Margaret Bonds

The spiritual “You Can Tell the World” remained fertile ground for Margaret Bonds’ compositional genius throughout her career. This SSA setting of “You Can Tell the World,” is unique, however, because...

For solo voice and piano. Text by Langston Hughes. In the words of editor John Michael Cooper, this work is an example of the deeply poetic creative nature of the Bonds-Hughes collaborations. By genre...

This duet for two solo voices with piano accompaniment features text by Langston Hughes, whose words emphasize the powerful rhythms of African drums and the sensual appeal of the dance. Bonds' work of...

A Spiritual, for mixed chorus (SATB) with piano

This work is typical of the unrelenting originality of Margaret Bonds' arrangements of spirituals. It was composed in 1969 for legendary soprano Leontyne Price and the A Cappella Choir of Rust College...

Il s'agit de l'un des deux courts chœurs sacrés et des deux chants sacrés sur les mêmes textes que Bonds a composés en 1968. À l'origine, Bonds a composé l'œuvre pour voix seule et piano, puis l'a arr...

This is one of two short sacred choruses and two sacred songs on the same texts that Bonds composed in 1968. The words were written by her friend and frequent collaborator Janice Lovoos, a multifacete...

The text for this choral masterpiece is W. E. B Du Bois' 'Credo' (1904), promoting racial justice, equality and harmony. The piano/vocal score was the original score prepared by the composer. This is...

Margaret Bonds composed this choral piece in 1968. The text for this work is the well known and timeless 'Prayer for St Francis of Assissi' (anonymous) that begins 'Lord, make me an instrument of thy...

Adapted by acclaimed pianist Lara Downes from the original work “Especially Do I Believe in the Negro Race” by Margaret Bonds. This is the lyrical second movement from Bonds’ larger work, “Credo” on t...

This beautiful lullaby for women's chorus uses text by Joyce Kilmer (1886 - 1918). Bonds sets this text as a tender lullaby, beginning quietly and moving to intricate melodies, lush harmonies, and tex...

Voici la partition d'étude tant attendue pour la mise en musique orchestrale de l'œuvre puissante de Margaret Bonds, Credo, pour soprano et baryton solistes, orchestre et chœur SATB. Le texte de cette...

Immerse yourself in the uplifting and rich tradition of the African American spiritual with "Ezek'el Saw The Wheel." This expressive work for voice and piano captivates with its compelling rhythmic dr...

A Spiritual

A frequent collaborator with poet Langston Hughes and one of the first black women to break into the world of classical composition and performance; Margaret Bonds studied with Roy Harris at Juilliard...

Les chansons de ce volume documentent la vie musicale de Margaret Bonds en tant que compositrice de chansons d'art avant qu'elle ne s'installe à New York en 1939. "Sleep Song" et "Sea Ghost" sont les...

Edited by John Michael Cooper. Those who know the composer from the melodic richness and emotional intensity of her works 'Troubled Water', 'The Negro Speaks of Rivers', and 'Three Dream Portraits' wi...

Cette pièce de Margaret Bonds est une réinterprétation SATB de sa chanson d'art, avec un langage d'inspiration folklorique et un idiome musical qui la rend accessible aux chœurs de lycées et d'univers...

The two works in this publication are Tangamerican and Fugal Dance. In the words of editor John Michael Cooper, Tangamerican is melodically, harmonically, and stylistically rich, but succinct - just t...

Margaret Bonds a décrit cette œuvre comme la première composition chorale écrite expressément pour la George McClain Chorale. Selon ses propres termes, "la chorale avait besoin d'une composition légèr...

En 1969, la soprano Leontyne Price lui a commandé I Wish I Knew How It Would Feel to Be Free et trois autres spirituals pour les interpréter avec le Rust College A Cappella Choir. L'œuvre reflète l'ap...

La chanson spirituelle "You Can Tell the World" a été un terrain fertile pour le génie compositionnel de Margaret Bonds. Elle l'a d'abord arrangé pour voix seule et piano, puis a écrit une version orc...