Various Artists / American Heritage (Coleridge-Taylor, Gottschalk, Wm. Grant Still)
| Album: | American Heritage (Coleridge-Taylor, Gottschalk, Wm. Grant Still) | Collection: | Classical | |
| Artist: | Various Artists | Added: | Oct 2022 | |
| Label: | Zoho Music | |||
A-File Activity
| Add Date: | 2022-11-09 | Pull Date: | 2023-01-11 | Charts: | Classical/Experimental |
|---|
| Week Ending: | Jan 8 | Nov 27 | Nov 20 |
|---|---|---|---|
| Airplays: | 1 | 2 | 1 |
Recent Airplay
| 1. | Jan 12, 2023: | Traditions
Shenandoah (Folk Song)(5:06), The Blues from Lenox Avenue |
4. | Nov 26, 2022: | Music Casserole
North American Ballads: Down By the Riverside (6:41) |
|
| 2. | Jan 07, 2023: | Music Casserole
Deep River (6:40) |
5. | Nov 19, 2022: | Music Casserole
Union (8:28) |
|
| 3. | Nov 26, 2022: | Hanging In The Boneyard
From the Southland, Through Moaning' Pines (2:22) |
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Album Review
Gary Lemco
Reviewed 2022-10-15
Reviewed 2022-10-15
Jeni Slotchiver presents a recital that celebrates African American musical tradition: that of folk song, blues, slave songs, gospel, and secular dances. Six of the composers are of African descent, and of these, two are women.
1. Samuel Coleridge-Taylor: Deep River (1904) is a spiritual from the composer’s Op. 54 of 24 Negro Melodies. (6:40)
2. Margret Bounds: Troubled Water (1967) was originally meant as a code to runaways to avoid capture. The modern setting utilizes jazz riffs to make a virtuoso statement. (5:07)
3. Harry Thacker Burleigh: From the Southland (1907) is a collection of 6 pieces, popular, plantation, and spirituals. Through Moanin’ Pines (2:22), The Frolic (2:39); In de Col’ Moonlight (2:29); A Jubilee (3:16) On Bended Knees (3:56) A New Hiding-Place (3:30)
4. Louis Moreau Gottschalk: Union and The Banjo America’s first int’l piano virtuoso and composer, Gottschalk loved to combine his Creole roots with songs and hymn from Americana. Union (1862) is a paraphrase on preserving the country that protected his civil rights. The Banjo, Op. 15 is a showpiece that explodes at the end into “Camptown Races.” (4:17)
5. Florence B. Price: Dances in the Canebreaks (1953) Price has gained renewed fame as the first African American symphony composer. Her style is strongly influenced by Dvorak. Nimble Feet is built on syncopations. (2:14) Tropical Noon invokes the rhythms of an exotic dance. (3:29) Silk Hat and a Walking Cane traces a dance from New Orleans, a cakewalk style also used by Debussy. (2:46)
6. Robert Nathaniel Dett: Dance – Juba (1913) Dett became famous for his association with Hampton Institute. Following Dvorak, Dett Used spirituals and slave songs as a source of musical identity. The Juba was brought to America on slave ships. (2:23)
7. William Grant Still: The Blues from Lenox Avenue (1937) reveals Still’s cosmopolitan career with CBS and Hollywood. This piece testifies to his strong ties to the Harlem Renaissance. (2:39)
8. Shenandoah is a folk song with roots in sea-faring shanty-music. This
arrangement is by Keith Jarrett and Jeni Slotchiver. (5:06)
9. Frederic Rzewski: North American Ballads: Down by the Riverside
Composed in 1979, the Ballads have a powerful anti-war, civil rights
Intention. Rzewski’s model lies in Bach’s chorales. (6:41)
10. William Grant Still: Swanee River (1939) is a traditional folk tune (2:05)
1. Samuel Coleridge-Taylor: Deep River (1904) is a spiritual from the composer’s Op. 54 of 24 Negro Melodies. (6:40)
2. Margret Bounds: Troubled Water (1967) was originally meant as a code to runaways to avoid capture. The modern setting utilizes jazz riffs to make a virtuoso statement. (5:07)
3. Harry Thacker Burleigh: From the Southland (1907) is a collection of 6 pieces, popular, plantation, and spirituals. Through Moanin’ Pines (2:22), The Frolic (2:39); In de Col’ Moonlight (2:29); A Jubilee (3:16) On Bended Knees (3:56) A New Hiding-Place (3:30)
4. Louis Moreau Gottschalk: Union and The Banjo America’s first int’l piano virtuoso and composer, Gottschalk loved to combine his Creole roots with songs and hymn from Americana. Union (1862) is a paraphrase on preserving the country that protected his civil rights. The Banjo, Op. 15 is a showpiece that explodes at the end into “Camptown Races.” (4:17)
5. Florence B. Price: Dances in the Canebreaks (1953) Price has gained renewed fame as the first African American symphony composer. Her style is strongly influenced by Dvorak. Nimble Feet is built on syncopations. (2:14) Tropical Noon invokes the rhythms of an exotic dance. (3:29) Silk Hat and a Walking Cane traces a dance from New Orleans, a cakewalk style also used by Debussy. (2:46)
6. Robert Nathaniel Dett: Dance – Juba (1913) Dett became famous for his association with Hampton Institute. Following Dvorak, Dett Used spirituals and slave songs as a source of musical identity. The Juba was brought to America on slave ships. (2:23)
7. William Grant Still: The Blues from Lenox Avenue (1937) reveals Still’s cosmopolitan career with CBS and Hollywood. This piece testifies to his strong ties to the Harlem Renaissance. (2:39)
8. Shenandoah is a folk song with roots in sea-faring shanty-music. This
arrangement is by Keith Jarrett and Jeni Slotchiver. (5:06)
9. Frederic Rzewski: North American Ballads: Down by the Riverside
Composed in 1979, the Ballads have a powerful anti-war, civil rights
Intention. Rzewski’s model lies in Bach’s chorales. (6:41)
10. William Grant Still: Swanee River (1939) is a traditional folk tune (2:05)
Track Listing