Welcome to this week's episode of Arts Engines which now reaches over 100,000 weekly viewers in partnership
with Detroit Public Television, Ovation TV, The Violin Channel and
American Public Media including Performance Today and YourClassical.
Arts Engines seeks to share the most valuable advice and input from arts
administrators who tell their stories of creative problem-solving,
policy, economic impact, crisis management and empowering the future of
our field.
This week's guest is Elizabeth Alexander, President of the Andrew W. Mellon Foundation. Enjoy... and have a creative week! |
John Malveaux of MusicUNTOLD.com writes:
Daniel Blendulf, conductor
Parnassus Records writes:
“There are no words to express how grateful I am to hear of this marvelous piece of love. It’s far too seldom that we speak of our great singers who contributed so very much to the world of Classical Music, not just Pop. I thank you from the bottom of my heart.” – Grace Bumbry
“Listening to these almost‑lost recordings is like witnessing an archeological dig reassembling into a bustling street scene, replete with sayers and players, united in music. What a profound gift: great songs and their history reverberating into this century from our chasmic past! Thanks to the formidable efforts of Leslie Gerber and his dedicated team, these voices will never go silent again.” – Rita Dove
Complete Tracklist
1. Harry Burleigh (baritone): Go Down Moses (arr. Burleigh) (piano accomp. probably Burleigh)
Broome Special 51-A (matrix 45-1-1) (Fall 1919) [2:06]
2. Edward H.S. Boatner: (bass-baritone) I Don’t Feel Noways Tired (probably arr. Burleigh)
Broome Special 54-A (matrix 85-3-2) (Fall 1919) [2:25]
3. Edward H.S. Boatner: Sometimes I Feel Like a Motherless Child (probably arr. Burleigh)
Broome Special 51-B (matrix 85-2-1) (Fall 1919) [2:59]
4. R. Nathaniel Dett (piano): Dett: In the Bottoms – Barcarolle
Broome Special 54-B (matrix 86-2-1) (Fall 1919) [2:48]
5. R. Nathanial Dett (piano): Dett: Magnolia Suite – Mammy
Broome Special 55-b (matrix 86-1-1) (Fall 1919) [2:55]
6. Florence Cole-Talbert: (soprano) Delibes: Lakme – Bell Song (in French)
National Music Lovers 1028-A (matrix Black Swan 7103) (late 1921-early 1922) [3:25]
7. Florence Cole-Talbert: The Last Rose of Summer (anon.-Moore)
Black Swan 7104-B (matrix 7104-B) (late 1921-early 1922) [3:01]
8. Florence Cole-Talbert: Dell’Acqua: Vilanelle (William Leonard King, piano)
Broome Special 52-A (matrix 34-3-2) (Fall 1919) [3:28]
9. Florence Cole-Talbert: Arditi: Il Baccio
Black Swan 7104-A (matrix 7104-A) (late 1921-early 1922) [3:20]
10. Florence Cole-Talbert: Nobody Knows the Trouble I’ve Seen Anon. (arr. C.C. White)
Broome Special 55-A (matrix 34-2-1) (Fall 1919) [3:31]
11. Clarence Cameron White: (violin) White: Cradle Song (William Leonard King, piano)
Broome Special 53-B (matrix 35-4-1) (Fall 1919) [3:31]
12. Clarence Cameron White: White: Lament (William Leonard King, piano)
Broome Special 52-B (no visible matrix) (Fall 1919) [3:44]
14. Hattie King Reavis: Gounod: There Is a Green Hill
Black Swan 7106-A (matrix 7106-A) (late 1921-early 1922) [3:37] Note: on the CD itself, tracks 13 and 14 are swapped
13. Hattie King Reavis: (contralto) Make More Room Anon. (arr. Dett)
Black Swan 7106-B (matrix 7106-B) (late 1921-early 1922) [2:29]
15. Roland Hayes: (tenor) Leoncavallo: Pagliacci – Vesti la giubba (labelled “Arioso”) (in Italian)
Columbia Personal 62281 (matrix 62281-) (May 4, 1918) [2:56]
16. Roland Hayes: Donizetti: L’elisir d-amore – Una furtiva lagrima (in Italian)
Columbia Personal 91503 (12”) (matrix 91503) (May 25, 1918) [4:14]
17. Roland Hayes: Verdi: La forza del destino – Sollenne in quest’ ora (with G. Sumner Wormley, baritone)
Columbia Personal 91508-1 (12”) (May 26 or June 14, 1918) [4:21]
18. Roland Hayes: Katherine A. Glen: Twilight
Columbia Personal 62282 (no visible matrix) May 4, 1918) [1:59]
19. Roland Hayes: Anon.: Bye and Bye
Columbia Personal 91512 (matrix 91012-) (June 15, 1918) [2:50]
20. Roland Hayes: Anon.: Steal Away to Jesus (probably Lawrence Brown, piano)
Columbia Personal 91502 (12”) (matrix 91502-) (June 25, 1918) [4:47]
21. Roland Hayes: Anon.: Swing Low, Sweet Chariot
Columbia Personal 62050 (approx. Dec. 21, 1917) [2:41]
22. Antoinette Garnes (soprano): Verdi: Rigoletto – Caro Nome
Black Swan 7101 (no visible matrix) (late 1921-early 1922) [3:09]
23. Antoinette Garnes: Verdi: La Traviata – Ah! Fors’ e lui (exc.) (in Italian)
Black Swan 7102 (no visible matrix) (late 1921-early 1922) [3:51]
24. Antoinette Garnes: Haydn: My Mother Bids Me Bind My Hair
Broome Special 53-B (matrix 77-1-1) (probably 1921) [2:08]
25. Harry Burleigh: Jean-Baptiste Fauré: Les Rameaux (in English, as “The Palms”)
WNYC broadcast, April 2, 1944, “Mayor La Guardia Talks to the People” [2:58]
Total time 79:00 (all sung items in English except as noted)
Parnassus CDs are distributed in the U.S. by Alliance and elsewhere by alto distribution and associated distributors.
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John Malveaux of MusicUNTOLD.com writes:
Friday August 1, 2020, KUSC Classical Radio host Dianne Nicolini (12-1 PM) programmed Kronos Quartet recording of "Ekitundu ekisooka" (first movement) by Ugandan composer Justinian Tamusuza from the CD titled PIECES of AFRICA. The 1992 recording predates current zoom conversations and statements of inclusion by arts organizations. See pic Justinian Tamusuza and CD cover.
One of America’s most admired civil rights icons, though she disliked the label, wasn’t a political or religious figure—she was a singer with a “rich, vibrant contralto of intrinsic beauty," in the words of opera critic Alan Blyth. She was Marian Anderson (1897-1993), and she called Philadelphia home.
Through a career as a concert singer and advocate for social justice that spanned six decades, her championing of the African American spiritual, and indeed her very presence on the great concert stages of the world defied anti-Black prejudice and hate.
Despite the wealth of digitized material now available to individuals worldwide, it represents “just a subset of the full Penn Libraries’ Marian Anderson Collection, which also includes sheet music, correspondence, and much more,” says McKnight.
The Collection includes Anderson’s personal archives, which she donated before her death, plus donations from her nephew, conductor James DePreist, and the Free Library of Philadelphia. April James, Reader Services Librarian at the Kislak Center, hopes that “by offering so much of her archive online, this greater visibility will help bring her legacy the attention and respect it merits in the city she called home.”
Even as these vital pieces of Anderson’s story rest securely online and in the libraries of the University of Pennsylvania, another building and an organization that bear witness to her life in Philadelphia are facing new challenges and striving for more stable footing.
National Marian Anderson Museum
Marian Anderson purchased the modest three-story row home at 762 S. Martin St., in the city’s Graduate Hospital neighborhood, in 1924 and owned it until her passing in 1993. The structure now houses the National Marian Anderson Museum and the Marian Anderson Historical Society.
Anderson transformed the small basement into an entertainment center. In the ‘20s, ‘30s and ‘40s, a time when Blacks could not go out socially, she welcomed friends and musicians who gave impromptu performances in her home, including such legends as Duke Ellington, Ella Fitzgerald, Billie Holiday, and Louis Armstrong.
With changing exhibitions every year, the Museum has showcased rare photos, books, gowns, costumes, memorabilia, and films about her life. “There are too many items to name to say which is the most priceless”, says Jillian Patricia Pirtle, CEO of the Museum & Historical Society. “From Marian Anderson's Gold Coin pressed from the United States Mint, to the Liberty Medal of Freedom that she received from First Lady Eleanor Roosevelt, Marian Anderson's grandmother Isabella's Bible, to her concert gowns, sheet music, the list goes on and on…” Built in 1857, the house was added to the National Register of Historic Places in 2011.
But that designation has not helped the Society weather its current crisis. In June, several pipes in the house burst, filling the basement with three and a half feet of water. With the house closed to the public due the pandemic, the flooding was not discovered for several days. Severe damage was sustained to Anderson’s original flooring, original furniture such as Anderson’s Grandfather clock, and other irreplaceable artifacts, according to Pirtle.
The pandemic itself had already created a dire funding shortage of about $12,000 for the Historical Society, as income from admission fees to the house and concerts given by the Marian Anderson Scholar Artist Program stopped flowing back in March. The cost to repair the pipes and damage to the floor is expected to exceed $5,000. Surprisingly, the Marian Anderson House receives little support from preservation grants or the city.
A GoFundMe has been created to raise the funds, and the Historical Society plans to go ahead with a planned livestream concert performance on September 5th by the Scholar Artists, for which donations will be accepted through the museum’s website.
Pirtle urges WRTI listeners to embrace the National Marian Anderson Museum and Historical Society as a treasured historical landmark in Philadelphia. “We cannot stress enough the importance of supporting the… Museum and Historical Society programming. We want [WRTI] listeners to value our historical landmark… just as much as they do the Betsy Ross House, The Benjamin Franklin House, and the American Revolutionary Museum because Marian Anderson was just that meaningful and important to our nation’s history and must be preserved, lifted up, and supported for the now and for our future generations to come.”
Harry T. BurleighCommunity Survey
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