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"Tell Them We Are Singing for Jesus": The Original Fisk Jubilee Singers and Christian Reconstruction, 1871-1878 (review)

"Tell Them We Are Singing for Jesus": The Original Fisk Jubilee Singers and Christian... book reviews unavailable to them, and it certainly had an impact on George Gershwin, who produced Porgy and Bess the year after the opera's Hartford premiere. Stein completed the libretto for The Mother of Us All, an opera based on the life of Susan b. anthony, in march of 1946, just a few months before her death. In april, Thomson wrote Stein a letter imagining a production staged by agnes de mille, but they would never see this idea come to fruition. Thomson was forced to compose the music without Stein's input after she died in July. Inevitably, then, the collected letters offer much less information about this final collaboration between Stein and Thomson, although Thomson's attempts to get The Mother of Us All onto the stage are partially documented in the letters he exchanged with Toklas. Holbrook and Dilworth have made a noteworthy contribution to the field of american music with this volume of Stein-Thomson letters. Those studying Thomson's music will see that Stein influenced him profoundly, not just in his settings of her texts, but also in his composition of instrumental portraits. Thomson's letters to Stein also reveal his sense of ambition and his efforts to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

"Tell Them We Are Singing for Jesus": The Original Fisk Jubilee Singers and Christian Reconstruction, 1871-1878 (review)

American Music , Volume 29 (3) – Nov 12, 2011

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Publisher
University of Illinois Press
Copyright
Copyright © University of Illinois Press
ISSN
1945-2349
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Abstract

book reviews unavailable to them, and it certainly had an impact on George Gershwin, who produced Porgy and Bess the year after the opera's Hartford premiere. Stein completed the libretto for The Mother of Us All, an opera based on the life of Susan b. anthony, in march of 1946, just a few months before her death. In april, Thomson wrote Stein a letter imagining a production staged by agnes de mille, but they would never see this idea come to fruition. Thomson was forced to compose the music without Stein's input after she died in July. Inevitably, then, the collected letters offer much less information about this final collaboration between Stein and Thomson, although Thomson's attempts to get The Mother of Us All onto the stage are partially documented in the letters he exchanged with Toklas. Holbrook and Dilworth have made a noteworthy contribution to the field of american music with this volume of Stein-Thomson letters. Those studying Thomson's music will see that Stein influenced him profoundly, not just in his settings of her texts, but also in his composition of instrumental portraits. Thomson's letters to Stein also reveal his sense of ambition and his efforts to

Journal

American MusicUniversity of Illinois Press

Published: Nov 12, 2011

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