Program
This unique pairing of art and music has been painstakingly curated to create a narrative to accompany the musical compositions. Below you will find information about each of the composers featured in this performance, along with several links with more in-depth information about the artists and their subjects. Links to each of the artworks and museums has also been included, where possible.
Sir Edward Elgar (1857-1934)
Six Very Easy Pieces for Violin, Op. 22
English composer Sir Edward Elgar, is probably most known for his Pomp and Circumstance March No. 1 in D. Although most Americans may not be familiar with its formal title, the work is the traditional song played at nearly every high school and university graduation ceremony around the country. Born into a family of modest means, Elgar would rise to international fame during the Victorian and Edwardian eras. The six paintings chosen for this work evoke visions of middle and upper-class life in Europe and America around the time that this music was written. Each of the works captures a moment in time, people enjoying their leisure hours or a day by the sea, offered as a stark contrast to the zeitgeist of the past 12 months.
Six Very Easy Pieces for Violin, Op. 22
English composer Sir Edward Elgar, is probably most known for his Pomp and Circumstance March No. 1 in D. Although most Americans may not be familiar with its formal title, the work is the traditional song played at nearly every high school and university graduation ceremony around the country. Born into a family of modest means, Elgar would rise to international fame during the Victorian and Edwardian eras. The six paintings chosen for this work evoke visions of middle and upper-class life in Europe and America around the time that this music was written. Each of the works captures a moment in time, people enjoying their leisure hours or a day by the sea, offered as a stark contrast to the zeitgeist of the past 12 months.
The Gallery of HMS Calcutta (Portsmouth) by James Tissot
ca. 1876, oil on canvas
Tate Collection, London
At the Seaside by William Merritt Chase
ca. 1892, oil on canvas
Metropolitan Museum of Art, New York
Dance at the Moulin de Galette by Pierre Auguste Renoir
1876, oil on canvas
Musée d'Orsay, Paris
Long Branch, New Jersey by Winslow Homer
1869, oil on canvas
Museum of Fine Arts, Boston
Holyday by James Tissot
ca. 1876, oil on canvas
Tate Collection, London
Hush! (The Concert) by James Tissot
ca. 1875, oil on canvas
Manchester Art Gallery
ca. 1876, oil on canvas
Tate Collection, London
At the Seaside by William Merritt Chase
ca. 1892, oil on canvas
Metropolitan Museum of Art, New York
Dance at the Moulin de Galette by Pierre Auguste Renoir
1876, oil on canvas
Musée d'Orsay, Paris
Long Branch, New Jersey by Winslow Homer
1869, oil on canvas
Museum of Fine Arts, Boston
Holyday by James Tissot
ca. 1876, oil on canvas
Tate Collection, London
Hush! (The Concert) by James Tissot
ca. 1875, oil on canvas
Manchester Art Gallery
Samuel Coleridge-Taylor (1875-1912)
Four African Dances, Op. 58
Samuel Coleridge-Taylor, who is currently featured in our Beyond Beethoven exhibit, was an English composer of African-American descent. A musical prodigy, he entered the Royal Academy of Music at 15, and would go to become one of the most celebrated composers of his day. Four African Dances was composed in 1904. Despite the melodic tones and European quality of the pieces, Coleridge-Taylor was inspired by African folk songs. He frequently explored both his American and African ancestry in his music. The accompanying artworks represent some of the most sensitive, indelible, and beautiful images of Black Americans and Africans in the history of art.
The first three dances are illustrated with works of American art and depict African Americans from the Antebellum period through the Civil War. The fourth dance includes five paintings and watercolors featuring the people of northern Africa, who were known to Europeans as the "Moors." By the end of the 19th century, particularly in America, portrayals of Black people in art were seldom realist in nature, and were more often grotesque caricatures intended to reinforce policies of segregation and discrimination.
Four African Dances, Op. 58
Samuel Coleridge-Taylor, who is currently featured in our Beyond Beethoven exhibit, was an English composer of African-American descent. A musical prodigy, he entered the Royal Academy of Music at 15, and would go to become one of the most celebrated composers of his day. Four African Dances was composed in 1904. Despite the melodic tones and European quality of the pieces, Coleridge-Taylor was inspired by African folk songs. He frequently explored both his American and African ancestry in his music. The accompanying artworks represent some of the most sensitive, indelible, and beautiful images of Black Americans and Africans in the history of art.
The first three dances are illustrated with works of American art and depict African Americans from the Antebellum period through the Civil War. The fourth dance includes five paintings and watercolors featuring the people of northern Africa, who were known to Europeans as the "Moors." By the end of the 19th century, particularly in America, portrayals of Black people in art were seldom realist in nature, and were more often grotesque caricatures intended to reinforce policies of segregation and discrimination.
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Dance No. 1
Right and Left by William Sidney Mount 1850, oil on canvas Long Island Museum The Bone Player by William Sidney Mount 1856, oil on canvas The Museum of Fine Arts, Boston The Banjo Player by William Sidney Mount 1856, oil on canvas Long Island Museum |
Dance No. 2
The Power of Music by William Sidney Mount 1847, oil on canvas Cleveland Museum of Art The Wood Sawyer by Charles E. Weir 1842, oil on canvas Metropolitan Museum of Art, New York |
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Dance No. 3
A Bit of War History by Thomas Waterman Wood Metropolitan Museum of Art, New York The Contraband, 1865 Oil on canvas The Recruit, 1866 Oil on canvas The Veteran, 1866 Oil on canvas Reading the Scriptures by Thomas Waterman Wood 1874, watercolor, gouache, and graphite on paper Metropolitan Museum of Art, New York |
Dance No. 4
Bashi-Bazouk by Jean-Léon Gérôme 1868-69, oil on canvas Metropolitan Museum of Art, New York A Bischari Warrior by Jean-Léon Gérôme 1872, oil on canvas Bonhams Parache, the Dancer by José Tapiró Y Baró 1895-1900, watercolor on paper A Tangier Beauty by José Tapiró Y Baró ca. 1891, watercolor on paper Dahesh Museum of Art A Moorish Chief by Edouard Charlemont 1878, oil on panel Philadelphia Museum of Art |
Robert Schumann (1810-1856)
Abendlied (Evening Song), Op. 85, No. 12, arr. August Wilhelmj
It is difficult to debate who was more "famous" in the 19th century, Robert Schumann, or his wife Clara. Both were powerhouse composers and musicians of the Romantic era. Born in Germany in 1810, Schumann was plagued by what was then called melancholia. He died from pneumonia in an asylum when he was 46. The works of Schumann's fellow German countryman, the Romantic painter Caspar David Friedrich, seemed like the perfect pairing for this "evening song." Friedrich's paintings often capture people in quiet contemplation of the sublime beauty of a sunset or moonrise.
Abendlied (Evening Song), Op. 85, No. 12, arr. August Wilhelmj
It is difficult to debate who was more "famous" in the 19th century, Robert Schumann, or his wife Clara. Both were powerhouse composers and musicians of the Romantic era. Born in Germany in 1810, Schumann was plagued by what was then called melancholia. He died from pneumonia in an asylum when he was 46. The works of Schumann's fellow German countryman, the Romantic painter Caspar David Friedrich, seemed like the perfect pairing for this "evening song." Friedrich's paintings often capture people in quiet contemplation of the sublime beauty of a sunset or moonrise.
Evening by Caspar David Friedrich
1821, oil on canvas
Landessmuseum, Hannover
Moonrise by the Sea by Caspar David Friedrich
1822, oil on canvas
Altenationalgalerie, Berlin
Moonrise over the Sea by Caspar David Friedrich
1821, oil on canvas
The State Hermitage Museum, St. Petersburg
Swans in the Reeds by Caspar David Friedrich
ca. 1832, oil on canvas
The State Hermitage Museum, St. Petersburg
Greifswald in Moonlight by Caspar David Friedrich
1817, oil on canvas
The National Museum of Art, Architecture, and Design, Oslo
1821, oil on canvas
Landessmuseum, Hannover
Moonrise by the Sea by Caspar David Friedrich
1822, oil on canvas
Altenationalgalerie, Berlin
Moonrise over the Sea by Caspar David Friedrich
1821, oil on canvas
The State Hermitage Museum, St. Petersburg
Swans in the Reeds by Caspar David Friedrich
ca. 1832, oil on canvas
The State Hermitage Museum, St. Petersburg
Greifswald in Moonlight by Caspar David Friedrich
1817, oil on canvas
The National Museum of Art, Architecture, and Design, Oslo
Amy Beach (1867-1944)
Berceuse, Op. 40, No. 2
One of the most respected composers and performers of her era, American composer Amy Beach rose to fame in a time when it was difficult for women to compete with their male counterparts in the world of classical music. She became known for complex art songs. Her Gaelic Symphony, which premiered in 1896, is a milestone in music history, as it was the first symphony to be composed and published by an American woman. In later life, Beach was a teacher and mentor of young composers and served as President of the Board of Councilors of the New England Conservatory of Music.
A berceuse (pronounced bear-sooz), is a lullaby. For this final piece, the featured artworks revolve around the theme of slumber.
Berceuse, Op. 40, No. 2
One of the most respected composers and performers of her era, American composer Amy Beach rose to fame in a time when it was difficult for women to compete with their male counterparts in the world of classical music. She became known for complex art songs. Her Gaelic Symphony, which premiered in 1896, is a milestone in music history, as it was the first symphony to be composed and published by an American woman. In later life, Beach was a teacher and mentor of young composers and served as President of the Board of Councilors of the New England Conservatory of Music.
A berceuse (pronounced bear-sooz), is a lullaby. For this final piece, the featured artworks revolve around the theme of slumber.
The Light of the Home by Harry Herman Roseland (no link available)
early 20th century, oil on illustration board
Private collection
A Child Asleep (The Rosebud) by Thomas Sully
1841, oil on canvas
Metropolitan Museum of Art, New York
Flaming June by Sir Frederic Leighton
1895, oil on canvas
Museo de Arte de Ponce, Puerto Rico
Dog at Rest by Gerrit Dou
1650, oil on canvas
Museum of Fine Arts, Boston
early 20th century, oil on illustration board
Private collection
A Child Asleep (The Rosebud) by Thomas Sully
1841, oil on canvas
Metropolitan Museum of Art, New York
Flaming June by Sir Frederic Leighton
1895, oil on canvas
Museo de Arte de Ponce, Puerto Rico
Dog at Rest by Gerrit Dou
1650, oil on canvas
Museum of Fine Arts, Boston
