Arrangements from the Piano Suites – Robert Nathaniel Dett
Program Notes: The six piano suites embrace almost all of Dett’s creative life, from Magnolia, written soon after his graduation from Oberlin, to the Eight Bible Vignettes, written during the last two years of his life. They show a great development, variety, and richness of style; truly reflecting his struggles, triumphs, and deepening philosophical interests.
Magnolia (1912) – Magnolia was written during his first academic appointment at Lane College in Jackson, Tennessee. It is light, youthful, and expresses a love of nature, similarly to The Album of a Heart, Dett’s book of poems written a year before. The movements are unified by either images of a geographical place or what Dett calls “racial peculiarities.”
In the Bottoms (1913) – In the Bottoms is best known of Dett’s piano works, partially due to its championing by Percy Grainger, the great Australian pianist. At the beginning of Dett’s own program notes is Beethoven’s remark about his Pastoral Symphony: “More an expression than a painting.” Dett’s use of pianistic color to evoke his images is remarkable.
Enchantment (1922) – Dett’s third suite was dedicated to Percy Grainger “in appreciation.” It shows the influence of 19th century piano music, particularly that of Liszt and Grieg. Ethnic traits are still present, though; in the swaying motion of “Song of the Shrine,” and the rhythms of “Dance of Desire.” This movement is kind of folk version of the Bacchanale genre from the Romantic period, complete with thematic transformation of themes heard earlier.
Cinnamon Grove (1928) – Cinnamon Grove reflects Dett’s poetic interests. The first three movements are prefaced by quotations while the fourth uses Negro spiritual melodies. The chosen poets reflect a wide knowledge and eclectic taste.
Tropic Winter (1938) – In a letter to Grainger, Dett writes of Tropic Winter, “I am rather proud of this suite, as I think it represents an advance in musical thought for me…” Indeed, it is the most experimental and varied in style of the suites, and some of the movements, such as “The Daybreak Charioteer,” ”A Bayou Garden,” and “Noon Siesta,” are more modernist than his earlier works. Others are more backward looking or have roots in popular music of the time, such as the marching band style in “Parade of the Jasmine Banners.” Dett returns to the concept of a suite unified by musical pictures; this time the images are of a more distant culture. His great lyric talent shines in “Legend of the Atoll,” returning to the sound of spirituals, and “To a Closed Casement.” These two pieces form the emotional center of the suite. Even in Dett’s most forward-looking music, melodic inspiration is central to his style.
Eight Bible Vignettes (1942 – 1943) – Eight Bible Vignettes is the culmination of Dett’s style, outlook, philosophy, and life. The numerological meaning of eight, as meaning new beginning (the completion of seven plus one), is surely intentional. Each movement is related to a Biblical episode, four from the Old Testament; four from the New. Each group begins with a central character, Abraham (“Father Abraham”) and Jesus (“I Am the True Vine”). The second piece in each part presents a female character; Hagar and Martha. The third and fourth movements are personal expressions of love and despair. They mirror the final two movements which express reconciliation through belonging, using the image of the shepherd.
– Program note by www.nathanieldett.com
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Montgomery Variations – Margaret Bonds
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Symphony No. 4 in F Minor, Op. 36 – Pyotr Ilyich Tchaikovsky
