Tag Archives: H. T. Burleigh

Dvorak’s life in America

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We know Dvorak is known for coming to America and writing the New World Symphony, but what was his life truly like and why did he come to America? When thinking of Dvorak and American music, it was always my understanding that Dvorak came to America because he was curious about the culture and wanted to compose music that incorporated a sense of American culture. Dvorak came to America because he was offered a more than decent paying job with some pretty irresistible attributes. What was so enticing for Dvorak to pack up and leave his hometown Nelahozeves in the Czech Republic and endure a sickening 9 day transatlantic voyage on the SS Saale was Jeannette Thurber who “offered Dvořák an annual salary of $15,000, about 25 times what he was currently earning as a professor at the Prague Conservatoire.” 1

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Dvořák with his wife, children, and friends in New York.

More along the lines of Dvorak’s life in America, we can get an idea from a multitude of letters he had written. In these letters he talks about concerts, premieres, the National Conservatory, and his family. 

“The first and chief thing is that, thanks be to God, we are all well and liking it here very much. And why shouldn’t we when it is so lovely and free here and one can live so much more peacefully and that is what I need… The orchestra here, which I heard in Brooklyn, is excellent, 100 musicians, mostly German as is also the conductor.” 3

In this letter from Dvorak to The Parker House, we get a clear idea of how he and his family is settling in as well as what the caliber of orchestral musicians are like in America.

Sacred turned Spiritual

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Henry Thacker (H.T) Burleigh, was a black American, classical composer who was known for his compositions and arrangements of spirituals. H.T. Burleigh was also an accomplished professional singer. “Harry Thacker Burleigh played a significant role in the development of American art song, having composed over two hundred works in the genre. He was the first African-American composer acclaimed for his concert songs as well as for his adaptations of African-American spirituals.”1

“Burleigh was surrounded by music from a young age,” his mother was his first music teacher and throughout his childhood he was a dedicated church performer. As he grew older, sacred music was no longer his niche. Burleigh was quite the accomplished singer, he attended the National Conservatory in New York, eventually on scholarship. One important event/events that should be noted is that while Burleigh was at the National Conservatory, Antonín Dvořák became the director of the program. Throughout Burleigh’s time there, the two became quite close. Burleigh would often sing spirituals to Dvořák which he used as inspiration for some of his compositions and even used “Swing Low, Sweet Chariot,” as a theme in the first movement of his symphony “From the New World.”2

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Burleigh wrote a few works based on plantation melodies he learned throughout his childhood. Among these few, “Deep River,” is one of the most famous and recognized spiritual songs. “It was soon normal for recitals to end with a group of spirituals. Musicians such as Roland Hayes, Marian Anderson and Paul Robeson made these songs a part of their repertoires.” Although we musicians know the voice type to be baritone, when Burleigh was publishing his music, most of the works were for “low voice.” 

H.T. Burleigh’s contributions to music, most importantly African American spirituals, some instrumental, but mainly vocal music played a role in breaking down the racial barriers that existed and brought African American music to the forefront

1“H. T. Burleigh (1866-1949).” n.d. Library of Congress, Washington, D.C. 20540 USA. https://www.loc.gov/item/ihas.200035730

H.T. Burleigh – Life and Legacy

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Harry Thacker Burleigh (Photo by Carl Van Vechten, Courtesy Van Vechten Trust)

Harry Thacker Burleigh, better known as H.T. Burleigh, was the first and most influential Black composer to rise to large success post- Civil War. He was widely known for his perservation and arrangemtn of traditional Black spirituals and plantation songs. Without his work, most likely most of the songs that come to mind when we think of “spirituals” would be lost in the past. A singer and composer as well as an arranger, Burleigh composed more than 300 works.1 His work was hugely influential and brought Black music to the Western classical music stage for the first time.

Born on December 2, 1866 in Erie, Pennsylvania, Burleigh showed an early passion and talent for music. He grew up learning these spirituals and folk songs from his maternal grandmother and singing in the church choir. However, he was unable to afford formal musical training until 1892, when he attended the National Conservatory of Music in New York City.2  During his time there, he studied under and work closely with composer Antonín Dvořák, who was director of the conservatory.3 This relationship was very influential in fostering Burleigh’s love of spirituals and folk songs. Burleigh was dedicated to preserving the traditional flavor and sprit of these songs, and Dvořák was supportive of this. Dvořák was so inspired by this musical tradition that he wrote themes inspired by many of Burleigh’s melodies, for example in his “From the New World” Symphony no. 9 in E minor.4 Burleigh was an incredibly accomplished musician despite being discriminate against every step of the way. A popular baritone singer, he sang as the soloist at St. George’s Church for 50 years and was the soloist at Temple Emanuel for 25 years.5 He even sang at a command performance for King Edward VI of England and received an honorary Doctorate of Music from Harvard and Masters of Music from Atlanta University. He was the first Black American to serve on the American Society of Composers, Authors and Publishers board of directors, and received the Spingarn Acheivement Medal in 1917 from the National Association for the Advancement of Colored People.6  I mention all these accomplishments because I believe it is important to spotlight Black Americans such as H.T. Burleigh who paved the way for so many others. His work brought Black music into the spotlight and made accessible to the average concert-goer for the first time. His arrangements of spirituals for solo voice were incredibly influential in American music – Burleigh, for the first time, brought Black music to the western classical music stage. He presented these spirituals as fine art songs, and Black music was more accessible to the concert world than ever before. While they strayed from their original performance style greatly, Burleigh was still dedicated to preserving the traditional roots and “flavor” of these songs in composed form.

Above is an example of Burleigh’s arrangement of one of the most famous spirituals arranged for solo voice, “Wade in de Water”. It’s important to note that Burleigh kept the original dialect in his arrangements, rather than completely Westernizing the songs for the classical stage. Burleigh was adamant about preserving the sacred nature of this musical tradition. As he states in the introduction of his 1917 “Negro Spriritauls Arranged for Solo Voice”,

“Their worth is weakened unless they are done impressively, for through all these songs there breathes a hope, a faith in the ultimate justice and brotherhood of man. The cadences of sorrow invariably turn ot joy, and the message is ever manifest that eventually deliverance from all that hinders and oppresses the soul will come, and man – every man – will be free.”  – H.T. Burleigh

 

1 Erickson, Shannon. “Harry Thacker Burleigh (1866-1949) •.” •, 19 May 2021, www.blackpast.org/african-american-history/burleigh-harry-thacker-1866-1949/.

2 Bauer, Pat. “Harry Thacker Burleigh.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 8 Sept. 2023, www.britannica.com/biography/Harry-Thacker-Burleigh. 

3 Erickson, Shannon. “Harry Thacker Burleigh (1866-1949) •.” •, 19 May 2021, www.blackpast.org/african-american-history/burleigh-harry-thacker-1866-1949/.

4 “H. T. Burleigh (1866-1949).” The Library of Congress, www.loc.gov/item/ihas.200035730#:~:text=Harry%20Thacker%20Burleigh%20played%20a,adaptations%20of%20African%2DAmerican%20spirituals. Accessed 11 Oct. 2023.

5 Bauer, Pat. “Harry Thacker Burleigh.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 8 Sept. 2023, www.britannica.com/biography/Harry-Thacker-Burleigh. 

6 Erickson, Shannon. “Harry Thacker Burleigh (1866-1949) •.” •, 19 May 2021, www.blackpast.org/african-american-history/burleigh-harry-thacker-1866-1949/.

Harry Burleigh’s Foreword to Spirituals

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One of the best known spirituals in the United States is Deep River. Though, like all spirituals and folk songs, its origins are unknown, it was popularized in the early 20th century by Black American composer Harry Burliegh. In Burleigh’s first published arrangement of Deep River, he provides an account of the origins of spirituals. This foreword allows us to glimpse into the mind of Black American musicians in the early 20th century and see some of their thoughts on the history of spirituals, and their intended uses within society.

Burleigh asserts that the spirituals “sprang into life…from the white heat of religious fervor…” and that they are the “ecstatic utterance of wholly untutored minds.”1 Burleigh seems invested in distancing spirituals from any sort of academic or “art song” contexts. In fact, Burleigh argues that the spirituals are “the only music in America which fits the scientific definition of Folk Song.”1 Burleigh wants to make it abundantly clear that the spirituals are a natural outgrowth of Black culture in America.

This foreword also highlights some of the struggles that Black Americans faced with regards to appropriation of spirituals. Burleigh specifically says that the spirituals are not to be used in minstrel performances.1
He asserts that these songs must be “done impressively,” otherwise their message is cheapened.1

In these ideas, we see two aspects of spirituals that Burleigh is hoping to solidify the importance of. The first is that spirituals are not art songs, or the results of academic inquiry, but rather the result of an entire culture creating music spontaneously. The second is that these songs should be treated with the respect and dignity that any art song or religious statement would be treated. Burleigh is arguing that the spirituals are derived far from the theaters and concert halls, but that they should now be performed in these venues with the same reverence that audiences apply to other beloved works of the western classical canon.

Harry Thacker Burleigh’s Spirituals

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Harry T. Burleigh; Photo by Mishkin, New York, 1922. Creator: Unknown. (Photo by Heritage Art/Heritage Images via Getty Images)

Harry Thacker Burleigh was a trail blazer in for African American composers during the 19th and 20th centuries. One of the main things he was known for was the arranging of many different Negro spirituals.[1] He studied at the New York National Conservatory was noticed by Antonin Dvorak, and he hired Burleigh to be a librarian for him. During this time, he composed his first art songs. These initial compositions included plantation and minstrel songs, one such song we’re going to look at more in depth is ‘Steal Away.’

H.T. Burleigh prefaces his arrangement with saying that these spirituals were never composed, rather they had sprung to life through white religious oppression. These songs are not to be confused with minstrel songs; they have a more serious connotation. Steal away was published in nineteen twenty-one and very quickly became popular. He was one of the first composers to bring Negro spirituals to concert halls.[2] Unfortunately having to adjust to the times, these spirituals had to be brought to western classical tradition. I think that throughout constant oppression and lack of representation, Burleigh should be celebrated as one of the first to pioneer black composition in the Western Classical Tradition. With the shortcomings of American culture, I believe that we should take the time to recognize the first of many Black composers starting to take the spotlight of the 20th century.

Burleigh, Harry Thacker. 1921. “Steal Away.” Digital.library.temple.edu. 1921.

These spirituals were not just popular during the time of their composition, it is still being sung by vocalists today. Below you will hear a recording from Indra Thomas, the lyrics are very obviously bleeding spiritual feeling. The repetition really drives the spirituality home, repeating “Steal away to Jesus” multiple times before hearing other lyrics. That line is the main motive that the composition returns to on three separate occasions. Whenever we diverge from these initial lyrics, they sing about the sounds of a trumpet ringing in their soul. The trumpet is usually accredited to being a very spiritual instrument, trying to ‘wake up’ sinners and calling them to repent.

Citations

Burleigh, Harry Thacker. 1921. “Steal Away.” Digital.library.temple.edu. 1921. https://digital.library.temple.edu/digital/collection/p15037coll1/id/5268.

Burleigh, Harry Thacker, and Indra Thomas. 2012. Steal Away. Great Day! Delos.

Erickson, Shannon. 2008. “Harry Thacker Burleigh (1866-1949) •.” Black Past. June 7, 2008. https://www.blackpast.org/african-american-history/burleigh-harry-thacker-1866-1949/.

Library of Congress. n.d. “H. T. Burleigh (1866-1949).” Library of Congress, Washington, D.C. 20540 USA. https://www.loc.gov/item/ihas.200035730/.

“What the Bible Says about Symbolism of Trumpets.” n.d. Www.bibletools.org. https://www.bibletools.org/index.cfm/fuseaction/topical.show/RTD/cgg/ID/11077/Symbolism-Trumpets.htm.

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[1] Snyder, Jean. “Burleigh, Henry [Harry] T(hacker).” Grove Music Online. 16 Oct. 2013; Accessed 10 Oct. 2023. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002248537.

[2] Erickson, Shannon. 2008. “Harry Thacker Burleigh (1866-1949) •.” Black Past. June 7, 2008. https://www.blackpast.org/african-american-history/burleigh-harry-thacker-1866-1949/.

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H. T. Burleigh’s Compositional Moods

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“Little Mother of Mine” spiritual arranged by H. T. Burleigh.1

H. T. Burleigh (Harry Thacker Burleigh) played a significant role in the development  of American music as he composed over 200 pieces in this genre. He was the first African American acclaimed for his concert pieces and a founding member of American Society of Composers, Authors, and Publishers (ASCAP).2 After passing in 1949, Burleigh is thought to be one of the most significant contributors to American music especially through his arrangements of African American spiritual that are said to have “transported a musical tradition that was born out of the plight of enslaved people, onto the concert stage, where they are revered as masterful examples of uniquely American music.”3

Burleigh was able to arrange the piece “Little Mother of Mine,” to convey the sentimental meaning of the text through compositional techniques. The half-step motif seen in the left hand countermelodies throughout highlights certain expressive words like “twilight,” “evening,” and “west” which are important in the meaning of this text. Burleigh’s compositional choices such as using “sevenths, non chord tones, and chromatic melodic notes” are “frequently expressive devices in his songs, often indicating a bittersweet or sad emotion.”4 This is a subtle strategy used by Burleigh but it effectively allows him to convey the mood of the text.

Burleigh demonstrates the emotion of this text through how he differentiates the first verse from the second. The second verse is accompanied “memorable countermelodies and richer chordal textures” in the piano accompaniment.5 This further emphasizes the mood of the text. It is subtle, but a very effective strategy of arrangement by H. T. Burleigh.

Bibliography

Burleigh, H. T. “Little Mother of Mine.” CONTENTDM, 1917. https://digital.library.temple.edu/digital/collection/p15037coll1/id/6179.

Sears, Ann. “‘A Certain Strangeness’: Harry T. Burleigh’s Art Songs and Spiritual Arrangements.” Black Music Research Journal 24, no. 2 (2004): 227–49. https://doi.org/10.2307/4145492.

Footnotes

1“H. T. Burleigh (1866-1949),” The Library of Congress, accessed October 10, 2023, https://www.loc.gov/item/ihas.200035730.

2“H. T. Burleigh (1866-1949),” The Library of Congress, accessed October 10, 2023, https://www.loc.gov/item/ihas.200035730.

3“H. T. Burleigh (1866-1949),” The Library of Congress, accessed October 10, 2023, https://www.loc.gov/item/ihas.200035730.

4 Ann Sears, “‘A Certain Strangeness’: Harry T. Burleigh’s Art Songs and Spiritual Arrangements.” Black Music Research Journal 24, no. 2 (2004): 227–49. https://doi.org/10.2307/4145492.

5Ann Sears, “‘A Certain Strangeness’: Harry T. Burleigh’s Art Songs and Spiritual Arrangements.” Black Music Research Journal 24, no. 2 (2004): 227–49. https://doi.org/10.2307/4145492.

Spirituals as Advocacy

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H. T. Burleigh composed beloved arrangements of Black spirituals for voice and piano, and as a result became one of the most well known Black composers of the late 19th and early 20th centuries.1 As an influential proponent of the development of the spiritual as an art genre, much of his beliefs and practices legitimized Black folk music within the classical music tradition.2 In addition to a prolific compositional career, he had an extensive career as a vocalist and performed internationally.3

 

"Deep River" arrangement for voice and piano; by H.T. Burleigh

“Deep River” arrangement for voice and piano; by H.T. Burleigh 7

 

During Burleigh’s life, Black-face minstrelsy was the most prominent form of entertainment in popular culture.4 Minstrel shows are unquestionably racist and dehumanizing towards Black people, featuring a combination of expropriated folk music and dance performed by demeaning caricatures. In his edition of “Deep River,” Burleigh comments on the ability of spirituals, when performed well, to express hope, faith, and justice.5 Additionally, he acknowledges the prevalence of Blackface minstrelsy and warns against the use of the spiritual in a way that is an inappropriate imitation of vocal inflection and body language for the sake of racially extortive humor.6

 

H.T. Burleigh, “Deep River” preface 9

 Not only were spirituals a way to uplift the Black community and counter the damage being done through minstrelsy, but their ability to empower was recognized and used to advocate for other groups as well. An example of the use of the Black spiritual as a means for advocacy is the work of Paul Robeson, who spoke out on the behalf of the lower class and other marginalized groups. 8 It seems as though the development of spirituals as art songs coincided with the practice of minstrelsy. However, minstrelsy expropriated black folk songs as a method of dehumanizing and profiting from the marginalization of Black people, while Burleigh’s work with Spirituals helped to legitimize Black folk music and empower other marginalized communities.

 

1 Dickinson, Peter, H. Wiley Hitchcock, and Keith E. Clifton. “Art song in the United States.” Grove Music Online. 25 Jul. 2013; Accessed 5 Oct. 2023. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002240068.

 

 

2 Bell, Danna. 2018. “Link to the Library of Congress: Harry T. Burleigh—The Man Who Brought African-American Spirituals to the Classical Stage.” Music Educators Journal 104 (4): 9–11. doi:10.1177/0027432118767819.

 

 

3 Ibid.

 

 

4 Lott, Eric, and Greil Marcus. Love and theft: Blackface minstrelsy and the American working class. Oxford University Press, 2013.

 

 

5 “Deep River : Old Negro Melody / Arranged by H.T. Burleigh.” Omeka RSS. Accessed October 6, 2023. https://digitalgallery.bgsu.edu/collections/item/34006.

 

6 Ibid.

 

 

7 Ibid. 

 

 

8 Riis, Thomas. “Robeson, Paul.” Grove Music Online. 31 Jan. 2014; Accessed 6 Oct. 2023. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002257958.

 

 

9 Ibid.

Jazz: the evolution or debasement of spirituals?

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Jazz music emerged during the late 19th and early 20th centuries. Like early African-American music, there is an emphasis on call and response patterns or aspects. Moreover, jazz music’s lack of strict structure compared to western classical music gives the musicians freedom to develop and perform in their own distinct styles. This freedom of expression is seen by many as a way of evolving old Negro Spirituals into more contemporary forms of music. However, there are also many who see jazz music as a way of debasing the music and meanings of old spirituals. 

In a Chicago Defender article entitled “Spiritualistic Start: That’s What “Jazz Music” had, Says Rosamond Johnson”, the author quotes Johnson’s perspective that jazz music will never die because it is the evolution of plantation music. Johnson, an African-American composer and singer during the Harlem Renaissance, goes on to explain how slave songs evolved into spirituals through the societal changes that African-Americans went through. He goes on to explain how unrest took hold of African-Americans, leading to syncopation and multiple rhythms being played over each other in spirituals, which he claims is the same basic principle of jazz music. Johnson also mentions western classical music, stating that syncopation and the use of many rhythms has made the great symphonies what they are today. In comparison, Johnson claims that by following these basic principles, jazz music is aiding in the appreciation of old spirituals by evolving them into a more contemporary form of music. 

H.T. Burleigh had a contrasting opinion to Johnson in that jazz music actually debases spirituals. In a letter written to the public, Burleigh urges both races to preserve spirituals by stopping the progression of spirituals into jazz music. Burleigh claims that spirituals are the prized possession of the African-American race as they were created to demonstrate and perpetuate the struggles and emotions that African-Americans had during and after slavery. He goes even further to state that spirituals are the only legacy of slavery days that African-Americans can be proud of and that they are on the same level as great fold songs from around the world. By “perverting” the melodies and rhythms of spirituals into dance and popular songs, Burleigh says that it is destructive to the meanings of the original art forms, calling jazz music a misappropriation of spirituals. 


 

 

 

 

 

 

 

 

 

References:

“HARRY BURLEIGH BEWAILS MISUSE OF FOLK SONGS: SAYS JAZZ DEBASES THEM; DISLIKES SPIRITUALS USED AS FOX TROTS.” The Chicago Defender (National edition) (1921-1967), Nov 18, 1922, pp. 8. ProQuest, https://www.proquest.com/historical-newspapers/harry-burleigh-bewails-misuse-folk-songs/docview/491939656/se-2.

Thompson, Noah D. “SPIRITUALISTIC START: THAT’S WHAT “JAZZ MUSIC” HAD, SAYS ROSAMOND JOHNSON.” The Chicago Defender (National edition) (1921-1967), Jan 21, 1922, pp. 7. ProQuest, https://www.proquest.com/historical-newspapers/spiritualistic-start/docview/491909144/se-2.

Nobody Knows the Trouble They Lived Through

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H.T. Burleigh’s arrangements of these spirituals encapsulate the lives and struggles of enslaved people forced to work on a plantation. These two recordings are of the spirituals, Nobody Knows de Trouble I’ve Seen and Deep River, arranged by H.T. Burleigh, a prolific black composer, arranger and singer of the early 20th century. These tracks feature the voice of Oscar Seagle, a baritone and prominent musician at the time. They were both recorded in New York by the Columbia label. Burleigh arranges – and later records – these plantation songs as a way to re-popularize spirituals and to provide a rich sentiment to listeners of the culture of plantation songs. We have spent a while talking about spirituals and how they act as a lens into life on a plantation, talking in code to tell directions on how and when to escape enslavement. We also talked about the different kinds of plantation songs, those with stronger beats being work songs and others being different and more emotional. These pieces were likely not work songs, as they are melancholy and deeply emotional. Each of these pieces are also codes. Nobody knows concludes with a positive text, that soon the singer will be in heaven, and if anyone gets there before them, tell the singer’s friends that they’re coming. Deep River speaks of a campground and wanting to leave, which could have been code for if an enslaved person was going to leave. These are references to leaving enslavement and finding a better place, one without slavery, and with freedom. I wanted to look at these two pieces as they provide the listener with a deep context as to the struggles and lives of enslaved people and the looking forward that they would one day no longer be enslaved. This, at its core, is truly American music.

Bibliography
Burleigh, H. T, and Oscar Seagle. Nobody knows de trouble I’ve seen. 1917. Audio. https://www.loc.gov/item/jukebox-879940/.

Burleigh, H. T, and Oscar Seagle. Deep River. 1916. Audio. https://www.loc.gov/item/jukebox-655500/.

The evolution of African American spirituals into western classical music

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Since the beginning of African American music, the genre has evolved many times due in part to outside influences from other cultures and societal changes in America. Sorrow Songs became spirituals, which would eventually merge with western classical music. James Bland and H.T. Burleigh were some of the most influential African American composers in America during the turn of the 20th century. Due to their western education, they were able to effectively popularize and represent African American spirituals by combining the words and themes of spirituals with western classical compositions and arrangements.

James Bland was an African American minstrel performer and composer, some of his most famous compositions were “Carry me back to old Virginny” and “In the evening by the moonlight”. “Carry me back to old Virginny” is written from the perspective of a freedperson wanting to go back to the days of slavery. In this recording, the song is sung by a quartet of male singers and when reading the lyrics, the perspective of the singers seems to be that being enslaved wasn’t as bad as one might think. Although the song represents an African American point of view, the arrangement of the song is more western, with clear voicings for each member and more harmonized than previous forms of African American music which wouldn’t normally have this organized form.

The integration of western classical music into African American spirituals was even more apparent in Bland’s “In the evening by the moonlight”, a song about the experience of slaves. This recording starts with a western orchestral intro and much like the previously mentioned song, there is a lot more structure and harmonization in this piece. Interestingly, the pronunciations in the recording are also more “proper” English, rather than the English that was originally written in the lyrics.

H.T. Burleigh was surrounded by music from a young age, performing at local churches and events and later became famous for his adaptations of African American spirituals. Some of his most famous works are “Deep river” and “Go down Moses”. “Deep river” is a song of hope that expresses a desire for peace and freedom. From the sheet music, we can see that the piece begins with piano chords that this is not a traditional spiritual that might have been passed orally, rather it is a well notated piece meant to express the experiences of African Americans in a western style. 

The lyrics in “Go down Moses” don’t specifically relate to African Americans or even America, however, it was still meant to express many of the feelings of enslaved African Americans. When listening to this recording and looking at the sheet music, the accompanying parts are very intricate and western compared to what traditional spirituals might have done. Moreover, this song seems to have a structure where rather than having a call and response with other singers, the accompaniment has short interjections that just continue the melody.

 

I think that another important note that all of these recordings have in common is that the vocalists all seem to be classically trained compared to previous African American music where the performers weren’t necessarily trained. The main causes of this seem to be the notation of the music as well as more western influence. In my opinion, the notation of spirituals has prevented them from being lost to time or lack of representation, however, bias can also affect which spirituals get notated and which will be forgotten. The integration of western styles and instrumentation with spirituals seems to be a good idea in terms of increasing popularity and representation among other works in the US, but I wonder whether or not the songs still hold the same weight now that they have been combined with western music.

 

References:

Bland, James A, Columbia Stellar Quartette, and James A Bland. Carry me back to old Virginia. 1919. Audio. Retrieved from the Library of Congress, <www.loc.gov/item/jukebox-651610/>.

Bland, James A, et al. In the Evening by the Moonlight. 1908. Audio. Retrieved from the Library of Congress, <www.loc.gov/item/jukebox-121558/>.

Burleigh, H. T, and Oscar Seagle. Deep River. 1916. Audio. Retrieved from the Library of Congress, <www.loc.gov/item/jukebox-655500/>.

Burleigh, H. T. Deep river song: old Negro melody. G. Ricordi, New York, monographic, 1916. Notated Music. Retrieved from the Library of Congress, <www.loc.gov/item/2011562023/>.

“Go down, Moses; Let My People Go! / Historic American Sheet Music / Duke Digital Repository.” Duke Digital Collections, https://repository.duke.edu/dc/hasm/n0708.

“In Harmony: Sheet Music from Indiana.” IN Harmony: Sheet Music from Indiana – Item Details, https://webapp1.dlib.indiana.edu/inharmony/detail.do?action=detail&fullItemID=%2Flilly%2Fdevincent%2FLL-SDV-232069.

“In the Evening by the Moonlight.” High Brown Songs, 28 Apr. 2022, https://sheetmusicsinger.com/highbrownsongs/in-the-evening-by-the-moonlight/.

Lapitino, Francis J, et al. Go down Moses. 1924. Audio. Retrieved from the Library of Congress, <www.loc.gov/item/jukebox-69931/>.

 

The Plantation Songs Known as Spirituals – Go Down, Moses, H. T. Burleigh

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While looking through the Sheet Music Consortium, it occurred to me to look into songs I had some base familiarity with. Go Down, Moses is a very popular spiritual which originated from enslaved African Americans on plantations. The song itself refers to Moses and the Hebrew people. In said story, the Hebrews are held captive by the Pharaoh. God tells Moses through the story of the burning bush to free his people from the Egyptian tyrant. Through sending plagues, flocks of locus, making the red sea red with blood and more catastrophes, the Pharaoh agrees to let the Hebrew people go. To the enslaved African Americans working their lives away, this spiritual was the promise of emancipation.

Included above are the notes in the front cover from H.T. Bureigh on the difference between spiritual and minstrel, how to perform this piece, and what this piece and these words mean. H.T. Burleigh writes about how to perform this piece, and what it means for African Americans. To begin with, a spiritual is so much more than just a song. It represents a message of freedom and hope to for the performer and their audience. The goal of a spiritual is to stir the people and help them think in a different way, or further affirm their beliefs. In order to sing correctly, you have to have soul, more than correctness of pitches. Burleigh invites the singer to feel the words, so that every man will be free. Minstrelsy was a crude misrepresentation of black people and their culture. Spirituals deserve respect and recognition as pillars of American music. Few were better at arranging these soulful spirituals as H.T. Burleigh.

On the topic of H.T. Burleigh, in Music 345, we have studied Burleigh, so that name likely rings a bell. H.T. Burleigh was one of the first prominent black composers. In his life, Burleigh had a small singing career and arranged art song but focused mostly on arranging and composing spirituals. His works are still performed to this day, about a hundred years later. The song itself has stood the test of time, being one of the most popular spirituals ever. But just as the song stands the test of time, so does this story. His words, in the front cover of Go Down, Moses invoke the message of the spiritual. This, of course, is something we continue to strive for today as a society. And yet, people still need to hear these words in order to believe them, and to understand that all people must be free.

 

Go Down, Moses; Let My People Go!, Burleigh, H. T. (Harry Thacker), 1917, Accessed 10/20/2022.

Harry T. Burleigh: accomplished composer, talented baritone… and Dvořák’s muse?

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One of the most beloved African-American composers of the late 19th and early 20th centuries was Harry T. Burleigh. Born and raised in Erie, Pennsylvania, he learned to sing spirituals from his mother and sang in various church and community events throughout his childhood. In his teenage years, he became known as a fantastic classical singer, and got to work at and see many famous people perform, such as Venezuelan pianist Teresa Carreño. Then, a few years after high school in 1892, Burleigh began to attend the National Conservatory of Music in New York on scholarship for voice (1).

But, by the title of this blog post, how does any of this relate to Czech person and well-known composer Antonín Dvořák?

Well, Dvořák happened to immigrate the United States in 1892 also to become the director of the National Conservatory of Music! He both taught classes and conducted the conservatory orchestra, which Burleigh also happened to become the librarian and copyist for. As a result of this, Dvořák and Burleigh worked together frequently, which eventually turned into a friendship. A particularly cute story from their friendship comes from a letter Dvořák wrote to his family back home that his son “[would sit] on Burleigh’s lap during the orchestra’s rehearsals and [play] the tympani” (2).

However, the relationship between the two bettered their compositions as well. Dvořák would often overhear Burleigh singing spirituals to himself while working or in the halls, and, not knowing much about spirituals, would talk to him about them and learn many of the songs from him. Dvořák then encouraged Burleigh to begin composing and arranging these spirituals (1). This would kickstart a prolific composing career for Burleigh, who incorporated spirituals into many of his original art songs, arrangements, and other compositions, and amassed a portfolio of over 200 works. Here is a review of his works from the Afro-American Cullings section of the Cleveland Gazette (3):

Dvořák also found ample inspiration in the African-American folk music he learned from Burleigh and gained a huge amount of respect for it. In fact, he was so displeased that white Americans did not care for African-American music that wrote several news articles in the New York Herald, in which he argued that the soul of American music lies in Black music, which the Herald’s white readers found difficult to swallow, to say the least. Here are a few words from an article he wrote in 1893, with even a picture of Burleigh (4):

Dvořák then composed his New World Symphony (here’s a link to its very famous Largo movement) based off several spirituals, the pentatonic and blues scale – all learned from Burleigh – and Indigenous music, and it gained massive acclaim and spreading rapidly throughout the country (3). Black communities across the country absolutely adored the work, and grew to become very fond of and proud of both Dvořák and Burleigh, as can be seen in this from the Cleveland Gazette (5):Thankfully, and radically for the time, Dvořák gave much credit to Burleigh for the conception of many of the ideas for his New World Symphony (2). One can debate the ethicality of Dvořák’s quotation of Black and Indigenous music within his own music, but at the very minimum, he supported and credited those who inspired him.

Sources:

(1) “H. T. Burleigh (1866-1949)”. 2022. The Library Of Congress. https://loc.gov/item/ihas.200035730.

(2) “African American Influences”. 2022. DAHA. https://www.dvoraknyc.org/african-american-influences.

(3) “Afro-American Cullings.” Cleveland Gazette, October 30, 1915: 4. Readex: African American Newspapers. https://infoweb.newsbank.com/apps/readex/doc?p=EANAAA&docref=image/v2%3A12B716FE88B82998%40EANAAA-12BC1B62334A2850%402420801-12BA063BD57BDCD8%403-12DBB540D0E6C840%40Afro-American%2BCullings.

(4) Dvořák, Antonin. 1893. “Antonin Dvořák On Negro Melodies”. New York Herald, May 28th, 1893. https://static.qobuz.com/info/IMG/pdf/NYHerald-1893-May-28-Recentre.pdf.

(5) “[America; Dr. Antonin Dvorak; Mr. Harry T. Burleigh; Erie; Samuel P. Warren].” Cleveland Gazette, September 23, 1893: 2. Readex: African American Newspapers. https://infoweb.newsbank.com/apps/readex/doc?p=EANAAA&docref=image/v2%3A12B716FE88B82998%40EANAAA-12C2B9DB2DFFBDD8%402412730-12C106453A9F6688%401-12D7B8B19C518AD0%40%255BAmerica%253B%2BDr.%2BAntonin%2BDvorak%253B%2BMr.%2BHarry%2BT.%2BBurleigh%253B%2BErie%253B%2BSamuel%2BP.%2BWarren%255D.

Roundup: A Selection of Black Musical Artists of the Early 1890s

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In an article published in the Cleveland Gazette on November 4th, 1893, Walter B. Hayson provides an enthusiastic endorsement of the “company of remarkable songstresses” and other talented musicians among the Black population.1 He claims that “just as the white race has its Patti, its Nordica, its Albani”, so are there similarly talented Black artists, and sets out to provide examples of this talent.

Hayson laments the “coveting of empty titles” and the trend of “purposely [aping] the conventionalities in singing of a known artist”, describing such behavior as “groveling and distracting” and praising those singers who do not fall into this trap. He provides a detailed critique of the talents of several Black male and female singers, applauding both good technical performance and “naturalness in stage presence” equally while criticizing poor execution and musical selections. He emphasizes that many of these performers are yet young while praising their talents, creating a hopeful tone for the future of Black musicianship.

However, this hope betrays bias. Hayson was a celebrated educator, music critic, and activist who was later a founding member of the American Negro Academy.2 This highly elite institution sought to bring together Black leaders in various fields with the aim of “the promotion of literature, science, and art; the culture of intellectual taste; the fostering of higher education; the publication of scholarly work; the defense of the Negro against vicious assaults”.3 This reflected the concept of the “Talented Tenth” which was espoused by W.E.B. DuBois, which held that the most highly educated and skilled Black people would be able to uplift all Black people through their achievements.4 Hayson later publicly responded to Antonín Dvořák’s support of Black music, provoking a wave of backlash against the idea of Black music being originally Black.5 This in turn prompted the work of Krehbiel and Jackson that we have analyzed.6

This ideology is present in Hayson’s article, which seeks not only to give a summary and review of the most talented Black musicians of the time, but also to claim ownership of these artists by the Black population at large. He repeatedly refers to “our young singers” in “our midst”, establishing a sense that these artists represent all Black people in some way.1 He also says of H.T. Burleigh that “the best wishes of us all accompany him in his new work”, deepening this impression and asserting that the “best wishes” of all Black people are aligned in wanting these young artists to find success. Burleigh in fact found greater musical success after the World’s Fair in which he was performing, and eventually became an activist in his own right.5 In optimistically profiling the promising young Black talent of the time, Hayson reveals the hope that their success could be used as a tool to improve the situation of Black people in America. While this hope is innocent in itself, it prescribes a specific model for success for Black people as individuals and as a group: becoming part of the Talented Tenth meant subscribing to Western ideas of correctness or success in music and other spheres, and their success meant that these values applied in turn to all Black people.

References:

1 “The ‘Queen Of Song.’ A Fair Criticism of Mrs. Flora Batson Bergen and Others of.” Cleveland Gazette (Cleveland, Ohio), November 4, 1893: 1. Readex: African American Newspapers. https://infoweb.newsbank.com/apps/readex/doc?p=EANAAA&docref=image/v2%3A12B716FE88B82998%40EANAAA-12C2BA16C77495A8%402412772-12C106455169BF98%400-12DB0D86AB1C7020%40The%2B%2522Queen%2BOf%2BSong.%2522%2BA%2BFair%2BCriticism%2Bof%2BMrs.%2BFlora%2BBatson%2BBergen%2Band%2BOthers%2Bof.

2 Moon, Fletcher F. “American Negro Academy (est. 1897).” In Freedom Facts and Firsts: 400 Years of the African American Civil Rights Experience, by Jessica Carney Smith, and Linda T. Wynn. Visible Ink Press, 2009. https://ezproxy.stolaf.edu/login?url=https://search.credoreference.com/content/entry/vipfff/american_negro_academy_est_1897/0?institutionId=4959

3 Britannica, T. Editors of Encyclopaedia. “American Negro Academy.” Encyclopedia Britannica, August 28, 2014. https://www.britannica.com/topic/American-Negro-Academy.

4 Britannica, T. Editors of Encyclopaedia. “Talented Tenth.” Encyclopedia Britannica, May 23, 2016. https://www.britannica.com/topic/Talented-Tenth.

5 Snyder, Jean E. Essay. In Harry T. Burleigh: From the Spiritual to the Harlem Renaissance, 102–11. Champaign, IL: University of Illinois Press, 2021.

6 Henry Krehbiel, Afro-American Folksongs: A Study in Racial and National Music (1914), 11-28; George Pullen Jackson, White and Negro Spirituals (1943) 265-268 and 278-289.

H. T. Burleigh on the Performance of Black Spirituals

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In searching through the Sheet Music Consortium, I came across several spirituals arranged by H. T. Burleigh. These publications, such as Oh Peter Go Ring Dem Bells, include a note written by Burleigh about spirituals, in which he describes them as “never ‘composed,’” but “spontaneous outbursts of intense religious fervor.” He touches on other topics we have discussed in class as well, writing that they are “practically the only music in America which meets the scientific definition of Folk Song,” and warning that they should not be treated as “‘minstrel’ songs.”1

Following his statement on folk music, he writes:

“Success in singing these Folk Songs is primarily dependent upon deep spiritual feeling. The voice is not nearly so important as the spirit; and then the rhythm, for the Negro’s soul is linked with rhythm, and it is an essential characteristic of most all the Folk Songs.”1

Here Burleigh seems to be arguing for an authenticity in both the feeling behind a performance and the presentation of the performance as rooted in the history of spirituals as black music.

On the other hand, he elaborates on his warning not to treat spirituals as minstrel songs with the following:

“It is a serous misconception to . . . try to make them funny by a too literal attempt to imitate the manner of the Negro in singing them, by swaying the body, clapping the hands, or striving to make the particular inflections of voice that are natural with the colored people. Their worth is weakened unless they are done impressively . . .”1

Obviously trying to make a serious song comical undermines it, but I was struck by the extent to which Burleigh connects an unworthy and unimpressive presentation directly with how literally black performance practice is imitated. “Swaying the body,” “clapping the hands,” and singing in dialect are all things that St. Olaf’s choirs, for example, do in an effort to present the music with “deep spiritual feeling,” as Burleigh encourages earlier. He also writes, “the voice is not nearly so important as the spirit,” yet he implies that the very things here connected to the spirit take away from the spirituals’ worth. Though he is discussing making a song comical, he strongly suggests that imitation of black performance practice itself is antithetical to an impressive performance.

H. T. Burleigh’s note in Negro Spirituals: Oh Peter Go Ring Dem Bells1

Maybe this is simply because black performance practice at the time could not be separated from minstrel comedy. This could allow for the St. Olaf choirs’ use of elements of black performance practice in a time when it is no longer so directly connected to minstrelsy in audiences’ ears. However, Burleigh was also a major part of the movement to “legitimize” black spirituals by arranging them in a Western classical style. Given this, he could have indeed viewed the “spirit” he talks of as needing to be presented through a white musical context in order to give it legitimacy. On the other hand, if he was writing for a white audience, his message may have been at least partly motivated by his not wanting imitation of black performance practice by non-black performers. Whatever the reasons for the specific performance considerations he discusses, though, this short statement on black spirituals shows some of the many complexities that accompany their performance.

1 Burleigh, H. T. Negro Spirituals: Oh Peter Go Ring Dem Bells. Sheet music. New York: G. Ricordi, 1918. Temple University Libraries, Charles L. Blockson Afro-American Collection. https://digital.library.temple.edu/digital/collection/p15037coll1/id/5379.

“Oh, Peter, Go Ring Dem Bells.” YouTube video, 1:20, posted by Marian Anderson – Topic, Nov 8, 2014, https://www.youtube.com/watch?v=ztVoWTRoyMc.

“The Voice is not nearly so important as the Spirit”

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After reading Eileen Southern and Dena Epstein’s accounts of American slave songs and particularly spirituals, my curiosity was piqued. I set out to see what sheet music for spirituals looked like from the days of the sheet music craze and naturally ran across something I wasn’t really expecting.

What I found was H. T. Burleigh’s arrangement of “Sometimes I feel like a motherless child” for low voice and piano.1 One thing that initially struck me about the song was that it fit with what Epstein wrote about as a common theme in slave songs, that is the repetition of the same line of text several times in a row. Another common characteristic was syncopation, which is also an important driving characteristic of this song.2

The cover of the sheet music for “Sometimes I feel like a motherless child”. A recording of this arrangement can be found here.

However, arrangement is also interesting because it has been written in the style of arias and art songs. The melody is written out clearly, omitting some of the vocalizations that perhaps would have been sung by slaves. It is also made clear that the song does not perhaps fully fit a European method of transcription by the footnote on the first page which offers an alternate rhythm for one of the measures. Additionally, the arrangement contains a simple piano accompaniment consisting mainly of repetitive chords on the beats. This makes sense as the arranger, H. T. Burleigh studied on scholarship at the National Conservatory of Music in New York and ultimately became famous for being the first to arrange spirituals in the style of art songs, allowing for their entry into recital repertoire.3

The other interesting aspect of this sheet music is the arranger’s note that precedes it. In it, Burleigh gives a brief history of spirituals and claims that they are “practically the only music in America which meets the scientific definition of Folk Song”. He then goes on to advise the would-be singer that “the voice is not nearly so important as the spirit” when preforming, and that rhythm is the critical element. He admonishes that spirituals should not be linked with “minstrel” songs and that one should not try to imitate “Negro” accent or mannerisms in performance.

Ultimately, this got me thinking again about our discussion question of who gets to sing these songs and who gets to decide who gets to sing them? This arrangement was obviously originally intended for a white audience because of its warning about trying to perform them imitating the ways that are “natural to the colored people”. Written as it is in the style of an art song, means it caters to recitalists. Most recitalists of the time were white, as Burleigh himself is regarded as one of the first African American recitalists. Can white performers sing these songs that came out of the deep anguish of slavery and do them justice?

H. T. Burleigh (1866-1949).

Burleigh also adds an interesting dimension to the puzzle. As a black man born after the abolition of slavery, does he still have a right and connection to these songs? After all, he came from a poor family and learned many of his spirituals from his grandfather, who had been a slave.4 Furthermore, Burleigh still lived in a time of deep racial inequality and probably experienced ugly racism and discrimination in his own life.

Perhaps Burleigh, in is own way, provides a bit of an answer to this quandary in his performance notes when he remarks that spirituals’ “worth is weakened unless they are done impressively, for through all these songs there breathes a hope, a faith in the ultimate justice and brotherhood of man”. It may not be a perfect answer, but it is something.

1Burleigh, H. T. “Sometimes I feel like a motherless child” from Negro Spirituals. New York: G. Ricordi, 1918. http://digital.library.temple.edu/cdm/ref/collection/p15037coll1/id/5400. Accessed March 19, 2018.

2Epstein, Dena J. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Urbana: University of Illinois Press, 1977.

3““Harry” Burleigh (1866–1949).” In African American Almanac, by Lean’tin Bracks. Visible Ink Press, 2012. https://ezproxy.stolaf.edu/login?url=https://search.credoreference.com/content/entry/vipaaalm/harry_burleigh_1866_1949/0?institutionId=4959. Accessed March 19, 2018.

4Snyder, Jean. “Burleigh, Henry [Harry] T(hacker).” Grove Music Online. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002248537. Accessed March 19, 2018.

Different Times, Different Troubles (Same Song)

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“Nobody Knows de Trouble I’ve Seen”, arranged by H.T. Burleigh.

It’s hard to definitely say someone should not sing certain music. When it comes to spirituals, we wonder if the music was supposed to be passed down the generations, or if it was supposed to be left behind, where it could only be associated with slavery and sorrow.

H.T. Burleigh thought such music should be remembered, as he is famous for having arranged the music for many spirituals, including “Nobody Knows de Trouble I’ve Seen”. Burleigh and others published a variety of other arrangements for “mixed chorus, men’s chorus, and women’s chorus”.1
Therefore, it is clear he intended these songs to be sung by a variety of people for generations to come. He believed that spirituals have worth to anyone and everyone. He even made a statement on the second page of this sheet music, warning not to sing these songs as if a “minstrel” performance, mocking the mannerisms of African Americans while singing the song, but instead to respect the value of such musical works:

“Their worth is weakened unless they are done impressively, for through all these songs there breathes a hope, a faith in the ultimate justice and brotherhood of man. The cadences of sorrow invariably turn to joy, and the message is ever manifest that eventually deliverance from all that hinders and oppresses the soul will come, and man–every man–will be free.”2

If a choir of white people gave a lively and vigorous performance of this spiritual or any kind like it, it would come across as disrespectful. Slaves were not allowed to sing work songs mournfully, even though the songs were of sorrow and of trouble.3  “Douglass observed in the 1845 edition of his autobiography that slaves sang most when they were unhappy”.4 A smiley performance of such music seems inappropriate. People today cannot properly fathom the hardships that slaves endured back then, so for anyone other than slaves to sing these songs does not feel right. However, Burleigh might argue that spirituals transcend the history. The music can mean a lot to a lot of people, even if for different reasons.

Perhaps it would help to imagine slaves’ reactions to performances of their songs today. They could think it beautiful that their music has survived so long and that their time is not forgotten or brushed aside as insignificant in history. However, their reaction would probably depend on what performances they see–whose singing for whom and for what reason. They could definitely find it disturbing that their music is occasionally sung out of context for the pleasure of white people listening. But what would they think if they saw a choir in Taiwan singing one of their songs?

We can’t know for sure what they would think, but perhaps if the music is performed in a respectful manner, it can mean more for more people.

1 “H. T. Burleigh (1866-1949).” Library of Congress. https://www.loc.gov/item/ihas.200035730.

2 Burleigh, H.T. Nobody knows de trouble I’ve seen. New York: G. Ricordi & Co., Inc., 1917. Retrieved from Sheet Music Consortium, http://digitalcollections.baylor.edu/cdm/ref/collection/fa-spnc/id/23714.

3 Eileen Southern, The Music of Black Americans: A History (New York: W.W. Norton & Company, Inc., 1971), 161.

4 Eileen Southern, The Music of Black Americans: A History (New York: W.W. Norton & Company, Inc., 1971), 177.

Transmission of “Nobody know(s) the(de) Trouble I(‘ve) See(n)”

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As former slaves entered American culture and society as citizens with slightly more rights after the Civil War and Reconstruction they created bands and groups for themselves to play in. In the late 19th and early 20th century military bands, small orchestras, and “stock bands” were formed mostly performing popular music of the day as well as notable Classical music such as Mozart Operas.

Claflin University Brass Band. Picture collected for the 1900 Paris Exposition

Claflin University Brass Band. Picture collected for the 1900 Paris Exposition <http://www.loc.gov/pictures/item/2001705781>

 

At this time spiritual music had long been co-opted by white culture with many former slave songs being compiled in “American” songbooks. In the 1920s black composers and arrangers were able to publish their settings for these groups. Composers Gussie Davis, M.L. Lake, Robert Cole, and others were very popular stock band composers and arrangers during the ’20s. Here is a setting of the familiar tune “Nobody knows de trouble I seen” from M.L. Lake.

Setting for small orchestra. http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.100010139/pageturner.html?page=2&section=p0001&size=640

Setting for small orchestra.
http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.100010139/pageturner.html?page=2&section=p0001&size=640

 

We can find the melody in the treble voice and this is a form of the melody that modern listeners would most likely be familiar with. However because of its setting it and acculturation it is rife with western harmonization and figuration. This adaptation of black folk songs is something that we are very comfortable with and reminds me of William Grant-Still’s Afro-American Symphony.

H.T. Burleigh (1866-1949) was an essential figure in bringing black folk music to the classical music scene in post-reconstruction America. He introduced popular singers to the literature and was well connected with influential musical big-wigs, including Antonin Dvorak.

H.T. Burleigh's setting of "Nobody knows" for voice and piano. http://library.duke.edu/digitalcollections/hasm_n0737/

H.T. Burleigh’s setting of “Nobody knows” for voice and piano.
http://library.duke.edu/digitalcollections/hasm_n0737/

The earliest notated record of this particular tune we have is from Slave Songs of the United States, published in 1867, the seminal work of collecting slave songs in the Antebellum South. This representation from the collection is not definite however, it is still subject to editing and doesn’t account for massive variation across the southern states. SlaveSongsThis post outlines how different settings of the same tune have been treated when brought into a western context and setting. First the tune is in its most original form (that we have available), then adapted to solo voice and piano for mass consumption and use in the home and then finally used as popular music that can be recognized by the populous who attend concerts.