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New World A’Comin’: Religious Perspectives on the Legacy of Duke Ellington

New World A’Comin’: Religious Perspectives on the Legacy of Duke Ellington New World A'Comin': Religious Perspectives on the Legacy of Dulce Ellington Mark Sumner Harvey Nearly a decade and a half after the passing of one of our greatest composers, Edward Kennedy "Duke" Ellington, his music continues to delight and amaze people the world over. His famous orchestra, now directed by his son Mercer, carries on the Ellington tradition drawing on a repertoire of several thousand works, ranging from pop­ ular standards like "Satin Doll" to ballet and symphonic scores, and to the major achievement of his later years, the Sacred Concerts, considered by many to contain some of his best music. A recent concert performance of this sacred music in Symphony Hall, Boston, prompted me to reflect on the legacy of this cultural figure, indeed, on religious perspectives of that legacy which extend beyond Ellington's music yet always seem to come to focus in it, revealing a new world of religio-musical expression to the discerning listener. Duke Ellington's First Sacred Concert premiered in the fall of 1965 at San Francisco's Grace Cathedral. And while developments­ such as a new awareness and positive estimation of the black cul­ tural heritage brought to the fore by the civil rights movement, a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

New World A’Comin’: Religious Perspectives on the Legacy of Duke Ellington

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Copyright
Copyright © 1992 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-6.1.146
Publisher site
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Abstract

New World A'Comin': Religious Perspectives on the Legacy of Dulce Ellington Mark Sumner Harvey Nearly a decade and a half after the passing of one of our greatest composers, Edward Kennedy "Duke" Ellington, his music continues to delight and amaze people the world over. His famous orchestra, now directed by his son Mercer, carries on the Ellington tradition drawing on a repertoire of several thousand works, ranging from pop­ ular standards like "Satin Doll" to ballet and symphonic scores, and to the major achievement of his later years, the Sacred Concerts, considered by many to contain some of his best music. A recent concert performance of this sacred music in Symphony Hall, Boston, prompted me to reflect on the legacy of this cultural figure, indeed, on religious perspectives of that legacy which extend beyond Ellington's music yet always seem to come to focus in it, revealing a new world of religio-musical expression to the discerning listener. Duke Ellington's First Sacred Concert premiered in the fall of 1965 at San Francisco's Grace Cathedral. And while developments­ such as a new awareness and positive estimation of the black cul­ tural heritage brought to the fore by the civil rights movement, a

Journal

Black Sacred Music – Duke University Press

Published: Mar 1, 1992

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