Login  |  Register
Follow Us:    Facebook   twitterurl   youtubeurl

Composers

 

Margaret Bonds

Female | Composers

About

b. 1913-1972



As a composer, pianist, and teacher, Margaret Bonds was fortunate to receive wide acclaim in her own lifetime. Her talents as a composer were lavished on such varied genres as choral works, orchestral works, piano pieces, popular songs, and art songs. Having been personally acquainted with the most significant Black artists of her day, she learned a great deal about the voice through association with such great singers as Abbie Mitchell, Hortense Love, Adele Addison, Betty Allen, Eugene Brice, Lawrence Winters, Carol Brice, and Leontyne Price. These ties coupled with her extraordinary talents as a concert pianist lend themselves well to the craftsmanship found in her various songs and spiritual arrangements.



The most popular of her songs happen to be the ones that are most accessible in publication. Three Dream Portraits, a song cycle of poetry by Langston Hughes, is popularly available in the Anthology of Art Songs by Black American Composers. It was originally published by G. Ricordi in 1959. The difficulty level for singer and pianist is medium to medium-difficult, owing to sweeping vocal lines, dramatic climaxes, complicated rhythms in the accompaniment, and the necessity for well executed ensemble. The cycle appears in the Patterson Anthology in the low key. A high key version does exist, but it is harder (though not impossible) to locate.



Like Howard Swanson, Margaret Bonds had a close friendship with Langston Hughes. The poet's collection The Dream Keeper provided Bonds with the three poems of this cycle. They reflect on different themes related to being Black in America. "The work is a series of mood paintings with many characteristics of the jazz style." (Green 1983, 55) "Minstrel Man," the first song of the set, emotes poignant irony. The poetry speaks of the conflict between a Black entertainer's gay outer facade and his inner turmoil. Bonds's music reflects this conflict best by deft usage of modal mixture. The song climaxes dramatically. "Minstrel Man" can be easily excerpted from the cycle and performed separately. The second song is "Dream Variation." In this song, Bonds crafts an atmospheric, dreamlike vision of hopefulness. The piano and voice move together, though not homophonically, "whirling" and "dancing" as they bring to life Hughes' vision of a better world where the color black is applied to all things beautiful. Song three, "I, Too" is fashioned as a military march. The poetry speaks of ultimate triumph in the face of adversity. Tension builds from the first measures, the voice proclaiming, "I, too, sing America. I am the darker brother!" The mounting dissonance is effortlessly resolved with the statement, "Besides, they'll see how beautiful I am and be ashamed." Both the pianist and the singer must recognize the nuance of motivic material presented by Bonds in this song if it is to have the impact intended for ending this moving work (e.g., the martial quality of the opening bars in the piano, the disjunct melodic material of the phrase, "...nobody'll dare say to me, 'Eat in the kitchen,' then," the menacing quality of the piano part as the voice states, "Tomorrow, I'll sit at the table when company comes," and the laughing staccati of the piano in the postlude).



Rediscovering Margaret Bonds: Art Songs, Spirituals, Musical Theater and Popuilar Songs (Videmus - CVR)



Margaret Bonds Papers Collection (Yale)



Click here for Entire Essay



MARGARET BONDS: THREE DREAM PORTRAITS

Minstrel Man

Dream Variation

I, Too

Margaret Bonds represents a second generation of Black women composers. She first studied under her mother, Estella C. Bonds, an accomplished musician, continuing her musical studies of composition and piano with Florence B. Price, and composition under William Dawson. She completed the BM and MM from Northwestern Unviersity by the age of twenty-one. She studied under Tobert Storer at the Julliad School, piano with Henry Levene and private study with Roy Harris and Emerson harper. Conds was successful as a composer, concert pianist, private piano instructor, and church musician. One of her pupils was a young Ned Rorem. She received numerous fellowships and awards including the National Association of Negro Musicians Scholarship, Rodman Wanamaker Prize in composition (1939), Roy Harris Fellwoship, and the Northwestern University Alumni Medal in 1967. She was married in 1940 to Lawrence Richardson and had a daughter, DJane, who handles her estate to this day. She died in California where she worked in films. Her compositions include: Ballad of the Brown King, Three Dream Portraits, "The Negro Speaks of Rivers," and the famous spiritual arrangement sung by many famous artists, though, oddly enough, she is rarely acknowledged as its composer, "He's Got the Whole World in His Hands."



Source: Perkins Holly, Ellistine. Biographies of Black Composers and Songwriters; A Supplementary Textbook. Iowa:Wm. C. Brown Publishers, 1990.



Margaret Bonds Papers



Rediscovering Margaret Bonds Song Collection (Videmus - CVR)



Works

Prof. Dominique-René de Lerma

CD: Oral Moses, bass-baritone; George Morrison Bailey, piano. Albany TROY  (2001; Amen!; African-American composers of the 20th century).



CD: Sebronette Barnes, soprano; Elise Auerbach, piano. Senrad Records  (2000; You can tell the world; Songs by African-American women).



CD: William Brown, tenor; Ann Sears, piano. Albany TROY (1999; Fi-yer!; A century of African-American song).



A dance in brown, for piano (1931). Award: Honorable Mention, Rodman Wanamaker Music Competition, 1931.



A Spanish mother, for piano (1930s). Première: Chicago, Allied Arts Academy; Margaret Bonds, piano; 1939/IV/23.



African dance, for soprano, baritone & piano (1953). Première: Adele Addison, soprano; Lawrence Winters, baritone.



April rain song, for voice & piano. Based on a melody of Toy Harper. Text: Langston Hughes.



Available Jones, for voice & piano. Text: Ted Persons and Russ Smith.



Ballad of the brown king, for tenor, SATB & piano (1960). New York: Sam Fox, 1961. 56p. 1. Of the three wise men; 2. They brought fine gifts; 3. Sing alleluia; 4. Mary had a little baby; 5. Now when Jesus was born; 6. Could he have been an Ethiope?; 7. Oh, sing of the king who was tall and brown; 8. That was Christmas long ago; 9. Alleluia. Text: Langston Hughes.



----- for soloists, SATB & orchestra. Bryn Mawr: Theodore Presser. Première: New York, Clark Street YMCA; Master Choir; New York City College Orchestra; Margaret Bonds, conductor; 1960/XII/11 (telecast on NBC Television).



----- 4. Mary had a little baby, for women’s voices. New York: Sam Fox, 1963.



Be a little savage with me, for voice & piano (1949). Text: Langston Hughes.



Beyond the end of the trail, for voice & piano. Text: Roger Chaney.



Birth, for voice & piano. Text: Langston Hughes.



Bound, for voice & piano (1939). Dedication: “To my Larry.”



Bright star, for voice & piano. Sherman Oaks: Solo Music, 1968. Text: Janice Lovoos.



Burlesque is alive, for musical theater. Première: Los Angeles; Inner City Repertory Company.



Children’s sleep, for SATB & piano (1940). New York: Carl Fischer, 1942, 1972 (CM 4715). 5p.. Text: Winter’s night dream, by Vernon Glasser.



Clandestine in the morning line, incidental music for piano to the play by Josh Greenfield. Première: New York; 1961/X.



Composition for the dance, for piano. Première: Chicago, Allied Arts Academy; Margaret Bonds, piano; 1939/IV/23.



Cowboy from South Parkway, for voice & piano. Text: Langston Hughes.



Credo, for soloists, SATB & piano (1965). 1. I believe in God; 2. I believe in the Negro race; 3. I believe in pride of race; 4. I believe in the devil and his angels; Darkwater: 5. I believe in the prince of peace; 6. I believe in liberty; 7. I believe in patience. Text: W. E. B. DuBois. Première: Washington; 1967/III/12.



----- for soloists, SATB & orchestra . Dedication: In memory of Abbie Mitchell and Langston Hughes. Première (of four items): 1972/V/21; Los Angeles; Los Angele Philharmonic; Zubin Mehta, conductor;.



5 Creek-freedmen spirituals, for voice & piano (1942). New York: Mutual Music Society, 1946 (5 spirituals). 1. Dry bones; 2. Sit down servant; 3. Lord, I just can’t keep from cryin’; 4. You can tell the world; 5. I’ll reach to heaven. Commission: Hortense Love. Première: New York, Town Hall; Hortense Love, soprano; 1942.



----- Bryn Mawr: Hildegard Publishing Co., 1995, ed. by Vivian Taylor (5 Creek-freedom spirituals).



----- 1. Dry bones. Bryn Mawr: Hildegard Publishing Co., 1995, edited by Vivian Taylor (Art songs and spirituals by African-American women composers, 09528), p43-47.



CD: Ruth Hamilton, contralto; Vivian Taylor, piano. Koch International Classics 3-7247-2HI (1994, Watch and pray).



CD: William Warfield, bass-baritone; John Arpin, piano. Pro Arte CDD 3443 (1993, Spirituals).



----- 2. Sit down servant.



----- for soprano, chorus & orchestra, arr. by Mark Fax.



CD: Leontyne Price, soprano; orchestra & chorus; Leonard DePaur, conductor. BMG Classics 09026-68157-2 (1996; The essential Leontyne Price).



LP: Leontyne Price, soprano; orchestra & chorus; Leonard DePaur, conductor. RCA LM-2600 (1962).



----- 3. Lord, I just can’t keep from cryin’. Bryn Mawr: Hildegard Publishing Co., 1995, edited by Vivian Taylor (Art songs and spirituals by African-American women composers, 09528), p51-57.



CD: Ruth Hamilton, contralto; Vivian Taylor, piano. Koch International Classics 3-7247-2HI (1994, Watch and pray).



----- 4. You can tell the world, for high voice & piano. New York: Mutual Music Society, 1957, 1946 (5 spirituals). 7p. Duration: 1:33.



LP: Veronica Tyler, soprano; Ernest Ragogini, piano. BRC Productions (1980).



LP: Wilhelmenia Fernandez, soprano; George Darden, piano. Tioch Digital TD-1009 (1982).



----- for soprano, chorus & orchestra, arr. by Mark Fax..



Cue 10; down and out, for voice & piano (1960). Text: Langston Hughes.



Diary of a divorcee, for voice & piano (c1968). Text: Janice Lovoos.



Didn't it rain?, for high voice & piano. New York: Beeckman Music, Mercury Music, 1967. 5p. Duration: 5:00.



CD: Anthony Brown, baritone. The spiritual project (Toil and triumph).



CD: Stephen Salter, baritone; Sheila Kibbe, piano. Musica Numeris CYP 9602 (1996).



CD: William Warfield, bass-baritone; John Arpin, piano. Pro Arte CDD 3443 (1993, Spirituals).



Don’t speak, for voice & piano (c1968). Text: Janice Lovoos.



LP : Peggy Lee, vocalist.



Don’t you want to be free?, musical (1938). Text: Langston Hughes. Première: Chicago; Negro Theater Project of the WPA.



Down South in Dixie, for voice & piano (ca. 1933).



3 Dream portraits, for high voice & piano (1932). New York: G. Ricordi, 1959, 1932. 1. Minstrel man [dedication: Lawrence Winters]; 2. Dream variation [dedication: Adele Addison]; 3. I, too, sing America [dedication: Lawrence Winters]. 11p. Text: The dream keeper, by Langston Hughes. Première: Columbus OH; National Association of Negro Musicians; Lawrence Watson, tenor; 1959/V. Duration: 6:02.



----- New York: Edward B. Marks Music, 1977, ed. by Willis Patterson (Art songs by Black American composers). (#N.Y. 2035).



----- Bryn Mawr: Hildegard Publishing Co., 1995, edited by Vivian Taylor (Art songs and spirituals by African-American women composers, 09528), p58-67.



AT: William Brown, tenor, Reynaldo Reyes, piano.



CD: Brandon Richardson, baritone; Wallace Cheatham, piano (2003/VIII/1, Churchill College, University of Cambridge).



CD: Dawn Padmore, soprano; Darryl Hollister, piano (Churchill College, University of Cambridge, 2003/VIII/4).



CD: Jo Ann Pickens, soprano; Donald Sulzen, piano. Koch International Classics 1147 (1994, My heritage).



CD: JoAnne Stephenson, soprano; Lora Young-Wright, piano (2003/VIII/04; Churchill College, University of Cambridge).



CD: Neva Pilgrim, soprano; Steven Heyman, piano. Leonarda LE 338 (1994; Women’s voices; five centuries of song).



CD: Odikhiren Amaize, bass-baritone; David Korevaar, piano. Musicians’ Showcase MS 1011 (2000; The Negro speaks of rivers; art songs by African-American composers).



CD: Pamela Dillard, mezzo-soprano; Vivian Taylor, piano. Koch International Classics 3-7247-2HI (1994, Watch and pray).



CD: Sebronette Barnes, soprano; Elise Auerbach, piano. Senrab Records (2001; You can tell the world; songs by African-American women).



LP: Claritha Buggs, soprano, with piano. University of Michigan SM-0015 (1980; Art songs by Black American composers).



---- 1. Minstrel man.



AC: G. Carlton Hines, tenor; André Thomas, piano (1981/II/22, Urbana, University of Illinois).



AC: Robert Honeysucker, bass-baritone; Vivian Taylor, piano (1981/VI/29).



AT: Ben Holt, baritone; Cliff Jackson, piano. (1984, Baltimore, Peabody-Morgan Symposium).



AT: Ben Holt, baritone; Vasta Shambon, piano.



CD: Darryl Taylor, tenor; Maria Corley, piano; William Warfield, narrator. Naxos 8.559136 (2002; Dreamer; A portrait of Langston Hughes). Liner notes: “Langston Hughes and music” by Arnold Rampersand (German translation: Tilo Kittel; French translation: Pierre-Martin Juban); Dominique-René de Lerma. 8p.



CD: Lucille Fields, soprano; Harriet Wingreen, piano. Cambria CD-1037 (1990).



CD: Marcoulescu, soprano; Phillabaum, piano. Gasparo 287.



CD: Richard Heard, tenor; Pamela Howland, piano. HM Classics (1998; Ain’t a that good news?).



----- 2. Dream variation.



AC: George Shirley, tenor; Wayne Saanders, piano. (1976/VI/23, Westminster Choir School).



---- 3. I too sing America.



AC: G. Carlton Hines, tenor; André Thomas, piano (1981/II/22, Urbana, University of Illinois).



LP: Claritha Buggs, soprano, with unidentified pianist. University of Michigan SM-0015 (1980; Art songs by Black American composers).



----- for men’s chorus (1967). Première [?]: New York, Town Hall; Wyatt Logan Choir; 1967.V.



Dry bones, for voice & piano. New York: Mutual Music Society, 1946.



----- Bryn Mawr: Hildegard Publishing Co., 1995, edited by Vivian Taylor (Art songs and spirituals by African-American women composers, 09528) p43-47



CD: Sebronette Barnes, soprano; Mark Ray, piano (2003/VIII/1, Churchill College, University of Cambridge).



12 Easy lessons and exercises, for piano (1938). Chicago: Bowles Music House, 1939.



Empty interlude, for voice & piano. New York: Robbins, 1941. Text: Roger Chaney and Andy Razaf.



Every time I feel the spirit, for voice & piano (1970).



Ezek’el saw the wheel, for medium voice & piano. New York: Mercury, 1959. Dedicaton: Betty Allen.



AT: Edward Pierson, baritone; Donald Walker, piano.



----- for medium voice & orchestra. Bryn Mawr: Theodore Presser. Dedication: Betty Allen.



----- for SATB. New York: Mercury, 1966.



----- for SATB & piano. Bryn Mawr: Theodore Presser, 1959 (312-40860). 7p.



Fantasy in purple, for voice & piano (1937).



Feast, for voice & piano (1965).



Fields of wonder, for men’s voices (1963). 1. Heaven; 2. Snake; 3. Snail; 4. Big Sur; 5. Moonlight night; 6. Carmel; 7. New moon. Text: Langston Hughes. Première: New York, Brooklyn Museum; Lincoln University Men’s Glee Club; 1964/II.



Footprints on my heart, for voice & piano. Text: Marjorie May.



Freedom land, for voice & piano (1964). Text: Langston Hughes.



----- for SATB (1964).



Georgia, for voice & piano. New York: Georgia Music, 1939. Text: Andy Razaf, Margaret Bonds, and Joe Davis.



----- for voice & orchestra.



Go tell it on the mountain, for voice & piano.



----- for SATB. Bryn Mawr: Mercury, 1962 (MC 432). 6p.



He's got the whole world in his hands, for high voice & piano (1963). Bryn Mawr: Beeckman Music, Mercury Music, 1965, 1963. 5p. (#A360-3) Commision: Leontyne Price. Duration: 2:00.



----- Bryn Mawr: Hildegard Publishing Co., 1995, edited by Vivian Taylor (Art songs and spirituals by African-American women composers, 09528) p68-70.



AC: Paul Spencer Adkins, tenor, with unidentified piano.



CD: Anthony Brown, baritone. The spiritual project (Toil and triumph).



CD: Randye Jones, soprano; Francis Conlon, piano. Ahhjay Records Ahhj-0001 (Come down angels).



CD: Kathleen Battle, soprano; James Levine, piano (1984/VIII/25). Deutsche Grammophon 415 361-2 (1986, Salzburg recital).



CD: Leontyne Price, soprano; David Garvey, piano ((Carnegie Hall; 1965/II/28). RCA Victor 09026-63908-2 (2002). Liner notes: Daniel Guss (22p).



CD: Osceola Davis, soprano; Ilmo Ranta, piano. Ondine ODE 715-2 (1988, Negro spirituals). Liner notes: Pekka Hako, in English and Finnish. (7p.)



CD: Pamela Dillard, mezzo-soprano; Vivian Taylor, piano. Koch International Classics 3-7247-2HI (1994, Watch and pray).



LP: Daisy Jackson, soprano; Buckner Gamby, piano. Phase II Recording Services KM-1702 (1977; The Lois J. Wright Memorial Concert Series, vol. 1).



LP: Kathleen Battle, soprano; unidentified pianist (1980/03/03). Legendary Recordings LP 139 (1980).



LP: Paul Spencer Adkins, tenor, with piano. Marble Arch LS-1181 1981?).



LP: Veronica Tyler, soprano; Ernest Ragogini, piano. BRC Productions (1980; The passion of Christ in spirituals).



LP: Wilhelmenia Fernandez, soprano; George Darden piano. Tioch Digital Records TD 1009 (1982; spirituals).



----- for piano (c1970). For Gary Osby.



---- for soprano & orchestra.



AT: Leontyne Price, soprano; Israel Philharmonic; Zubin Mehta, conductor (1978/V, Jerusalem).



----- for soprano, chorus & orchestra. Bryn Mawr: Theodore Presser.



CD: Leontyne Price, soprano; orchestra & chorus; Leonard DePaur, conductor. BMG Classics 09026-68157-2 (1996; The essential Leontyne Price).



LP: Leontyne Price, soprano; orchestra & chorus; Leonard DePaur, conductor. RCA LM-2600 (1962).



----- for TTBB (c1966), Dedication: In memory of the composer’s mother, Estella C. Bonds.



Hold on, for high voice & piano. New York: Mercury Music, 1962. 5p. Duration: 3:00.



CD: William Warfield, bass-baritone; John Arpin, piano. Pro Arte CDD 3443 (1993, Spirituals).



----- for SATB & piano. New York: Handy Brothers, 1962. 11p.



----- for SSA.



----- for voice & orchestra.



----- for voice, SATB & orchestra. Bryb Mawr: Theodore Presser, 1968.



Hold the wind, for voice & piano (1970).



Hyacinth, for voice & piano. Text: Edna St. Vincent Millay.



I got a home in that rock, for voice & piano (1959). New York: Beekman, 1962, 1968. Dedication: Betty Allen.



----- for voice & orchestra. Bryn Mawr: Theodore Presser. Commision: Betty Allen.



I shall pass through the world, for voice & piano. New York: Bourne, 1966.



----- for SATB. New York: Bourne, 1967 (829). 7p.



----- for SATB (1966). New York: Bourne, 1967. Text: Étienne Grellet. Dedication: In memory of Aunt Victoria.



I want Jesus to walk with me, for violoncello & piano (1964). Première: 1964/IX/10; Maryland; Kermit Moore, cello.



I want to be ready, for voice & piano.



I wish I knew how it would feel to be free, for soprano & SATB, by Billy Taylor, arr. by Margaret Bonds for Leontyne Price.



CD: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. BMG Classics 09026-68157-2 (1996; The essential Leontyne Price).



LP: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. RCA LSC-3183 (1971).



I’ll make you savvy, for voice & piano. Text: Langston Hughes.



I’m going to Reno, for voice & piano.



I’m gonna do a song and dance, for unison chorus. Text: Bill Cairo.



I’m so in love, for voice unaccompanied (c1927). Text: Margaret Bonds and Leonard Reed.



If you’re not there, for SATB (1939). Text: Andy Razaf.



Joshua fit de battle of Jericho, for medium voice & piano. New York: Beekman, 1967.



2. ----- for voice & orchestra. Bryn Mawr: Theodore Presser, 1967.



Joy, for voice & piano (1936). Text: Langston Hughes.



----- for SAT, string quartet & piano (1966).



----- for SATB, string quartet & piano (1954). Première [?]: George McClain Chorale; George McClain, conductor.



----- for soprano, baritone & piano (1966). Première: Adele Addison, soprano; Lawrence Winters, baritone.



Lady by the moon I vow, for voice & piano (c1939). Text: Robert Dunsmore.



Let’s make a dream come true, for voice & piano. Text: Roger Chaney.



Let’s meet tonight in a dream, for voice & piano. Text: Roger Chaney.



Little Davd, play on your harp, for voice & piano. Première: New York, Town Hall; Lawrence Watson, tenor; 1956/III/25.



CD: Louise Toppin, soprano; John O’Brien, piano. Albany TROY 385 (1999, Ah! Love, but a day).



Lord, I just can’t keep from cryin’, for voice & piano. New York: Mutual Music Society, 1946.



----- Bryn Mawr: Hildegard Publishing Co., 1995, edited by Vivian Taylor (Art songs and spirituals by African-American women composers, 09528) p48-50.



CD: Leontyne Price, soprano; David Garvey, piano ((Carnegie Hall; 1965/II/28). RCA Victor 09026-63908-2 (2002).Liner notes: Daniel Guss (22p).



Love ain’t what it used to be, for voice & piano (c1935).



Love’s runnin’ riot, for voice & piano (1936). Text: Langston Hughes.



Marquette Road blues, for piano (c1918).



Mary had a little baby, for piano. New York: Fox, 1962.



Mass, D minor, for SATB & orchestra (1959).



----- 1. Kyrie elieson, for SATB & organ.



Montgomery variations, for orchestra (1965). 1. Prayer meeting; 2. March; 3. One Sunday in the South; 4. Dawn in Dixie. Based on I want Jesus to walk with me. Dedication: Martin Luther King, Jr.



Midtown affair, musical (1958). 1. You give me a lift; 2. Mist over Manhattan; 3. I love the lie I’m living; 4. My kind of man. Text: Roger Chaney.



Migration, ballet.



My kind of man, for voice & piano (1953). Text: Roger Chaney.



My soul's been anchored in the Lord.



CD: Leontyne Price, soprano; David Garvey, piano (1985/01/08). Pro Arte CDD-231.



Night time, for voice & piano (c1937). Text: Langston Hughes.



Nile fantasy, for piano & orchestra, by Philippa Duke Schuyler, arr. by Margaret Bonds. Première: 1967/IX/24;.New York, Town Hall.



No good man, for voice & piano (1937). Text: Langston Hughes.



No man has seen his face, for SATB (1970).



Note on the commercial theater, for voice & piano (1960). Text: Langston Hughes. Dedication: Betty Allen.



Park bench, for voice & piano (1936). Text: Langston Hughes.



Peachtree Street, for voice & piano. New York: Georgia Music, 1939. Text: Andy Razaf, Margaret Bonds, and Joe Davis.



78rpm : Glenn Miller



78rpm : Charley Spivak.



78rpm : Woody Herman.



Film: Gone with the wind.



Peter, go ring dem bells, for voice & piano.



----- for men’s chorus & string quartet (1952). Première: 1956/IX/9; New York, Town Hall; Uptown Men’s Chorale.



----- for SATB & orchestra (1952). Première [?]:1952/IX/30; Fisk Jubilee Singers; Luxembourg Symphony Orchestra.



Peter and the bells, for orchestra.



Playing with fire, for voice & piano. Text: Langston Hughes.



Pot pourri, for voice & piano (c1968). 1. Will there be enough; 2. Go back to Leanna; 3. Touch the hem of his garment; 4. Bright star; 5. No man has seen his face; 6. Animal rock ‘n’ roll. Text: Janice Lovoos and Edmund Penney.



Praise the Lord, for SATB (1965). Première: Yonkers, Sixth Annual Arts Festival; Cain Choristers; Alred E. Cain, conductor; 1965/V/29.



Quintet, piano & strings, F major (1933). In one movement.



Radio ballroom, for voice & piano (c1957). Text: Andy Razaf.



Rainbow gold, for voice & piano. New York: Chappell, 1956. Text: Roger Chaney.



Romey and Julie, incidental music for the play by Robert Dunsmore. Première: Chicago; Negro Theater Project of the WPA.



Run, sinner, run, for voice & piano (1970).



Sea ghost, for voice & piano (1932). Award: Wanamaker Prize, 1932.



Scripture reading, for chamber orchestra (1971). Based on spirituals related to Ezekiel, Davis, Peter, and Joshua. Commission: Nicklauss Wyss. Première: 1971/X/29; San Francisco Little Symphony of the San Francisco Symphony Orchestra; Nicklauss Wyss, conductor;.



Shakespeare in Harlem, incidental music for the play by Langston Hughes (1958). Première: Westport CT, White Barn Theater; Robert Glenn, producer & director; or New York, 41st Street Theater; 1960/II.



Silent love; that sweet silent love, for voice & piano (1937). Text: Langston Hughes.



Simon bore the cross, for SATB & organ or piano. 1. Jesus in the garden; 2. He is a good man; 3. The trial; 4. Who is that man?; 5. Don’t you know, Mary?; 6. Simon and Jesus; 7. Crucifixion; 8. The resurrection.



Sing aho, for medium voice & piano. New York: Chappell, 1960. 6p. (#5351-5) Dedication: Betty Allen. Duration: 3:00.



AC: Darryl Taylor, tenor; Deon Nielsen Price, piano. Cambria CT 1035.



----- for voice & orchestra (1962). Première [?]: Charlotte Holloman; Dayton Symphony Orchestra.



Sinner, please don't let this harvest pass, for medium voice & piano (1970). Duration: 3:31.



----- for soprano & SATB (1970).



CD: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. BMG Classics 09026-68157-2 (1996; The essential Leontyne Price).



LP: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. RCA LSC-3183 (1971).



Sit down, servant, for SATB & orchestra. [New York?]: Rogers and Hammerstein. 12p.



----- for soprano, SATB & orchestra.



LP: Leontyne Price, soprano; chorus & orchestra; Leonard DePaur, conductor. RCA LSC-2600 (1962).



Sleep song, for voice & piano (1932). Text: Joyce Kilmer.



Songs of the seasons, for high voice & piano (1955) 1. Poème d’automne (1936); 2. Winter moon (1936); 3. Young love in spring (1955); 4. Summer storm (1955). Text: Langston Hughes. Commission: Lawrence Watson. Première: 1956/III/25; New York, Town Hall; Lawrence Watson, tenor.



CD: Louise Toppin, soprano; John O’Brien, piano. Albany TROY 385 (1999, Ah! Love, but a day).



Spiritual suite, for piano (1950s). 1. The valley of the bones; 2. The bells; 3. Troubled water.



Spirituals five, for high voice & orchestra (1942). New York: Mutual Music, 1946. 1. Dry bones; 2. Sit down, servant; 3. Lord, I just can’t keep from cryin’; 4. You can tell the world; 5. I’ll reach to heaven. Commission: Hortense Love. Première: New York; Town Hall; Hortense Love, soprano.



Spring delight, for voice unaccompanied.



Spring will be so sad, for voice & piano (1940). New York: Mutual Music Society, 1941. Text: Margaret Bonds, and Harold Dickinson.



78rpm: Glenn Miller and His Orchestra. Bluebird B-11095-B (1941).



St. Francis’ prayer, for SATB.



Standing in the need of prayer, for soprano & SATB (1970). Duration: 1:50.



CD: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. BMG Classics 09026-68157-2 (1996; The essential Leontyne Price).



LP: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. RCA LSC-3183 (1971).



Stopping by the woods on a snowy evening, for voice & piano (1960). Text: Robert Frost.



Supplication, for SSAATTBB & piano (1950s). Text: Roger Chaney. Dedication: Harry Revel and George Marion, Jr.



Swing low, sweet chariot, for voice & piano (1952). Première: New York; 1952/V/22.



----- for voice(s) & orchestra.



CD: Kathleen Battle, Jessye Norman, sopranos; chorus & orchestra; James Levine, conductor.



VC: Kathleen Battle, Jessye Norman, sopranos; chorus & orchestra; James Levine, conductor.



T’ain’t no need, for voice & piano (1942). Text: Roger Chaney.



The blues I’m playing, for voice & piano (1941). Text: Langston Hughes.



The little sugar I had last night, for voice & piano (1961). Written for Nina Simone. Variant title: That little sugar I had twice a week.



The migration, musical for instrumental ensemble & piano (1964). Employs Troubled water. Written for Talley Beatty. Première: New York, YM-YWHA; 1964/III/7.



That sweet silent love, for voice unaccompanied. Text: Langston Hughes.



The moon winked twice, for voice & piano (c1941). Text: Margaret Bonds, Dan Burkley, and Dorothy Sachs.



The Negro speaks of rivers; I’ve known rivers, for medium voice & piano (1935). New York: Handy Brothers, 1942, 1935. 7p. Text: Langston Hughes. Dedication: Marian Anderson. Duration: 2:00.



----- Bryn Mawr: Hildegard Publishing Co., 1995, edited by Vivian Taylor (Art songs and spirituals by African-American women composers, 09528) p51-57.



CD: Darryl Taylor, tenor; Maria Corley, piano; William Warfield, narrator. Naxos 8.559136 (2002; Dreamer; A portrait of Langston Hughes). Liner notes: “Langston Hughes and music” by Arnold Rampersand (German translation: Tilo Kittel; French translation: Pierre-Martin Juban); Dominique-René de Lerma. 8p.



CD: Robert Honeysucker, baritone; Vivian Taylor, piano. Koch International Classics 3-7247-2HI (1994, Watch and pray).



CD: Sebronette Barnes, soprano; Mark Ray, piano (2003/VIII/1, Churchill College, University of Cambridge).



----- for medium voice & orchestra. Arranged for Betty Allen.



-----for SATB & piano. New York: Handy Brothers, 1942. 12p. Dedication: Albert J. McNeil and the Sanctuary Choir. Première: New York, Town Hall; Belmont Balladiers; Fritz Weller, conductor; 1941/V/25. Library: Yale (manuscript).



----- for SATB & piano. New York: Handy Brothers, 1942. 12p.



The New York blues, for voice & piano (c1938). Text: Malone Dickerson.



The night shall be filled with music, for SATB (1965). Text: Henry Wadsworth Longfellow. Première: Yonkers, Sixth Annual Arts Festival; Cain Choristers; Alred E. Cain, conductor; 1965/V/29.



The pasture, for voice & piano (1958). Text: Robert Frost. Première: Stanford University; Marjorie McClung, soprano; 1959/IX.



CD: Louise Toppin, soprano; John O’Brien, piano. Albany TROY 385 (1999, Ah! Love, but a day).



The price of a love affair, for voice & piano. Text: Ernest Richman.



The singin’ mouse, for voice unaccompanied (c1937). Text: Henry Douté.



The way we dance in Chicago, for voice & piano. Text: Langston Hughes. Alternative title: The way we dance in Harlem.



This little light of mine, for voice & piano (1970).



AT: Leontyne Price, soprano; David Garvey, piano. (1978/X/8, Washington, White House).



VHS: Leontyne Price, soprano; David Garvey, piano. (1978/X/8, Washington, White House).



----- for voice, SATB & orchestra. Written for Leontyne Price.



CD: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. BMG Classics 09026-68157-2 (1996; The essential Leontyne Price).



LP: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. RCA LSC-3183 (1971).



Three sheep in a pasture, for piano (c1940).



----- for voice & piano (1940). New York: Clarence Williams.



To a brown girl, dead, for voice & piano (1933; rev. 1956). Boston: R. D. Row, 1956. Text: Countee Cullen. Commission: Etta Moten. Première: John Miles, tenor.



Trampin’, for voice & piano. New York: Galaxy, 1931.



Tropics after dark, musical (1940). 1. Chocolate Carmencita; 2. Lonely little maiden by the sea; 3. Market day in Martinique; 4. Pretty little flower of the tropics; 5. Sweet nothings in Spanish; 6. When the sun goes down in rhumba land. Première [cancelled]: Chicago, American Negro Exposition.



Troubled water, for piano (1950s). New York: Sam Fox Publishing Co., 1967. 7p. Duration: 5:30. Dedication: Toy Harper. See also Spiritual suite.



----- Bryn Mawr: Hildegard Publishing Co., 1992 (Black women composers, ed. by Helen Walker-Hill) p54-60.



AC: Eileen Cline, piano (1976/IV/11, Slippery Rock State College).



CD: Althea Waites, piano (1990). Cambria CD-1097 (1993, Black diamonds). Liner notes: Rae Linda Brown.



CD: Debra Torok, piano. Verra Classics (1995; Through and within this century past).



CD: Helen Walker-Hill, piano. Leonarda LE 339 (1995, Kaleidoscope; music by African-American women).



CD: William Chapman Nyaho, piano. Musicians Showcase MS-1091 (2003, Senku; Piano music by composers of African descent). Liner notes: Maya Amgelou, William Chapman Nyaho.



LP: Ruth Norman, piano. Opus One 39 (ca. 1978).



----- for SATB (1952).



----- for orchestra (1966).



----- for violoncello & piano (1964). Arranged for Kermit Moore.



U. S. A., incidental music for the play by John Dos Passos. Première: ANTA Theater.



Voo doo man, for voice unaccompanied. Text: Langston Hughes.



Waltz from the notebook of a ballet accompanist, for piano (1930s). Première: Chicago, Allied Arts Academy; Margaret Bonds, piano; 1939/IV/23.



West Coast blues, for voice & piano (c1938).



What lips my lips have kissed, for voice & piano. Text: Edna St. Vincent Millay. Première: Washington, Corcoran Galley; Mary Beck; 1956/II/7.



When the dove enters in, for voice & piano (c1960). Text: Langston Hughes.



----- for SATB (1962).



Wings over Broadway, ballet (ca. 1940), Première: New York, Hurricane Restaurant.



Winter night’s dream, operetta for children (1935). Text: Robert Dunsmore. Première: Chicago. See also Children’s sleep.



You can tell the world, for SSA. New York: Mutual Music. 1964.



----- for SATB.



----- for SSA. New York: Mutual Music, 1946, 1964 (121). 8p.



----- for TTBB. New York: Mutual Music, 1946, 1964 (122). 8p.



----- for soprano & piano.



CD: Sebronette Barnes, soprano; Elise Auerbach, piano. Senrab Records (2001; You can tell the world; songs by African-American women).



LP: Veronica Tyler, soprano; Ernest Ragogini, piano. BRC Productions (1980; The passion of Christ in spirituals).



LP: Wilhelmenia Fernandez, soprano; George Darden piano. Tioch Digital Records TD 1009 (1982; spirituals).



----- for TTBB. New York: Mutual Music, 1957.



You’re pretty special, for voice & piano (c1941). Text: Dorothy Sachs.

 



Bibliography

Prof. Dominique-René de Lerma

[obituary] in Black perspective in music, v1 (1973) p197.



[obituary] in Variety, n266 (1972/V/10) p86.



“Famed Chicago composer’s rites set for Tuesday” in Chicago defender (1972/V/2).



“Margaret Bonds” in Musical America (1952/II) p218.



“Margaret Bonds, composer dies, noted arranger of spirituals” in New York Amsterdam news (1972/V/13).



“Mrs. Bonds, musician, dies in New York City” in Chicago defender (1957/III/2 [sic?]).[15]



“Margaret Bonds, pianist, Town Hall, Feb. 7 debut” in Musical America (1952/II) p218.



“Noted tenor and Miss Margaret Bonds star with symphony” in Chicago defender (1933/0VI/17).



”Premières highlight SAI national convention” in Panpipes, v52n2 (1960) p26. [The pasture]



Abdul-Rahim, Raoul. "Black women in music" in Blacks in classical music. New York: Dodd, Mead, 1977, p51-57.



American music v3n1, p108, 111; 4n2, p196 (Bond)



Ammer, Christine. Unsung; A history of women in American music. Westport: Greenwood Press, 1980, p153-156.



ASCAP



Atkinson, Brooks. “Theater; Shakespeare in Harlem” in New York times (1960/II/10).



Bernheimer, Martin. “Zubin Mehta leads tribute” in Los Angeles times (1960/II/10). [Credo].



Berry, Faith. Langston Hughes; before and beyond Harlem. Westport: Lawrence Hill, 1983.



Berry, Lemuel, Jr.



Black music research bulletin v12n2, p11, 14, 16, 19



Black music research journal, 1980, p82, 90; 1981-1982, p12



Black perspective in music, v1n2, p197; v2n2, p148; v5n1, p37; v5n2, p239; v6n2, p238 (Bond); v9n1, p96; v10n1, p115; v11n2, p233, 236; v14n1, p77, 79.



Bonds, Margaret. “A reminiscence” in The Negro in music and art, ed. by Lindsay Patterson. New York: Publishing Co., 1968, p190-193.



Bull, Storm. Index to biographies of contemporary composers, vol. 3. Metuchen: Scarecrow Press, 1987. xxiv, 854p. ISBN 0-8108-1930-9.



Bonds, Margaret. “A reminiscence” in The Negro in music and art, ed. by Lindsay Patterson. New York: International Library of Negro Life and History, 1968, p190-193.



Brown, Rae Linda. “Florence B. Price and Margaret Bonds: the Chicago years” in Black music research journal, v12n2 (1990) p11-15.



Center for Black Music Research. Digest, v3n3, p3



Claghorn 1984 (-1971)



Cohen, Aaron. International encyclopedia of women composers. 2nd ed. New York: R. R. Bowker, 1987.



Demaitre, Christina. “She has a musical mission, developing racial harmpony; Heritage motivates composing career” in Washington post (1964/IVIII



Dillon, Alice. The orchestral arrangements of spirituals by Margaret Bonds. Graduate paper (D.M.A) University of Missouri, Kansas City, 1998.



Fisk 1980, p83



Floyd, Rosalyn Wright. Afro-American piano music; two Black American female composers. Graduate paper (D.M.A.) University of South Carolina, 1990.



Floyd, Samuel A., Jr. Black music biography; an annotated bibliography, by Samuel A. Floyd, Jr., and Marsha Reisser. White Plains: Kraus International Publications, 1986., pxviii, 218



George, Maude Roberts. “Noted tenor and Miss Margaret Bonds star with symphony” in Chicago defender (1933/VI/17).



Green, Mildred Denby. A study of the lives and works of five Black women composers in America. Graduate paper (D.M.E., music education) University of Oklahoma, 1975. vii, 331 p. Research director: E. Trumble. DDM Code: 71woGreM; DA no.: 37/01:24-5; RILM no.: UM no.: 76-15,803.



Green, Mildred Denby. Black women composers; A genesis. Boston: Twayne Publishers, 1983. 171p. (Twayne's music series). ISBN 0-8057-9450-6.



Harris, Carl Gordon, Jr. “Three schools of Black choral composers and arrangers, 1900-1970” in School music news, v34n4 (1974/VII) p33-39.



Harris, Carl Gordon, Jr. “Three schools of Black choral composers and arrangers, 1900-1970” in Choral journal, v14n8 (1974/IV) p11-15, 17-18.



Harris, Carl Gordon, Jr. A study of characteristic stylistic trends found in the choral works of a selected group of Afro-American composers and arrangers. Graduate paper ( D.M.A., performance) University of Missouri-Kansas City, 1972. viii, 178 p. facs., mus. exs., append. DDM Code: 71voHarC; DA no.: 33/07:3696; RILM no.: UM no.: 72-29,463.



Harris, Charlene Diane. Margaret Bonds, Black woman composer. Theiss (M.M.) Bowling Green State University, 1976.



Hawkins, Deborah. “Bonds, Margaret” in International dictionary of Black composers, ed. by Samuel A. Floyd, Jr. Chicago: Fitzroy Dearborn, 1999, v1, p131-137.



Hitchcock, in Grov’s



Horne, Aaron. String music by Black American composers. Westport: Greenwood Press, 1991 (Music reference collection, no. 33). xx, 327p. Foreword by Dominique-René de Lerma. ISBN 0-313-27938-1. +



Jackson, Barbara Garvey. “Bonds [Richardson], Margaret (Allison) “ in The new Grove dictionary of American music, ed. by H. Wiley Hitchcock and Stanley Sadie. London: Macmillan, 1986, v1, p255-256.



Jackson, Barbara Garvey. “Bonds, Margaret Allison” in The new Grove dictionary of music and musicians, ed. by Stanley Sadie and John Tyrrell. London: Macmillan, 2000.



Lerma, Dominique-René de. Black music in our culture; Curricular ideas on the subjects, materials, and problems. Kent: Kent State University Press, 1970., p172



Moore, Edward. “City assured symphony season” in Chicago tribune (1933/VI/16).



Patterson 1988, p196



Roach, Hildred. Black American music, past and present. Boston: Crescendo, 1973. (Bond)



Rorem, Ned. “Beyond playing; a composer’s life with the piano” in The lives of the piano, ed. by James R. Gaines. New York: Holt, Rinehart & Winston, 1981.



Rorem, Ned. Knowing when to stop. New York: Simon & Schuster, 1994.



Schonberg, Harold C. “Debut recital given by Miss Bonds” in New York times (1952/II/8).



Scott, Sandra Cannon. “Bonds, Margaret Allison Richardson (1913-1972)” in Black women in America; An historical encyclopedia, ed. by Darlene Clark Hine. Brooklyn: Carlson Publishing, 1993, p147-48.



Sonneck Society bulletin v16n2, p73



Southern, Eileen. “Bonds, Margaret Allison” in Biographical dictionary of Afro-American and African musicians. Westport: Greenwood Press, 1982, p40-41. (The Greenwood encyclopedia of Black music).



Southern, Eileen. The music of Black Americans. 3rd ed. New York: W. W. Norton, 1997.



Spearman, Rawn Wendell. "The Black composer of art songs in search of soul: Langston Hughes" in 1980 National Conference on Black Music Research: Papers. Nashville: Fisk University, 1981, p87-106.



Spearman, Rawn Wendell. A study and performance of selected settings for solo voice and of the poetry of Langston Hughes. Graduate paper (Ed. D.) Columbia University Teachers College, 1973.



Spencer, Jon Michael.



Stephenson, JoAnne. Tropics after dark; Songs of the season and other unpublished work of Margaret Bonds to the poetry of Langston Hughes as found in the James Weldon Johnson Collection. Graduate paper (D.M.A.) University of Illinois, Champaign-Urbana, 1995.



Sterm Susan. Women composers; A handbook. 1978.



Stone, Theodore Charles. “Mayor proclaims Margaret Bonds Day as musician salute her” in New crusader (1967/II/11).



Sullivan, Lester. “Margaret Bonds (1913-1972”in Notable Black American women, ed. by Jessie Carnie Smith. Detroit: Gayle Research, 1992.



Symphonium v4n2



Thomas 1989, p7



Thomas, André Jerome. A study of the selected Masses of twentieth-century Black composers: Margaret Bonds, Robert Ray, George Walker, and David Baker. Graduate paper (D.M.A) University of Illinois, Champaign-Urbana, 1983. 214p.



Tischler, Alice. Fifteen Black American composers with a bibliography of their works. Detroit: Information Coordinators, 1981, p37-57.



Trice, Patricia Johnson. Choral arrangements of the African-American spirituals; Historical overview and annotated listings. Westport: Greenwood Press, 1998 (Music reference collection) (-1981)



Turner, Patricia. Dictionary of Afro-American performers: 78rpm and cylinder recordings of opera, choral music, and song, c1900-1949. New York: Garland Publishing, 1990., p49, 253, 256, 294



Walker-Hill, Helen. “Black women composers in Chicago, then and now” in Black music research journal, v12n1 (1992/spring) p1-24.



Walker-Hill, Helen. “Music by Black composers at the AMRC” in American Research Center journal, v2 (1992) p23-52.



Walker-Hill, Helen. Music by Black women composers; a catalogue of solo and ensemble music. Westport: Greenwood Press, 1992.



Walker-Hill, Helen. Music by Black women composers; a bibliography of available scores. Chicago: Center for Black Music Research, 1995 (CBMR monograph, no. 5).



White, Evelyn Davidson. Choral music by Afro-American composers; A selected, annotated bibliography. 2nd ed. Metuchen: Scarecrow Press, 1996. viii, 126p. ISBN 0-8108-3037-X. First edition issued by Scarecrow in 1981.



Williams, Ora. American Black women in the arts and sciences; A bibliographic survey. 1978.



WilABW



WWAW 1970-1971.



Women of note quarterly (1996/V) p15-19.



Yuhasz, H. J. “Black composers and their piano music, part 1” in American music teacher, v19n4 (1970) p24.

 


Media

Published Work