Tales: A Folklore Symphony
Tales: A Folklore Symphony is a four-movement piece for orchestra that explores African American folklore as well as Afrofuturist stories. The work was commissioned by the Sphinx Organization for its 25th anniversary and the University of Michigan Symphony Orchestra.
I. MOTHERBOXX CONNECTION
“Where are all the black people in comics?” This is a question posed by the creative duo Black Kirby (John Jennings and Stacey Robinson). Based heavily in Afrofuturism, Black Kirby’s characters show black people as heroes using ancient customs and futurist motifs from the African and African American diaspora. This piece is inspired by the many heroic characters found in the work of Black Kirby, but mainly Motherboxx Connection. (Black Kirby: In Search of the Motherboxx Connection)
According to scholar Regina N. Bradley, Motherboxx Connection is “a pun on Jack Kirby’s motherbox, a living computer connected to the world, the Motherboxx too is a living computer with a heightened awareness of racial and sexual discourses surrounding the black body. The motherboxx is the technological equivalent of the “mother land” in the black diaspora imagination. She is where black identities merge and depart.”
To represent the power and intelligence of the motherboxx, I have composed a short, fast-moving musical idea that constantly weaves in and throughout the orchestra. A majestic, fanfare-like motif also provides the overall mood of strength and heroism. I imagine the motherboxx as an all-knowing entity that is aware of the multi-faceted aspects of blackness.
II. FLYING AFRICANS
Once, all Africans could fly, but lost their ability once they crossed the Atlantic Ocean as enslaved humans. This story tells how one African maintained the ability and secretly passed the gift on to others. The Negro Spiritual, “Steal Away” is referenced in the woodwinds, as well as the cello section, while the upper strings hover effortlessly in the higher register.
Steal away, steal away, steal away to Jesus
Steal away, steal away home
I ain't got long to stay here
III. GO DOWN MOSES (Let my People Go)
The Jewish biblical story of the Plagues of Egypt resonated with the enslaved and they created songs that related to this story of bondage. While the horrific plagues that swept across Egypt are compelling in and of themselves, the focus of this piece is recounted from the perspective of the stubborn Pharaoh, who unwillingly loosens his grip on the enslaved people. The Pharaoh’s hardened heart is conveyed through two sharp, accented chords. The spirit of God, represented by light, heavenly, metallic sounds from the percussion, signal the beginning of each new plague. Frogs, pestilence, and sickness are not enough to break the Pharaoh’s will. It is only with the “Angel of Death”, which takes the life of the Pharaoh’s first-born child, represented by dark, brooding harmonies, that he relents in despair. The orchestral texture grows thinner and thinner as the Pharaoh loathes in emotional anguish. The once prideful Pharaoh is now broken down to a powerless whimper. I use the Negro Spiritual, “Let My People Go (Go Down Moses)” as a musical framework throughout this movement.
Go down Moses
Way down in Egypt land
Tell ol’ Pharaoh to
Let my people go!
When Israel was in Egypt land Let my people go!
Oppressed so hard they could not stand Let my people go!
IV. JOHN HENRY
The story of John Henry is traditionally told through the work song, each with wide-ranging and varying lyrics. The well- known narrative ballad of "John Henry" is essentially the battle between man versus machine. Enslaved prisoners would often sing the story more slowly and deliberately, often with a pulsating beat suggestive of swinging the hammer. These songs usually contain the lines "This old hammer killed John Henry / but it won't kill me." Writer Scott Nelson explains that:
“... workers managed their labor by setting a "stint", or pace, for it. Men who violated the stint were shunned ... Here was a song that told you what happened to men who worked too fast: they died ugly deaths; their entrails fell on the ground. You sang the song slowly, you worked slowly, you guarded your life, or you died.”
Perusal Score:
Live Recording:
Returning to this richly evocative score, I was impressed yet again by the composer's ability to write music of serious heft that's still broadly accessible.
Tales: A Folklore Symphony
25 minutes
for orchestra
Sphinx Organization and University of Michigan Symphony Orchestra
Tales: A Folklore Symphony is a four-movement piece for orchestra that explores African American folklore as well as Afrofuturist stories. The work was commissioned by the Sphinx Organization for its 25th anniversary and the University of Michigan Symphony Orchestra.
I. MOTHERBOXX CONNECTION
“Where are all the black people in comics?” This is a question posed by the creative duo Black Kirby (John Jennings and Stacey Robinson). Based heavily in Afrofuturism, Black Kirby’s characters show black people as heroes using ancient customs and futurist motifs from the African and African American diaspora. This piece is inspired by the many heroic characters found in the work of Black Kirby, but mainly Motherboxx Connection. (Black Kirby: In Search of the Motherboxx Connection)
According to scholar Regina N. Bradley, Motherboxx Connection is “a pun on Jack Kirby’s motherbox, a living computer connected to the world, the Motherboxx too is a living computer with a heightened awareness of racial and sexual discourses surrounding the black body. The motherboxx is the technological equivalent of the “mother land” in the black diaspora imagination. She is where black identities merge and depart.”
To represent the power and intelligence of the motherboxx, I have composed a short, fast-moving musical idea that constantly weaves in and throughout the orchestra. A majestic, fanfare-like motif also provides the overall mood of strength and heroism. I imagine the motherboxx as an all-knowing entity that is aware of the multi-faceted aspects of blackness.
II. FLYING AFRICANS
Once, all Africans could fly, but lost their ability once they crossed the Atlantic Ocean as enslaved humans. This story tells how one African maintained the ability and secretly passed the gift on to others. The Negro Spiritual, “Steal Away” is referenced in the woodwinds, as well as the cello section, while the upper strings hover effortlessly in the higher register.
Steal away, steal away, steal away to Jesus
Steal away, steal away home
I ain't got long to stay here
III. GO DOWN MOSES (Let my People Go)
The Jewish biblical story of the Plagues of Egypt resonated with the enslaved and they created songs that related to this story of bondage. While the horrific plagues that swept across Egypt are compelling in and of themselves, the focus of this piece is recounted from the perspective of the stubborn Pharaoh, who unwillingly loosens his grip on the enslaved people. The Pharaoh’s hardened heart is conveyed through two sharp, accented chords. The spirit of God, represented by light, heavenly, metallic sounds from the percussion, signal the beginning of each new plague. Frogs, pestilence, and sickness are not enough to break the Pharaoh’s will. It is only with the “Angel of Death”, which takes the life of the Pharaoh’s first-born child, represented by dark, brooding harmonies, that he relents in despair. The orchestral texture grows thinner and thinner as the Pharaoh loathes in emotional anguish. The once prideful Pharaoh is now broken down to a powerless whimper. I use the Negro Spiritual, “Let My People Go (Go Down Moses)” as a musical framework throughout this movement.
Go down Moses
Way down in Egypt land
Tell ol’ Pharaoh to
Let my people go!
When Israel was in Egypt land Let my people go!
Oppressed so hard they could not stand Let my people go!
IV. JOHN HENRY
The story of John Henry is traditionally told through the work song, each with wide-ranging and varying lyrics. The well- known narrative ballad of "John Henry" is essentially the battle between man versus machine. Enslaved prisoners would often sing the story more slowly and deliberately, often with a pulsating beat suggestive of swinging the hammer. These songs usually contain the lines "This old hammer killed John Henry / but it won't kill me." Writer Scott Nelson explains that:
“... workers managed their labor by setting a "stint", or pace, for it. Men who violated the stint were shunned ... Here was a song that told you what happened to men who worked too fast: they died ugly deaths; their entrails fell on the ground. You sang the song slowly, you worked slowly, you guarded your life, or you died.”
Perusal Score:
Live Recording:
Returning to this richly evocative score, I was impressed yet again by the composer's ability to write music of serious heft that's still broadly accessible.