Erie Philharmonic Showcases Flagship City Legacy of Burleigh with Dvořák's New World Symphony

Contributed

The Erie Philharmonic's symphonic concert in March features the work of Erie music legend Harry T. Burleigh and one of the most influential composers of the late 18th century Antonín Dvořák, as they present Symphony No. 9 From A New World, featuring pianist Sean Chen.

SATURDAY, MAR. 21

The Erie Philharmonic's upcoming March Symphonic Series concert features artists who have revolutionized classical music by drawing on a wide range of musical influences. From Jessie Montgomery's Strum, which mixes the traditional orchestration of the string quartet with the technique of classical guitar, to the combination of jazz and Basque folk that Maurice Ravel explored in his Piano Concerto in G Major (performed by featured pianist Sean Chen), theirs are ideas that moved the classical world forward. The Philharmonic's concert selection echoes a partnership between an Erie music legend and one of the most influential composers of the late 19th century: Harry T. Burleigh and Antonín Dvořák through Symphony No. 9 From A New World.

"Our concern became really focused on promulgating the legacy of Harry Burleigh," Burleigh Legacy Alliance board member Cheryl Rush Dix explained. The Burleigh Legacy Alliance provides historical research, archival work, and education in music and the arts focused on Burleigh's impact. "The breadth of his significance from an Erie native standpoint, going on to impact the world of music and social justice. To the benefit of our community and the pleasure of all, we have made Erie a center and a reliable purveyor of Burleigh scholarship and performance."

Dvořák's tenure as director of the National Conservatory of Music was part of a movement to shift the sphere of influence of American music away from European education and German compositional structures. Jeannette Thurber, patron and founder of the conservatory, sought out Dvořák personally because he used Bohemian folk melodies in his music, rejecting the German influence widely considered the standard of the Romantic movement. Thurber believed American music should have its identity not come from Europe, but from the marginalized voices of African Americans and Native Americans.

Harry T. Burleigh first met Dvořák in his second year at the conservatory, where he would go on to become the orchestral librarian, copying manuscripts for Dvořák's compositions. Although it is theorized that Dvořák had heard the style before with the Fisk Jubilee Singers, Burleigh was the musician who introduced him to African American musical tradition, including the spirituals "Swing Low, Sweet Chariot" and "Go Down, Moses."

"Burleigh had a great deal of personal contact with Dvořák and a warm relationship," Dr. Jean Snyder, author of the 2016 biography Harry T. Burleigh: From the Spiritual to the Harlem Renaissance, described. Burleigh would sing and play the piano, with Dvořák asking detailed questions about the distinctive music elements and African American life. "He was regarded as one of the best students at the conservatory, and spent a lot of time with Dvořák personally, walking through the streets of New York and spending time at Dvořák's home with his family."

Dvořák began composing the New World Symphony in the late spring of 1893, encouraging Burleigh to "give these melodies to the world." Syncopation and the pentatonic scale, used within African American and Native American music, were both present throughout the composition. Elements of "Swing Low, Sweet Chariot" could be found in the second theme of the first movement, alongside a musical interpretation inspired by Henry Wadsworth Longfellow's "Song of Hiawatha." Within the second movement, the melody would later be adapted by fellow Dvořák student Williams Arms Fisher into "Goin' Home" in 1922. The use of the English horn within the melody is speculated to be reminiscent of Burleigh's voice.

Leading up to the premiere, Dvořák would proclaim to the classical music world that America's contribution must be built on the foundation of African American and Native American music, writing, "These beautiful and varied themes are the product of the soil. They are American." His advocacy encouraged Americans to stop going to Europe for their music education and to pursue their dreams without the barriers of poverty or class. In addition, Dvořák and Thurber announced the National Conservatory would open a new department dedicated to the study and teaching of students of color, with Harry T. Burleigh and Paul Holin serving as teachers.

Almost 20 years later, Burleigh commented in the program notes for the Philadelphia Orchestra that many people ignored the influence of African American music on the composition of Dvořák's Ninth Symphony. At St. George's Episcopal Church in New York City, where he served as soloist until shortly before his death in 1949, many of Burleigh's arrangements were paired with Largo and played at the Annual Vesper Service of Negro spirituals.

Because of the work of the Burleigh Legacy Alliance and generations of musicians and composers over the last century, Harry T. Burleigh's contributions to Dvořák's Ninth Symphony and American music will never be forgotten. At the upcoming Burleigh Spirituals Festival this March, Erie will host the Fisk Jubilee Singers alongside HBCU choirs from Morgan State University, Tennessee State University, Delaware State University, and Howard University.

Dix's words on the festival showcase Burleigh's impact on American music. "This is available to Erie. Erie is available to the music world that loves Burleigh. These voices are coming here. They want to be in his hometown." – Thomas Taylor

The Erie Philharmonic's New World Symphony: Saturday, Mar. 21 // 7:30 p.m. // Warner Theatre, 811 State St. // $27-$68 // For tickets and info: eriephil.org

The Burleigh Spirituals Festival: Wednesday, Mar. 25 to Saturday, Mar. 28 // For info: burleighlegacyalliance.org