All material found in the Press Releases section is provided by parties entirely independent of Musical America, which is not responsible for content.
Press Releases
Aug. 6: Sony Classical Releases Beyond the Music - Marian Anderson's Complete RCA Victor Recordings in a 15-CD Set
FOR IMMEDIATE RELEASE
Media Contacts: Maggie Stapleton, Jensen Artists
646.536.7864 x2 | maggie@jensenartists.com
Sony Music Masterworks: Larissa Slezak / Jamie Bertel
212-833-6075 / 8575 / 7549
Sony Classical Releases Beyond the Music
Marian Anderson
Her Complete RCA Victor Recordings
The Ultimate Tribute to America’s “Voice of Freedom”,
Available August 6, 2021 | Pre-Order Now
On April 9, 1939, a cold Easter Sunday, a woman in a fur coat walked down the steps of Lincoln Memorial, ready to perform open-air after being refused the largest hall in Washington because she was Black.
As contralto Marian Anderson raised her voice to sing the words of My Country, ’Tis of Thee to the 75,000 who gathered to listen to her, an unforgettable historic moment unfolded. The great voice of “The Lady from Philadelphia,” first discovered by her local neighborhood, took her to global fame on the stages of Europe, Asia, and America. She became the first Black woman to perform at the Met in New York, she sang for presidents and kings, was honored with the Presidential Medal of Freedom, and with her dignity, courage, and unwavering belief in equal rights she became an icon in her supportive role for the civil rights movement.
The present edition is the first release of Marian Anderson’s complete recorded legacy for RCA Victor, to be released by Sony Classical on August 6, 2021. Along with the first-ever complete release of her legendary Farewell Recital at Constitution Hall in 1964, many recordings appear here on CD for the first time. From her debut in 1924 for the Victor label to her last LP from 1966, all recordings have been meticulously restored and remastered from the original analog masters. The 228-page coffee-table book contains numerous photos and facsimiles, a new essay by Raymond Arsenault – author of The Sound of Freedom and Freedom Riders – and full discographical notes. It is a homage to the artistic life of a singer “one is privileged to hear only once in a hundred years” (Toscanini) and who left us a legacy of humanity, generosity, talent, and faith.
The Marian Anderson Phenomenon
She looked out upon a sea of faces. Standing before her were 75,000 people poised to hear her sing. Directly facing her was a phalanx of microphones, ready for a live broadcast to millions of listeners, anonymous and invisible. Though famed throughout Europe and familiar with the great concert halls of the Old World, she had never faced a situation like this before. “I could not run away from this situation,” she wrote later. “If I had anything to offer, I would have to do so now.” The piano accompaniment began, she closed her eyes, and sang – with a voice which, to quote Arturo Toscanini, “one is privileged to hear only once in a hundred years.”
With this performance from the Lincoln Memorial, on Easter Sunday, April 9, 1939, Marian Anderson – shy, unassuming, preternaturally gifted – entered the social history of her native land. For she wasn’t originally meant to sing there at all: she had been scheduled to perform in nearby Constitution Hall at the invitation of Howard University. But the owners of the hall, the Daughters of the American Revolution, had a particular clause included in every contract: whites only. Their most distinguished member, First Lady Eleanor Roosevelt, threatened to leave the organization unless Marian Anderson were permitted to appear. The august body declined, and Eleanor Roosevelt held good on her promise. A makeshift venue had to be found. So great was the interest that the concert could only be held out of doors. The choice fell on the Lincoln Memorial, owned by the Department of the Interior. So Marian Anderson was duly led onto its steps and introduced by none other than Secretary of the Interior Harold L. Ickes. It was a victory in the battle against racial segregation in the United States, comparable in its way to the triumphs of Jesse Owens at the Berlin Olympics three years earlier and John Hammond’s “From Spirituals to Swing” concert in Carnegie Hall the previous year. Like the latter, it was recorded. Unlike the latter, it was also filmed, and can be relived today on the Internet in all the excitement of the occasion.
Marian Anderson never boasted of this achievement; indeed, she was not known to boast at all. Born in modest circumstances in South Philadelphia on February 27, 1897, she sang in church from the age of six and was already holding concerts of spirituals as a teenager. In 1925 she bested 300 contestants in a New York singing contest and was allowed to give a concert in Lewisohn Stadium. By then she had already made her first recordings, for RCA Victor. But her sights were set on further study – an opportunity denied her in America because of her race – and on gathering experience in the international arena. A concert in London’s Wigmore Hall, accompanied by the redoubtable Sir Henry Wood, launched her career in England and on the Continent. With her charming stage presence, excellent diction even in foreign languages, and superb musicality, she was rapturously received on the European scene, whether in Paris or Vienna, Brussels or Barcelona, Geneva or Berlin, or – like her no less gifted Black-American countryman Paul Robeson – in the newly-founded Soviet Union. Her repertoire was anything but limited: she sang Massenet and Hugo Wolf, Handel and Rachmaninoff, Scarlatti and Schumann, Brahms and Saint-Saëns, Verdi and Sibelius, even Debussy’s little-known early cantata L’Enfant prodigue. But a special attraction was always her rendition of spirituals: Sometimes I Feel Like a Motherless Child or Go Down, Moses. Her London recordings of 1928 only expanded her audience; one in particular – Delilah’s “Mon cœur s’ouvre à ta voix” (sung in English as “Softly Awakes My Heart”) – became a best-seller. Later tours took her to Australia and to Argentina, where she sang seventeen recitals in Buenos Aires alone in 1937. By then she had already made appearances at the 1935 Salzburg Festival (prompting Toscanini’s above-mentioned pronouncement) and Carnegie Hall. She even received an honorary doctorate of music from Howard University (1938). But none of this was enough to sway the iron resolve of the Daughters of the American Revolution.
Thereafter Marian Anderson’s triumphs continued apace: a White House performance in honor of King George VI (1939), the first performance by a Black singer at Japan’s imperial court (1953). But perhaps none was as portentous as her appearance at the New York Metropolitan Opera on January 7, 1955, when she sang Ulrica in Verdi’s Un ballo in maschera as a fully-fledged member of the ensemble. Another color line had been crossed: she was the first Black-American to be accorded this honor – or, rather, the first to honor the stage of the New York Met with her presence. It is not far-fetched to claim that this opened the doors of those hallowed precincts to generations of great Black-American singers: Leontyne Price and Jessye Norman, Reri Grist and Grace Bumbry, Barbara Hendricks and Kathleen Battle, the great baritones Simon Estes and Eric Owens, all the way to the present day with Angel Blue and Pretty Yende, to name only a few.
By the time of her Met début, in 1955, Marian Anderson was already 57 years old, an age when most opera singers contemplate retirement. Although she never sang at the Met again, she was made a permanent member of the ensemble. Awards continued to come her way: an honorary doctorate from Princeton, where she was the guest of the Einsteins (altogether she received approximately 50 honorary degrees), and national orders of merit from Finland, Japan, and Sweden. She sang at the White House for Eisenhower’s inauguration in 1957, and again for Kennedy’s in 1961. Her autobiography of 1956, My Lord, What a Morning, became an immediate best-seller (it was reissued by the University of Illinois Press in 2002). In 1977 the United States Congress struck a special gold medal in her honor, putatively to mark her 80th birthday. By the time of her death in Portland, Oregon, on April 8, 1993, at the age of 96, she was among the most highly decorated and beloved singers in the world.
Although never a political activist, by her mere presence, achievement, and grace under pressure Marian Anderson served as an example to generations of Black men and women in the arts. Her name fits easily alongside such better-known figures as Jesse Owens and Jackie Robinson, James Meredith and Rosa Parks, in the long and troubled history of Black-American emancipation. In 1963 she returned to the Lincoln Memorial as part of Martin Luther King’s March on Washington, where, in a historical echo of her 1939 performance, she sang He’s Got the Whole World in His Hands to the assembled throng. Back then she had begun by singing the familiar patriotic hymn My Country, ’Tis of Thee. But when she came to the end of the first tercet, rather than the words “of thee I sing,” already appropriated as the title of a Gershwin musical, she made a significant change: she sang “of thee we sing.” It was an all-inclusive gesture, and a promise still awaiting fulfillment.
Set highlights and contents:
- Special 15-CD edition celebrating contralto Marian Anderson, the first Black singer at the Met
- First-ever release of her complete RCA Victor recordings in a single edition, meticulously restored from the original analog masters using 24 bit / 96 kHz technology
- 72 works appearing on CD for the first time, 9 recordings previously unreleased
- First release of her fully restored complete Farewell Recital at Constitution Hall
- Richly illustrated 228-page book with a new essay by American historian Raymond Arsenault, author of The Sound of Freedom and Freedom Riders, numerous photos and facsimiles, and complete discographical notes
DISC 1
Spirituals 1923–1946
Victor Talking Machine Co. Acoustic Recordings 1923–1924
1 Deep River
2 My Way’s Cloudy
3 Go Down, Moses (Let My People Go)
4 Heav’n, Heav’n
5 Nobody Knows the Trouble I’ve Seen
6 My Lord, What a Mornin’
Rca Victor – The Early Electric Recordings 1936–1946
7 City Called Heaven
8 Lord, I Can’t Stay Away
9 Heav’n, Heav’n
10 Go Down, Moses (Let My People Go)
11 My Soul’s Been Anchored in the Lord
12 Sinner, Please Doan’ Let Dis Harves’ Pass
13 Honor, Honor
14 Crucifixion
15 Trampin’
16 Let Us Break Bread Together
17 My Soul’s Been Anchored in the Lord
18 Hard Trials
19 Dere’s No Hidin’ Place Down Dere
20 Traditional: Comin’ Through the Rye
21 Oh, What a Beautiful City!
22 Poor Me
23 Hold On
DISC 2
Lieder, Songs, and Mélodies 1936–1951
1 Brahms: Alto Rhapsody op. 53
2 Brahms: Von ewiger Liebe op. 43/1 · Eternal Love
3 Schubert: Ave Maria (Ellens Gesang III) D 839
4 Schubert: Aufenthalt D 957/5 · Sojourn
5 Schubert: Die Forelle D 550 · The Trout
6 Schubert: Wohin? D 795/2 · Whither?
7 Sibelius: Säv, säv, susa op. 36/4
Sigh, Rushes, Sigh · Rauscht, Binsen, rauscht
8 Sibelius: Flickan kom ifran sin äsklings möte op. 37/5
The Tryst · Das Stelldichein
9 Massenet: Élégie
10 Rachmaninoff: In the Silence of the Secret Night op. 4/3
In der Stille der geheimnisvollen Nacht
11 Spross: Will O’ the Wisp
12 Lehmann; The Cuckoo · Der Kuckuck
13 Scott: Lullaby op. 57/2 · Wiegenlied
14 Sarsen-Bucky: Hear the Wind Whispering
15 Thomas: O Men from the Fields
16 Hook: Bright Phoebus
17 Bland: Carry Me Back to Old Virginny
18 Foster: My Old Kentucky Home
19 Bland: Carry Me Back to Old Virginny
20 Foster My Old Kentucky Home
21 “Mr. President and Mrs. Roosevelt”*
22 “Your Majesties”*
The Philadelphia Orchestra
Eugene Ormandy conductor [1/2]
Victor Symphony Orchestra
Charles O’Connell conductor [17/18]
DISC 3
Baroque Arias
1 J.S. Bach: Kreuz und Krone sind verbunden
Pain and Sorrow
from Cantata Weinen, Klagen, Sorgen, Zagen BWV 12
2 J.S. Bach: Jesus schläft, was soll ich hoffen?
Jesus Sleeps, What Hope Remaineth?
from Cantata Jesus schläft, was soll ich hoffen BWV 81
3 J.S. Bach: Zum reinen Wasser er mich weist
To Living Waters Bright and Clear
from Cantata Der Herr ist mein getreuer Hirt BWV 112
4 J.S. Bach: Bereite dich, Zion
Prepare Thyself, Zion
from Christmas Oratorio BWV 248
5 J.S. Bach: Erbarme dich, mein Gott
Have Mercy, Lord, on Me
from St. Matthew Passion BWV 244
RCA Victor Chamber Orchestra
Robert Shaw conductor
6 Handel: He Shall Feed His Flock
from Messiah HWV 56
7 Mendelssohn: But the Lord Is Mindful of His Own
Doch der Herr vergisst die seinen nicht
from Paulus op. 36
8 Handel: He Was Despised
from Messiah HWV 56
9 Mendelssohn: O Rest in the Lord
Sei stille dem Herrn
from Elias op. 70
10 J.S. Bach: All Is Fulfilled
Es ist vollbracht
from St. John Passion BWV 245
RCA Victor Symphony Orchestra
Charles O’Connell conductor
11 Handel: Come to Me, Soothing Sleep
Vieni o Figlio
from Ottone, re di Germania HWV 15
12 Handel: O What Pleasure
Vanne, segu’il mio desio
from Il Floridante HWV 14
13 Bononcini: The Trumpet Is Calling
Un’ ombra di pace
from Calfurnia
14 Handel: Der Flöte weich Gefu¨hl
The Soft Complaining Flute
from Ode for St. Cecilia’s Day HWV 76
15 Handel: Sohn! Sieh, deinem greisen Vater
Tears, Such as Tender Fathers Shed
from Deborah HWV 51
16 Purcell: When I Am Laid in Earth (Dido’s Lament)
from Dido and Aeneas
17 A. Scarlatti: Se Florindo è fedele
DISC 4
Lieder by Brahms, Mahler, and Strauss
1 Brahms: Alto Rhapsody op. 53
2-6 Mahler: Kindertotenlieder
RCA Victor Symphony Orchestra
Robert Shaw chorus director
Fritz Reiner conductor [1]
San Francisco Symphony Orchestra
Pierre Monteux conductor [2–6]
7 R. Strauss: Befreit op. 39/4
Freed
8-11 Brahms: 4 ernste Gesänge op. 121
Four Serious Songs
12 Brahms: 4 Alto Rhapsody op. 53
San Francisco Symphony Orchestra
Pierre Monteux conductor [12]
DISC 5
Lieder By Schubert and Schumann
1 Schubert: Liebesbotschaft D 957/1
Love’s Message
from Schwanengesang
2 Schubert: Erlkönig D 328
The Erl-King
3 Schubert: Ständchen D 957/4
Serenade
from Schwanengesang
4 Schubert: Gretchen am Spinnrade D 118
Gretchen at the Spinning-Wheel
5 Schubert: Der Tod und das Mädchen D 531
Death and the Maiden
6 Schubert: Die Forelle D 550
The Trout
7 Schubert: Ave Maria (Ellens Gesang III) D 839
8 Schubert: Wohin? D 795/2
Whither?
from Die schöne Mu¨llerin
9 Schubert: Aufenthalt D 957/5
Sojourn
from Schwanengesang
10 Schubert: Thekla (eine Geisterstimme) D 595
A Spirit Voice
11 Schubert: Dem Unendlichen D 291
To the Infinite One
12-19 Schumann: Frauenliebe und Leben op. 42
Woman’s Love and Life
DISC 6
Spirituals
1 Deep River
2 He’s Got the Whole World in His Hands
3 Roll, Jerd’n, Roll!
4 Go Down, Moses (Let My People Go)
5 Crucifixion
6 Sometimes I Feel Like a Motherless Child
7 Let Us Break Bread Together
8 Plenty Good Room
9 Every Time I Feel de Spirit
10 If He Change My Name
11 O What a Beautiful City!
12 Nobody Knows the Trouble I See
13 Hear de Lam’s a-Cryin’
14 My Lord, What a Mornin’
15 Were You There?
16 On Ma Journey
17 De Gospel Train (Git on Bo’d Li’t Children)
18 Soon-a Will Be Done
19 Sinner, Please Doan’ Let Dis Harves’ Pass
20 Honor, Honor
21 Ride On, King Jesus
DISC 7
Highlights from Verdi’s A Masked Ball
1-10 Verdi: Un ballo in maschera
A Masked Ball · Ein Maskenball
Metropolitan Opera Orchestra
Dimitri Mitropoulos conductor
Il trovatore
The Troubadour · Der Troubadour
11 “Se m’ami ancor” – “Sì, la stanchezza m’opprime”
Marian Anderson contralto
Jan Peerce tenor
RCA Victor Symphony Orchestra
Erich Leinsdorf conductor
DISC 8
He’s Got The Whole World In His Hands and Other Spirituals
1 He’s Got the Whole World in His Hands
2 Dere’s No Hidin’ Place Down Dere
3 I Want Jesus to Walk with Me
4 Oh, Didn’t It Rain?
5 I Am Bound for de Kingdom
6 Oh, Wasn’t Dat a Wide Ribber
7 My Soul’s Been Anchored in the Lord
8 Lord, I Can’t Stay Away
9 Sometimes I Feel Like a Motherless Child
10 Hold On
11 Scandalize My Name
12 Great Gittin’ Up Mornin’
13 Done Foun’ My Los’ Sheep
14 I Stood on de Ribber ob Jerdon
15 Behold That Star
16 Heav’n, Heav’n
17 Poor Me
18 Oh, Peter, Go Ring-a Dem Bells
19 Trampin’
20 Hard Trials
DISC 9
Christmas Carols
Arrangements by Robert Russell Bennett
1 We Wish You a Merry Christmas
2 Gruber: Silent Night
Stille Nacht
3 Deck the Halls
4 Sarsen-Bucky: Angel’s Song
5 The First Noël
6 Schubert: Ave Maria (Ellens Gesang III) D 839
7 God Rest You Merry, Gentlemen
8 Willis: It Came Upon a Midnight Clear
9 Mason: Joy to the World!
10 O Sanctissima / O Thou Joyful Day
O du Fröhliche
11 Pierpont: Jingle Bells
12 Spilman: Away in a Manger
13 The Twelve Days of Christmas
RCA Victor Chorus and Symphony Orchestra
Robert Russell Bennett conductor
14 Gruber: Silent Night
15 Redner: O Little Town of Bethlehem
16 Adeste fideles (O Come, All Ye Faithful)
17 The First Noël
18 Mendelssohn: Hark! The Herald Angels Sing
19 Adam: O Holy Night (Cantique de Noël)
20 Sarsen-Bucky: Angel’s Song
21 Sarsen-Bucky: Hallelujah
DISC 10
Songs By Schubert, Schumann, Brahms, Strauss, and Haydn
1 J. Haydn: A Pastoral Song Hob. XXVIa:27
Schäferlied
2 J. Haydn: She Never Told Her Love Hob. XXVIa:34
3 Schubert: Der Doppelgänger D 957/13
The Double
from Schwanengesang
4 Schubert: Der Ju¨ngling und der Tod D 545
The Youth and Death
5 Schumann: Der Nussbaum op. 25/3
The Nut Tree
from Myrthen
6 Schumann: Stille Tränen op. 35/10
Silent Tears
7 R. Strauss: Morgen! op. 27/4
Tomorrow!
8 Brahms: Dein blaues Auge hält so still op. 59/8
Your Blue Eyes Are So Still
9 Brahms: Der Schmied op. 19/4
The Blacksmith
10 Brahms: Immer leiser wird mein Schlummer op. 105/2
Ever Quieter Becomes my Slumber
11-12 Brahms: 2 Gesänge op. 91
13 Brahms: Die Schnur, die Perl’ an Perle op. 57/7
The Necklace with Its Rows of Pearls
The Philadelphia Orchestra
Eugene Ormandy conductor [8–10]
DISC 11
Songs at Eventide
Arrangements by Robert Russell Bennett
1 Dvorák: Songs My Mother Taught Me op. 55/4
Als die alte Mutter mich noch lehrte singen
from Gypsy Melodies
2 Believe Me, if All Those Endearing Young Charms
3 All Through the Night
4 Kjerulf: Last Night op. 3/2
Sehnsucht
5 Spilman: Flow Gently, Sweet Afton
6 Humperdinck: Evening Prayer
Abendsegen
from Hänsel und Gretel
7 Comin’ Through the Rye
8 Mellish: Drink to Me Only with Thine Eyes
9 Loch Lomond
10 Molloy: Love’s Old Sweet Song
11 John Scott aka Spottiswoode: Annie Laurie
12 Brahms: Wiegenlied op. 49/4
Cradle Song
Text from Des Knaben Wunderhorn & Georg Scherer
Chamber Orchestra
Robert Russell Bennett conductor
DISC 12
Farewell Recital at Constitution Hall
First Complete Release
1 Handel: Hear Me! Ye Winds and Waves
Tutta raccolta ancor
from Scipione HWV 20
2 Handel: Ch’io mai vi possa
from Siroe, re di Persia HWV 24
3 J. Haydn: The Spirit’s Song Hob. XXVIa:41
Des Geistes Gesang
4 J. Haydn: A Pastoral Song Hob. XXVIa:27
Schäferlied
5 Schubert: Suleika I (Was bedeutet die Bewegung) D 720
6 Schubert: Liebesbotschaft D 957/1
Love’s Message
from Schwanengesang
7 Schubert: Der Doppelgänger D 957/13
The Double
from Schwanengesang
8 Schubert: Erlkönig D 328
The Erl-King
9 Barber: Nocturne op. 13/4
10 Swanson: The Negro Speaks of Rivers
11 The Plough Boy
12 Quilter: Blow, Blow, Thou Winter Wind op. 6/3
13 Let Us Break Bread Together
14 O What a Beautiful City!
15 Hear de Lam’s a-Cryin’
16 Ride On, King Jesus
17 Done Foun’ My Los’ Sheep
18 Lord, I Can’t Stay Away
19 Le’s Have a Union
20 He’s Got the Whole World in His Hands
21 Encore Speech
22 Schubert: Ungeduld D 795/7
Impatience
from Die schöne Mu¨llerin
23 Encore Speech
24 Heav’n, Heav’n
25 Schubert: Ave Maria (Ellens Gesang III) D 839
DISC 13
Jus’ Keep On Singin’ and Other Spirituals
1 Introduction
2 Oh, Heaven Is One Beautiful Place, I Know
3 Lord, How Come Me Here?
4 Prayer Is de Key
5 He’ll Bring It to Pass
6 You Go!
7 Jus’ Keep On Singin’
8 Ain’t Got Time to Die
9 Jus’ Been in de Storm So Long
10 I’ve Been ’Buked
11 Le’s Have a Union
12 Oh, Glory!
13 Jus’ Keep On Singin’ –
Ride On, King Jesus
DISC 14
Schubert and Brahms Lieder
1 Schubert: Liebesbotschaft D 957/1
Love’s Message
from Schwanengesang
2 Schubert: Ungeduld D 795/7
Impatience
from Die schöne Mu¨llerin
3 Schubert: Der Tod und das Mädchen D 531
Death and the Maiden
4 Schubert: Die Forelle D 550
The Trout
5 Schubert: An die Musik D 547
To Music
6 Schubert: Suleika I (Was bedeutet die Bewegung) D 720
7 Schubert: Gretchen am Spinnrade D 118
Gretchen at the Spinning-Wheel
8 Schubert: Wiegenlied D 498
Cradle Song
9 Schubert: Erlkönig D 328
The Erl-King
10 Schubert: Heidenröslein D 257
Wild Rose
11 Brahms: Von ewiger Liebe op. 43/1
Eternal Love
12 Brahms: Botschaft op. 47/1
Message
13 Brahms: Vergebliches Ständchen op. 84/4
Vain Serenade
14 Brahms: Der Schmied op. 19/4
The Blacksmith
15 Brahms: Dein blaues Auge hält so still op. 59/8
Your Blue Eyes Are So Still
DISC 15
The Lady from Philadelphia
An audio documentary with narration between partial performances by Marian Anderson
Adapted from the television series See It Now
# # #
WHO'S BLOGGING
Law and Disorder by GG Arts Law
Career Advice by Legendary Manager Edna Landau
An American in Paris by Frank Cadenhead