Marian Anderson - Deep River
DEEP RIVER
Marian Anderson (February 27, 1897 -- April 8, 1993), was an American contralto, perhaps best remembered for her performance on Easter Sunday, 1939 on the steps of the Lincoln Memorial in Washington, D.C..
--BIOGRAPHY--
Anderson was born in Philadelphia, Pennsylvania, the daughter of John Rucker Anderson and the former Anna Delilah Rucker. Two sisters followed young Marian, Alice (later spelled Alyce) (1899-1965) and Ethel (1902-1990) who also became singers. Ethel Anderson was mother to James DePreist. Marian Anderson joined a junior church choir at the age of six, and applied to an all-white music school after her graduation from high school in 1921, but was turned away because she was black. The woman working the admissions counter replied, "We don't take colored" when she tried to apply. Consequently, she continued her singing studies with a private teacher. She debuted with the New York Philharmonic on August 26, 1925 and scored an immediate success, also with the critics. In 1928, she sang for the first time at Carnegie Hall. Her reputation was further advanced by her tour through Europe in the early 1930s where she did not encounter the racial prejudices she had experienced in America.
The famed conductor Arturo Toscanini told her she had a voice "heard once in a hundred years." In 1934, impresario Sol Hurok offered her a better contract than she had previously had with Arthur Judson. Hurok became her manager for the rest of her performing career.
In 1939, the Daughters of the American Revolution (DAR) refused permission for Anderson to sing to an integrated audience in Constitution Hall. The District of Columbia Board of Education declined a request to use the auditorium of a white public high school. As a result of the ensuing furor, thousands of DAR members, including First Lady Eleanor Roosevelt, resigned.
The Roosevelts, with Walter White, then-executive secretary of the NAACP, and Anderson's manager, impresario Sol Hurok, then persuaded Secretary of the Interior Harold L. Ickes to arrange an open air Marian Anderson concert on the steps of the Lincoln Memorial. The concert, commencing with a dignified and stirring rendition of "My Country, 'Tis of Thee" attracted a crowd of more 75,000 of all colors and was a sensation with a national radio audience of millions.
The concert mentioned above was held on Easter Sunday in 1939. Anderson was accompanied by the Finnish accompanist Kosti Vehanen, who introduced Marian to Jean Sibelius in 1933. Sibelius was overwhelmed with Anderson's performance and asked his wife to bring champagne in place of the traditional coffee. At this moment Sibelius started altering and composing songs for Anderson, who was delighted to have met a musician of Sibelius' magnitude, who felt that she had been able to penetrate the Nordic soul.
In 1939 Sibelius made a new arrangement of the song Solitude and dedicated it to Anderson. Originally The Jewish Girl's Song from his 1906 incidental music to Belshazzar's Feast, this later became the "Solitude" section of the orchestral suite derived from the incidental music.
In 1943, Anderson sang at the invitation of the DAR to an integrated audience at Constitution Hall as part of a benefit for the American Red Cross. By contrast, the federal government continued to bar her from using the high school auditorium in the District of Columbia.
On January 7, 1955, Anderson broke the color barrier by becoming the first African-American to perform with the New York Metropolitan Opera. On that occasion, she sang the part of Ulrica in Giuseppe Verdi's Un ballo in maschera.
In 1958 she was officially designated delegate to the United Nations, a formalization of her role as "goodwill ambassador" of the U.S. she played earlier, and in 1972 she was awarded the UN Peace Prize.
After an extensive farewell tour, she retired from singing in 1965. However, she continued to appear publicly, narrating Aaron Copland's Lincoln Portrait, including a performance with the Philadelphia Orchestra at Saratoga in 1976, conducted by the composer. Her achievements were recognized and honored with many prizes, including the Kennedy Center Honors in 1978 and a Grammy Award for Lifetime Achievement in 1991.
In 1993, Anderson died of heart failure at age 96 in Portland, Oregon at the home of her nephew, conductor James DePreist. She is interred at Eden Cemetery, in Collingdale, Pennsylvania, a suburb of Philadelphia.
Channel: Music
Uploaded: November 30, 1999 at 12:00 am
Author: bmcneese45a
Length: 03:10
Rating: 4.99
Views: 38736
Tags: anderson deep marian music negro river spiritual
Video Comments
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dcurtis53 (November 30, 1999 at 12:00 am)
That last note on "Der tod und das Mädchen" is awesome!
shaeneh (November 30, 1999 at 12:00 am)
superb and so moving
hajiketobu (November 30, 1999 at 12:00 am)
utada hikaru^^
idello (November 30, 1999 at 12:00 am)
I have several compilations of Marian Anderson's performances, both early career and late. One thing to note is that modern recording techniques really favor todays's voices. But even in spite of that, Ms. Anderson's voice is rich and full and effortless. She had one of the most amazing voices of her time. Due to racism it was not until she was over 50 years old, and had lost some of her high notes, did she get the opportunity to sing at the Met. Yet she would not utter a bitter word about it.
hourlynewscaster (November 30, 1999 at 12:00 am)
My God, if this woman did nothing by accept Eleanor Roosevelt's invitation to perform in front of Lincoln's statue in front of a MIXED crowd in the 1930s, she would always be remembered ... despite of the texture of her voice. She is the stuff of legend. My thanks to whoever posted this clip. Dennis
kereszy (November 30, 1999 at 12:00 am)
a general comment
Anderson was already a classic in her genre.
You miss the bus when discussing voice colour whether dark or light brown or spotted zebra Anderson lived her faith. Expressed it through what she felt was a "gift from God" - her voice;with that giving joy,hope & solace to many.
Our techno world has forgotten to think in this way. This is "conviction musicianship". Soul to soul.
Those who wrote Spirituals and those who sang them had something to say. Were "moved" to.
bigdigger87 (November 30, 1999 at 12:00 am)
I got to hear some more of her recordings and I have decided to change my mind. Here rendition of "Der tod und das Mädchen" has made a believer out me.
bigdigger87 (November 30, 1999 at 12:00 am)
My opinion does not come from nothing. There are plenty of professional singers who have been designated something else than what they are. I was marked as a baritone for a year and then promptly got moved to tenor when I switched teachers. In this particular video it sounds like she is trying to bring her head voice down into the chest register area and it doesn't sound rich it sounds rather hollow to my ear. Please do not try to insult my intelligence. That is not necessary.
MissLimLam (November 30, 1999 at 12:00 am)
I think youre wrong because you give an opinion based on nothing. If you listened to how she is singing you will hear the superb execution of the lower notes. You will hear the richness and the lack of forcefullness - proving that the notes were natural to her. THE NOTES WERE LOW.
If you research Anderson it will show you that her lowest note was in the baritone range. I havent heard that but her low notes are rich and full - so very Contralto.
141407078989 (November 30, 1999 at 12:00 am)
She said so? I'm so inlove with this woman, I'd like to know what she used to say and/or think but I can't find interviews or stuff... and by the way, it's a common mistake, but her name is Marian with "a" thanks for writting that comment! |
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