The influence of African-American harmonizing on the 'American' choral works of Frederick Delius

The influence of late nineteenth century African-American folk music on the works of Frederick Delius, while acknowledged by such prominent advocates as Sir Thomas Beecham and Percy Grainger, has only begun to be carefully studied in the last twenty years. Delius himself did not have much to say about the matter, though he expressed affection for African-American singing and harmonizing several times in conversation and correspondence. While scholarly attention has focused on the impact of the repertory of African-American sacred and secular tunes on Delius’s music, the study of extemporaneous harmonizing by African-Americans and its influence has been neglected. When harmonizing has been discussed, it has been in the context of the performance of spirituals. This paper will argue that the improvised harmonizing of a wide variety of music by late nineteenth century African-American male quartets is an important influence in Delius’s choral music, and in particular the ‘American’ works. The study will begin with a review of the latest scholarship on African-American part-singing in the late nineteenth century. Delius’s choral-orchestral works Appalachia and Sea Drift, as well as choral music from the opera Koanga, will be examined for evidence of compositional techniques that may be linked to African-American quartet harmonizing practices. Additionally, the a cappella choral miniature To Be Sung of a Summer Night on the Water will undergo a careful measure-by-measure analysis. All four works will be compared to choral music from the Sacred Concerts of Duke Ellington, which bears a similar imprint. Finally, these matters will be considered in light of Delius as a harmonist in inspiration, structure, and style.