[The Collected Piano Works of R. Nathaniel Dett; Summy-Birchard (1973)]
Thursday, October 23, 2008
Johnny Canuck's the Lad III
by Peter Steven [Excerpt]
The young Nathaniel Dett (1882-1943) remained completely unknown in Canada beyond Niagara Falls during his time here, but thanks to modern scholars and supporters he is now considered a major figure, his name kept alive by Toronto’s Nathaniel Dett Chorale. Dett was born in Drummondville, an ex-slave community near Niagara Falls, became a child prodigy and went on to write dozens of significant compositions in many styles. These included spirituals with newly popular rhythms, serious piano suites and choral music. His earliest compositions were clearly ragtime, created for popular dance tastes. After the Cakewalk – March-Cakewalk (1900) was the first, followed by Cave of the Winds, March and Two Step (1902). “It was once possible to walk behind Niagara’s Bridal Veil Falls,” explained Dett. “The experience was very much like entering a cave.” Visitors described the winds there as “tumultuous and breathtaking and called it the ‘Cave of the Winds.’”
Dett’s music drew on a wide range of traditions – his mother’s piano and spiritual singing, through the local British Methodist Episcopal Church, his father’s guitar and saloon piano playing, and free music lessons by a skilled local teacher. While still attending high school in Niagara Falls, Ontario Dett landed steady work as piano player over the river at the up-scale Cataract Hotel. Yet not everything was smooth sailing, and lest we forget the social climate for African Canadians at the time, in 1889 Nathaniel’s younger brother was shot dead by a local, white property owner. Early in the century he moved to the U.S. where he soon began to publish significant new music. His Juba Dance piano solo (1913) was included in the Royal Conservatory of Music syllabus. According to music historian Elaine Keillor of Carleton University, Dett’s subsequent work in the U.S. “revolutionized the presentation of African American music.” "There was poured into the astonished and delighted ears of the world an indigenous music, sung by its own creators, a music as fresh as the morning, as intimate as the breath and as vital as the heartbeat." – R. Nathaniel Dett [Full Post]
Thursday, October 23, 2008
Johnny Canuck's the Lad III
by Peter Steven [Excerpt]
The young Nathaniel Dett (1882-1943) remained completely unknown in Canada beyond Niagara Falls during his time here, but thanks to modern scholars and supporters he is now considered a major figure, his name kept alive by Toronto’s Nathaniel Dett Chorale. Dett was born in Drummondville, an ex-slave community near Niagara Falls, became a child prodigy and went on to write dozens of significant compositions in many styles. These included spirituals with newly popular rhythms, serious piano suites and choral music. His earliest compositions were clearly ragtime, created for popular dance tastes. After the Cakewalk – March-Cakewalk (1900) was the first, followed by Cave of the Winds, March and Two Step (1902). “It was once possible to walk behind Niagara’s Bridal Veil Falls,” explained Dett. “The experience was very much like entering a cave.” Visitors described the winds there as “tumultuous and breathtaking and called it the ‘Cave of the Winds.’”
Dett’s music drew on a wide range of traditions – his mother’s piano and spiritual singing, through the local British Methodist Episcopal Church, his father’s guitar and saloon piano playing, and free music lessons by a skilled local teacher. While still attending high school in Niagara Falls, Ontario Dett landed steady work as piano player over the river at the up-scale Cataract Hotel. Yet not everything was smooth sailing, and lest we forget the social climate for African Canadians at the time, in 1889 Nathaniel’s younger brother was shot dead by a local, white property owner. Early in the century he moved to the U.S. where he soon began to publish significant new music. His Juba Dance piano solo (1913) was included in the Royal Conservatory of Music syllabus. According to music historian Elaine Keillor of Carleton University, Dett’s subsequent work in the U.S. “revolutionized the presentation of African American music.” "There was poured into the astonished and delighted ears of the world an indigenous music, sung by its own creators, a music as fresh as the morning, as intimate as the breath and as vital as the heartbeat." – R. Nathaniel Dett [Full Post]
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