Negro Folk Symphony II. Hope in the Night

William Dawson
Piece Duration: 9:50

About this Piece

(Movement II is 11:06-20:56)

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: “The second movement, entitled Hope in the Night, begins with three gong strokes intended by Dawson to represent the Trinity 'that guides the destiny of man.' 

Roughly in A-B-A form, with the A section marked Andante and the B section a much quicker Allegretto, it thus fulfills the roles of both a slow movement and a scherzo in a traditional four-movement symphonic structure. 

The A theme is a variant of the 'missing link' motif (with rising rather than descending intervals), which Dawson meant to suggest 'the monotonous life of the people who were held in bondage for 250 years.' The scherzando B theme symbolizes 'the merry play of children yet unaware of the hopelessness beclouding their future.' But the playful theme is interrupted by a return of the ominous 'missing link' motif and a fiery reprise of the opening idea. 

The A section returns with full orchestra and a heavy tread, marked by timpani and chimes. The movement closes with gloomy strings, growing from pianississimo to fortississimo and back again over a fatalistic drumbeat.” -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

Ternary Form: 
A Section: 11:08-13:23 
B Section: 13:23-17:21 
A Section: 17:21-21:08

Table of Contents:
Movement I. The Bond of Africa
Movement II. Hope in the Night
Movement III. O Let Me Shine!

Notable Passages

Time Stamp: 11:21 — 11:51
Description:

The A Section begins!


Keywords: Ternary Form

Time Stamp: 12:41 — 13:16
Description:

Chromatic: Can you find these chromatic moments?

  • An ascending chromatic scale in the Strings and Woodwinds
  • Descending chromatic scales underneath the theme
  • An ascending chromatic scale in the Cellos and Basses, to end the A section

Listen to the passage, then pause the video to find these moments in the score!


Keywords: Chromatic

Time Stamp: 13:23 — 14:38
Description:

The B Section begins!

Timbre: Different instruments play the B Section theme. Can you hear them all?

  • Oboes (13:23-13:36)
  • French Horns (13:36-13:46)
  • Strings (14:02-14:24)

What do you think about these different timbres? How do they change the way this theme sounds?


Keywords: Symphony Orchestra , Ternary Form , Timbre - Instruments

Time Stamp: 14:25 — 14:48
Description:

Contrast/Motif: The trumpet ominously interrupts with the “missing link” motif, and other instruments respond sorrowfully. 

This drastically changes the mood of the music, putting an end to the B Section's playful theme!


Keywords: Contrast , Motif

Time Stamp: 17:00 — 17:23
Description:

What's that!? Dawson sneaks a small excerpt from the first movement into the music!

The horns and trumpets quietly pass the theme back and forth. (You can hear this theme in the first movement at 3:51)


Keywords: Form - Misc.

Time Stamp: 17:16 — 17:48
Description:

After an ominous chromatic scale, the A Section returns!

Imitation: The composer uses imitation to give the A Section theme a new sense of energy. If you listen to the french horns, you can hear them playing little snippets of what the orchestra just played a few seconds earlier.

Timbre: Unlike the first A Section, William Dawson uses all of the wind and brass instruments! These timbres make this theme sound more ominous and intense. Compare this to the first A Section (see Notable Passage above)


Keywords: Chromatic , Imitation - Composition Technique , Imitation - Melody , Ternary Form , Timbre - Composition Technique , Timbre - Instruments

Time Stamp: 20:18 — 20:56
Description:

Dynamics: To end the movement, Dawson writes one B Minor chord, with three dynamic swells!

The last dynamic swell begins at ppp (pianississimo), crescendoing to fff (fortississimo), and decrescendoing down to ppppp (pianississississimo)! Say that five times fast!


Keywords: Dynamics - Composition Technique , Dynamics - Expressive Elements

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