Adolphus Hailstork (1941)

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2022

Discovering Adolphus Hailstork

20221003

Donald Macleod in conversation with Adolphus Hailstork explores some of his early musical influences.

American composer Adolphus Hailstork has written in many genres, ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Called the Dean of African American composers, and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music including Kurt Masur, Daniel Barenboim and Lorin Maazel.

Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that have had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk, and he resides in the state of Virginia, USA. His own list of teachers is impressive - not least Nadia Boulanger at the American Institute at Fontainebleau.

Donald Macleod explores for the first time the varied musical world of Adolphus Hailstork. In a down-the-line conversation with the composer, Hailstork discusses how he has a particular fondness for writing for choir and orchestra, and how in his early years, his mother encouraged him in music. The composer also chats about how spirituals have influenced two of his string quartets including his String Quartet No. 3, and how in the case of his Piano Sonata No. 2, he wrestled with breaking away from what he'd previously written in his first sonata. The programme ends with the final two movements of Hailstork's Symphony No. 3, and the composer reflects with Macleod on how his use of the Indian Tabla was because he'd once learnt how to play this instrument.

The Lamb

McCullough Chorale

Donald McCullough, director

String Quartet No 3 (Moderato)

Ambrosia Quartet

Andrey Kasparov, piano

Symphony No 3 (excerpt)

Grand Rapids Symphony

David Lockington, conductor

Donald Macleod journeys into the varied musical landscape of Adolphus Hailstork.

2022

Inspired, By Spirituals

20221004

Donald Macleod, in conversation with composer Adolphus Hailstork, explores his responses to Dvorak and William Grant Still.

American composer Adolphus Hailstork has written in many genres, ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Called the Dean of African American composers and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music, including Kurt Masur, Daniel Barenboim and Lorin Maazel.

Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk, and His own list of teachers is impressive - not least Nadia Boulanger at the American Institute at Fontainebleau.

Donald Macleod, in conversation with the composer, explores the influence of Hailstork's African-American heritage upon his music. Hailstork discusses when he first heard spirituals, and how these works sung by those who were born, lived and died as slaves, had a huge impact upon him. The composer shares with Macleod how the music and musical direction of William Grant Still was influential upon Hailstork's own creative journey, in the bringing together or African and European traditions. Hailstork also discusses the huge impact of visiting dungeons for the slave trade in Ghana, and how this was translated into his own Symphony No. 2.

Fanfare on Amazing Grace

Eastern Virginia Brass Quintet

Rob Cross, timpani

James Kosnik, organ

Three Spirituals for Orchestra

Virginia Symphony Orchestra

JoAnn Falletta, conductor

Swing Low Sweet Chariot (String Quartet No 2)

Ambrosia Quartet

Symphony No 2 (excerpts)

Grand Rapids Symphony

David Lockington, conductor

Donald Macleod explores the impact of spirituals on Adolphus Hailstork.

2022

Inspired, By European Traditions

20221005

Donald Macleod journeys into Hailstork's European musical influences, including the works of JS Bach.

American composer Adolphus Hailstork has written in many genres, ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Of African American heritage and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music, including Kurt Masur, Daniel Barenboim and Lorin Maazel.

In conversation with the composer, Donald Macleod explores the impact of European musical traditions upon the works of Adolphus Hailstork. One of the most famous music teachers of all time was Nadia Boulanger, and Hailstork discusses the occasionally challenging experience of studying with her. The composer also talks about his love for the music of JS Bach, and how this has influenced some of his own works, including the first of his Three Spirituals for String Trio, We shall overcome, which he developed similar to a Bach chorale. Hailstork also chats with Macleod about the background to his Symphony No. 1, and how this work was premiered outside in extreme heat.

Sonata for Two Pianos (Allegro energico)

Andrey Kasparov, piano

Oksana Lutsyshyn, piano

Simon Lapointe, violin

Beverly Kane Baker, viola

Rebecca Gilmore, cello

Trio Sonata

Virginia Symphony Orchestra

JoAnn Falletta, conductor

Donald Macleod explores Nadia Boulanger's impact on Adolphus Hailstork.

2022

Inspired, By Anglican Choral Traditions

20221006

Donald Macleod discusses with Adolphus Hailstork the origins of his interest in Jewish traditions.

American composer Adolphus Hailstork has written in many genres ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Of African American heritage and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music, including Kurt Masur, Daniel Barenboim and Lorin Maazel. Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that have had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk, and he resides in the state of Virginia, USA. His own list of teachers is impressive, not least of all Nadia Boulanger at the American Institute at Fontainebleau. Hailstork's own reputation has been significant, and he's been called the Dean of African-American composers.

Adolphus Hailstork from an early stage not only sang in an Anglican Cathedral, but also played the organ and went on to conduct choirs too. The composer in conversation with Donald Macleod, delves into how important these early experiences were upon how his own musical language has developed. Hailstork mentions how the first movement of his Piano Concerto has been commented upon as similar to Gregorian Chant, and how the grandeur of Cathedral music can be clearly heard in many of his own writings of choir and orchestra. Macleod also explores with the composer how other traditions have influenced him, including finding the Jewish song Shalom Chaverim and creating a set of piano variations from it.

String Quartet No 1 (Allegretto)

Vahn Armstrong, violin

Amanda Gates-Armstrong, violin

Jennifer Snyder, viola

Michael Daniels, cello

Toccata on Veni Emmanuel

James Kosnik, organ

I Will Sing of Life (Songs of Life and Love)

McCullough Chorale

Donald McCullough, director

Nocturne (Songs of Life and Love)

Eight Variations on Shalom Chaverim

Andrey Kasparov, piano

Piano Concerto (excerpt)

Stewart Goodyear, piano

Buffalo Philharmonic Orchestra

JoAnn Falletta, conductor

Donald Macleod delves into Hailstork's early musical experiences in a cathedral.

2022

05 LAST

Other Sources Of Inspiration

20221007

Adolphus Hailstork in conversation with Donald Macleod discusses wrestling with his own cultural duality

In conversation with the composer Adolphus Hailstork, Donald Macleod explores the many and varied influences upon the composer and his music. From a geographical location which inspired An American Port of Call, setting texts from the Rubaiyat, to how important it is for Hailstork to have the support of his wife Qiu Jin. The composer goes on to discuss his exploration of his own cultural heritage, and how this has impacted upon his own creative development, whilst also looking ahead to works in the pipeline including a further symphony, and two piano concertos.

Virginia Symphony Orchestra

JoAnn Falletta, conductor

Arabesques

Debra Cross, flute

Robert Cross, percussion

Seven Songs of the Rubaiyat

McCullough Chorale

Donald McCullough, director

Whitman's Journey: I launch out on the endless seas

Kevin Deas, baritone

Virginia Symphony Chorus

Donald Macleod explores how Norfolk Port inspired Adolphus Hailstork.

Episodes

Series	Episode	Title	First Broadcast	Comments
2022	01	Discovering Adolphus Hailstork	20221003	Donald Macleod in conversation with Adolphus Hailstork explores some of his early musical influences. American composer Adolphus Hailstork has written in many genres, ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Called the Dean of African American composers, and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music including Kurt Masur, Daniel Barenboim and Lorin Maazel. Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that have had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk, and he resides in the state of Virginia, USA. His own list of teachers is impressive - not least Nadia Boulanger at the American Institute at Fontainebleau. Donald Macleod explores for the first time the varied musical world of Adolphus Hailstork. In a down-the-line conversation with the composer, Hailstork discusses how he has a particular fondness for writing for choir and orchestra, and how in his early years, his mother encouraged him in music. The composer also chats about how spirituals have influenced two of his string quartets including his String Quartet No. 3, and how in the case of his Piano Sonata No. 2, he wrestled with breaking away from what he'd previously written in his first sonata. The programme ends with the final two movements of Hailstork's Symphony No. 3, and the composer reflects with Macleod on how his use of the Indian Tabla was because he'd once learnt how to play this instrument. The Lamb McCullough Chorale Donald McCullough, director String Quartet No 3 (Moderato) Ambrosia Quartet Andrey Kasparov, piano Symphony No 3 (excerpt) Grand Rapids Symphony David Lockington, conductor Donald Macleod journeys into the varied musical landscape of Adolphus Hailstork.
2022	02	Inspired, By Spirituals	20221004	Donald Macleod, in conversation with composer Adolphus Hailstork, explores his responses to Dvorak and William Grant Still. American composer Adolphus Hailstork has written in many genres, ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Called the Dean of African American composers and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music, including Kurt Masur, Daniel Barenboim and Lorin Maazel. Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk, and His own list of teachers is impressive - not least Nadia Boulanger at the American Institute at Fontainebleau. Donald Macleod, in conversation with the composer, explores the influence of Hailstork's African-American heritage upon his music. Hailstork discusses when he first heard spirituals, and how these works sung by those who were born, lived and died as slaves, had a huge impact upon him. The composer shares with Macleod how the music and musical direction of William Grant Still was influential upon Hailstork's own creative journey, in the bringing together or African and European traditions. Hailstork also discusses the huge impact of visiting dungeons for the slave trade in Ghana, and how this was translated into his own Symphony No. 2. Fanfare on Amazing Grace Eastern Virginia Brass Quintet Rob Cross, timpani James Kosnik, organ Three Spirituals for Orchestra Virginia Symphony Orchestra JoAnn Falletta, conductor Swing Low Sweet Chariot (String Quartet No 2) Ambrosia Quartet Symphony No 2 (excerpts) Grand Rapids Symphony David Lockington, conductor Donald Macleod explores the impact of spirituals on Adolphus Hailstork.
2022	03	Inspired, By European Traditions	20221005	Donald Macleod journeys into Hailstork's European musical influences, including the works of JS Bach. American composer Adolphus Hailstork has written in many genres, ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Of African American heritage and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music, including Kurt Masur, Daniel Barenboim and Lorin Maazel. Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that have had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk. In conversation with the composer, Donald Macleod explores the impact of European musical traditions upon the works of Adolphus Hailstork. One of the most famous music teachers of all time was Nadia Boulanger, and Hailstork discusses the occasionally challenging experience of studying with her. The composer also talks about his love for the music of JS Bach, and how this has influenced some of his own works, including the first of his Three Spirituals for String Trio, We shall overcome, which he developed similar to a Bach chorale. Hailstork also chats with Macleod about the background to his Symphony No. 1, and how this work was premiered outside in extreme heat. Sonata for Two Pianos (Allegro energico) Andrey Kasparov, piano Oksana Lutsyshyn, piano Simon Lapointe, violin Beverly Kane Baker, viola Rebecca Gilmore, cello Trio Sonata Virginia Symphony Orchestra JoAnn Falletta, conductor Donald Macleod explores Nadia Boulanger's impact on Adolphus Hailstork.
2022	04	Inspired, By Anglican Choral Traditions	20221006	Donald Macleod discusses with Adolphus Hailstork the origins of his interest in Jewish traditions. American composer Adolphus Hailstork has written in many genres ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Of African American heritage and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music, including Kurt Masur, Daniel Barenboim and Lorin Maazel. Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that have had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk, and he resides in the state of Virginia, USA. His own list of teachers is impressive, not least of all Nadia Boulanger at the American Institute at Fontainebleau. Hailstork's own reputation has been significant, and he's been called the Dean of African-American composers. Adolphus Hailstork from an early stage not only sang in an Anglican Cathedral, but also played the organ and went on to conduct choirs too. The composer in conversation with Donald Macleod, delves into how important these early experiences were upon how his own musical language has developed. Hailstork mentions how the first movement of his Piano Concerto has been commented upon as similar to Gregorian Chant, and how the grandeur of Cathedral music can be clearly heard in many of his own writings of choir and orchestra. Macleod also explores with the composer how other traditions have influenced him, including finding the Jewish song Shalom Chaverim and creating a set of piano variations from it. String Quartet No 1 (Allegretto) Vahn Armstrong, violin Amanda Gates-Armstrong, violin Jennifer Snyder, viola Michael Daniels, cello Toccata on Veni Emmanuel James Kosnik, organ I Will Sing of Life (Songs of Life and Love) McCullough Chorale Donald McCullough, director Nocturne (Songs of Life and Love) Eight Variations on Shalom Chaverim Andrey Kasparov, piano Piano Concerto (excerpt) Stewart Goodyear, piano Buffalo Philharmonic Orchestra JoAnn Falletta, conductor Donald Macleod delves into Hailstork's early musical experiences in a cathedral.
2022	05 LAST	Other Sources Of Inspiration	20221007	Adolphus Hailstork in conversation with Donald Macleod discusses wrestling with his own cultural duality American composer Adolphus Hailstork has written in many genres ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Of African American heritage and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music, including Kurt Masur, Daniel Barenboim and Lorin Maazel. Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that have had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk, and he resides in the state of Virginia, USA. His own list of teachers is impressive, not least of all Nadia Boulanger at the American Institute at Fontainebleau. Hailstork's own reputation has been significant, and he's been called the Dean of African-American composers. In conversation with the composer Adolphus Hailstork, Donald Macleod explores the many and varied influences upon the composer and his music. From a geographical location which inspired An American Port of Call, setting texts from the Rubaiyat, to how important it is for Hailstork to have the support of his wife Qiu Jin. The composer goes on to discuss his exploration of his own cultural heritage, and how this has impacted upon his own creative development, whilst also looking ahead to works in the pipeline including a further symphony, and two piano concertos. Virginia Symphony Orchestra JoAnn Falletta, conductor Arabesques Debra Cross, flute Robert Cross, percussion Seven Songs of the Rubaiyat McCullough Chorale Donald McCullough, director Whitman's Journey: I launch out on the endless seas Kevin Deas, baritone Virginia Symphony Chorus Donald Macleod explores how Norfolk Port inspired Adolphus Hailstork.