This is the fourth in a series of posts exploring the Martha Graham repertoire and some of the original scores used for her works. In my previous post I described how I became acquainted with Reed Hansen, one of Martha’s favorite accompanists and, until his passing last year, one of the most important links to the Graham musical heritage. Recognizing my curiosity, and perhaps wanting to share his prodigious musical archive with like-minded musicians, Reed gave me copies of some of the original scores he had collected and used over the years. One of these copies was of Norman DeIlo Joio’s handwritten score for “Diversion of Angels,” the beautiful and instantly captivating ballet which I had recently seen performed for the first time.

Read about “Diversion of Angels” here and watch this short excerpt performed by the Martha Graham Dance Company:

One of the main things I enjoy in studying Graham’s scores is the variety of musical styles encompassed by her different collaborators and eras. Graham commissioned music from a wide array of 20th century American composers, ranging from iconic to obscure, but each with his own unmistakable style: Copland, Barber, Wallingford Riegger, William Schuman, Louis Horst. To this list belongs another important and distinct musical voice, that of composer Norman Dello Joio.

Norman Dello Joio grew up in early 20th century New York City, and from a young age worked as a church organist and in Jazz bands. These two musical worlds - liturgical music and Jazz - left their mark on his style throughout his career. It wasn’t until his early twenties that he took up composition in earnest, studying at the Juilliard school and later under Paul Hindemith. It was Hindemith who poignantly commented to the young Dello Joio about the lyrical nature of his (Dello Joio’s) music and urged him to follow his own voice rather than try to belong to the modern movement. Indeed, Dello Joio later came to such great popularity and public attention that he was sometimes considered to be a less-than-serious composer by his peers, who assumed he was lowering his standards to write “simple” music. In fact, Norman Dello Joio achieved something quite different than most of his contemporaries: a personal, well-crafted, and rich body of work, innovative and at the same time very accessible for the average listener.

The score for “Diversion of Angels” is a perfect case in point: One of Graham and Dello Joio’s most beloved and popular works, it employs Jazz rhythms, a wide pallet of orchestral and harmonic colors, and of course is laden with bitter-sweet, romantic melodies. Highly danceable and evocative, this music succeeds in driving and exciting us while remaining light and atmospheric, and offers beautiful moments at every consecutive hearing. I feel that my personal taste lies very close to this intersection of Jazz and church music, and my kinship to Dello Joio’s music has fueled my endeavors in studying this score, a very informing and rewarding experience.

The copied score I received from Reed sat on my music library, collecting dust and patiently waiting. It wasn’t until several years later, deep into the 2020 lockdown, that I finally dug it out and gave it the attention it rightfully deserved. Dello Joio’s original hand written sketch score offered an intimate look into the composer’s and choreographer’s creative process in the studio, with dancer’s names and choreography notes covering every page. The full orchestral score was born out of that original sketch, and so I focused on creating a legible, playable piano reduction true to both. I offer it here as the unexpected fruit of these times, and hope we can all open our eyes and make good use of the gifts we already possess.