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Who wrote the Montgomery Variations & du Bois 'Credo'?
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Who was Margaret Allison Bonds?
In her lifetime, African American composer Margaret Bonds was classical music's most intrepid social-justice activist. Furthermore, her Montgomery Variations (1964) and setting of W.E.B. Du Bois's iconic Civil Rights Credo (1965-67) were the musical summits of her activism.
In 1964, Bonds wrote Montgomery Variations for orchestra, a set of seven programmatic variations on the spiritual "I Want Jesus to Walk with Me." Bonds penned a program for the work which explains that it centered on Southern Blacks' decision no longer to accept the segregationist policies of the Jim Crow South, focusing on the Montgomery Bus ...
Because of the personal meanings of the Negro spiritual themes, Margaret Bonds always avoids over-development of the melodies. “The Montgomery Variations” were written after the composer’s visit to Montgomery, Alabama, and the surrounding area in 1963 (on tour with Eugene Brice and the Manhattan Melodaires.)
Margaret Bonds conceived The Montgomery Variations during a thirteen-state Southern tour in the spring of 1963 – a tour that took her not only to Montgomery, Alabama (a fiercely contested battleground in the ongoing Civil Rights Movement), but also to Birmingham in the same state – the latter at the beginning of Dr. Martin Luther King’s ...
Mar 1, 2024 · One of Bonds’ largest and perhaps most important works– Montgomery Variations, written in 1965 during the Selma-to-Montgomery Freedom March and dedicated to Dr. Martin Luther King, Jr.–has never been performed. It doesn’t enter the public domain until either 2042, 2060, or 2085, depending on your interpretation of the law.
In her lifetime, African American composer Margaret Bonds was classical music’s most intrepid social-justice activist. Her Montgomery Variations (1964) and setting of W. E. B. Du Bois’s iconic Civil Rights Credo (1965–7) were the musical summits of her activism.
Bonds’s music spanned genres: she wrote so-called classical music in many forms—among them, her one surviving orchestral work, The Montgomery Variations, and four large-scale choral works, of which two survive complete, including Credo.
