body

Born in Cleveland, Ohio. Education: Cleveland, Ohio., public schools, early training with Dorothy Smith and Mina Eichenbaum (piano), Glenville High School, voice lessons with John Howard Tucker; Oberlin College Conservatory of Music, Oberlin, Ohio, studied composition with Herbert Elwell and Joseph Wood, voice with Robert Fountain, piano with Emil Danenberg, B.M., 1955; studied composition with Robert Starer, 1959; studied composition with Vittorio Giannini, 1960; California State University at Long Beach, studied under Leon Dallin, M.Mus., 1967; Ohio State University, Columbus, Ohio, studied composition with Marshall Barnes, 1968-73, Ph.D., 1973; studied orchestration with Edward Mattila, Eugene O'Brien, and Marcel Dick, 1978-83.

Composing and Performing Career: New York, N. Y. served as piano accompanist for various ballet and dance companies, received numerous performances of his compositions by a variety of artists, 1957-62; Karamu House, Cleveland, Ohio, associate musical director, 1964-65; Kaleidoscope Players, Ration, N. Mex., musical director, 1967-68; Karamu House composer-in-residence, 1979-80; Cuyahoga Community College, Cleveland, Ohio guest composer, 1980; Cleveland Music School Settlement, composer-in-residence, 1981-82, Cleveland, Ohio, Accord Associates, Inc., founder and president, 1980-86, executive vice-president and composer-in-residence, 1986-92; Cleveland, Ohio, Creative Arts, Inc., president and artist-in-residence, 1997-.

Teaching Career: Soehl Junior High School, Linden, N. J., vocal music instructor, 1962-63; Raton, N. Mex., secondary schools, vocal music supervisor and choir director,1966-67; Florida A&M Univ., Tallahassee, assistant professor of music, 1968; Kansas Univ. Lawrence, associate professor of music, director of the University choir, director of choral clinics, 1970-78.

Commissions: Broken Arrow Elementary School, 1975; University of Kansas, 1976; Kansas Composers Forum of Kansas Music Teachers Association, 1977; Cuyahoga Community College 1979; Accord Associates, Inc., 1980, 1981; Ohio Chamber Orchestra, 1981-82; Paul Kaye Singers, Minneapolis, Minn., 1985; Borg-Warner Foundation, Center for Black Music Research, Chicago, Ill., 1989; Cleveland Chamber Symphony, 1991; The Cleveland Orchestra, 1994; and Historic First Presbyterian Church of East Cleveland, Ohio, 1997.

Memberships: Life memberships in Phi Kappa Phi, Phi Mu Alpha Sinfonia, Phi Delta Kappa, Pi Kappa Lambda, American Choral Directors Association; American Guild of Organists; Advisory Council, Music Arts Association (Cleveland Orchestra), 1982.

Honors/Awards: Winner, composition competition, National Association of Negro Women, New York, 1963; National Education Defense Act Fellowship, 1969-70; National Award for Original Composition for Choral Arts, Inc. New York, 1974; National Endowment for the Arts award, 1979; featured composer, "Meet the Artist," Cleveland Public Schools, 1981-82, 1983-84, and 1991; scholar-in-residence, Rockefeller Foundation Study and Conference Center, Bellagio, Italy, 1979; fellowships at the Yaddo Artists Colony in Saratoga Springs, New York, 1980 and 1984; Cleveland Foundation Fellow, 1980; and Jennings Foundation Fellow, 1981.

Performances include those by the: Prague Radio Symphony (under Julius Williams); Iceland Symphony (under Everett Lee); Cleveland Orchestra (under Jahja Ling, Gareth Morrell, Mathis Dulack and Alan Gilbert); Buffalo Philharmonic (under Julius Rudel and William-Eddins); Indianapolis Symphony (under William Henry Curry and Charles Darden); Detroit Symphony (under Leslie Dunner); Savannah Symphony (under Phillip Greenberg); Springfield Symphony (under John Ferrito); Oakland-Pontiac Symphony (under David Daniels); Ohio Chamber Orchestra (under Dwight Oltman) and Black Music Repertory Ensemble (under Michael Morgan and Kay George Roberts). Performances by Metropolitan Opera artists include: Sopranos Martina Arroyo and Veronica Tyler, Mezzo Sopranos Hilda Harris, Barbara Conrad and Florence Quivar; Tenors Seth McCoy and Curtis Rayam; and Baritone Ben Holt. Other artists include Violinist Paul Zukofsky; Pianists Leon Bates, David Garvey and Israela Margalit; Hornist Joseph Eger; Organists James Abbington, Margaret Limkemann, Karel Paukert and Leonard Raver; Soprano Janet Alcorn; Tenors Paul Adkins, William Brown and Darryl Taylor; Baritone Donnie Ray Albert; Bass Mark Doss; the Robert Page Singers & Orchestra; and the William Appling Singers & Orchestra.

Major Citations include:
Anderson, Ruth. "Leslie Adams, composer." Contemporary American Composers: A Biographical Dictionary. 2nd ed. Boston: G. K. Hall, 1982.

Bandfield, William. "Leslie Adams, Composer."   In: Landscapes in Color: Conversations with Black American Composers. Cpt. 2. Landham, Md.: Scarecrow Press, 1998.

Dawkins, Darlene. "Leslie Adams, Composer--A Man and His Music."   Cleveland, Ohio: Clubdate. Vol.8, No.2, Fall, 1987, p. 48-52.

Fain, Kenneth. "Artists and Their Art: Composer Leslie Adams."   Washington, D.C.: Cultural Post/National Endowment for the Arts, May-June, 1979.

Finn, Robert. "Romantic American Drama Stirs Work on Opera."   Cleveland, Ohio: Cleveland Plain Dealer, January, 1983.

Gray, John. "Leslie Adams, composer." Blacks in Classical Music--A Bibliographical Guide to Composers, Performers and Ensembles. Westport, Conn.: The Music Reference Collection, No. 15, Greenwood Press, Inc., 1988.

Groves Dictionary of Music and Musicians. 7th ed. New York: Groves Dictionaries Inc., 1999.

Green-Crocheron, Karen. "Meet Composer Leslie Adams." Cleveland, Ohio: Galore Magazine, May, 1982.

Holly, Ellistine Perkins, comp. Bibliographies of Black Composers and Songwriters: A Supplementary Textbook. Dubuque: Wm. C. Brown Publishers, 1990, p. 56-7.

Horne, Aaron. Woodwind Music of Black Composers. New York: Greenwood Press, 1990, p.9.

International Dictionary of Black Composers. Center for Black Music Research, Columbia College Chicago, 1999.

International Who's Who in Music and Musicians' Directory. 12th ed., 1990-91.

Roach, Hildred. "Composer Leslie Adams." Black American Music: Past and Present. Vol. II. Malabar, Fl.: Robert E. Kreiger Publishing Co., 1985. p.72-3.

Turner, Diana. "Leslie Adams, Composer." Artspace. Vol.6, No.6, Sept./Oct. Columbus, Oh.: Ohio Arts Council, 1983.

White, Evelyn D. Choral Music by Afro-American Composers. Metuchen, N.J.: Scarecrow Press, 1981, p. 131.

Who's Who in American Music: Classical. 2nd ed. [Jacques Cattell, ed.] New York.

Who's Who in Entertainment, 1st ed., Wilmette, Il.: Macmillan Directory Division, 1989-90.

Williams, Yvonne. "The Making of the Opera, Blake., by Leslie Adams: An Interview." Detroit Monographs in Musicology/Studies in Music. Josephine Wright and Samuel A. Floyd, eds., Warren, Mich.: Harmonie Park Press, 1991.

Leslie Adams Music Archives: Special Collections/Rare Books Division, Cleveland Public Library, Cleveland, Ohio, opened 1997. Over 55 boxes, containing scores, manuscripts, cassettes, compact discs, LP's videocassettes, correspondence, diaries, scrapbooks, photographs, organizational papers, and personal artifacts documenting the life and work of the composer. [Library of Congress Call No.ML/40010./A225/A3/1932.] Smaller collection at Center for Black Music Research, Columbia College Chicago; opened 1996.

Publisher information: Choral works, "Madrigal" by Maleki Music; "Love Song' and "There Was an Old Man" by Lawson-Gould; "Hosanna" by Music 70/80/Walton; "Prelude and Fugue for Organ" and "Etude in G Minor" by Vivace Press, P0 Box 157, Readfield, WI 54969 (800) 543-5429; "Love Expressions" and selected orchestral works by Henry Carl Music, Henry Carl Music; 3441 W. Brainard; Woodmere OH 44122. email: henrycarlmusic@lycos.com Phone: 216-287-2319; all others by the American Composers Edition, 170W. 74th St., New York, NY 10023 (800) 376-7662.

For further information, enter "Leslie Adams" into A1taVista, AOL or Yahoo search engines on the World Wide Web.

Note: Unless otherwise indicated, all listed works are available from Henry Carl Music, 3441 W. Brainard; Woodmere OH 44122. email: henrycarlmusic@lycos.com Phone: 216-287-2319.

Five Millay Songs HCM
AKA Five Songs on Texts of Edna St. Vincent Millay
Contents:
Wild Swans; Branch by Branch; For You There Is No Song; The Return from Town; Gone Again Is Summer the Lovely (high & medium-high) (15 min.)

Nightsongs HCM
Contents:
Prayer, Drums of Tragedy; The Heart of a Woman; Night Song;
Since You Went Away; Creole Girl (high & medium) (20 min.)

The Wider View
Contents:
To the Road!; Homesick Blues; Li'l' Gal (or My Man, for female singer); Love Come and Gone; The Wider View; Love Rejoices (high) (20 min.)

Blake (Opera in 4 Acts) (180 mins.) HCM

The Congo (Theater Piece of Solo Readers, Speaking Group, Percussion) (20 mins.)
(unpublished)

A Kiss in Xanadu (Ballet Music) (40 mins.)

Blake. Opera in 4 acts by H. Leslie Adams; text by Daniel Mayers (suggested by an idea from a novel of the same name by Martin Delany).

Blake tells the poignant story of young love, forced separation, and the search for one another and true love. The opera opens with a monologue by Blake (tenor), a 30-year old slave on an American plantation in the deep South just prior to the Civil War. Blake first reflects on his past experiences introspectively, then opens up to address the audience. Act I is in 3 scenes. In scene 1, Blake's comrades, Andy and Jack (tenor and baritone) conspire with Blake about a freedom plan. When Andy and Jack leave, Blake's wife, Miranda (soprano) and Blake sing a tender love duet, prior to Blake's leaving for a journey to Natchez for the plantation master, Major Frank Stevens (baritone). Blake assures Miranda and their young son, Little Joe. In scene 2, Blake departs for the journey in front of the main house, watched by plantation slaves (chorus), the plantation mistress Joanna Stevens (soprano), and house guests from Charleston, Isabella Ballard (mezzo soprano) and her brother Judge Whitney Ballard (bass). Later Frank and the Judge are revealed to be conspirators in a Nationalist plot to conquer Cuba and the Caribbean basin. In scene 3, Isabella announces that she is taking Miranda away with her, a "gift" from the Major. Joanna and the Major quarrel over this, but the Major asserts his complete mastery over Miranda and orders her to be bound. The scene ends with Miranda facing an unknown future.

In Act Two Blake returns, excited about what has happened to Miranda. He and the Major quarrel, leaving the Major expired and Blake a fugitive. Act Three, scene 1, focuses on Miranda in her new home with the Ballards in Charleston. Isabella rebukes Miranda in a clash of ideals, and bids Miranda to help her pack for a trip to Cuba. Miranda, sensing that Blake and Little Joe must be alive and coming closer to her, vows to flee rather than go to a foreign country. In scene 2, Blake dreams of Miranda as he and Little Joe pause in the forest during their journey.

Act Four takes place in the Great Dismal Swamp, where Blake has encountered a long-established maroon camp. Blake is initiated in a colorful ritual featuring dancers and drummers. Word of the war is heard, when a wounded woman is brought into camp; it turns out to be Miranda. A poignant reunion takes place before Miranda dies in Blake's arms. News of the firing on Ft.Sumpter has established the beginning of the war. The group plans to move on to the hills until they can join forces led by Lincoln. Amidst a procession of emotional intensity Miranda is carried away.

1980	May 8	Composition draft of opera begun with preliminary orchestration of act 1, scene 1 at Yaddo Artists Colony (Saratoga Springs, New York)
1981	March 17	Composition draft of act 1, scene 2 completed with preliminary orchestration (Cleveland, Ohio)
1983	January 21	In-Progress Concert, chapel of the Western Reserve Academy (Hudson, Ohio): act 1, scenes 1-2
1983	January 23	In-Progress Concert, Proscenium Theatre, Karamu House (Cleveland): act 1, scenes 1-2
1983	November 3	In-Progress Concert, National Orff-Schulwerk Association Convention, Stouffer's Inn-on-the-Square (Cleveland): act 1, scenes 1-2
1984	January 5	Composition draft of act 1, scene 3 completed with preliminary orchestration (Cleveland)
1984	February 18	Composition draft of act 2 completed at Yaddo (Saratoga Springs)
1984	March 8	In-Progress Concert, Afternoon Lecture-Recital of Cuyahoga Community College Music Department, Metropolitan Campus Auditorium (Cleveland)
1984	April 9	Composition draft of act 3, scene 1 completed (Cleveland)
1984	May 25	Composition draft of act 3, scene 2 completed (Cleveland)
1984	June 27	Composition draft of act 4 completed (Cleveland)
1984	June 29	In-Progress Concert, Karamu Summer Arts Program, Proscenium Theatre, Karamu House (Cleveland): act 2
1985	April 11	In-Progress Concert, Warner Concert Hall, Oberlin College Conservatory of Music (Oberlin, Ohio): excerpts acts 1-4
1985	April 1-May	Rehearsal Reading, Cleveland Institute of Music Orchestra (Cleveland): Prelude to Blake
1985	May 12	In-Progress Concert, Oberlin College Opera Theatre, Finney Chapel (Oberlin): act 1, scene 3
1985	June 20	Gala Opera Preview, Bolton Theatre, Cleveland Play House (Cleveland): excerpts acts 1-4
1986	June 5	Completion of final orchestration of act 1 (Cleveland)
1986	July 6	Completion of final orchestration of act 2 (Cleveland)
1986	October 20	Completion of final orchestration of act 3 (Cleveland)
1986	November 3	Completion of final orchestration of act 4 (Cleveland)
1990	January 21	Arias presented, Cleveland Institute of Music (Cleveland)
1991	February 19	Arias presented, Circle Theater, Indianapolis Symphony Orchestra (Indianapolis, Indiana)
1991	October 20	Arias presented, Pavilion Center, Virginia Beach Symphony (Virginia Beach, Virginia)
1992	February 8	Arias presented, Heinz Hall, Duquesne University Symphony (Pittsburgh, Pennsylvania)
1992	March 27	Arias presented, Constitution Hall (Washington, DC.)
1993	October 3	Arias presented, Ohio Theater (Cleveland, Ohio)
1993	November 13	Arias presented, Kaye Playhouse (Grand Opening), Hunter College (New York City)
1993	November 21	Arias presented, Lehmann University (Bronx, New York)
1994	September 23	Arias presented, William Jewell Concert Series, Folly Theater (Kansas City, Missouri)
1994	November 3-4	Arias presented, Iceland Symphony Orchestra (Iceland)
1995	February 9	Arias presented at Aaron Davis Hall (New York City)
1995	May 26	Arias presented at Cleveland State University (Cleveland, Ohio)
1996	September 14	Arias presented at School of Music, University of Indiana (Bloomington, Indiana)
1997	October 24-6	Complete opera performance of piano-vocal score [with percussion]. Brown Memorial Woodbrook Presbyterian Church (Baltimore, Maryland). (Three performances.)
1998	May 15	Excerpt performance, Cleveland State University (Cleveland, Ohio)
1999	February 27	Excerpt performance, Palace Theater, Canton Symphony Orchestra (Canton, Ohio)
2006	May 6	"VOX: Showacasing American Composers." New York City Opera Company Orchestra and Soloists. Skirball Auditorium; New York University; New York City.

Henry Carl Music
3441 W. Brainard
Woodmere OH 44122
email: henrycarlmusic@lycos.com
Phone: 216-287-2319

H. LESLIE ADAMS Composer Home Page

H. LESLIE ADAMS
Composer Home Page