Page 32 - CJOct25

The Life and Choral Works of Jester Hairston

performer in African music. Down Dat Lonesome Road, effects such as snaps, claps,
whistling, and nonsense syllables, can be observed in
In a traditional African setting, performers are ten additional works. 46
collaborators in the compositional process. It is When comparing the published score for Goin’ Down
common for choral composers to compose the Dat Lonesome Road with recordings featuring Hair-
choral parts and leave the percussion section ston, several interesting discrepancies appear. First,
for the players to improvise, thus collaborating in a 1974 educational video series on the history and
with the composer. 41 performance of music by Black composers, Hairston
incorporates piano accompaniment and replaces the
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Although improvisation is recommended, percussion- whistling with a harmonica. In contrast, additional
ists should aim to play in a Ghanaian style, which fea- recordings directed by Hairston perform the score as
tures distinct characteristics. 42 notated.
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Hairston’s willingness to alter his work through the
inclusion of piano and harmonica may suggest flexibil-

Goin’ Down Dat Lonesome Road ity in the interpretation and performance of his music.
SSATB, unaccompanied In 1974, when this video was recorded, Hairston would
Duration, 4:40 have extensively worked with ensembles throughout
Bourne Co., 1965 the world of varying ages and capabilities. For the re-
Ranges cording in question, Hairston may have realized the
ensemble’s need for additional support and adjusted
accordingly. A second discrepancy in the published
octavo appears on the cover page which indicates the
work includes a tenor solo. However, no solo is marked
in the score, and no known recordings produced by
Goin’ Down Dat Lonesome Road (1965) is considered by Hairston include a soloist.
Hairston to be one of his best works. The piece is
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identified on the title page as a work song but described
by Hairston as a protest song. This protest sentiment Performance Considerations
44
can be observed in the recurring text that concludes A complete discussion of spiritual performance con-
each verse, “But I won’t be treated disa way.” In addi- siderations is beyond the scope of this article. The
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tion, the song’s climactic moment occurs in the fourth following serves to identify a few performance consid-
verse with the text, “Been kicked all aroun’ dis ol’ town, erations specific to Hairston’s music.
But I won’t be treated disa way,” and is set in a de- As most of his works were published over five de-
clamatory fashion through the frequent use of accents. cades ago, Hairston’s oeuvre occasionally utilizes out-
Considering the cultural climate of the mid 1960s, and dated language and objectionable subject matter. Con-
his description of the work as a protest song, Goin’ Down ductors should be aware of the use of gender specific
Dat Lonesome Road could arguably be considered Hair- language and antiquated lyrics that do not represent
ston’s musical contribution to the Civil Rights Move- inclusive language. The most surprising use of objec-
ment. tionable subject matter is found in the song Home in Dat
Goin’ Down Dat Lonesome Road is dynamically set in Rock. Structured as a theme and variation, the work
an arch form, beginning softly with finger snaps and progresses through various musical styles, with the sec-
whistling, building to the previously mentioned climat- ond variation imitating Stephen Foster and the min-
ic moment, and concluding once again with snaps and strel show. The narrator’s text in the score reads,
whistling that gradually fade away. Hairston’s use of
finger snaps and whistling serve as an example of his During the 19 Century, white minstrel men
th
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affinity for various sound effects. In addition to Goin’ blacked their faces and tried to imitate the

30 CHORAL JOURNAL October 2025 Volume 66 Number 3