Tag: African American

I am proud to say I was a William Grant Still advocate before it was cool to be so. When I first encountered his “Afro-American Symphony” in the early 1980s, it was love at first sound. It remains one of my favorite symphonies by an American composer.

Perhaps it’s not “The Great American Symphony,” self-consciously aspirational, oratorical, or grandiose in the manner the third symphonies of Roy Harris, William Schuman, or Aaron Copland; but it does go straight to the heart, which is something none of the composers of that great American triumvirate do, at least in those particular works.

Still’s symphony is poetic, it’s genuinely reflective, it’s beautiful, and it brims with great tunes. It’s congenial, and in the end quite moving. When I want “big statements” made on an Olympian scale, I will turn to those Lincoln Center composers, who would have us believe they are eating out of lunch pails in their spare time and riveting skyscrapers or busting sod in denim overalls. But let’s face it, they are mostly hobnobbing in suits, jostling to get their music conducted by “Lenny.”

Still is a composer in the mold, if not the manner, of Charles Ives. He’s a perpetual outsider, and always true to himself. His music grows directly out of his autobiographical experience, the blues, ballads, and spirituals of his childhood, in Woodville, Mississippi, and Little Rock, Arkansas, and later his experience playing in pit bands during the Harlem Renaissance.

He also studied at the Oberlin Conservatory and privately with George Whitefield Chadwick and Edgard Varèse, of all people. There is no Varèse to be found in Still’s music.

He composes with the directness of a Virgil Thomson, but with none of Thomson’s affected naiveté. He shares with George Gershwin a refreshing lack of pretention – or at any rate his music does (he did, after all, subtitle one of his symphonies “Autochthonous”) – and a wonderful facility with melody.

Of course, any discussion of Still must come with a litany of “firsts.” His “Afro-American Symphony” was the first written by a black composer to be performed by a major orchestra (the New York Philharmonic at Carnegie Hall). 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.

For years, all I could find was the “Afro-American Symphony,” and that only in two out-of-print, albeit very fine recordings (with Karl Krueger and the Royal Philharmonic, and Paul Freeman and the London Symphony Orchestra). It wasn’t until the digital era that the other four symphonies gradually – very gradually – became available. Thankfully, all of them now have been recorded and are available for purchase.

I think we have to thank the revival of the fortunes of Florence Price for the boost in exposure brought to so many other Black composers recently. Who would have thought that Price, Still, and William Levi Dawson would not only be performed, but recorded by the Philadelphia Orchestra – for the Deutsche Grammophon label, no less?

Of course, it would nice if DG didn’t change horses midstream and issue the final installment of their Price cycle exclusively as a digital download. I don’t do downloads, at least for the purposes of collecting. I would snap up the rest of their Price, Still, Dawson, and Margaret Bonds recordings if they actually existed on physical media (even if I was less than impressed with Yannick’s Dawson in concert). It’s exciting that a world-class band would take up the cause of these composers. I don’t need any more Philadelphia Orchestra Rachmaninoff!

Be that as it may, whether or not DG eventually grants him the respect of some compact disc releases, for me, William Grant Still is still the one.

Happy birthday, WGS (1895-1978).

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“Afro-American Symphony”

https://www.youtube.com/watch?v=9S-g-qYnqQQ