After the enthusiastically received Whither Must I Wander (review), baritone Will Liverman collaborates with pianist Paul Sánchez in what he describes as his passion project. Dreams of New Day features a spectrum of art songs by Black composers from the last two centuries; they are set to poems by Langston Hughes, Paul Laurence Dunbar, and Dudley Randall, among others.
From the start of Damien Sneed’s I Dream a World (track 1), Liverman envelops us in his full-bodied voice, one that delivers a message of yearning and hope. His excellent voice control, however, also enables him to turn on a dime (or a single note, in this case) to express something as equally tender and thoughtful. These shifts give us fitting moments of mental respite and reflection at just the right times. Sánchez, too, adds to the work’s beauty by embracing the richness of Sneed’s harmonies.
The uplifting Amazing Grace (track 7) is not based on the hymn that we may be more familiar with but is the work of composer H. Leslie Adams (b.1932). Adams’ late Romantic style is well-captured in this rendition: vibrant changes in dynamics and timbre give way to a world of sweeping intensity. At the same time and despite the symmetric structure of the lyrics, the duo manages to create a storytelling quality that commands our attention throughout.
The charismatic Riding to Town (track 11) by Thomas Kerr (1915-1988) features the singer as a narrator riding toward a destination and the piano as the wagon. Liverman does a wonderful job in conveying a bright enthusiasm about the journey. Sánchez, in turn, skillfully merges the accompaniment’s playful harmonies with its eccentric rhythmic lilt. As in I Dream a World, the performers create a fluid yet dynamic flow of personalities. The moment at 1’41”, for instance, shifts from adventure to momentary foreboding – a move that makes the ensuing final flourish in the major key both joyful and fun.
Related Classical Music Reviews
- Review: “Whither Must I Wander” – Will Liverman, Baritone
- Review: Paul Moravec – “Sanctuary Road”
- Review: Schubert – Winterreise – Ian Bostridge, Thomas Adès (2019)
The Rain (track 13) from Shawn E. Okpebholo’s Two Black Churches is an impressive world premiere and one of the best showings on the album. The reach of Liverman’s versatility comes to light in an introspective song that reflects upon the painful consequences of racism. The opening solo comforts the listener with a mellow warmth but is also filled with definite conviction. The piano, in its own brief solo, brings forth a beautiful translucence that becomes paramount to the song and that also sets its pace. While this pace might seem measured to some, I found it essential to Liverman’s deliberate approach: each word is sung with immense care. In one of the most riveting moments, he goes to the upper reaches of his vocal range. There is no sign of strain, but a perfect amount of tension that translates into poignancy. The pianist’s musicality should not go unmentioned, either: just like Liverman, Sánchez pays detailed attention to changes in register and color. This brings to the predominantly static texture the movement it needs.
The final track, Birmingham Sunday, features Liverman as arranger, singer, and pianist. In a song that describes the tragic 1963 bombing of Alabama’s 16th Street Baptist Church, Liverman offers a touching interpretation – one that expresses even more than the words can. The opening has a sensitivity in its gentle sorrow which transforms into a declamatory presence. At the most emotionally charged point, the singer’s powerful vibrato underscores the recurring line: “And the choir kept singing of Freedom.” Although the song ends as quietly as it started, the final repetition of this line now reflects that the singing will continue. This moment is magical and deeply meaningful – it shares a budding but tangible hope. Liverman plays the piano as well as he sings; he coordinates the accompaniment impeccably but still affords his vocal phrases the flexibility of a natural rubato.
The sound engineering is solid, placing the spotlight on Liverman’s resonant tone and Sánchez’s nuanced playing. There are only a few moments of imbalance I perceived in selections like Riding to Town, where the voice does not come through quite enough against the piano textures. The liner notes are generous in their description of the composers as well as socio-historical events that inspired these songs.
Dreams of a New Day is one of those rare albums that transcends being a top-notch performance – it is an experience. Strongly recommended.
“Dreams of a New Day” – Songs by Black Composers
Will Liverman – Baritone
Paul Sánchez – Piano
Cedille Records, CD CDR90000200
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