Dominique-René de Lerma: 'Black, Brown and Beige, #2'

To contact us Click HERE

Henry Thacker Burleigh

Dominique-René de Lerma writes:
  Exploring music's second program (19March) in this two-week series was another wonderfully welcome hour!  As always,Bill McGlauglin 's stimulating commentary is exceptionally provocative.  Towit:              It is very often stated that Harry Burleighwas a composition student of Antonín Dvorák.  Not so.  Although he made up forit by the time he began transforming the spirituals into art songs (1917), he originallydid not pass the entrance examinations at New York's National Conservatory ofMusic.  It is true, however, that he introduced many spirituals to Dvorak,copied orchestral parts for the composer's ninth symphony, and did attend the1893 première of the work.              We had a second opportunity to hear from Cedille'ssplendid CD featuring Rachel Barton Pine.  Probably every listener tuning intothe program, who knew anything about José White or the Chevalier deSaint-Georges, has this recording and welcomed its inclusion.              A word about rhythm and the following 16th-notepatterns: First of all, no matter what Joplin, Blake, or the others said abouttheir music being syncopated (as in A), it rarely was; pattern A is found withSousa and Debussy, but not with Joplin (although the Boston Pops performance ofMaple Leaf rag stuck this stranger into the arrangement, seeminglyborrowing from Will Marion Cook, briefly a Dvorák student).  We had insteadconsistent syncopated patterns, which we term additive rhythm; syncopation is aEuropean concept (an excellent example is the third Leonora overture byBeethoven), while additive rhythm is related to many West African languages.  TheMaple Leaf rag , as with most rags, is ragtime because it is based on theadditive rhythm of B. An exception is that sadly nostalgic Solace.  Herethe bass line is that of the habanera (so often encountered in piano works ofthe time -- W. C. Handy, for example) -- that it was called "the Spanishtinge"  (see C below), and note this work bears the subtitle "AMexican serenade" -- if the 16th note gets less emphasis than thefollowing eighth, we almost end up with pattern A.  Notice how Joplin thenchanges 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-weekseries national tribute to Black music, you are probably not a regular followerof Mr. Zick's web site and might not then be aware that McGlauglin's thirdprogram will be dedicated to Joplin's Treemonisha.  And I hope that thisseries will alert any new listeners to all future programs of Exploringmusic.  It is broadcast, not only in most states (at various times on weekdays),but even in Guam. Specific information is provided at the Exploring musicweb site -- including the address for communicating directly with its engaging host.------------------------------------Dominique-Renéde Lermahttp://www.CasaMusicaledeLerma.com