Beverly Soll Research Collection on William Grant Still, ca. 1920s-1980s
| Oberlin College Archives
Arrangement
Series and subseries for this collection were assigned by archives staff, but original arrangement by Beverly Soll was retained.
Series 1. Index, Bibliography, Note Concerning Scores, and Electronic Files
by Beverly Soll
Series 2. General Archival Research Documents
Subseries 1. Diaries
Subseries 2. Correspondence
Subseries 3. Scrapbooks
Subseries 4. Writings and Music Research Files
Subseries 5. Additional Archival Files and Writings from
Other Sources
Series 3. Opera-Specific Files
Bayou Legend
Blue Steel
Costato
Highway 1 U.S.A. / Southern Interlude
Minette Fontaine
Mota
The Pillar
Troubled Island
Administrative/Biographical History
Beverly Soll
Beverly Soll holds degrees in piano from the University of Illinois and a Doctor of Musical Arts from the University of Maryland. She has served on the faculty at the State University of New York-Geneseo, George Mason University (Virginia), Wayne State College (Nebraska) and Salem State University (Massachusetts). As a chamber musician, accompanist, and solo pianist, she has performed throughout the United States and in Germany.
In addition to her college and university teaching, Dr. Soll has throughout her career performed as a free-lance musician, including work at the Eastman School of Music and as assistant coach with the Opera Theatre of Rochester. Later in the Washington, D.C. metropolitan area, she maintained a coaching/accompanying studio of professional and semi-professional singers and instrumentalists and participated in numerous performances, including several at the Kennedy Center for the Performing Arts. She directed the Scenes Group of Washington (an opera scenes group) and performed with Da Capo (a piano trio).
While on the music faculty of Wayne State College, part of her duties included management of the professional performance series. She was the founding director of the Center for Cultural Outreach, a multi-faceted office that hosted guest artists and multicultural scholars and festivals, a Sunday afternoon lecture series, a First Fridays series for senior citizens, and a host of outreach programs for area schools. This experience led to her work from 1999-2008 at the University of Wisconsin-Eau Claire as coordinator of arts and special events.
Scholarly publications include articles on Aaron Copland and Max Reger, a three-volume collection of arias from the operas of African American composer William Grant Still, and a 2005 book on Still’s operas, I Dream a World, published by the University of Arkansas Press.
Currently, an adjunct music faculty member at Salem State University in Salem, Massachusetts, Dr. Soll also works as a free-lance pianist/coach on the North Shore and in the Boston metropolitan area. She performs frequently with New England Light Opera and is the artistic director of the Boston Singers’ Resource Recital Series.
Source
Taken from the Beverly Soll website at https://www.beverlysoll.com/bio.html, accessed 3/27/2018.
William Grant Still
William Grant Still (1895-1978), who became known as the “Dean of African-American Composers," was born in Woodville, Mississippi, on May 11, 1895, the son of William Grant Still, a music teacher and bandmaster, and Carrie Lena Fambro, a schoolteacher. After graduating from high school (Little Rock, Arkansas, 1911), Still attended Wilberforce University (Wilberforce, Ohio) from 1911-15, but left without taking a degree in order to follow full time his main interest, the interest which he had pursued at Wilberforce by forming a band and a string quartet.
Moving to Columbus, Ohio in 1915 Still played in various dance bands, including one led by W. C. Handy, "the father of the blues." He had earlier taught himself clarinet and oboe and now was also performing on violin and cello. Two years later, he entered the Conservatory at Oberlin College (Oberlin, Ohio) to study composition, but in 1918, he left to join the United States Navy where he played violin in an all-black mess hall. After his discharge in 1919, he returned to popular music, now as an arranger as well as a performer, arranging for Paul Whiteman, Artie Shaw, Eubie Blake and others.
In 1922, Still resumed his formal education, this time at the New England Conservatory of Music (Boston, Massachusetts) where he studied composition with Edgard Varese whose influence is found in Still's early serious works to which he turned in the late twenties and thirties although he never abandoned popular music. Rather, throughout his career, Still moved easily between the two worlds. Until the early forties, he arranged and orchestrated for Broadway shows and several popular entertainers and conducted on radio shows for all three networks. During these same years, he composed From the Land of Dreams (1924), Darker America (1924), From the Black Belt (1927), and his best-known work, Afro-American Symphony (1930). Its performance by the Rochester Philharmonic Orchestra (Rochester, New York) in 1931 marked the first performance of a symphony by an Afro-American by a major orchestra. Still's other "firsts" include his being the first Afro-American to conduct a major orchestra (Los Angeles, California, 1936) and the first to conduct an all-white orchestra in the Deep South (New Orleans, 1955).
Honors and awards came early and continued throughout his life: a Harmon Award (1927), two Guggenheim Fellowships (1934-35), two Rosenwald awards (1939-40), and a Freedom Foundation award (1953). Although he never earned an academic degree, Still received seven honorary degrees including an Honorary Master of Music from Wilberforce University (1936), an Honorary Doctor of Music from Oberlin College (1947), and an Honorary Doctor of Law from the University of Arkansas (Fayetteville, 1971). Oberlin College recognized him on three other occasions. The College premiered Still's From a Lost Continent as part of its Contemporary Music Festival in 1951. In 1970, when he returned to campus for his 75th birthday celebration, Still was honored with a concert of his own compositions which included the first performance of his Symphony #5, Western Hemisphere, and in 1995 it remembered him with a Centennial Concert of his works.
The diversity of Still's composition is impressive: nine operas, five symphonies, four ballets, numerous compositions for voice and for piano, chamber ensembles - and two for accordion. Although some Afro-Americans dismissed his serious music as "Eur-American," Still always insisted that his goal had been "to elevate Negro musical idioms to a position of dignity and effectiveness in the fields of symphonic and operatic music." In 1948 he wrote that he wanted his music to be a vehicle to bring about better racial understanding (qtd. Macdonald). In 1969, during a conference on black music at Indiana University he commented, "I made this decision of my own free will...I have stuck to this decision, and I have not been sorry." (DNB).
In 1915 Still married Grace Dorothy Bundy; they had four children: William Bundy, Gail Still [sic], June Allyn and Carolyn Elaine. The couple divorced in the late twenties. Still married again in 1939. His second wife, Verna Avery, an accomplished pianist and writer, wrote the lyrics for several of Still's works and assisted him in many other ways. The Stills had two children: Duncan Allan and Judith Anne.
William Grant Still died in Los Angeles on December 3, 1978. Verna Avery died there in 1987.
Sources Consulted
75th Birthday Concert in Honor of William Grant Still. Program and Program Notes.
Macdonald, Claudia, "Program Notes." William Grant Centennial Concert. May 27, 1995. An excellent three-page analysis of Still's music.
Still, William Grant. Oberlin College Alumni Report Form. September 27, 1947.
Still, William Grant, Composer. Vita. n.d. (Post-1940.)
Still, William Grant. Dictionary of National Biography. [DATE.] Vol 20, pp. 776-77. The article contains valuable material on Still's life and works, including his musical styles.
William Grant Still and Verna Avery Papers. Introduction to the lives of Still and Avery and a description of their papers at the University of Arkansas. http://www.uark.edu/libinfo/speccoll/still/still1aid.html
Administrative InformationThe papers were received from Beverly Soll on September 18, 2013. The electronic files and prints from them are primarily from originals in other repositories.
Beverly Soll gifted her copies of orchestral and piano/vocal scores for the operas by William Grant Still to the Oberlin Conservatory Library.
For additional biographical information on Still, see his student files in RG 28, Graduates and Former Students.
See also the William Grant Still and Verna Arvey Papers, 1921-1995 (RG 30/162), Oberlin College Archives (finding guide at http://oberlinarchives.libraryhost.com/?p=collections/controlcard&id=343).
William Grant Still and Verna Arvey Papers (MC 1125), Special Collections, University of Arkansas, Fayetteville, AR.
This collection were created, compiled and organized by Beverly Soll in preparation for the writing of her book, I Dream a World: The Operas of William Grant Still (University of Arkansas Press, 2005). The collection consists primarily of copies pertaining to Still’s operas from the William Grant Still and Verna Arvey Papers at the University of Arkansas-Fayetteville, but also includes material from the Library of Congress and other sources, as well as material generated by Soll. Her arrangement of copies of original documents reflects the order of the originals. The index in Series 1 is Soll’s description of the collection, and includes the box numbers and reel numbers of the archival materials copied. Two identical Compact Discs hold all of Soll’s Word documents, Excel spreadsheets, and digital images. The images are of materials at other repositories with few exceptions. The CDs were kept for electronic public access.
SERIES DESCRIPTIONS
Series 1. Index, Bibliography, and Electronic Files, n.d.
The first series holds Beverly Soll’s index to the materials, a bibliography, two identical Compact Discs with electronic files, and a screenshot of the directory on the CDs. The electronic files and images are represented in copies throughout the papers.
Series 2. General Archival Research Documents, ca. 1921-81, n.d.
Series 2, General Archival Research Documents, is subdivided into five subseries: Diaries, Correspondence, Scrapbooks, Writings and Music Research Files, and Additional Archival Files. The first four subseries comprise copies of materials from the William Grant Still Papers at the University of Arkansas-Fayetteville. The diary files include references to Still’s operas, transcribed from the composer’s original diaries, from 1930 to 1959. The correspondence copies represent all correspondence in the Still Papers referencing Still’s operas, as well as transcriptions of particularly relevant sections. The scrapbooks of William Grant Still and Verna Arvey are accessible on microfilm at the University of Arkansas-Fayetteville. These files include print-outs from microfilmed scrapbooks, fliers, programs, and newspaper articles about the composer and performances of his operas. Subseries 4 holds copies of writings and music research in the Still Papers. Finally, subseries 5 holds copies and research notes from the holdings on Opera South at Jackson State University, and miscellaneous writings by Still and Verna Arvey, his wife and collaborator, collected from various sources.
Series 3. Opera-Specific Files, ca. 1920s-1980s
Series 3 holds files specific to William Grant Still’s eight operas. The files fall under three categories: archival documents, Soll’s data files, and William Grant Still source materials. The archival files include sketches, drafts of plots, general notes, and other materials that Still compiled during the composition of the eight operas. All are from the University of Arkansas collection with the exception of the Library of Congress files relating to Blue Steel, Still’s earliest opera. The documents relating to Highway 1, U.S.A. and A Southern Interlude have been grouped together in the same subseries and folder; Soll notes in the Index that the first is only a revision of the latter.