Negro Folk Symphony III. O Let Me Shine!
William DawsonPiece Duration: 7:22
About this Piece
(Movement III. is 20:58-28:20)
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 concluding movement - again in sonata form - takes its title from the first of two spiritual tunes that make up its themes. 'O, Le’ Me Shine, Shine Like a Morning Star!' characterized by its long-held opening pitch, and 'Hallelujah, Lord, I Been Down Into the Sea.'
The “missing link” motif is absent from this movement, although it bears a slight similarity to the first four notes of 'O, Le’ Me Shine,' suggesting the latter may have inspired it. The Juba rhythms return in the development section, and the piece concludes with a magnificent coda featuring prominent timpani and syncopation.” - 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
Duple Meter: This movement is in Cut Time, which means there are two half notes in a bar (2/2). The beats feel much larger, because the half note gets the beat!
Sonata Form: (See Notable Passages Below)
Exposition, First Theme: 20:58-21:46
Transition: 21:46-22:09
Exposition, Second Theme: 22:09-22:54
Development: 22:54-25:43
Recapitulation: 25:43-27:41
Coda: 27:41-28:20
Table of Contents:
Movement I. The Bond of Africa
Movement II. Hope in the Night
Movement III. O Let Me Shine!
Notable Passages
Description:
Sonata Form: Exposition, First Theme
This theme is based on "O, Le’ Me Shine, Shine Like a Morning Star!"
- Listen to the sung Spiritual, at the link above
- Listen to the Notable Passage, and find all five entrances of the theme
- Identify which Woodwind instruments play each time! (Hint: The first instrument is the oboe)
Keywords: Imitation - Composition Technique , Imitation - Counterpoint , Melody - Misc. , Sonata Form , Tremolo - Articulation , Tremolo - Expressive Elements , Woodwind Instruments
Description:
Sonata Form: Exposition, Second Theme
This theme is based on "Hallelujah, Lord, I Been Down Into the Sea"
- Listen to the sung Spiritual, at the link above
- Listen to the Notable Passage, find the theme in the Oboe, the Clarinet, and then the Strings
- Discuss: What does the bustling String writing in this passage remind you of?
Keywords: Imitation - Composition Technique , Imitation - Counterpoint , Melody - Misc. , Sonata Form
Description:
Sonata Form: The Development begins!
- Listen for the first theme, "O, Le’ Me Shine, Shine Like a Morning Star!" imitated all around the orchestra
- Listen as the theme becomes a quick, three-note pattern! (23:16)
- Listen as this pattern becomes a two-note pattern! (23:36)
Tremolo: The strings begin with dramatic tremolos, as the harp trills back and forth between two notes!
Keywords: Rhythmic Pattern , Rhythmic Pattern - Composition Technique , Sonata Form , Tremolo - Articulation , Tremolo - Expressive Elements
Description:
Sonata Form: Development, Continued
Rhythms from the Juba Dance are heard, followed by the second theme, "Hallelujah, Lord, I Been Down Into the Sea."
Dawson alternates between even and syncopated rhythms!
- Conduct a two-beat pattern (down, up) along with this passage
- Listen for offbeat, syncopated rhythms!
- Pause the score video, and look for syncopated rhythms tied over the bar line
Keywords: Duple Meter , Sonata Form , Syncopation
Description:
Sonata Form: Development -> Recapitulation
The stormy waters of the development begin to calm!
A soothing whole-step pattern rocks back and forth in the first violins and harp, as other instruments sustain quiet, long notes. Soon, the oboe carefully begins the recapitulation.
Keywords: Sonata Form , Tremolo - Articulation , Tremolo - Expressive Elements
Description:
The French Horns are asked to play "Bells Up," and the symphony closes with a fiery ending!