Moralès in Carmen with the Natchez Opera Festival. Jordan has been heard on stage with the Teatro Lirico d’Europa and Sofia Philharmonic Orchestra of Bulgaria, as well as the Gold Coast Opera of South Florida in productions of Tosca and Carmen. One of the highlights of his career is premiering the role of Jordan in Over Dinner, a new opera by American composer Amir Zaheri with the University of Alabama Opera Theatre. Christopher’s concert and oratorio repertoire includes appearances in Bach’s St. John Passion, Handel’s Messiah, Dubois’ The Seven Last Words of Christ, Pergolesi’s Magnificat, and Mozart’s Requiem and Coronation Mass. On the musical theatre and dramatic stage, he has performed in productions of “The Amen Corner”, “Tambourines to Glory”, “The Colored Museum”, and “Carousel”.

A tireless proponent of music education, Dr. Jordan has served on the faculties of several universities and colleges in the Southeastern U.S. and has earned music degrees from Florida A&M University (B.S.), Florida State University (M.M.E.) and the University of Alabama (D.M.A.). He is currently a freelance artist and teacher in New York City. For more information on Christopher, please visit him at www.christopherjordanbaritone.com.

Pianist Cindy St. Clair has appeared throughout the and abroad as a soloist and collaborator, which includes solo performances in the 39th Annual Festival held in Eisenstadt, Austria. She has been a featured soloist with the Huxford Symphony Orchestra, the University of Alabama Symphonic Band, and the Samford University Orchestra. In demand as a collaborative pianist, Dr. St. Clair has a wealth of experience working with vocalists, ensembles, instrumentalists, , and music theatre groups. Most recent engagements include performances at the Music by Women Festival in Mississippi and at Auburn University.

Dr. St. Clair holds a Doctor of Musical Arts degree and a Master of Music degree both in Piano Performance from the University of Alabama and a Bachelor of Music degree in Piano Performance from Samford University. Her teachers include Kevin Chance, Amanda Penick, Ronald Shinn, and Betty Sue Shepherd. Dr. St. Clair also holds a Bachelor of Science degree in Paralegal Studies with a concentration in Business from Samford University. She worked 16 years in the legal field prior to pursuing her degrees in music during which time she spent many years serving on the Board of Directors for a professional association, mentoring students, and presenting lectures at professional conferences.

Previously, Dr. St. Clair served as the Chair of the Department of Music and the Director of the Quality Enhancement Plan at Judson College. In 2019, she received the Mary Gibson Thompson Teaching Award for excellence at Judson. Dr. St. Clair has won several piano competitions in the region and is frequently invited to adjudicate piano competitions and present lectures. She is a certified teacher in piano by the Music Teachers National Association and serves on the executive board of the Alabama Music Teachers Association.

Coming Events (through March)

Feb 23 Mary Louise Hodges Faculty Recitals: Samford String 7:30 p.m. Brock Recital Hall Quartet, endowed by the Wilton H. Bunch Family Tickets and Livestream Feb 25 Wind Ensemble Concert 7:30 p.m. Wright Center Tickets and Livestream Feb 27 Student Recital: Blake Mitchell, 2:30 p.m. Brock Recital Hall Mar 1-12 John & Marsha Floyd Art & Design Series: Art Gallery Neurodiversity of the Human Mind by Trent Carruth* Mar 1 Patty McDonald Orchestra Series: 7:30 p.m. Wright Center Samford Orchestra Concert Tickets and Livestream Mar 2 Virtual Artist’s Talk* 5 p.m. Virtual Mar 5-6 Samford Dance Concert, [to] Soar* presented by Samford 7:30 p.m. Wright Center Dance Co. and Sanspointe Dance Co.; part of the Michael J. and Mary Anne Freeman Theatre and Dance Series Watch via Livestream Mar 11 Division of Music Honors Recital 7:30 p.m. Brock Recital Hall or Virtual Mar 13 Diversity Series: 7:30 p.m. Brock Recital Hall "Colorful Harmony: Melodies from Near and Far" with Angela Yoon, soprano and Jason Terry, piano Mar 17-21 Michael J. & Mary Ann Freeman Theatre & Dance Series: 7:30 | 2:30 Harrison Theatre & Tinkerbell* p.m. Livestream Mar 17-31 John & Marsha Floyd Art & Design Series: Art Gallery Studio Art Senior Exhibition* Mar 18 Virtual Artists’ Talk* 5 p.m. Virtual Mar 18 Student Recital: Joshua Davis, composition 7:30 p.m. Brock Recital Hall Mar 20 Student Recital: Tessa Brown, soprano 2:30 p.m. Brock Recital Hall Mar 21 Student Recital: Olivia Grace Sistrunk, soprano 4 p.m. Brock Recital Hall Mar 27 Student Recital: Blake Mitchell, composition 2:30 p.m. Brock Recital Hall Mar 27 Student Recital: Annabelle King, soprano 4 p.m. Brock Recital Hall Mar 27 Student Recital: Carlee Edge, mezzo-soprano 4:30 p.m. Brock Recital Hall Mar 27 Student Recital: Donny Snyder, cello 5:30 p.m. Brock Recital Hall *does not count for recital credit

Log your attendance for credit using this code, whether streaming or in-person.

Livestream – https://www.samford.edu/arts/live

Division of Music Student Recitals – https://www.samford.edu/arts/calendar/ School of the Arts Events Page – https://www.samford.edu/arts/events/

The Arts Diversity Series

The Arts Diversity Series Committee is a group of art, theatre and music students in the School of the Arts who have gathered with a commitment to provide opportunities to the Samford community to create and engage in events that promote diversity. The group began last year in the theatre department as a way to engage the Samford community in conversations of inclusivity and diversity. It was created with School of the Arts Dean Joe Hopkins' support by three Samford graduates, Theo Edwards-Butler, Angel Sims and Abby-Shelton Storey. Coming into this academic year, it expanded to include music and art in order to span across mediums and platforms. Current committee members are Scott Baron, Egypt Davis, Darian White, Bekah Anderson and Emily Kent.

The sole purpose of creating the Diversity Series is to tell the stories of people whose experiences are unheard and misunderstood. We, the committee, are dedicated to telling the stories of all people, including good and bad chapters. We cannot ignore the recent displays of injustice in our country and seek to aid in healing through art. Through our work, we seek to provide a safe, thoughtful, diverse organization where all of God’s people are welcomed and represented.

Spring Events

Feb. 21, 7:30 p.m., Songs of the Soul: An evening of Music by African American Composers, Cindy St. Clair and Christopher Jordan

March 1-12, Neurodiversity of the Human Mind, Trent Carruth

March 13, 7:30 p.m., Colorful Harmony: Melodies from Near and Far, Angela Yoon and Jason Terry

Samford University is an Equal Opportunity Institution that complies with applicable law prohibiting discrimination in its educational and employment policies and does not unlawfully discriminate on the basis of race, color, sex, age, disability, veteran status, genetic information, or national or ethnic origin.