From Song Came Symphony

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From Song Came Symphony CHARTING THE INFLUENCE O F H A R RY T. B U R L E I G H

Wednesday, May 8, 2019 at 7:30 PM Langston Hughes Auditorium Schomburg Center for Research in Black Culture

THE MUSIC

In May of 2019, the Harry T. Burleigh STATEMENT FROM THE FOUN Society presented “From Song Came Symphony.â€? As part of a set of six ' 683<&ÂŁ@ $'ÂŁ'#8!;' ;,' +83<2&#8'!0-2+ !2& 1<£ধ ( works, Urban Playground Chamber >380 3( (8-$!2 1'8-$!2 #!8-;32' !88@ W <8ÂŁ'-+,W Orchestra performed William Grant Still’s rarely heard oratorio “And They Lynched Him on a Tree,â€? 9 ! 9-2+'8T $31639'8T 1<9-$ '&-;38T !2& 1'2;38T <8ÂŁ'-+, ÂŁ'& +'2 32 3( 1'8-$!2 $ÂŁ!99-$!ÂŁ 1<9-$W ' -&' spirituals by1<9-$ 1!0'89 -2 ;,' $8'!ধ Levi Dawson and 9-2+'8 !2& -9 8'$3+2-9'& (38 ,-9 3>2 6'8(381!2$'9 !2& #3&@ 3( = Burleigh. ধ 329W -9 -2* <'2$' -2 -29;8<1'2;!ÂŁ 1<9-$T ,3>'='8T -9 ÂŁ'99 >'ÂŁÂŁ 0

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William Grant Still’s powerful oratorio “And 96-8-;<!ÂŁ9 -2 '!89,3; 3( 2;32-2 =38!0 !; ;,' !ধ 32!ÂŁ 329'8=! 3( 1'8-$! -16!$;'& ;,' 93<2& 3( [ 1'8-$!\ -2 9@16,32-$ 1<9-$ They Lynched Him on A Treeâ€? was premiered '2$3<8!+'& -2$8'!9'& 6<#ÂŁ-$!ধ 32 !2& 6'8(381!2$' 3( $32$'8; 96 by the New York Philharmonic in the summer ‰‡;, $'2;<8@T !2& ,3> ,' -296-8'& $31639'89 ;3 $31639' !2& 6 >3809 !8' !ÂŁÂŁ 6!8; 3( >,!; ;3 ÂŁ-9;'2 (38 ;32-+,;W of 1940. And They Lynched Him on a Tree was '8 ;,' '& <11'8 3( ˆŽˆŽ !2& ;,' (3<2&-2+ 3( ;,' a collaboration $'2;<8@ !Ä‘ between a Black composer, 993$-!ধ 32 3( '+83 <9-$-!29T ,-9 8'!$, 9ধ ÂŁÂŁ 8'932!;'9 !9 #8'!; William Grant Still, and a White poet, 8!&-$!ÂŁ 683;'9; ;3 8!$-!ÂŁ -2/<9ধ $'T !2& $311!2& (38 1'8-$! ;3 # Katherine Garrison Chapin. The project was 2 !>' 3( <8ÂŁ'-+,T encouraged by Alain Locke, a leader of the Harlem Renaissance, and Charlotte Mason, the self-named “Godmotherâ€? and patron of that movement, and Chapin’s aunt. !8ধ ÂŁ!;'2T ,

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Still’s moving oratorio, which features a “visually striking double choir – black mourners contrasting a white mob,� premiered in the summer of 1940 in front of a high-profile audience including Samuel Barber, Eleanor Roosevelt, and Felix Frankfurter. Due to its harrowing subject matter, the work is rarely performed. M AY 2 0 1 9

William Grant Still’s lynching drama ‌And They Lynched Him on a Tree is a rarely performed work for white choir, black choir, contralto soloist, narrator and orchestra. The title and subject matter of the work have been significant hurdles for many conductors who have considered the piece for performance. Additionally, the piece exists in several editions, and among each edition there are inconsistencies in terms of scoring and text, further making the piece difficult to program. Further, the piece, published as a choral ballad, is often labeled as a cantata, oratorio, ballad or play. It is true that the piece functions much like a theatre piece. ‌And They Lynched Him on a Tree contains sound effects, stage directions and a cast of characters; however, the work is sung throughout, except for the narration, which is set in strict rhythm. William Grant Still went on to have a career as an American composer marked by a long list of “firsts.â€? Among them, he was the first African American composer to have a symphony performed by a major American orchestra, the first to conduct a major symphony orchestra, and the first to have an opera performed by a major American company. Still’s setting of Garrison Chapin’s libretto is operatic in nature. It calls for a “White chorusâ€? in the role of a lynch mob, a “Negro chorusâ€? that discovers and mourns the victim, a mezzo-soprano soloist as the mother of the slain man, and a narrator. All come together to lament “the long dark shadow that falls across your landâ€? and call for justice.

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OUR STORY New York-based Urban Playground Chamber Orchestra was formed in 2014 out of the urge to develop a distinctively 21st century chamber orchestra. The ensemble prioritizes music by women and people of color to further enliven the classical canon, while collaborating amongst artists from disparate backgrounds and experiences with respect to genre, and working in non-traditional venues to welcome new audiences. That change occurred when Eric Garner was killed by New York City police on July 17, 2014. The orchestra felt that there had to be a musical response to the broader national conversations regarding police brutality and systems of oppression. Rather than throw a gala featuring a requiem from the European tradition, or perform Beethoven’s Ninth Symphony with its promise of brotherhood, Urban Playground pivoted its repertory to prioritize the works of composers of color. At the same time, it became clear that works by female composers, especially those born prior to World War II were similarly excluded from concert stages. While Urban Playground maintained its collaborative roots, the orchestra shifted to prioritizing the works of composers of color and female composers, in order to expand and enliven the classical canon. After some experimentation with combining canonical masterworks (your Handels, Sibeliuses, and Dvoraks), including works that tracked the 20th century emergence of an “American sound,” it became evident that it made more sense for us and our audience solely to perform works by composers of color and female composers. The thriving cultural institutions of New York City will always offer outstanding performances of music from the predominately white, male European tradition; Urban Playground’s mission is to broadcast that which has not been heard, and to give opportunity to new and dormant voices. In a new educational partnership with Opportunity Music Project, we have embedded a quartet of our musicians as mentors and coaches for OMP students. Painting by Young Son Song, UPCC Visual Artist-in-Residence

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CREATIVE LEADERSHIP LADY JESS ~ Artistic Director and Concert Master

Lady Jess, née Jessica McJunkins, performs in NYC and LA. In addition to her work with Urban Playground Chamber Orchestra, LJ leads the Baltimore-based Soulful Symphony, is a soloing member of Beyoncé K Carter’s band, and contracts strings in New York and Los Angeles. Artists credits include collaborations with Stevie Wonder, The Roots, Max Richter, Alicia Keys, Pete Townsend, One Direction, Diana Ross, Solange and more. Television appearances include The Tonight Show with Jimmy Fallon, Late Night with Seth Myers and Saturday Night Live. Lady Jess enjoys atypical performances that challenge boundaries of genre and tradition. She is a frequent soloist for The Moth Radio Hour on NPR, and has performed in residence with Alonzo King LINES Ballet, Camille A. Brown Dance (CABD), and Nantucket Dance Festival, among others. Recent projects include the Emmy-nominated documentary and accompanying live album Homecoming, the On The Run II World Tour with Beyonce and Jay-Z, recording and arranging strings while on tour with the Carters for their joint album Everything is Love, and the recently released soundtrack to Disney’s The Lion King with Hans Zimmer. LJ is invested in the immediate diversification of the stage and screen; as a contractor, she has been instrumental in ensuring the visibility of musicians of color for television, film and live performances. To this end, she has collaborated with Common, Robert Glasper, Kelsey Lu, Questlove Gomez, Solange, Kamasi Washington for performances at the Kennedy Center, Radio City Music Hall, Hollywood Bowl, and more.

TOM CUNNINGHAM ~ Executive Director

Thomas Cunningham is Executive Director of Urban Playground Chamber Orchestra. Founded in 2014, this orchestra for the 21st century prioritizes the music of women and composers of color to further enliven the classical canon. Previously, Cunningham served as Artistic Director of Urban Playground, 2014-19, and on the conducting staff of Voices of Ascension Chorus & Orchestra in New York, NY (2015-18), Helix! New Music Ensemble in New Brunswick, NJ (2015-18), and the Youth Orchestra of Bucks County in Bucks County, PA (2011-18). During the 2018-19 season, Cunningham made debuts at Carnegie Hall, Symphony Space, and Langston Hughes Auditorium.

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A conductor of distinctly broad repertory, recent engagements have included the concertos of Bach, Dvorak and Berg, orchestrating Addi & Jacq’s award-winning songs, and commissioning numerous young composers. Passionate about the American repertory, Cunningham believes deeply in the underperformed compositions of African American composers, especially William Grant Still and George Walker. His recently completed symphonic suite of William Grant Still’s grand opera Troubled Island is published by William Grant Still Music. Cunningham counts Cristian Măcelaru, Tito Muñoz, Kynan Johns, and Dennis Keene amongst his teachers and mentors. He holds degrees in performance and music education from Westminster Choir College and Rutgers University.

Alicia N. Brozovich ~ Assistant Conductor Alicia N. Brozovich is a conductor and professional soprano hailing from Wichita, KS. She is passionate about 20th- and 21st-century composers, compositions, and programming that highlight the American narrative. Among her favorite musical endeavors is the staged production of Julia Wolfe’s Anthracite Fields with Bang on a Can in Trenton, NJ.

Brozovich has led ensembles in the Midwest, on the East Coast, and abroad in Italy and Oxford, UK. Recent conducting engagements include chorus preparations of symphonic works by Rutter, Ravel, and Mozart for the Continuo Arts Society and Westminster Symphonic Choir at Carnegie Hall. She has also collaborated with the Juilliard Orchestra, Juilliard415, and members of the Princeton Symphony Orchestra in performances of Mozart, Bach, and Buxtehude in both Princeton and New York City. Brozovich performs regularly as a soprano with the Philadelphia Symphony Chorus. Noteworthy vocal performances include: the Boston Early Music festival, Spoleto Festival, and World Symposium on Choral Music in Spain. She holds degrees from Benedictine College and Westminster Choir College.

As a part of their educational offerings, Urban Playground compiles innovative mini-documentaries called “Composer Shorts” featuring the life journeys of living composers such as Trevor Weston, Evan Williams, and historical legends such as S. Coleridge Taylor and Harry T. Burleigh. Click here to view » 5

ABOUT THE ARTISTS OUT THE ARTISTS

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831 32+ !1' @16,32@V ,!8ধ2+ ,' 2*<'2$' 3( !88@ W <8ÂŁ'-+, Opening remarks 8W !8ধ ÂŁ!;'2T ?'$<ধ=' -8'$;38 !2& 3f 3<2&'8 !88@ W <8ÂŁ'-+, 3$-';@ Lecture | [ ,' ;@ÂŁ-9ধ$ 16!$; 3( !88@ W <8ÂŁ'-+,\ W 38- -ÂŁÂŁT <9-$3ÂŁ3+-9; 2-='89-;@ 3( 38;, !83ÂŁ-2! ,!6'ÂŁ -ÂŁÂŁ “My Lord, What a Mornin’â€? (1918) ,' 32$'8; ,38!ÂŁ' Courtney’s Stars of Tomorrow

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2 12

FROM SONG CAME SYMPHONY

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In the spirituals, “the Negro voices a religious security as old as creation, older than hope, deeper than grief, more tender than tears; the utterance of a race unshaken in faith.” HARRY T. BURLEIGH “LETTER TO ST. GEORGE’S CHOIR,” MUSICAL AMERICA, APRIL 12, 1924 M AY 2 0 1 9

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By creating new spaces for classical music in partnership with diverse, vibrant audiences, we can all present historically marginalized voices, and nurture emerging composers,� We are thrilled to be a part of this exciting collaborative project for Black History Month with the Afro-American Chamber Society of Los Angeles and Chamber Music Columbus. Lady Jess, Artistic Director and Concert Master Playground of Urban Playground Chamber Orchestra

COLUMBUS ChamberMusicColumbus.org info@chambermusiccolumbus.org

Afro American Chamber Music Society

AACMSorchestra.org claviermuzic@gmail.com

UPChamberOrchestra.org info@upchamberorchestra.org

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