Carmina Burana + Credo Program

P R O G R A M N OT E The unifying power of choral music, from Carmina Burana to Credo By Dr. Lily Kass Margaret Bonds’ Credo (1965) and Carl Orff’s Carmina Burana (1937) are two glorious pieces of 20th-century choral music, powerful multi-movement works inspired by cosmic forces. However, they make an unlikely pair. Credo is relatively unknown, while Carmina Burana has been performed thousands of times. Credo is about the fundamental belief in racial equality and Carmina Burana centers on drinking, dancing, and carnal love. Together, the two pieces expose humanity in all its complexity: sometimes uplifting, sometimes painful, but endlessly interesting. The text of Credo was written by W.E.B. Du Bois in 1904. Modeled after the Nicene Creed, a recitation of Christian beliefs regarding Jesus’ life, death, and resurrection, Du Bois’ Credo is about belief in God, Jesus, and humans. “Especially, do I believe in the Negro Race,” he writes, “in the beauty of its genius, the sweetness of its soul, and its strength in that meekness which shall yet inherit this turbulent earth.” Du Bois denounces war and praises hard work, liberty, education, and patience. Credo was so personally important to Du Bois that it became the preface to his autobiography. For some of Du Bois’ readers, Credo became a personal mantra that they carried with them on small, printed cards. But Credo stayed firmly in the realm of written word until it was set to music 60 years later. Margaret Bonds (1913-1972) was born into a musical family. Her mother, Estella C. Bonds, was an organist for a Baptist church, and she realized that her daughter had a unique aptitude for music when Margaret composed her first piece at the age of 5. Growing up in Chicago, Bonds was surrounded by eminent musicians who were friends of her mother, including the great composer Florence Price. Bonds went on to receive formal training at Northwestern University and Juilliard. Bonds composed Credo in 1965, and it premiered in 1967. In setting Du Bois’ Credo to music, Bonds offered her own powerful interpretation of the text. She turned Du Bois’ 502 words into 22 minutes of music for chorus, soprano and baritone soloists, and piano (the full orchestral version was not performed until 1972). Bonds’ setting emphasizes important phrases in Du Bois’ text through repetition and makes sure that every word can be understood. She manipulated 16