They say that still waters run deep.

William Grant Still, frequently described as the “Dean of Afro-American Composers,” wrote a lot of attractive music, much of it informed by the black experience. This Sunday night on “The Lost Chord,” we’ll hear some of it, including the delightful Symphony No. 2, subtitled “Song of a New Race.” Also, a more serious work fueled by racial injustice, “And They Lynched Him on a Tree,” for double-choir, narrator and orchestra.

Still, who lived from 1895 to 1978, emerged from unlikely circumstances – born in Woodville, Mississippi and raised in Little Rock, Arkansas – to become a major force in American music. Having abandoned a career in medicine for studies at the Oberlin Conservatory of Music and the New England Conservatory in Boston, where he studied with George Whitefield Chadwick, Still was a “first” in many respects.

His Symphony No. 1, the “Afro-American Symphony” was the first written by a black composer to be performed by a major orchestra (the New York Philharmonic). He was the first to be given the opportunity to conduct a major orchestra (the Los Angeles Philharmonic, at the Hollywood Bowl). His opera, “Troubled Island,” became the first to be produced by a major company (the New York City Opera). Another of his operas, “A Bayou Legend,” was the first to be performed on national television (as late as 1981). His works were performed internationally by the Berlin Philharmonic, the London Symphony Orchestra, the BBC Symphony, and the Tokyo Philharmonic.

Perhaps the least likely pupil of Edgard Varèse, Still incorporated jazz and blues elements into his concert music. He cut his teeth writing arrangements for Paul Whiteman, W.C. Handy, and Artie Shaw. According to Eubie Blake, one of Still’s improvisations in the pit during Blake’s revue “Shuffle Along” became the basis for Gershwin’s hit tune “I Got Rhythm.” (Blake conceded the appropriation was probably inadvertent.) Still and Gershwin were on friendly terms and made it a point to attend one and another’s performances.

Listen to Still’s Symphony No. 2 – first performed in 1936 by Leopold Stokowski and the Philadelphia Orchestra – and see if you don’t agree that Gershwin could only wish that he had composed its elegant second movement.

We’ll follow that with a very different piece, Still’s choral ballad “And They Lynched Him on a Tree,” composed in 1940. Poet Katherine G.C. Biddle, niece of Charlotte Mason, “Godmother of the Harlem Renaissance,” provided the libretto. The work is scored for contralto soloist, as mother of the victim, a “white chorus” to depict the mob, a “black chorus” to discover the lynching, a narrator (William Warfield in this recording), and small orchestra. The piece is almost exactly contemporary with Abel Meeropol’s “Strange Fruit.” It was given its first performance by the New York Philharmonic, conducted by Artur Rodzinski.

Finally, at the end of the hour, we’ll decompress with Still’s beautiful and contemplative “Summerland.”

I hope you’ll join me for “Still Runs Deep” – music by William Grant Still – this Sunday night at 10:00 EST, on WWFM – The Classical Network and wwfm.org.