Henry T. Burleigh, Baritone & Composer Born Dec. 2, 1866, Was Grandson Of A Slave, Tested Civil Rights Law

[ABOVE: Nobody Knows - Songs Of Harry T. Burleigh; Karen Parks, soprano; Wayne Sanders, piano; Thirty Tigers 765324 (2008) BELOW: Deep River: Songs and Spirituals; Oral Moses, bass-baritone; Ann Sears, piano; Troy 332 (1999)]

Henry “Harry” Thacker Burleigh was an African American composer, arranger and baritone soloist who was born in Erie, Pennsylvania on December 2, 1866. Soprano Karen Parks and pianist Wayne Sanders have collected several songs of H.T. Burleigh on the CD pictured above, Nobody Knows - Songs Of Harry T. Burleigh, which is devoted entirely to works of this composer.

Prof. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com, has generously made his research entry on Henry T. Burleigh available to AfriClassical.com. The website features a comprehensive Works List compiled by Prof. De Lerma. Prof. De Lerma explains that Hamilton E. Waters, Burleigh's grandfather on his mother's side of the family, was a slave belonging to a resident of Princess Anne, Maryland until he went blind.

We learn from the research entry that Henry Burleigh gained recognition from performances at a church in Detroit and at the Chicago World's Fair of 1893. Prof. De Lerma says Burleigh was chosen from a pool of 50 applicants for the position of baritone soloist at an Episcopal church in New York in 1894. Six years later, he adds, Burleigh was also appointed as baritone soloist at a synagogue, Temple Emanu-El. Burleigh formally enrolled as a student at the National Conservatory of Music in 1894, graduating in 1896.

Prof. De Lerma tells of a personal Civil Rights campaign undertaken by Burleigh in 1895 with two other individuals: “New York governor Morton signed a civil rights bill in 1895, which Burleigh tested in 25 area restaurants, service being denied only by the Continent, Brunswick, Shanley’s, and O’Neil's.” “Joining him in this were Charles W. Anderson (private secretary of the state treasurer) and Richard E. Stovall (president of the Kenmore Club).”

He was baritone soloist in the 1904 presentation of Samuel Coleridge-Taylor's musical Hiawatha's Wedding Feast. Burleigh also sang during performances on the composer's second American visit, in 1906. He was a voice teacher at Will Marion Cook's School of Music in New York, we learn from Prof. De Lerma, and was vocal coach for a number of prominent singers, such as Enrico Caruso, Roland Hayes, Marian Anderson and Paul Robeson.

Prof. De Lerma tells us of Burleigh's employment with G. Ricordi: “In 1911, he was engaged as editor for the New York branch of G. Ricordi, which firm then began issuing his works, initially with Deep River in 1917.” Prof. De Lerma credits Burleigh with introducing the concept of the spiritual as art song, says he was programming his own works in conjunction with those of others by 1912. Major awards included the Spingarn Medal of the NAACP in 1917 and the Harmon Award.

In his lengthy career, Burleigh wrote 265 vocal works and made 187 choral arrangements. In 1916 he published Jubilee Songs of the United States of America, a book of arrangements of spirituals for solo vocal performance. Henry "Harry" Thacker Burleigh entered a nursing home in 1946, and died in Stamford, Connecticut on December 12, 1949.

NYFOS/Juilliard in Free 'Killer B's', Songs of H.T. Burleigh & Other 'B' Composers

[Baritone Carlton Ford is featured in Killer B’s, January 13 at the Peter Jay sharp Theater at The Juilliard School, New York City (Photo by Nick Granito)]

Reva Cooper is Publicist for the New York Festival Of Song. She has provided us with the above photo of Carlton Ford, along with its caption. She also tells AfriClassical: “Music of Harry T. Burleigh (also Charles Brown) is featured on New York Festival Of Song/Juilliard Dept. of Vocal Arts’ Killer B’s: American Song from Amy Beach to The Beach Boys, on January 13.”

“Free Concert, Featuring music of Irving Berlin, Samuel Barber, Leonard Bernstein, The Bobs, Harr T. Burleigh, Eubie Blake, William Bolcom, and many others:
NYFOS@Juilliard: Fifth Annual Collaboration with Award-winning Students in The Department of Vocal Arts at The Juilliard School, Wednesday January 13 at Peter Jay Sharp Theater.

“New York Festival of Song (NYFOS, www.nyfos.org), who 'redefined the song recital with daring and dramatic programming' (The New Yorker), presents its fifth annual program with the Department of Vocal Arts at The Juilliard School on Wednesday January 13, 2010 at 8 PM, NYFOS@Juilliard celebrates the creative energy and superlative vocal talent of tomorrow’s brightest stars, building on NYFOS’s distinctive programming and performing style. Alumni of the joint program have already begun to participate in NYFOS’s mainstage concerts alongside more seasoned artists, while also taking their place in opera houses and concert halls around the world.
Tickets for the event are free and available at The Juilliard School box office (in person only).

“NYFOS Directors Steven Blier and Michael Barrett are enthusiastic about the NYFOS/Juilliard collaboration: 'We are having a wonderful experience working on this crazy, eclectic program. The students are all deeply involved, researching new songs, looking for spoken material as a bridge between numbers (all by authors whose names begin with the letter B), suggesting repertoire, discussing program order, and writing program notes. They have responded with tremendous creativity, and best of all, they’re teaching us a thing or two as they chart a new, surprising path.'

“The artists in Killer B’s will be Catherine Hancock and Meredith Lustig, sopranos; Carla Jablonski and Naomi O’Connell, mezzo-sopranos; Carlton Ford and Timothy McDevitt, baritones; Adrian Rosas, bass-baritone; and New York Festival of Song directors Steven Blier and Michael Barrett, pianists/hosts. Choreography is by Jeanne Slater.”

“Harry T. Burleigh (1866 –1949) was an African-American classical composer, arranger, and singer. He was the first black composer to influence the development of a characteristically American music and he helped to make black music available to classically-trained artists by introducing them to the music and by arranging Negro spirituals in a more classical form.” [The African American composer, arranger and bass soloist Henry Thacker Burleigh (1866-1949) is profiled at AfriClassical.com]

Comments From 'American Legacy' Editor and Author on Antonín Dvořák & Henry T. Burleigh

[Deep River: Songs and Spirituals; Oral Moses, bass-baritone; Ann Sears, piano; Troy 332 (1999)]

AfriClassical recently posted: “American Legacy: 'A Czech In The Land Of Spirituals' on Antonín Dvořák & Henry T. Burleigh”. We brought the post to the attention of Adina Williams, author of the article which prompted the post, and we sent a Letter to the Editor of American Legacy, Audrey Peterson:
“Dear Editor, When my copy of American Legacy Magazine arrived I was immediately drawn to the compelling article by Adina Williams, "A Czech In The Land Of Spirituals". Henry T. Burleigh is one of the Composers of African Descent who are profiled at my website, AfriClassical.com. I have posted excerpts from the article on my blog:
http://africlassical.blogspot.com/2009/06/american-legacy-czech-in-land-of.htm
The article does a great service to the memory of Henry Burleigh and deserves to be widely read. Sincerely, William J. Zick, Ann Arbor, MI”

American Legacy Editor Audrey Peterson responded:
“Dear Mr. Zick, Thank you for such kind words; I've forwarded your e mail to the author, who is thrilled, to say the least. I've looked at your blog and thank you for bringing the article to the attention of your readers. Henry Burleigh does deserve wider attention! Best wishes, Audrey Peterson”

Adina Williams replied as well:
Dear Bill, Much appreciated! Dvorak has been such an obsession of mine. All the fascinating connections with Burleigh, Duke, Sissieretta... Hope it sheds some light. It seems to have opened up some interesting dialogue, as I am getting some heartfelt, soul-searching responses. Look forward to reading your work, as well. I will alert folks to your wonderful website and blog. May I include you on my Jazz List? Again-thanks for your kind words, Adina
Adina Williams
Promotion Executive, Jazz & Standards
Boosey & Hawkes - Publisher
[Editor's Note: Boosey & Hawkes publishes the Simrock editions of Antonín Dvořák and Johannes Brahms; works of Jazz composers such as Wynton Marsalis, Charles Mingus and Chick Corea; and those of Classical composers including Igor Stravinsky, Aaron Copland, Leonard Bernstein, John Adams and Steve Reich.]

Harry Rolnick: 'This was my first hearing of George Walker’s Lilacs, and I frankly loved it'

[Photo Courtesy of George Walker]

We present a brief excerpt from Harry Rolnick's review of the March 17, 2009 concert of the Philadelphia Orchestra in Carnegie Hall:

ConcertoNet.com

Darius Milhaud: La Création du Monde, opus 81a

George Walker: Lilacs

Gustav Mahler: Lieder eines fahrenden Gesellen

Antonín Dvorák: Symphony No. 9, “From the New World”, opus 95

Russell Thomas (Tenor), Eric Owens (Bass-Baritone)

The Philadelphia Orchestra, Charles Dutoit (Chief Conductor and Artistic Adviser), Jessye Norman (Presenter)

“George Walker was the first Black composer to win the Pulitzer Prize for his Lilacs, while Mahler’s Songs of a Wayfarer was a favorite of Marian Anderson, who was celebrated by Ms. Norman in her speech. Finally, Dvorák’s symphony, while has more ersatz American Indian themes than Black, celebrated a composer whose friendship with Black pianist Harry Burleigh is worthy of a book in itself. This was my first hearing of George Walker’s Lilacs, and I frankly loved it. Walt Whitman has been set countless times, but Mr. Walker had a special take. For the poem When Lilacs Last In The Door-Yard Bloom’d is desolation, and Mr. Walker sensed that from the beginning. Over all four songs was one chord which was neither major nor minor, but this ambiguity gave the sense of unease over the entire work, ending only with a kind of mournful percussive effect.” 

“Tenor Russell Thomas did the honors, literally. So lovely is his voice that one almost wishes he was reciting the poems. But singing them, with the sudden leaps to near falsetto range, he retained all the emotional impact.” [George Walker (b. 1922) and Henry "Harry" Thacker Burleigh (1866-1949) are profiled at AfriClassical.com.  Dr. Dominique-René de Lerma has contributed Works Lists for both composers]

“Harry T Burleigh wrote a song for my Great Aunt Harriot while they were @ a family picnic...”

A visitor made this entry in the Guest Book at AfriClassical.com on Monday, 11/3/08, 12:02 PM: “I happened to stumble upon this site today. Great info.! My Grandfather told me a story, many years ago, about how Harry T Burleigh wrote a song for my Great Aunt Harriot while they were @ a family picnic in Napanoch, NY. My Uncle still has the song safely put away. I had no idea, until about 20 yrs ago, that he was so famous and memorable. It is quite an honor to know that we share the same bloodline. Thank you. June (Family names: Elmandorf, Osterhoudt, Burleigh)” [Henry “Harry” Thacker Burleigh was an African American composer, arranger and baritone soloist who was born in Erie, Pennsylvania on December 2, 1866. In his lengthy career, Burleigh wrote 265 vocal works and made 187 choral arrangements. In 1916 he published Jubilee Songs of the United States of America, a book of arrangements of spirituals for solo vocal performance. Burleigh entered a nursing home in 1946, and died in Stamford, Connecticut on December 12, 1949. He is profiled at AfriClassical.com] 

Works of H. Leslie Adams, Henry T. Burleigh & Margaret A. Bonds on Gerald J. Blanchard CD

Henry Thacker Burleigh's Ev'ry Time I Feel De Spirit, Margaret Allison Bond's The Negro Speaks of Rivers, and H. Leslie Adams' Prayer (From the Song Cycle "Night Songs") are among the works found on a new recording, With A Song In My Heart, Blue Griffin Records BGR 117. Each of these African American composers is profiled at AfriClassical.com The website of the record label includes the Liner Notes.

BlueGriffin.com:
“Gerald Blanchard, lyric baritone is a native of Philadelphia Pennsylvania. He is the Director of Vocal Music at Kellogg Community College in Battle Creek (MI). He most recently served on the voice faculties of The University of Michigan at Flint, Michigan State University Community Music School, Adrian College and was the Director of youth choral activities and voice faculty at the Darlington Fine Arts Center and Women's Choir director and voice faculty member at the Suburban Music School in Pennsylvania. At present, Mr. Blanchard is the Director of Music at the First Presbyterian Church of Lansing Michigan, where he also serves as conductor of the Chancel choir.” The recording also features Sergei Kvitko and Dominic Dousa on piano.

Henry T. Burleigh: Ev'ry Time I Feel De Spirit
Traditional/Blanchard: Witness For Ma Lord
Margaret Allison Bonds: The Negro Speaks Of Rivers
Arr. By Moses Hogan: Give Me Jesus
Dominic Dousa: Six Songs On The Poetry of Langston Hughes; The Dream Keeper, Mother to Son, Beggar Boy, As I Grew Older, Ma Lord, Judgment Day
Cecil Cohen: Death Of An Old Seaman
Robert Owens: Genius Child (From the Song Cycle “Mortal Storm”)
H. Leslie Adams: Prayer (From the Song Cycle “Night Songs”)
Dominic Dousa: With A Song In My Heart (Text by Gerald J. Blanchard); A Letter From God, Music in the Air, Youngblood

Works of Henry T. Burleigh, R. Nathaniel Dett & William Grant Still at Richmond Festival May 2

[Afro-American Symphony; Royal Philharmonic Orchestra; Karl Kruger, conductor; Bridge 9086 (1999)]

Clarke Bustard is a music critic and cultural writer based in Richmond, Virgina. He writes
Letter V: the Virginia Classical Music Blog, whose May 1 edition presents the complete program of the May 2 concert which includes Henry T. Burleigh: Andante from “Southland Sketches”;
R. Nathaniel Dett: “In the Bottoms” (Excerpts); and William Grant Still: “Gamin” from "Suite for Violin and Piano". Full Post

Music of Henry T. Burleigh, R. Nathaniel Dett & William Grant Still In Richmond, Virginia May 2

[The Collected Piano Works of R. Nathaniel Dett; Summy-Birchard (1973)]

Today AfriClassical linked to a post on William Grant Still's Symphony No. 2 (Song of a New Race) at Letter V: The Virginia Classical Music Blog. We also sent an E-mail to its author, Clarke Bustard, who was a classical music critic for the Richmond Times-Dispatch for decades. We expressed our approval of his selection of Still's Symphony No. 2 as a work whose neglect cannot rationally be explained, and told him of the forthcoming 2-CD set of Symphonies Concertantes of Le Chevalier de Saint-Georges on the Avenira label, on which we posted recently. Clarke Bustard has replied by E-mail:

“Mr. Zick:

Glad you approve of my inclusion of the Still Second, and thanks for linking to Letter V. Folks in these parts are quite familiar with the Chevalier de Saint-Georges, whose music has appeared on Richmond Symphony's and others' programs since the 1970s. I'll keep an eye out for the new recording.

Here's a historical factoid that may interest you and your readers, from a piece I wrote for the Richmond Times-Dispatch (published Oct. 15, 2000): 'Oratorical, literary, dramatic and musical societies were organized by black Richmonders shortly after [the Civil War]. One such group presented the Gilbert & Sullivan operetta H.M.S. Pinafore in 1880, two years after its premiere in London.'

Regards,
Clarke Bustard
Letter V: the Virginia Classical Music Blog”

“Addendum: In my previous reply, I should have mentioned that the May 2 Richmond Festival of Music program includes Charles C. Perkins' 'Le Banjo,' H.T. Burleigh's 'In the Southland,' William Grant Still's 'Gamin' [correct me if I've mixed up composers and works - the presenter groups them as a mini-suite] and R. Nathaniel Dett's 'In the Bottoms.' I plan to post a review of that concert on Letter V." [AfriClassical thanks Clarke Bustard for the fascinating information on the Black Richmonders who presented H.M.S. Pinafore in 1880.]

Henry “Harry” T. Burleigh, African American Composer & Baritone Soloist Born Dec. 2, 1866

[Deep River: Songs and Spirituals; Oral Moses, bass-baritone; Ann Sears, piano; Troy 332 (1999)]

Henry "Harry" Thacker Burleigh was an African American composer, arranger and baritone soloist who was born in Erie, Pennsylvania on December 2, 1866. Dr. Dominique-René de Lerma is a Professor of Music at Lawrence University in Appleton, Wisconsin and has been writing about Black composers for four decades. He has generously made his research entry on Henry T. Burleigh available to AfriClassical.com Prof. De Lerma writes:

“Major assistance on this entry was provided by Arthur LaBrew.”

Prof. De Lerma's explains that Hamilton E. Waters, Burleigh's grandfather on his mother's side of the family, was a slave belonging to a resident of Princess Anne, Maryland until he went blind. Burleigh's maternal great-grandmother was an immigrant from Scotland whose husband was Native American. His grandparents on his father's side of the family were of mixed heritage as well and made their home in Newport, New York.

A photograph of Hamilton E. Waters with his young grandsons Reginald and Henry "Harry" T. Burleigh can be found at the Website of the Harry T. Burleigh Society: http://burleighsociety.org/timeline.html

Prof. De Lerma finds that Burleigh's teachers at the National Conservatory did not include the school's Director, Antonin Dvorak, but the two did spend considerable time together outside of classes. We learn from the research entry that Henry Burleigh gained recognition from performances at a church in Detroit and at the Chicago World's Fair of 1893.

Prof. De Lerma tells of Burleigh's selection from a pool of 50 applicants for the position of baritone soloist at an Episcopal church in New York in 1894. Six years later, he tells us, Burleigh was also appointed as baritone soloist at a synagogue, Temple Emanu-El. Burleigh formally enrolled as a student at the National Conservatory of Music in 1894, graduating in 1896.

Prof. De Lerma goes on to say that Burleigh took part in a variety of musical performances from 1898-1906 as a singer and as a conductor of opera. He was baritone soloist in the 1904 presentation of Samuel Coleridge-Taylor's musical Hiawatha's Wedding Feast. Burleigh also sang during performances on the composer's second American visit, in 1906. He was a voice teacher at Will Marion Cook's School of Music in New York, we learn from Prof. De Lerma, and was vocal coach for a number of prominent singers, such as Enrico Caruso, Roland Hayes, Marian Anderson and Paul Robeson. Prof. De Lerma tells us of Burleigh's employment with G. Ricordi:

“In 1911, he was engaged as editor for the New York branch of G. Ricordi, which firm then began issuing his works, initially with Deep River in 1917.“

Prof. De Lerma credits Burleigh with introducing the concept of the spiritualas art song, says he was programming his own works in conjunction with those of others by 1912. and summarizes additional recitals, including programs sponsored by the Music School Settlement for Colored People on February 23, 1913 and June 19, 1919. One of his European trips featured a command performance for King Edward VII of the United Kingdom. Major awards included the Spingarn Medal of the NAACP in 1917, the Harmon Award, and honorary degrees from Atlanta University and Howard University.

In his lengthy career, Burleigh wrote 265 vocal works and made 187 choral arrangements. In 1916 he published Jubilee Songs of the United States of America, a book of arrangements of spirituals for solo vocal performance. Henry "Harry" Thacker Burleigh entered a nursing home in 1946, and died in Stamford, Connecticut on December 12, 1949. Full Article