Name Verna Arvey Role Writer | Died November 22, 1987 | |
Books In One Lifetime, Choreographic Music for the Dance | ||
Psalm for the Living – William Grant Still (poem: Verna Arvey)
Verna Arvey (February 16, 1910 – November 22, 1987) was an American librettist, pianist and writer who is best known for her musical collaborations with her husband William Grant Still, a musician and composer.
Contents
- Psalm for the Living William Grant Still poem Verna Arvey
- Early life and education
- Marriage and family
- Musical career
- Works
- References
Early life and education
Verna Arvey was born in Los Angeles, the daughter of Bessie (Tark) and David Arvey. Her parents were Russian Jewish immigrants. She attended local schools and the Manual Arts High School. She had started playing piano as a child. After graduating, Arvey enjoyed a brief career as a concert pianist, including performances as a soloist with Raymond Paige's CBS Network orchestra and the Los Angeles Philharmonic Orchestra.
During a trip by William Grant Still to Los Angeles in 1930 to revive a friendship with the composer Harold Bruce Forsythe, Arvey met the young composer. Forsythe likely asked her to read some of his piano music. Still tried twice to get her to perform his pieces, first Africa, then Four Negro Dances. The two became more acquainted, but as Forsythe and Arvey had been friends for many years (since they had both gone to Manual Arts High School), some jealousy ensued.
Marriage and family
Arvey married Still in 1939. She was of Russian Jewish heritage and Still was African American, but their interracial union (unusual for a high-profile couple of the era) did not appear to damage their careers. The couple had two children. They were married until Still’s death in 1978.
Arvey's granddaughter is journalist Celeste Headlee.
Musical career
Arvey’s first collaboration with Still came in 1939 when Langston Hughes, the original librettist for his opera Troubled Island, left the country before the project was completed. Arvey wrote the lyrics for three arias. She became the librettist for his subsequent operatic work, most notably A Bayou Legend, A Southern Interlude, Costaso and Mota.
As a writer on music, Arvey published articles for The New York Times and several music industry publications, including Etude, Musical Courier, Opera, Concert and Symphony, Musical America, Chesterian (London), American Dancer, Ritmo (Madrid), Musical Digest and American Mercury.
Works
She also wrote books, including the following: