FPC Performing Arts Series: Sam Carlton, Deep River - August 18, 2024

Deep River, Spiritual Selections
Sam Carlton, Baritone
Tom Ingui, Piano
First Presbyterian Church of Lakeland, Florida
August 18, 2024 | 3:00 PM
Selections from Schwanengesang (Swan Song) D. 957 by Franz Schubert:
0:26 - I. Liebesbotschaft (Love’s Message)
3:28 - IV. Ständchen (Serenade)
7:35 - V. Aufenthalt (Resting Place)
11:08 - VI. In der Ferne (Far Away)
17:30 - X. Das Fischermädchen (The Fisher Maiden)
19:40 - XII. Am Meer (By the Sea)
23:35 - XIV. Die Taubenpost (Pigeon Post)
Three art songs:
27:35 - At the River, Aaron Copland
30:50 - Across The Western Ocean, Celius Dougherty
34:35 - Shenandoah, Celius Dougherty
Spiritual Selections:
37:40 - Wade in the Water, Traditional Spiritual
38:50 - Walk Together Children, Moses Hogan
41:50 Roll Jordan Roll, Henri Klickmann
43:25 - Deep River, Moses Hogan
47:40 - Joshua Fit’ the Battle of Jericho, Mark Hayes
Find out more about our performing arts series here: fpclakeland.or...
Program Notes:Schwanengesang, Franz SchubertFranz Schubert's Schwanengesang ("Swan Song"), D. 957, is a collection of 14 Lieder composed in 1828, the final year of his life, and published posthumously.
Note from the performer:
It is my belief that morals present in Schwanengesang can be extended to the message of grace through Jesus. We can so easily get caught up in our desire and longing that it is easy to forget that we have already been given all we need, and that is the gift of Jesus Christ. While this was most likely not the original intention of the poets, art can be used in ways that grant us new perspectives. In my life, music has always been like a small window into heaven. Years ago, a teacher once told me that when we make music, we are basking in God’s light. When we share music with others, we are sharing that light. It is my hope that by being here today and listening to this presentation of a variety of music, you have noticed and experienced a change in your understanding of God’s presence through music.
Art Songs:
At the River by Aaron Copland is the fourth song in his second set of Old American Songs. Born in New York City, Aaron Copland was surrounded by a burgeoning American jazz and pop sound where he most likely began his love for American music. At the River is a hymn tune that would have been incredibly popular during Copland’s time. Similar to how Schubert treats the piano in his song cycles, Copeland paints the text with the rich harmonies while leaving the melody relatively untouched.
Across the Western Ocean, much like a spiritual, is a sea shanty meant to accompany the labor of those working on voyages. Frequently used as an instructional piece for beginning singers, the melody is contained within a small range.
Shenandoah, a folk song with uncertain origins, has evolved into various versions, becoming a popular sea shanty, riverboat song, and Civil War tune. The song tells the story of a trader's love for a Native American chief's daughter, with its melody evoking the vastness of the American landscape. Over time, it has been embraced in different contexts, such as films and U.S. Cavalry songs, reflecting its enduring appeal. Daugherty transforms the well known tune by creating an off-balance metric structure that occasionally lengthens phrases to solidify the feeling of longing.
Spirituals:
Spirituals, also referred to as African American or Negro Spirituals are a significant musical and cultural legacy rooted in the experiences of African American slaves in the United States. Emerging primarily in the 18th and 19th centuries, these spirituals were religious songs deeply influenced by Christian hymns and biblical themes, but they carried profound layers of meaning beyond their surface religious content.
Initially, spirituals served as a form of expression for enslaved people, combining elements of their African musical traditions with the imposed Christian faith. Despite the harsh conditions of slavery, these songs became a vehicle for emotional release, community solidarity, and even covert resistance. Many spirituals contained coded messages that communicated plans for escape or provided guidance on routes to freedom, particularly through the Underground Railroad.
Spirituals also played a crucial role in preserving African cultural identity. Since it was illegal for slaves to learn to read or write, these songs were passed down orally, becoming a unique form of folk tradition. The call-and-response structure, a characteristic feature of spirituals, has endured in various forms of African American music and religious practices.
Today, the legacy of Negro spirituals is evident in the broader history of African American music and their influence on subsequent movements for civil rights and social justice. Their enduring power lies not only in their haunting melodies but also in their embodiment of resilience and hope in the face of oppression.