Negro Folk Symphony I. The Bond of Africa
William DawsonPiece Duration: 11:03
About this Piece
(Movement I is 0:00-11:03)
General Description: "On Nov. 20, 1934, a brand new symphony brought a Carnegie Hall audience to its feet. The concert featured the Philadelphia Orchestra, led by conductor Leopold Stokowski. William Dawson was called back to the stage several times to take bows after his symphony ended.
One New York critic called it 'the most distinctive and promising American symphonic proclamation which has so far been achieved.'
Dawson said he wasn’t out to imitate Beethoven or Brahms, but wanted those who heard it to know that it was 'unmistakably not the work of a white man.' He found inspiration for the piece in traditional spirituals, which he preferred to call 'Negro folk-music.'"-NPR
Program Note: “At the outset of the first movement, The Bond of Africa, [Dawson] introduces a recurring motif that he labeled the “Missing Link” to represent “the link that was taken out of a human chain, when the first African was taken from the shores of his native land and sent to slavery.”
After this slow introduction, Dawson begins the sonata-form movement with a principal theme, also introduced on horn. The secondary theme, introduced on oboe, is based on the spiritual "Oh, My Little’ Soul Gwine-a Shine."
The beginning of the development section is marked by a return of the somber “Missing Link” motif, which returns yet again before the recapitulation. Dawson adds rhythmic references to the Juba dance brought by [enslaved people] from the Kingdom of Kongo to plantations in South Carolina.” -Frank K. Dewald
Note on the Title: "The title of the 'Negro Folk Symphony' merits discussion. The word 'Negro,' uncomfortable to many today, was for Dawson and others of his generation a term of pride and respect. Although mainstream preferences had shifted by the time of his passing in 1990, Dawson remained committed to the old word. For him, 'Black' was a color, too limited to encompass his heritage." - Gwynne Kuhner Brown
Sonata Form: (See Notable Passages Below)
Opening Motif Section: 0:00-2:31
Exposition, First Theme: 2:18-3:53
Exposition, Second Theme: 3:53-5:01
Development: 5:01-8:30
Recapitulation: 8:30-11:03
Table of Contents:
Movement I. The Bond of Africa
Movement II. Hope in the Night
Movement III. O Let Me Shine!
Notable Passages
Description:
Call and Response / Motif: The French Horn begins with the important “Missing Link" motif! The orchestra then expands on that solo in response.
Timbre: Listen for the instruments used in this section!
- French Horn solo
- Woodwinds
- Strings
Keywords: Call and Response , Timbre - Composition Technique , Timbre - Instruments , Motif
Description:
Timbre: The previous section repeats, with different instruments playing! Can you hear:
- English Horn solo
- Strings
- Low Brass
- Flutes/Clarinets
(Which timbral choices did you like best? The last one, or this one?)
Keywords: Timbre - Composition Technique , Timbre - Instruments
Description:
Motif: While the Strings play a melody, the French horn is playing the “Missing Link” motif!
Keywords: Motif
Description:
Sonata Form: The exposition's first theme is heard in the French Horn! The orchestra then rapidly passes different thematic material from section to section
Keywords: Sonata Form
Description:
Sonata Form: The exposition's second theme begins! This theme is based on the spiritual Oh, My Little’ Soul Gwine-a Shine.
Listen for the following:
- The second theme in the Oboe
- The second theme in the Clarinet.
- A rhythmic pattern in the Strings, based on the Juba Dance
- The second theme played in the flutes
Further Listening: There are two other examples of the Juba Dance in our database: here, and here!
Keywords: Sonata Form
Description:
Sonata Form: The development can be divided into three smaller sections. The first begins with sorrowful, lilting passages, followed by climbing, suspenseful passages!
Keywords: Sonata Form
Description:
Sonata Form: The second part of the development grows in intensity! Can you hear:
- A sequence in the low brass
- The flutes play the "Missing Link" motif very fast
- A triumphant phrase in the brass section
- A three note rhythm passed around the orchestra
Keywords: Sonata Form
Description:
Ritardando: Dawson writes "Molto rall." in the score, here! "Molto" is Italian for "big," and "rallentando" is another word for the slowing of tempo in music!
Sheet Music: Pg. 41 (PDF Pg. 48), last two measures
Keywords: Ritardando - Expressive Elements , Ritardando - Tempo
Description:
Dynamics/Contrast: This section begins with a big fortissimo! To end the development, the orchestra slowly fades to a piano dynamic.
Motif: In the final section of the development, the “Missing Link” motif is back! This time, the rhythm is the same, but the notes have been changed.
Keywords: Contrast , Dynamics - Composition Technique , Dynamics - Expressive Elements , Motif
Description:
Sonata Form: The recapitulation begins! Themes from earlier are darting back and forth throughout the orchestra, forever transformed by the development. Hold onto your hats, if you wear hats!
Keywords: Sonata Form
Description:
Rhythmic Pattern: The rhythmic pattern from the Juba Dance quickly reappears!
Sheet Music: Pg. 51 (PDF Pg. 59), Rehearsal Letter V
Further Listening: There are two other examples of the Juba Dance in our database: here, and here!
Keywords: Rhythmic Pattern
Description:
The movement comes to a fiery close, full of thematic transformation!
Description:
Cadence/Solfege: The first movement has a powerful ending! The timpani quickly plays E-flat and B-flat one after another, giving us quick dominant -> tonic motion (Solfege: do-sol-do-sol-do, etc.)
This is called a cadential prolongation, creating a more dramatic ending!
The brass also plays powerful downbeats, and the strings + woodwinds slowly join the timpani. The cadence then barrels forward to the finish line!
Keywords: Cadence , Solfege