Northland | Kile Smith | MusicSpoke

Northland

for SATB choir and piano

Poems by Claude McKay (1890-1948)

Music by Kile Smith

SATB choir, piano, 14′. Text by Claude McKay (1889-1948). Commissioned and premiered by the Santa Fe Desert Chorale, Joshua Habermann, Artistic Director, July 23rd, 2023.

The Santa Fe Desert Chorale asked me for a work addressing immigration, and this reminded me of a writer who has attracted my attention for a long time, Claude McKay. The Harlem Renaissance novelist and poet was born in a small village in Jamaica. He relates that he first encountered racism as a young man in the capital city of Kingston, and when he moved to the US to attend college in the South, open racism and institutional segregation both appalled him and fueled his writing. At 24 he moved to New York City; this is the period that produced the poems I’ve set here, although he didn’t put them to paper until after he had moved to England five years later. Each describes an aspect of the new immigrant’s American life, and perhaps he needed the years to intervene before he could make sense of his feelings.

In England and involved in communism, he was invited to Moscow, where he was lionized for his writings on race relations. But, seeing that he was being used as a pawn by the Soviet Union for its own purposes, his ardor soon cooled. After more than a decade in Europe, he returned to the US and became an American citizen in 1940. Continuing to write against unequal treatment of Blacks, he surprised both himself and his friends by his attraction to the Catholic Church, through its work with the poor. He was received into the Church in 1944. Battling ill health, four years later he succumbed to a heart attack, at age 58.

One of the major Black writers of the 20th century, Claude McKay wrote incisive poems, stories, and novels that inspired new generations of authors, including Langston Hughes and James Baldwin.

Northland is my setting of McKay’s wrestling with his immigrant experience. Loneliness, homesickness for the land of his birth, and anger at aspects of his new country are major themes, but in each poem an undeniable love of America works its way in. A 14-minute song cycle cannot summarize any author, but these four poems, in fairly chronological order from a small window of time, end in open-eyed acceptance of the new land.

I have always been attracted to clear, precise texts and imagery and the emotions they evoke. Emotions are often opposed, though, and music is uniquely suited to describe this, through the building blocks of its melodies, rhythms, and harmonies that are often held in tension. The piano in “The Tropics in New York” bubbles and the voices swoon as the ripe fruit represents home. But when it ends with “I turned aside and bowed my head and wept,” and the voices end in a simple unison as the poet weeps, the piano continues on its way, the fruit still gazing down on him from the shop window.

The best a composer can do, I believe, is to set words honestly and not to try to resolve conflicts, but rather to let them work as they do in the poem. “America,” with its shuddering echo of Shelley’s “Ozymandias,” epitomizes this. McKay’s powerful line, “I love this cultured hell,” is set almost too sweetly, as if his confession is being pulled out of him before he realizes it. He stoically envisions the country’s downfall, as if inwardly cheering and regretting at the same time.

“On Broadway” has an insistent blues bass piano line that both ignites and ignores the passionate singing. In the refrain, his rapture for Broadway is real—but it cannot erase his loneliness. The music of the last poem, “To One Coming North,” exhibits elements of the American fiddle tune, the parlor song, and the hymn, but is too off-kilter and lush to fit any of them neatly. The immigrant, while still in love with his homeland, has fallen in love with his new country, and, it seems to me, is getting used to singing in his new language.

Northland

for SATB choir and piano

Poems by Claude McKay (1890-1948)

Music by Kile Smith

1. The Tropics in New York (1920) p. 4 Bananas ripe and green, and ginger root      Cocoa in pods and alligator pears, And tangerines and mangoes and grape fruit,      Fit for the highest prize at parish fairs,

Sat in the window, bringing memories      of fruit-trees laden by low-singing rills, And dewy dawns, and mystical skies      In benediction over nun-like hills.

My eyes grow dim, and I could no more gaze;      A wave of longing through my body swept, And, hungry for the old, familiar ways      I turned aside and bowed my head and wept.

2. America (1921)

p. 12

Although she feeds me bread of bitterness, And sinks into my throat her tiger’s tooth, Stealing my breath of life, I will confess I love this cultured hell that tests my youth. Her vigor flows like tides into my blood, Giving me strength erect against her hate, Her bigness sweeps my being like a flood. Yet, as a rebel fronts a king in state, I stand within her walls with not a shred Of terror, malice, not a word of jeer. Darkly I gaze into the days ahead, And see her might and granite wonders there, Beneath the touch of Time’s unerring hand, Like priceless treasures sinking in the sand.

3. On Broadway (1922) p. 17 About me young careless feet Linger along the garish street; Above, a hundred shouting signs Shed down their bright fantastic glow Upon the merry crowd and lines Of moving carriages below. Oh wonderful is Broadway — only My heart, my heart is lonely.

Desire naked, linked with Passion, Goes trutting by in brazen fashion; From playhouse, cabaret and inn The rainbow lights of Broadway blaze All gay without, all glad within; As in a dream I stand and gaze At Broadway, shining Broadway — only My heart, my heart is lonely.

4. To One Coming North (1922) p. 28 At first you’ll joy to see the playful snow,   Like white moths trembling on the tropic air, Or waters of the hills that softly flow   Gracefully falling down a shining stair.

And when the fields and streets are covered white   And the wind-worried void is chilly, raw, Or underneath a spell of heat and light   The cheerless frozen spots begin to thaw,

Like me you’ll long for home, where birds’ glad song   Means flowering lanes and leas and spaces dry, And tender thoughts and feelings fine and strong,   Beneath a vivid silver-flecked blue sky.

But oh! more than the changeless southern isles,   When Spring has shed upon the earth her charm, You’ll love the Northland wreathed in golden smiles   By the miraculous sun turned glad and warm.

1. The Tropics in New York

port.

port.

and gin ger - root

port.

and gin ger - root

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&bbb &bbb & ‹ bbb ?bbb &bbb mp

mp eyes, myeyes grow dim, andI could

& ?bbb &bbb &bbb & ‹ bbb ?bbb &bbb ?bbb

My

mp myeyes grow dim, andI could 35 no more gaze;

f

Awave of longingno more gaze;

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port. f Awave of longingf

f port. Awave of longingno more gaze;

œ œ œ œ œ œ œ œ œ J œ œ œ™ ™ ™ œ œ œ œ œ œ j œ œ œ œ œ œ j œ œ œ œ œ œ j œ œ œ œ œ œ j ‰œœ n œ œ ‰ œ œ œ œ œ œ J œ œ œ J œ œ œ œœ™ ™ œ œ™ ™ œ œ™ ™ œœ™ ™ œœ™ ™ œ œ™ ™ œ œ ™ ™ œ œ ™ ™ Kile Smith—Northland

9 This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

mf y-

f-

swept,

&bbb

through my,

mf y-

swept,

f -& ‹ bbb through my,

mp through my bod

mf y-

. swept,

through my,

mf y-

f&bbb

. swept,

mp mf f

f -

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And,

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---

mp hungry - for theold, fa mil- iar- ways I -

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&

bbb

mf turned ‹

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And,

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mp hungry - for theold, fa mil- iar- ways I >mp

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mfmf ?bbb& > ?

--

&b

& ‹ b

f> Her big ness- sweeps &b

gainstherhate,

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f> Her big ness- sweeps

ff my being - likea flood. Yet,

gainstherhate,

f> Her big ness- sweeps

ff my being - likea flood. Yet, &bff

mf?b-&b p

Yet,as arebel - frontsa king in

state, I standwithin - herwalls withnotashredOf

I standwithin - herwalls withnotashredOf

p stand, with p

p notashredOf 5 4 4 4 5 4 4 4 5 4 4 4 5 4 4 4 5 4 4 4 5 4 4 4 5 4 4 4 5 4 4 4 5 4 4 4 5 4 4 4 5 4 4 4 5 4 4 4

&b p ∑ & ‹ b p ∑ ∑ ?b pp ∑ ∑ ∑ &b p ∑ ? ?b ∑ œ œ ˙ ‰ œ J œ œ œ œœœœ œœ w œ œ ˙ ‰ œ J œ œ œ œ œ œœ œ œ ˙ ˙ œ œ ˙ ‰ œ J œ œ œ œ œœ œ œ ˙ ˙ œ œ ˙ ‰ œ J œ œ œ œ œœ œœ ˙ ˙ œ œ œ ‰ œ œj œ œ œ œ‰ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ ™ ™ œ œ œ J œ œ œ J œ œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ ˙ ‰ œ j œ œœœœ œœœ œ œ˙ Œ‰ œ j œ™ œjœœœ œ ‰ œ j œœ œ œ ˙ Ó Ó ŒŒ‰ œ j œ™ œjœœœ œ ‰ œ j œœ œ œ ˙ Ó Ó Œ ‰œj ˙™ Œ ˙ ˙ Œ‰œ J œœ œ œ ˙ ˙ ˙ ˙ œ™ œ J ˙ ˙ ™ ™ ˙ ˙ ˙ ˙ ˙ ˙˙ n ˙ ˙ œ œ ˙ Ó ˙ ˙ ˙ ˙™ ™ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ Kile Smith—Northland 14 This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

sand. unis. Like

pp price less- treasures - sink ing- in the sand.

pp price less- treasures - sink ing- in the 16 This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Like œœ j ‰ Œ Œ ‰ œ j œ œ œ Ó ‰ œ j œ œ œ™ œœ œ Œ Ó œ œ j‰ Œ Ó œ œ j ‰ Œ Ó œ œ J ‰ Œ Ó Œ ˙™ œ œ™ ˙ Ó œ™ œ J Œ ˙ ˙™ ™ Ó ˙ ˙ Œ ‰ œ j œ™ œ j œ œ œ œ œ ˙ ˙ w w ˙™ Œ ‰ œ j œ™ œ j œ œ œ œ #œ ˙ ˙˙ <n> ww ww ˙˙™ ™ Œ ‰ œ j œ™ œ j œ œ œ œ œ ˙ ˙ w w ˙™ Œ ‰œj œ™ œ j œ œ œ œ nœ ˙ ˙ w w ˙™ w w œ œ œ˙™ w ˙™ w w ˙ ˙ ™ ™ œ w ˙™ Kile Smith—Northland

Likeprice less- treasures - sink ing- in the sand.

Linger -

along - the gar ish - street; along - the gar ish - street; along - the gar ish - street;

downtheir bright fan tas- tic- glow, their bright fan tas - tic

downtheir bright fan tas- tic- glow, sheddown,sheddowntheir bright fan tas - tic

downtheir bright fan tas- tic- glow, sheddown,sheddowntheir bright fan tas - tic-

downtheir bright fan tas- tic- glow, sheddown,sheddowntheir bright fan tas - tic-

straight 8ths - themerry - crowdbe low,- and &bbb ∑ &bbb ∑ ∑ & ‹ bbb ∑ ∑ ?bbb ∑ ∑ &bbb 3

upon - the mer ry - crowd andlinesOfmoving - car riag -upon - the mer ry - crowd andlinesOfmoving - car riag -upon - the mer ry - crowd andlinesOfmoving - car 3 3 3 ?bbb &bbb 3 &bbb & ‹ bbb ?bbb &bbb ∑ ?bbb

riag -w w Ó Œœ œ™ œ J Ó Ó ‰œJœœ nw w Ó Œ œ œ J œ œ j œ Œ w w Ó Œ œ œ J œ œ J œ Œ w w Ó Œ œ œ J œ œ J œ Œ œœ œ˙ œœ œœ˙ œbœœ˙ Œ œœ œœ ˙˙ ˙ Ó œ œœj‰Œ Œ œ œ œ J‰ Ó w œ œ œœ œ œœœ œœ œœ Œ œ œ ˙™ œœ w œœ œ œ œ œ œ œ œ œ œœ œ œ œ Œ Œ ‰œ J œœ œ œ œ œ œ ˙ Œ œ Ó ‰œJœœ œ™ œ j œ œ œ Œ ‰œj œ œ œ J œ œ j œ œ Ó ‰ œ Jœ œ œ™ œ J œ œ œ Œ ‰ œ J œ œ œ J œ œ J œ œ Ó ‰ œ Jœœ œ™ œ J œ œ œ Œ ‰ œ J œ œ œ J œ œ J œ œ Œ œ œ œ J‰Œ Œ œ œ œ J‰ ‰ œ œ œ J œ œ œ Ó Œ œ œ œœ w œ œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ Kile Smith—Northland

19 This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Goes trutting - by in

brazen - fash

Goes trutting - by in brazen - fash ion; - From playhouse, - caba--

Goes trutting - by in brazen - fash ion; - From playhouse, - caba

within;82

the 4 4 4 4 4 4 4 4 4 4 4 4

lines,andlines, andlines, with in

mf merry - crowd, within;&bbb ∑ &bbb ∑ ∑ & ‹ bbb ∑ ∑ ?bbb ∑ ∑ &bbb 3 3 3 ?bbb &bbb 3 &bbb & ‹ bbb ?bbb &bbb ∑ ?bbb

mf merry - crowd, within;24 This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

mf merry - crowd,

the

straight 8ths - themerry - crowdbe low,- As

within - the mer ry - crowd, Asin adreamI stand, As within - the mer ry - crowd, Asin adreamI stand, As within - the mer ry - crowd, Asin adreamI stand, As

the œœ˙™ w Ó Œœ œ™ œ J Ó Ó ‰œ J œœ œ œ˙™ w Ó Œ œ œ J œ œ j œ Œ œ œ˙™ w Ó Œ œ œ J œ œ J œ Œ œ œ˙™ w Ó Œ œ œ J œ œ J œ Œ œ œ œ œ ˙ ˙™ ™ œ œ œ œœ˙ œbœœ˙ Œ œœ œœ ˙˙ ˙ Ó œ œœj‰Œ Œ œ œ œ J‰ Ó w œ œ œœ œ œ œœ œœ œœ Œ œ œ ˙™ œœ w œœ œ œ œ œ œ œ œ œ œœ œ œ œ Œ Œ ‰œ J œœ œ œ œ œ œ ˙ Œ œ Ó ‰œ J œœ œ™ œ j œ œ œ Œ ‰œjœœ œ J œ œ j œ œ Ó ‰ œ J œ œ œ™ œ J œ œ œ Œ ‰ œ Jœœ œ J œ œ J œ œ Ó ‰ œ J œœ œ™ œ J œ œ œ Œ ‰ œ Jœœ œ J œ œ J œ œ Œ œ œ œ J‰ Œ Œ œ œ œ J‰ ‰ œ œ œ J œ œ œ Ó Œ œ œ œœ w œ œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ Kile Smith—Northland

windwor - ried- void ischilly, - raw, Or un der- neath- a spell ofheatand

windwor - ried- void ischilly, - raw, Or un der- neath- a spell ofheatand

windwor - ried- void ischilly, - raw, Or un der- neath- a spell ofheatand

windwor - ried- void ischilly, - raw, Or un der- neath- a spell ofheatand

light The cheer less - frozen - spots begin - to thaw, Like

light The cheerless - frozen - spots begin - to thaw, Like

light The cheerless - frozen - spots begin - to thaw, Like

light The cheerless - frozen - spots begin - to thaw, Like

me you’lllongfor home, where birds’ glad song

mp

me you’lllongfor home, where birds’ glad song Means

me

melody; bring forward you’lllongfor home, wherebirds’ glad song Means

mp

div. you’lllongfor home, where birds’ glad song Means

me

flower ing - lanes andleas and spac es- dry,

And

ten der- thoughtsand

flower ing - lanes andleas and spac es- dry,

, ten der- thoughtsand

#

flowering - lanes andleas andspaces - dry,

flowering - lanes and leas andspaces -

And

,

, ten der- thoughtsand ?#

flowering - lanesand leas andspaces - dry,

ten der- thoughts

62

isles,

mf oh! morethanthechangeless - south ern-

mf oh! morethanthechangeless - south

But

ern-

mf oh! morethanthechangeless - south ern-

But ø ø ø

When Spring has shed upon - theearth her charm,

When Spring has shed upon - theearth her charm, isles,

° &# ∑ ∑ ∑ &# ∑ ∑ ∑ & ‹ # ∑ ∑ ∑ ?# ∑ ∑ ∑ &# mf - --&# ? > ---&# &# & ‹ #

&# --?#-Œ Œ œ œ™ œ j œ œ œ™ œ J œ œ Œ Œ œ œ™ œ j œ œ œ™ œ J œ œ Œ Œ œ œ™ œ j œ œ œ™ œ J œ œ Œ Œ œ œ™ œ J œ œ œ™ œ J œ œ œ œœ œœ œ œœ œœ œ œ œ œ œ œ ˙ ˙˙ ˙ œ œ ˙ ˙ ˙ ™ ™ ™ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ˙ ˙ ˙ ˙ ™ ™ ™ ™ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ œ œ œ œ œ œ œ œ ™ ™ ™ ™ œ j œ œ œ œ œ œ œ œ ™ ™ ™ ™ œ j œ œ œ œœ œ œœ œœ œ œ œ œ ™ ™ ™ ™ œ ˙ ˙ ˙ ˙ œ œ œ œ J œ j Œ ˙ ˙ ˙ ˙ ™ ™ ™ ™ ˙ Œ ˙ ˙ ˙ ˙ ™ ™ ™ ™ ˙ œ œ œ œ œ œ œ ™ ™ ™ œ œ j œ œ œ œ œ œ œ ™ ™ ™ œ œ j ˙ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ Œ Œ Œ œ œ œ œ œ œ œ œ œœ œœœ œ ˙ Œ Œ Œ œœ œ œ œ œ œ œ œ œ œœ˙ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ J œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ ˙ ˙ œœ œ œ œ œ œ œ œ œ œ œ J œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œœœœœœ Kile Smith—Northland 33 This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Sacred

Alleluia. SATB, 6' (Hal Leonard) Ave Maris Stella. SSATTB, Renaissance band, 23' Behold, the Best, the Greatest Gift. SATB, organ, 4'30" Come, Gather All. SATB, organ, opt. brass quartet, 3' Come, Ye Sinners. SATB, organ, 3'

*For His Mercy Endures Forever (Psalm 136). SATB, 5' Give Ear, O Heavens (Audite cæli). SATB, organ, 5' *God So Loved the World. SATB, 2' Go Forth into the World in Peace. SATB, piano, 4'30" The Heavens Declare. SATB, SAB solos, piano, 5' Herr Christ, der einig Gotts Sohn from Vespers. SATB div a 16, German, 5' *Holy Mountain. SATB, organ, 4'

I Heard the Bells on Christmas Day. SATB, bells, drum, 3' (Hal Leonard) In the Midst of Life. SATB, 15'

I Sought the Lord, and Afterward I Knew. SATB, opt sop solo, 3' Jesus, Thou Joy of Loving Hearts. SATB, organ, 2' *Jubilate Deo. SATB, organ, 6' Magnificat. SATB, handbells, opt organ, 5' Magnificat Antiphon. SATB, congregation, organ, 3' My God, Accept My Heart This Day. SATB, SAB solos, organ, opt solo inst, 3' My Shepherd Will Supply My Need. SATB, organ, 4' O Come, O Come, Emmanuel. SATB, SATB solos, organ, 3' (Concordia) *O Rex Gentium. SATB, 5'

O Sing unto the Lord a New Song. SATB, 5' *O Thou Who Camest from Above. SATB, 4' Out of the Depths (Psalm 130). SATB, 7' Passer invenit sibi domum (Psalm 84). SATB. Latin, 4' Psalm 84. SATB

Psalm 113 from Vespers. SATB, keyboard. Latin, 5'30"

*Rejoice in the Lamb. SATB, 5'

Rise Up, Shepherd, and Follow. SATB, piano, 4' (Hal Leonard) Shall the Blessed Saints Surround Us. SATB, organ, 3'

That Easter Day with Joy was Bright. SATB, 4' Wie schön leuchtet der Morgenstern (How Fair the Bright and Morning Star) from Vespers. SATB, keyboard. German, English, 4' The Word of God. SATB, organ, 4'

Concert

Alabanza (Sonia Sanchez, Psalm 147, 148). 2-pt choir, piano, opt instr, 6' Alleluia. SATB, 6' (Hal Leonard)

America the Beautiful. SSAA, piano, 5' *And Good in Every Thing (William Shakespeare). SATB, 5'

The Arc in the Sky (Robert Lax). SATB, 65' (ECS) *Canticle (St. John of the Cross). SATB, 3 cellos, 1 perc, 65' *The Chambered Nautilus (Oliver Wendell Holmes Sr.). SATB, 5'

*The Consolation of Apollo (Apollo 8 astronauts, Boethius). SATB, crotales, bass drum, 35' Dark is the night and green is the grass (Tumša nakte, zaļā zāle). Latvian folk song. SATB, Latvian, English, 3'30"

The Dawn’s Early Light (Sarah Winnemucca, Francis Scott Key). SATB, cello, 4 guitars, 20' *Everyone Sang (Siegfried Sassoon). SATB, 5'

*Grandmother’s Garden (John Archambault). 2-pt children’s choir, piano, opt. C instr, 9'

The Heavens Declare (Psalm 19). SATB, SAB solos, audience, piano, 5'

*How Do I Love Thee? (Elizabeth Barrett Browning). SSAA, piano or string quartet, 7' my son my son (Robert Lax). SATB, 5'

*Northland (Claude McKay). SATB, piano, 14'

Now Ys the Tyme of Crystymas (Richard Hill). SATB div or vocal quartet, opt piano, 4' Psalm 46. Baritone solo-SATB-orchestra, 14'

*The Stars Shine (from The Consolation of Apollo). SATB, crotales, bass drum, 3'

The Star-Spangled Banner (from The Dawn’s Early Light). SATB, piano, 5' (Hal Leonard)

*Two Laudate Psalms (Psalm 113, 150). High voice solo, SA, piano. 10', Latin Vespers (sections, different transcriptions available separately). SSSATB soloists from choir, SSAATTBB, Renaissance band of 7 players, 65' (Navona Records Vespers)

*The Waking Sun (Seneca). SATB, chamber orch, 38'

*Where Flames a Word (Paul Celan). SATB, 13' (Navona Records It Is Time)

Where the Mind Is Without Fear (Rabindranath Tagore). SATB, 4'30" Wireless (various). TTBB, soprano saxophone, harp (or piano), 31'

*Yes, It’s Beautiful (from The Consolation of Apollo). SATB, crotales, bass drum, 5' *You Are Most Welcome (Jeff Dinsmore). SATB, 4'