{"id":5690,"date":"2018-01-24T17:21:09","date_gmt":"2018-01-24T21:21:09","guid":{"rendered":"https:\/\/sites.temple.edu\/performingartsnews\/?p=5690"},"modified":"2018-01-24T17:21:09","modified_gmt":"2018-01-24T21:21:09","slug":"finely-prepared-musician-unusual-ability","status":"publish","type":"post","link":"https:\/\/sites.temple.edu\/performingartsnews\/2018\/01\/24\/finely-prepared-musician-unusual-ability\/","title":{"rendered":"\u201cA Finely Prepared Musician of Very Unusual Ability\u201d"},"content":{"rendered":"

Pianist Clipper Erickson and the Music of R. Nathaniel Dett<\/strong><\/p>\n

Wednesday, February 7, 2018 | 12:00\u201312:50 PM | Paley Library Lecture Hall<\/span><\/p>\n

Light refreshments served. Boyer recital credit given.<\/span><\/i><\/span><\/p>\n

 <\/p>\n

\n

 <\/p>\n

In 1926, historian Carter G. Woodson\u2014sometimes referred to as the \u201cfather of black history\u201d\u2014declared the second week of February as \u201cNegro History Week,\u201d a nod to the customary celebrations within African-American communities for Abraham Lincoln and Frederick Douglass that marked their respective birthdays on February 12 and February 14. Later that same month, the Minneapolis Symphony Orchestra performed a transcription of Nathaniel Dett\u2019s <\/span>Juba<\/span><\/i>, the concluding movement of his 1912 piano suite <\/span>In the Bottoms<\/span><\/i>. Accompanying program notes lauded Dett as \u201cthe foremost among living composers of Negro music, and the first American to utilize Negro folk tunes for classical development.\u201d<\/span><\/p>\n

\"\"<\/a>
R. Nathaniel Dett, 1882\u20131943, in an undated photograph, ca. 1920, from the Library of Congress Prints and Photographs Division. Public Domain.<\/figcaption><\/figure>\n

This projection of Dett as figurative musical alchemist synthesizing folk and classic elements followed him throughout his career as a pianist, composer, and choral conductor. As we celebrate <\/span>Black History Month<\/span><\/a> in February 2018\u2014an expansion of \u201cNegro History Week\u201d first proposed in 1969\u2014it is fitting that we are treated to a recital of Dett\u2019s piano music by Clipper Erickson, whose 2015 release <\/span>My Cup Runneth Over: The Complete Piano Works of R. Nathaniel Dett<\/span><\/i><\/a> was recently featured as an <\/span>Editor\u2019s Choice<\/span><\/a> album by <\/span>Gramophone UK<\/span><\/i>.<\/span><\/p>\n

In a richly-detailed <\/span>study<\/span><\/a> of Dett\u2019s life and works, Anne Key Simpson describes the composer\u2019s birthplace of Drummondville, Ontario, as \u201ca slave-founded town \u2026 largely populated by former slaves and their families, many of whom had arrived there via the Underground Railroad.\u201d Dett first learned to play by ear, but was soon compelled\u2014sometimes by his mother\u2019s peach tree switch\u2014to read notation when it was found that he had been mimicking his teacher\u2019s playing. From 1903 to 1908, Dett studied at Oberlin where he won the admiration of the faculty. In a sterling letter of recommendation, one professor wrote:<\/span><\/p>\n

As a pianist he is very brilliant, his public performances always creating enthusiasm. His finger technique is finished and his natural musical ability is guided by the spirit of genius. He is a hard worker and a person of the highest character \u2026 a finely prepared musician of very unusual ability.<\/span><\/em><\/p>\n

Dett\u2019s meticulous preparation and impeccable character served him well in his pursuit of musical excellence\u2014he later studied at Columbia, Harvard, Eastman, and with Nadia Boulanger\u2014but conversely marked him in some circles as restrained and scholarly. For much of his career, his critical reception bore traces of tension between acculturation and enculturation. In his 2012 <\/span>book<\/span><\/a> Racial Uplift and American Music, 1878\u20131943<\/span><\/i>, musicologist Lawrence Schenbeck summarizes the aesthetic approach of Dett and many contemporary artists:<\/span><\/p>\n

Within the cultural sphere, black elites often resorted to an aesthetic based on European models as a vehicle for cultural vindication. Their response to white America\u2019s pervasive minstrelsy-based constructions of blackness was to champion African American art that, while safely grounded in forms and styles derived from Shakespeare or Dvo\u0159\u00e1k, was morally positive and politically inoffensive.<\/span><\/em><\/p>\n

\"\"<\/a>
The cover of Dett\u2019s Magnolia suite published in 1912 by the Clayton F. Summy Company of Chicago. Public Domain.<\/figcaption><\/figure>\n

In Dett\u2019s hands, melodies and images of African American folk songs and spirituals were grafted onto Western European forms. Though his piano suites carry characteristic titles\u2014<\/span>Magnolia<\/span><\/i>, <\/span>In the Bottoms<\/span><\/i>, <\/span>Cinnamon Grove<\/span><\/i>\u2014they brim with characteristics of predecessor composer-pianists such as Chopin\u2019s expansive lyricism, Gottschalk\u2019s programmatic virtuosity, and Debussy\u2019s colorful harmonies. <\/span>Mammy<\/span><\/i>, the fourth movement of <\/span>Magnolia<\/span><\/i>, takes shape as the most nostalgic of nocturnes while the second movement of <\/span>Cinnamon Grove<\/span><\/i>, an arresting \u201cAdagio cantabile\u201d in D-flat major, can easily hold its own among any number of nineteenth-century compositions known as <\/span>religious adagios<\/span><\/i>.<\/span><\/p>\n

\"photo<\/a>\u201cFinely prepared musician\u201d is also a fitting (and severely understated) description for <\/span>Clipper Erickson<\/span><\/a>. Following his debut at age nineteen as soloist with the Young Musicians Foundation Orchestra, the <\/span>Los Angeles Times<\/span><\/i> wrote: \u201che played with extraordinary dash and power and never let flamboyance obscure art.\u201d Erickson studied at The Juilliard School, Yale University, and Indiana University, and has won top prizes at international competitions such as the Busoni and William Kapell. He performs as soloist with orchestras throughout the United States in venues including the Kennedy Center in Washington, D.C., Carnegie Hall, and Symphony Space in New York, and serves on the faculties of Westminster Conservatory in Princeton, Temple University, and Rutgers University.<\/span><\/p>\n

The February 7 performance by Erickson begins at 12:00 PM in the Paley Library lecture hall, 1210 West Berks Street. The program is free and open to the public. And lest you cannot attend, know that Dett was also a poet\u2014his works can be both <\/span>read<\/span><\/i> and <\/span>heard<\/span><\/i>!<\/span><\/p>\n

 <\/p>\n

\u201cThe Rubinstein Staccato Etude\u201d<\/strong><\/p>\n

Nathaniel Dett<\/p>\n

 <\/p>\n

Staccato! Staccato!<\/span><\/em><\/p>\n

Leggier agitato.<\/span><\/em><\/p>\n

In and out does the melody twist;<\/span><\/em><\/p>\n

Unique proposition,<\/span><\/em><\/p>\n

in this composition.<\/span><\/em><\/p>\n

Alas! For the player who hasn\u2019t the wrist!<\/span><\/em><\/p>\n

 <\/p>\n

References and Further Reading<\/b><\/p>\n

Brooks, Tim. <\/span>Lost Sounds: Blacks and the Birth of the Recording Industry, 1890\u20131919<\/span><\/i>. Urbana and Chicago: University of Illinois Press, 2004.<\/span><\/p>\n

\u201cRobert Nathaniel Dett\u201d [Obituary]. <\/span>Negro History Bulletin<\/span><\/i> 7.2 (1943): 45, 47.<\/span><\/p>\n

Schenbeck, Lawrence. <\/span>Racial Uplift and American Music, 1878\u20131943<\/span><\/i>. Jackson: University Press of Mississippi, 2012.<\/span><\/p>\n

Simpson, Anne Key. <\/span>Follow Me: The Life and Music of R. Nathaniel Dett<\/span><\/i>. Metuchen, New Jersey, and London: Scarecrow Press, 1993.<\/span><\/p>\n

 <\/p>\n

\n

Chad Fothergill is a doctoral student in musicology at Temple University\u2019s Boyer College of Music and Dance, and is the graduate assistant for the concert series, <\/span>Beyond the Notes<\/span><\/i>, at Temple University Libraries. He is also the editorial assistant for the journal <\/span>Eighteenth-Century Music<\/span><\/i> (Cambridge University Press). In addition to research and teaching, he remains active as an organist in solo, collaborative, and liturgical settings in the Philadelphia and New York City areas. He may be reached at chad.fothergill@temple.edu.<\/span><\/span><\/p>\n

\n

 <\/p>\n

The series <\/span>Beyond the Notes<\/span><\/i> is supported by Temple University Libraries and Temple University\u2019s Boyer College of Music and Dance.<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Pianist Clipper Erickson and the Music of R. Nathaniel Dett Wednesday, February 7, 2018 | 12:00\u201312:50 PM | Paley Library Lecture Hall Light refreshments served. Boyer recital credit given.     In 1926, historian Carter G. Woodson\u2014sometimes referred to as the \u201cfather of black history\u201d\u2014declared the second week of February as \u201cNegro History Week,\u201d a […]<\/p>\n","protected":false},"author":12735,"featured_media":5694,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"cybocfi_hide_featured_image":"","footnotes":""},"categories":[100,5],"tags":[87,11,9,83,96,72],"coauthors":[116],"class_list":["post-5690","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-beyond-the-notes","category-performing-arts-news","tag-beyond-the-notes","tag-classical-music","tag-music","tag-noontime-concert-series","tag-piano","tag-top-news"],"yoast_head":"\n\u201cA Finely Prepared Musician of Very Unusual Ability\u201d - Performing Arts News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.temple.edu\/performingartsnews\/2018\/01\/24\/finely-prepared-musician-unusual-ability\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cA Finely Prepared Musician of Very Unusual Ability\u201d - Performing Arts News\" \/>\n<meta property=\"og:description\" content=\"Pianist Clipper Erickson and the Music of R. 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