Artistry

Title: Artistry
Description: Before and after joining the School of Music’s faculty, Patterson maintained an active performance career as a bass classical singer. His artistic pursuits expand beyond what is represented in this collection, which primarily focus on elements of his artistry connected to his scholarly interests and social justice goals such as on-campus concerts featuring the work of Black composers and guest performances with the Fisk Jubilee Singers. Also included in this section is an excerpt from his self-published memoir The Saints Among Us that details the importance of the Ann Arbor Black community and Black performers to his development as an artist.

DISCUSSION QUESTIONS:

How can artistic pursuits incorporate social justice-oriented values?

When pursuing artistry as activism, what limitations and benefits exist?

What role do institutional or community values play in artistic decision making?

RELATED COLLECTIONS:; Expanding the Repertoire; BIPOC Platforming

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Interview Clip: Being an example of possibilities for Black music
Recorded in Studio 2 (The Berg) in the Dance Building at the University of Michigan's School of Music, Theatre, and Dance. [00:00:00] PATTERSON: I wanted to make sure that the persons at the University of Michigan did not look upon me as an exception. TOPPIN: Right. PATTERSON: Uh, but looked upon me as a representative of the persons who were composing and performing, um, music, African-American music, of every kind. Not enough, because they weren't encouraged enough. But I wanted them to look upon my experiences and the support I received as a possibility for what they could experience and what could be contributed uh, from the body of—an existent body—of composers, performers of all kinds. So that's... [00:01:05] TOPPIN: And I noticed that in Voice, after you were hired, Seth McCoy, George Shirley, Earl Coleman, Shirley Verrett, were all of these hired while you were... PATTERSON: Yes. TOPPIN: Were you integral in bringing them on? [00:01:25] PATTERSON: I think, I must say that Paul Boylan was at that time associate dean and eventually grew into the deanship, And his role is not to be underestimated. His support and, of the on the campus presence of not only performers, but, uh, academitions [sic] in the discipline of music.
Interview Clip: German review sparked exploration of Black music
Recorded in Studio 2 (The Berg) in the Dance Building at the University of Michigan's School of Music, Theatre, and Dance. [00:00:00] PATTERSON But that interest, in-interest came about during my concert career. TOPPIN: Right. PATTERSON I sang a concert in one of the 13, uh German, uh, German, uh houses. TOPPIN: Okay. [00:00:23] PATTERSON: And uh, one of the concerts I did, I've forgotten exactly where now, but the newspaper columnist wrote very assiduously, "why does Patterson come here to sing German lieder for us who have heard it many times and probably, as well as he did it, better?" And uh, "why does he not come here and sing American art songs?" of which I knew nothing of, I knew of no body of African American writers. [00:01:15] And that first offended me intensely, but then I thought about it and I asked myself, where are the American art songs? And uh, I'd become by then acquainted at Southern University and Virginia State University, and I wrote to my former colleagues asking them, do they—does such a body of literature exist? And they corresponded and allayed my fears that there was, uh, there was not a body of literature. I was raised in Western music— TOPPIN: Right, right. [00:02:14] PATTERSON: —but luckily, the question was asked, and so I began to learn about— TOPPIN: Black music. PATTERSON: —about African American music of all kinds. I became friends with Bill Warfield and Natalie Hinderas and all these wonderful people who were performing and writing. Betty Jackson King and on and on and on. They were writing and producing American, African American music. And I became acquainted with Rogie Clark, who had written the last book of that, uh, limited time frame of African American art songs. Wonderful book, the last of which I obtained from the University of, of Chicago. [00:03:27] TOPPIN: Yeah, the Negro Art Songs, 1946. PATTERSON: Yes. [00:03:30] TOPPIN: Yeah, that preceded the work that you did. But isn't it interesting that which was such a negative and painful review in many ways, set you on a path to be the premier person to inspire all the rest of us, the next generations behind you, to take a look at this repertoire and to even, you brought it to light in such a way because Rogie Clark's book went in and out of print quickly.
Chapter 2: "The Ann Arbor Black Community" from The Saints Among Us
The Saints Among Us is Willis Patterson's 2011 self-published memoir that focuses on important figures in his early life. Chapter 2 paints a picture of the Black community of Ann Arbor in the 1930s, and gives a sense of some of Patterson's early musical experiences.
Letter from Willis Patterson to Herman Hudson
Patterson seeks to confirm Hudson's participation in the Black American Music Symposium. Enclosed is the tentative schedule of symposium events.
Letter from Adolphus Hailstork to Willis Patterson, October 11, 1987
A thank you note for Patterson's role in bringing Hailstork to campus as a KCP visiting professor.
Memorandum from Willis Patterson to Misc. University of Michigan Administration
Patterson writes to Interim President Fleming, Vice-President Johnson, Associate Vice-President Swain, Provost Duderstady, Vice-Provost Moody, Dean Boylan, and Dean John D'Arms to report about the expenditures for the April 3, 1988 MLK Memoriam Concert, and to request that funds be made available for the concert to become an annual event. The budget sheet for the 1988 concert is enclosed.
Letter from Adolphus Hailstork to Robert Reynolds, October 11, 1987
A note of thanks for a recent performance of Hailstork's piece "American Guernica" by Reynolds and his "outstanding ensemble" from the School of Music Band program. The letter appears to have been forwarded to Willis Patterson by Reynolds based on the handwritten note added at the bottom.
Guest Faculty Recital of the Chamber Compositions of Adolphus Hailstork Program
This recital featured a variety of Adolphus Hailstork pieces. Louise Toppin sang, among many other faculty performers.
Leon Bates KCP Visiting Professorship Events Flyer
This flyer advertises Leon Bates' residency at the University of Michigan School of Music from March 28–April 1, 1988. The advertised events include a master class, meeting with Minority Music, Dance & Theater students, guest recital, DMA seminar, and piano literature class.
Memorandum to Willis Patterson from Martin Luther King, Jr. - Rosa Parks Coordinating Committee
Acknowledges recent funding request to the King-Parks Coordinating Committee in support of a Frederick Douglass oratorio, and requests a budget for a visit from Adolphus Hailstork during Black History month for the oratorio's performance.
The Fisk University Jubilee Singers Concert Program
Program for a Fisk University Jubilee Singers concert at the at the Forty-Sixth Annual Arts Festival, Fisk University (April 20–27, 1975). Willis Patterson is featured as a guest artist alongside Inez Matthews (soprano). Oral Moses appears in the program as the bass soloist for "Daniel, Servant of the Lord" by Undine Moore.
Ann Arbor Native Is Appointed 'U' Associate Music Professor
An article celebrating Patterson's appointment at the School of Music and summarizing his career up to that point.
Patterson To Conclude Series On Black Music
A feature on Willis Patterson and the Black Music Series, with the last concert of the series happening the next day (04/08/1973).
Letter to Willis Patterson from John J. Danahy
Letter from Detroit radio station WWWW congratulating Patterson on being named the station's "citizen of the day" in advance of his return to the University of Michigan as associate professor. A certificate for the honor that includes a brief biography of Patterson is enclosed.
Letter to Willis Patterson from Shelby Rooks
Thank you note for a performance at St. James' Presbyterian Church in New York, NY. Also mentions George Shirley's praise of Patterson's singing.
Black American Composers Concert Program
Program for a free concert of Black American Composers in celebration of Black History Week, featuring compositions by John Work, Scott Joplin, George Walker, and others performed by students of the University of Michigan School of Music. The concert was held on February 26, 1978 at 4pm in the Rackham Assembly Hall. The program is dedicated to Dr. Eva Jessye and Professor Willis Patterson.
Letter to Marian Anderson from Willis Patterson
Invitation to be honored at the University of Michigan Institute of Gerontology's festival of aging and the art of living. The letter also discusses the need for a Black art song anthology, which Patterson was working on.
School of Music Report of Faculty Activities 1975
A report of Willis Patterson's teaching, professional, research, and service activities across all three terms of 1975.
All African American Orchestra Concert at Symposium 2000
The poster and program for the All African American Orchestra Concert at Symposium 2000, The Fine and Performing Arts of African Americans: Enhancing Education (Dr. Willis C. Patterson, Dir.). The symposium was held at the University of Michigan, Ann Arbor, MI from March 2–8, 2000, but the concert was held at Detroit Orchestra Hall on March 6, 2000. The orchestra was conducted by Michael Morgan.
Willis Patterson Holding a Child
Willis Patterson holding a child. Unknown provenance, but potentially taken while he was on tour with the University of Michigan Men's Glee Club; it is stored in an envelope labeled "glee club photos."
Willis Patterson Singing
Willis Patterson singing in formal concert dress.
Michigan Chamber Artists
Written on reverse: "MICHIGAN CHAMBER ARTISTS." Willis Patterson is on the far right.
School of Music Faculty in Rehearsal
Written on reverse: "Left to right: Theo Alcantara, John McCollum, Elizabeth Mosher Kraus, Willis Patterson, Eva Likova, and Ralph Herbert, all members of the University of Michigan School of Music faculty, rehearse for the 'Pops' concert to be given at U-M at 8 p.m., October 2, in Hill Auditorium." Likely a staged publicity shot.
Letter to Black Businesses from Willis Patterson
Form letter sent to top 100 Black businesses soliciting financial contributions in support of the Black American Music Symposium. Summarizes the symposium's goals, potential impact, and budget.
Art Songs by Black Female Composers Concert Program and Lyrics Sheets
4 page program for concert of compositions by Dorothy Rudd Moore, Florence Price, and Margaret Bonds, performed by Jacqueline Paige Green (soprano), Diane Bischak (violinist), Charles Lloyd (pianist), Willis Patterson (bass), Sylvia Olden Lee (pianist), Claritha Buggs (soprano), and Kermit Moore (cellist); 2 pages of lyrics. Part of the Black Art Song Series/Black American Composers concert series.