Margaret Bonds

• Name — Margaret Bonds • Birth Name — Margaret Allison Bonds • Born — 3 March 1913 • Birthplace — Chicago, Illinois, US • Died — 26 April 1972 • Place of death — Los Angeles, California, US • Occupation — Composer, pianist • Education — Northwestern University • Relatives — Monroe Alpheus Majors (father)

Margaret Jeanette Allison Majors was born in Chicago, Illinois on March 3, 1913. Her father, Monroe Alpheus Majors, was an active force in the civil rights movement as a physician and writer. His work included founding a medical association for black physicians who were denied membership in the American Medical Association on the basis of race. As an author, Majors is known for his book, Noted Negro Women: Their Triumphs and Activities (1893), and for his work as editor of several African American newspapers. Her mother, Estella (Estelle) C. Bonds, was a church musician and member of the National Association of Negro Musicians. She died in 1952.[3] When her parents' troubled marriage was annulled in 1919, young Margaret's last name was changed to her mother's maiden name, Bonds. Despite the end of her parents' marriage, Margaret continued to stay in touch with her father, who, in 1920, wrote the first nursery rhyme storybook for African American children called First Steps and Nursery Rhymes; he dedicated it to 7-year-old Margaret.

As a child, Margaret Bonds studied piano under the Coleridge Taylor Scholarship, which was awarded to her by the Coleridge Taylor School of Music, where her mother worked as an educator for 20 years. During this time, she, at the ages of both 8 and 9 years old, won piano scholarships from the Chicago Musical College.[4] Margaret's piano teachers up until the age of 13 included her mother Estella Bonds, Martha B. Anderson, and Tom Theodore Taylor. At 13, she began studying with William Levi Dawson and Florence Price. Margaret's mother often hosted other Black musicians, artists, and writers in her home. Among those included Abbie Mitchell, Lillian Evanti, and composer Will Marion Cook, all of whom would become influential to her future musical studies and career.[5] By October 1939 Margaret Bonds, realizing that she wanted to be a published composer (a problem because there were relatively few music publishers in Chicago), moved to New York. On her twenty-seventh birthday (March 3, 1940), she married Lawrence Richardson, a probation officer, after moving to New York City in 1939. The couple later had a daughter, Djane Richardson.[9][10] Margaret continued to be an active composer and touring musician throughout the 1960s and until her final days. She also dedicated her later life to promoting African American musicians of the time. In addition, she moved to Los Angeles in 1967 to compose music for film. In addition, she also wrote music for theatre and 2 ballets.[12] With her move to Los Angeles, she assumed the music directorship with the Los Angeles Inner City Cultural Center and Repertory, where she composed and gave music lessons to local children. She spent the last five years of her life working there. Her last major work, Credo, was performed by the Los Angeles Philharmonic Orchestra one month after her death.[13] She suffered from depression and alcoholism following the death of her friend Langston Hughes. Bonds died of a heart attack at age 59, on April 26, 1972, in Los Angeles, California.

Besides her known education as a mentee of Florence Price, Margaret was first introduced to music education through her mother, Estella C. Bonds. Her parents divorced at an early age for her, so she spent most of her time in her mom's house and inherited her name. Her mother studied at the Chicago Musical College and was part of the National Association of Negro Musicians. She was also an organist and choir director for the Berean Baptist Church in Chicago. She supported the fine arts by hosting Sunday musicals in her home. The Bonds's household was a hub for artists and literary figures of the Chicago African American community. Influential people like sopranos and composers Will Marion Cook, Countee Cullen, Abbie Mitchell, Noble Sissle, Florence Price and Langston Hughes frequented as guests.[15] From an early age, Margaret had musical talent, making her a child prodigy. Margaret won a scholarship to the Coleridge Taylor School of Music, where her mother taught.[16]

During high school, Bonds continued to study piano and composition with Florence Price and later with William Dawson.[17] In 1929, at the young age of 16, Bonds began her studies at Northwestern University, where she earned both her Bachelor of Music (1933) and Master of Music (1934) degrees in piano and composition.[18] She received applied for and received a fellowship from the Julian Rosenwald Fund to pursue her master's degree.[19][20] Discrimination Faced in Northwestern University Bonds was one of the few Black students at Northwestern University; the environment was hostile, racist, and nearly unbearable. Although she was permitted to study at the university, she was not allowed to live on campus or use the library, practice facilities, or swimming pool. She took comfort in the poetry of Langston Hughes which speaks about the struggles of African Americans in society. In an interview with James Hatch, she states: I was in this prejudiced university, this terribly prejudiced place…. I was looking in the basement of the Evanston Public Library where they had the poetry. I came in contact with this wonderful poem, "The Negro Speaks of Rivers", and I'm sure it helped my feelings of security. Because in that poem he tells how great the black man is. And if I had any misgivings, which I would have to have – here you are in a setup where the restaurants won't serve you and you're going to college, you're sacrificing, trying to get through school – and I know that poem helped save me.[21][22]

Bonds was active in her career throughout her studies at Northwestern University. In 1932, Bonds' 1931 art song Sea Ghost won the prestigious national Wanamaker Foundation Prize, bringing her to the public's attention. On June 15, 1933, Bonds performed with the Chicago Symphony Orchestra—the first black person in history to do so—during its Century of Progress series (Concertino for Piano and Orchestra by John Alden Carpenter) in the Century of Progress World's Fair. In 1934 she would again perform in that fair – this time the Piano Concerto in D minor of her former teacher Florence Price, accompanied by the Woman's Symphony Orchestra of Chicago under the direction of Ebba Sundstrom. After graduation, Bonds continued to teach, compose, and perform in Chicago, also touring widely with bass-baritone John Greene (1901–1967), soprano Catherine Van Buren (1907–2001) and soprano Etta Moten Barnett. Two of her notable students were Ned Rorem and Gerald Cook, with whom she performed piano duos in later years.[26][27] In 1938, she opened the Allied Arts Academy where she taught art, music, and ballet. That same year, an adaptation of "Peach Tree Street" appeared in Gone With the Wind.[28] She also taught Talib Rasul Hakim.

In October 1939, she moved to New York City where she edited music for a living and collaborated on several popular songs.[29][30] She made her solo performing debut at Town Hall on February 7, 1952.[31] Around this same time, she formed the Margaret Bonds Chamber Society, a group of black musicians which performed mainly the work of black classical composers. Bonds lived in Harlem, and worked on many music projects in the neighborhood. She helped to establish a Cultural Community Center, and served as the minister of music at a church in the area. In November 1942 Bonds and her duo-piano partner Calvin Jackson relocated to Los Angeles, which was experiencing a surge in jobs and population due to the United States' entry into World War II, to work as a duo-piano team with the hope that they would be sufficiently successful for Bonds's husband and Jackson's girlfriend to move to the West Coast and join them. That "Western Adventure" (as Bonds would later term it) was difficult and less successful than hoped, but it introduced Bonds to the warm climate and beautiful landscapes of southern California, and she earned enough notoriety to be featured (along with Jackson) on Mary Astor's Showcase in March 1943. Margaret Bonds returned to New York in March, 1943, and would remain there (aside from tours) until November 1967. Upon her return she quickly immersed herself in the city's vibrant concert life, performing widely as well as building up a large private studio of piano students. She also had six years of private piano lessons from Djane Lavoie-Hertz, a former student of Schnabel and Scriabin, and took pride in passing along to her students from the underserved African American communities of New York "the same principles employed by Solomon, Rubinstein, and Horowitz". Among Bonds' works from the 1950s is The Ballad of the Brown King, a large-scale work which was first performed in December 1954 in New York. It tells the story of the Three Wise Men, focusing primarily on Balthazar, the so-called "brown king". It was originally written for voice and piano, but later revised for chorus, soloists, and orchestra, and eventually televised by CBS in 1960. A large work in nine movements, the piece combines elements of various black musical traditions, such as jazz, blues, calypso, and spirituals. Bonds was writing other works during this period of her career: Three Dream Portraits for voice and piano, again setting Hughes' poetry, were published in 1959. D minor Mass for chorus and organ was first performed in the same year. As an outgrowth of her compositions for voice, Bonds later became active in the theater, serving as music director for numerous productions and writing two ballets. In 1964, Bonds wrote Montgomery Variations for orchestra, a set of seven programmatic variations on the spiritual "I Want Jesus to Walk with Me." Bonds penned a program for the work which explains that it centered on Southern Blacks' decision no longer to accept the segregationist policies of the Jim Crow South, focusing on the Montgomery Bus Boycotts and the 1963 bombing of the Sixteenth Street Baptist Church in Birmingham. Bonds shared the completed work with Ned Rorem, a close friend and former student, in 1964. She eventually dedicated the work to Martin Luther King Jr.[32] In 1967, legendary choral director and vocal coach Frederick Wilkerson featured the original piano/vocal version of her setting of W.E.B. Du Bois's civil-rights manifesto "Credo" in the first all-Bonds concert in Washington, D.C., and later that year the likewise legendary choral conductor Albert McNeil performed the choral/orchestral version of that same work, along with The Montgomery Variations, in San Francisco.[33]

Margaret Bonds had been deeply disturbed by the Watts Rebellion in Los Angeles in 1965, and early in 1966 she began clearing her calendar of obligations in New York. By November 1967 she was ready to move to Los Angeles, working as music director and teaching piano at the Los Angeles Inner City Institute and at the Inner City Cultural Center. Also in 1967, Bonds composed Troubled Water, a piano piece that melds spiritual melody with jazz and classical features.[34] In 1972 the Los Angeles Philharmonic performed her Credo for chorus and orchestra (which had already been performed in Washington, D.C., in 1965 and San Francisco in 1967). Bonds died unexpectedly a few months later, shortly after her 59th birthday.[35]

Langston Hughes (1901–1967) was a prolific African American poet and writer. Hughes and Bonds became great friends after meeting in person in 1936, and she set much of his work to music. On May 22, 1952, Hughes (poet), Bonds (pianist), and Daniel Andrews (baritone) collaborated on a project called "An Evening of Music and Poetry in Negro Life", which they performed at Community Church.[36] This project took place just months after Bonds' debut solo performance at Town Hall in New York City, February 7, 1952. Ever a good friend, Hughes sent Bonds a telegram the afternoon of her performance, telling her how much he desired to be present and sending his best wishes.[37] Bonds wrote several music-theater works. In 1959, she set music to Shakespeare in Harlem, a libretto by Hughes.[38] It premiered in 1960 at the 41st Street Theater. Other collaborations include "The Negro Speaks of Rivers", "Songs of the Seasons", and "Three Dream Portraits". Another work based on a text by Langston Hughes was first performed in February 2018 in Washington, DC, by the Georgetown University Concert Choir under Frederick Binkholder.[39] Entitled "Simon Bore the Cross", it is a cantata for piano and voice, and is based on the spiritual "He Never Said a Mumblin' Word".[40] The death of Langston Hughes in 1967 was difficult for Bonds. Afterward, she left her husband and daughter to move from New York to Los Angeles where she remained until her death on April 26, 1972.

• Don't You Want to Be Free, music-theater work (1938), Text: Langston Hughes • Wings over Broadway, orchestra (1940) • Tropics After Dark, musical-theater work (1940) • The Negro Speaks of Rivers, voice and piano (1942) • Troubled Water, piano • The Ballad of the Brown King, chorus, soloists, and orchestra (1954) • Songs of the Seasons, voice and piano (1955) • Three Dream Portraits, voice and piano (1959) • Mass in D minor, chorus and organ (1959) • Shakespeare in Harlem, music-theater work (1959), Text: Langston Hughes • U.S.A., music-theater work, Text: John Dos Passos • Joshua Fit De Battle of Jericho, voice and orchestra (1959) • Ballad of the Brown King, chorus and orchestra (1960) • Fields of Wonder, men's voices (1963) • Montgomery Variations, orchestra (1964)[46] • Credo, S solo, Bar solo, chorus and orchestra (1965)

• Shakespeare in Harlem, music-theater work (1959), Text: Langston Hughes • Romey and Julie, Text: R. Dunmore • U.S.A., music-theater work, Text: R. Dunmore • The Migration, ballet • Wings over Broadway, ballet • Midtown affair, Musical, Text: Roger Chaney (1958) • Burlesque is alive, Musical • Clandestine in the morning line, Music for drama by Josh Greenfield, UA (1961) • Tropics after dark, Musical (1940)

• Sleep Song (Kilmer) (1927 or before 3 March 1928), ed. John Michael Cooper in Margaret Bonds: Three Early Songs (Worcester, Massachusertts: Hildegard Publishing, 2025) • We're All for Hoover Today (Majors) (1928) (self-published Chicago, 1928) • Sunset (Dunbar) (ca. 1934), ed. John Michael Cooper in Margaret Bonds: Three Early Songs (Worcester, Massachusetts: Hildegard Publishing, 2025) • Be a little savage with me, Text: Langston Hughes • Chocolate Carmencita, Text: Langston Hughes • Cowboy from South Parkway, Text: Langston Hughes • Didn't it rain!, Spiritual • Empty Interlude, Text: Roger Chaney and Andy Razaf • Ezekiel saw de wheel • Five Creek-Freedmen spirituals (1946)[47] • "Dry Bones" • Ev'ry Time I Feel the Spirit (1968), ed. John Michael Cooper and Louise Toppin in Margaret Bonds: Five Spiritual Songs (Ann Arbor: Videmus, 2024). • "Sit down servant" • "Lord, I just can't keep from crying" • "You can tell the world" • "I'll reach to heaven" • Nebuchadnezzar (Rucker) (1940), ed. John Michael Cooper and Louise Toppin in Margaret Bonds: Five Spiritual Songs (Ann Arbor: Videmus, 2024) • Georgia (1939), in collaboration with A. Razaf, and J. Davis • Go tell it on the mountain • Hand Me Down (probably before 1955), ed. John Michael Cooper and Louise Toppin in Margaret Bonds: Five Spiritual Songs (Ann Arbor: Videmus, 2024) • He's got the whole world in His hands • Hold on • I got a home in that rock • I shall pass through the world • I'll make you savvy • Joshua fit da battle of Jericho, Spiritual • Just a no good man, Text: Langston Hughes • Let's make a dream come true • Lonely little maiden by the sea, Text: Langston Hughes • Market day in Martinique, Text: Langston Hughes • Mary had a little baby • The Negro speaks of rivers (1936), Text: Langston Hughes • No good man • Peachtree street • Pretty flower of the tropics, Text: Langston Hughes and Arna Bontemps • Rainbow gold, Text: Roger Cheney • Sing aho, Spiritual • Six Songs on Poems by Edna St. Vincent Millay • "Women Have Loved Before as I Love Now" • "Hyacinth" • "Even in the Moment" • "Feast" • "I Know My Mind" • "What Lips My Lips Have Kissed" • Songs of the Seasons, Text: Langston Hughes • "Poem d'automne" • "Winter-moon" • "Young love in spring" • "Summer storm" • Spring will be so sad when she comes this year (1940), in collaboration with H. Dickinson • Sweet nothings in Spanish, Text: Langston Hughes and Arna Bontemps • Three Sacred Songs • "No Man Has Seen His Face" • "Touch the Hem of His Garment" • "Faith in Thee" • Tain't no need, Text: Roger Cheney • Three dream portraits (1959) • To a brown girl dead, Text: Countee Cullen • The way we dance in Chicago/Harlem, Text: Langston Hughes • When the dove enters in, Text: Langston Hughes[49] • When the sun goes down in rhumba land, Text: Langston Hughes and Arna Bontemps • The Pasture (1959), Text: R. Frost • Stopping by the Woods on a Snowy Evening (1963), Text: R. Frost • I'm so in love, Text: Margaret Bonds and Leonard Reed (1927) • Spring delight • That sweet silent love, Text: Langston Hughes • The singin' mouse, Text: Henry Douté (1937) • Voo doo man, Text: Langston Hughes

• Lillian M. Bowles: For the piano • Troubled water (1967)[50] • Two Piano Pieces • "Tangamerican" • "Fugal Dance • Spiritual Suite • Troubled water (1967)[51] • Waltz from the notebook of a ballet accompanist

• Ballad of the brown king (SATB, tenor solo), Text: Langston Hughes • Children's sleep (SATB), Text: Vernon Glasser • Credo (soprano solo, baritone solo, SATB chorus, piano) (1966), Text: W. E. B. Du Bois[53] • Credo (soprano solo, baritone solo, SATB chorus, orchestra) (1967), text: W. E. B. Du Bois • Touch the Hem of His Garment (S solo, SATB chorus, piano) (1968). Text: Janice Lovoos. (see also under "Pieces for Solo Voice") • No Man Has Seen His Face (S or T solo, SATB chorus, piano) (1968). Text: Janice Lovoos. (see also under "Pieces for Solo Voice") • Ezek'el saw de wheel • Go tell it on the mountain • Hold on • I shall pass through this world (a capella) • Mary had a little baby (SSAA) • The Negro speaks of rivers (1962), Text: Langston Hughes • You can tell the world (SSA) • You can tell the world (TTBB) • Fields of Wonder, song cycle, male chorus, Text: Langston Hughes • Mass in D minor (only Kyrie is extant) • This Little light of mine, spiritual, for soprano, chorus, and orchestra • Touch the Hem of His Garment (Lovoos), for soprano, chorus, and piano • Standin' in the need of prayer, spiritual, for soprano and chorus • No man has seen his face, Chorus (1970) • Praise the Lord für gemischten, Chor (1965) • Simon bore the cross für gemischten choir, organ or piano • I wish I knew how it would feel to be free, spiritual, for soprano, chorus, and orchestra • Sinner, please don't let this harvest pass, spiritual, for soprano and mixed chorus • I'm gonna do a song and dance, Chor, Text: Bill Cairo • If you're not there for Choir, Text: Andy Razaf(1939) • St. Francis' prayer for mixed choir • Standing in the need of prayer for soprano and mixed choir (1970) • Supplication for eight-part choir, Text: Roger Chaney • The night shall be filled with music for mixed choir, Text: Henry Wadsworth Longfellow (1965)

• African dance for soprano baritone and piano (1953) • April rain song for voice and piano • Available Jones for voice and piano • Be a little savage with me for voice and piano, Text: Langston Hughes (1949) • Beyond the end of the trail for voice and piano, Text: Roger Chaney • Birth for voice and piano, Text: Langston Hughes • Bound for voice and piano, 1939 • Bright star ffor voice and piano, Text: Janice Lovoos (1968) • Cowboy from South Parkway for voice and piano, Text: Langston Hughes • 5 Creek-freedmen spirituals for voice and piano (1942) • Diary of a divorcee for voice and piano, Text: Janice Lovoos (1968) • Didn't it rain? for high voice and piano, 1967 • Don't speak for voice and piano, Text: Janice Lovoos (1968) • Don't you want to be free?, Musical, Text: Langston Hughes (1938) • Down South in Dixie for voice and piano (1933) • 3 Dream portraits for voice and piano (1932) • Dry bones for voice and piano (1946) • Empty interlude for voice and piano, Text: Roger Chaney and Andy Razaf (1941) • Every time I feel the spirit for voice and piano (1970) • Ezek'el saw the wheel for medium voice and piano (1959) • Fantasy in purple for voice and piano (1937) • Feast for voice and piano (1965) • Fields of wonder for male voices, Text: Langston Hughes (1963) • Footprints on my heart for voice and piano, Text: Marjorie May • Freedom land for voice and piano, Text: Langston Hughes (1964) • Georgia for voice and piano, Text: Andy Razaf, Margaret Bonds and Joe Davis (1939) • Go tell it on the mountain for voice and piano • He's got the whole world in his hands for high voice and piano (1963) • Hold on for high voice and piano (1962) • Hold the wind for voice and piano (1970) • Hyacinth for voice and piano Text: Edna St. Vincent Millay • I got a home in that rock for voice and piano (1959) • I shall pass through the world for voice and piano (1966) • I want to be ready for voice and piano • I'll make you savvy for voice and piano, Text: Langston Hughes • I'm going to Reno for voice and piano • Joshua fit de battle of Jericho for medium voice and piano (1967) • Joy for voice and piano, Text: Langston Hughes (1936) • Lady by the moon I vow for voice and piano, Text: Robert Dunsmore (1939) • Let's make a dream come true for voice and piano, Text: Roger Chaney • Let's meet tonight in a dream for voice and piano, Text: Roger Chaney • Little Davd, play on your harp for voice and piano, premiere 1956 • Lord, I just can't keep from cryin for voice and piano (1946) • Love ain't what it used to be for voice and piano (1935) • Love's runnin' riot for voice and piano, Text: Langston Hughes (1946) • My kind of man for voice and piano, Text: Roger Chaney (1953) • Night time for voice and piano, Text: Langston Hughes (1937) • No good man for voice and piano, Text: Langston Hughes (1937) • Note on the commercial theater for voice and piano, Text: Langston Hughes (1960) • Park bench for voice and piano, Text: Langston Hughes (1936) • Peachtree Street for voice and piano, Text: Andy Razaf, Margaret Bonds and Joe Davis • Peter, go ring dem bells for voice and piano or orchestra • Playing with fire for voice and piano, Text: Langston Hughes • Pot pourri for voice and piano (1968) • Radio ballroom for voice and piano, Text: Andy Razaf (1957) • Rainbow gold for voice and piano, Text: Roger Chaney(1956) • Romey and Julie, music for Play by Robert Dunsmore • Run, sinner, run for voice and piano (1970) • Sea ghost for voice and piano (1932) • Silent love; that sweet silent love for voice and piano, Text: Langston Hughes (1937) • Sing aho for medium voice and piano (1960) • Sinner, please don't let this harvest pass (1964), ed. John Michael Cooper and Louise Toppin in Margaret Bonds: Five Spiritual Songs (Ann Arbor: Videmus, 2024) • Sleep song for voice and piano, Text: Joyce Kilmer (1932) • Songs of the seasons for high voice and piano (1955) • Spirituals five for high voice and orchestra (1942) • Spring will be so sad for voice and piano, Text: Margaret Bonds and Harold Dickinson (1940) • Stopping by the woods on a snowy evening for voice and piano, Text: Robert Frost (1960) • Swing low, sweet chariot for voice and piano (1952) • T'ain't no need for voice and piano, Text: Roger Chaney (1942) • The blues I'm playing for voice and piano, Text: Langston Hughes (1941) • The little sugar I had last night for voice and piano (1961) • The migration, musical (1964) • The moon winked twice for voice and piano, Texts: Margaret Bonds, Dan Burkley and Dorothy Sachs (1941) • The Negro speaks of rivers; I've known rivers for medium voice and piano, Text: Langston Hughes (1935) • The New York blues for voice and piano, Text: Malone Dickerson (1938) • The pasture for voice and piano, Text: Robert Frost (1958) • The price of a love affair for voice and piano, Text:Ernest Richman • The way we dance in Chicago for voice and piano, Text: Langston Hughes • This little light of mine for voice and piano (1970) • Three sheep in a pasture for piano (1940) • To a brown girl, dead for voice and piano, Text: Countee Cullen (1933, 1956) • Trampin for voice and piano (1931) • Tropics after dark, musical (1940) • West Coast blues for voice and piano (1938) • What lips my lips have kissed for voice and piano, Text: Edna St. Vincent Millay (1956) • When the dove enters in for voice and piano, Text: Langston Hughes (1960) • Winter night's dream, children's operetta, Text: Robert Dunsmore (1956) • You're pretty special for voice and piano, Text: Dorothy Sachs (1941)

• Quintet for Piano and Strings (1933) • I want Jesus to walk with me for Cello and Piano (1964) • Nile fantasy for Klavier Piano and Orchestra (1967) • Scripture reading for narrator and orchestra (1971) List includes works compiled in John Michael Cooper, Margaret Bonds, as well as in a monograph published by the Center for Black Music Research at Columbia College Chicago.[54]

Margaret Bonds was recorded at birth as Margaret Allison Bonds. The authorities additionally record the headings Margaret Allison Bonds and Margaret Richardson. Her recorded language was English. She was the child of Monroe Alpheus Majors.

• National Association of Negro Musicians' Junior Music Association (High School) • Alpha Kappa Alpha sorority • National Guild of Piano Teachers (1951) • American Musicians' Welfare Association (1951) • National Association of Colored Women's Clubs (1962)[42]

Source: • Rosenwald Fellowship • Rodman Wanamaker Award for Composition (1932)