Henry Thacker Burleigh
Dominique-René de Lerma writes:
Exploring music's second program (19
March) in this two-week series was another wonderfully welcome hour! As always,
Bill McGlauglin 's stimulating commentary is exceptionally provocative. To
wit:
It is very often stated that Harry Burleigh
was a composition student of Antonín Dvorák. Not so. Although he made up for
it by the time he began transforming the spirituals into art songs (1917), he originally
did not pass the entrance examinations at New York's National Conservatory of
Music. It is true, however, that he introduced many spirituals to Dvorak,
copied orchestral parts for the composer's ninth symphony, and did attend the
1893 première of the work.
We had a second opportunity to hear from Cedille's
splendid CD featuring Rachel Barton Pine. Probably every listener tuning into
the program, who knew anything about José White or the Chevalier de
Saint-Georges, has this recording and welcomed its inclusion.
A word about rhythm and the following 16th-note
patterns: First of all, no matter what Joplin, Blake, or the others said about
their music being syncopated (as in A), it rarely was; pattern A is found with
Sousa and Debussy, but not with Joplin (although the Boston Pops performance of
Maple Leaf rag stuck this stranger into the arrangement, seemingly
borrowing from Will Marion Cook, briefly a Dvorák student). We had instead
consistent syncopated patterns, which we term additive rhythm; syncopation is a
European concept (an excellent example is the third Leonora overture by
Beethoven), while additive rhythm is related to many West African languages. The
Maple Leaf rag , as with most rags, is ragtime because it is based on the
additive rhythm of B. An exception is that sadly nostalgic Solace. Here
the bass line is that of the habanera (so often encountered in piano works of
the time -- W. C. Handy, for example) -- that it was called "the Spanish
tinge" (see C below), and note this work bears the subtitle "A
Mexican serenade" -- if the 16th note gets less emphasis than the
following eighth, we almost end up with pattern A. Notice how Joplin then
changes the right hand figuration forSolace.
A. 12-4 1-3.
B. 123-,-234,1-3.
C. 1--4, 1-3-.
If any have been unaware of this first two-week
series national tribute to Black music, you are probably not a regular follower
of Mr. Zick's web site and might not then be aware that McGlauglin's third
program will be dedicated to Joplin's Treemonisha. And I hope that this
series will alert any new listeners to all future programs of Exploring
music. It is broadcast, not only in most states (at various times on weekdays),
but even in Guam. Specific information is provided at the Exploring music
web site -- including the address for communicating directly with its engaging host.
------------------------------------
Dominique-René
de Lerma
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