(4th and last part in a series – the whole symphony will be played throughout the month)

William Grant Still was the first African-American to conduct a symphony orchestra as well as the first to have his symphonic music and operas played by a major orchestra. It’s no wonder he’s known as “the Dean” of African-American Composers.

Back when I was in college (music conservatory), a major component of American music history was finding a true American voice, distinct from European Art Music. Some composers simply copied the European style. Dvorak was convinced the American voice would come from the melodies of the Native Americans. Then there’s Copland‘s very popular “American” sound and style of composition (might Daugherty, whom we heard yesterday, be the next Copland?) And of course, there are the composers like Gershwin who adopted African-American styles as their own.

So where does that leave William Grant Still? His first symphony, “Afro-American”, is in four movements, and has more character than the Second New England School, all the richness of Dvorak’s “New World Symphony”, far more depth than any of Copland’s popular works, and can claim the African-American heritage better than Gershwin can. Everybody should know this music.

The last movement was inspired by a section of the poem “Ode to Ethiopia” by Paul Laurence Dunbar:

Be proud, my Race, in mind and soul,
Thy name is writ on Glory’s scroll
In characters of fire.
High ‘mid the clouds of Fame’s bright sky,
Thy banner’s blazoned folds now fly,
And truth shall lift them higher.

(3rd part in a series – the whole symphony will be played throughout the month)

William Grant Still was the first African-American to conduct a symphony orchestra as well as the first to have his symphonic music and operas played by a major orchestra. It’s no wonder he’s known as “the Dean” of African-American Composers.

Back when I was in college (music conservatory), a major component of American music history was finding a true American voice, distinct from European Art Music. Some composers simply copied the European style. Dvorak was convinced the American voice would come from the melodies of the Native Americans. Then there’s Copland‘s very popular “American” sound and style of composition (might Daugherty, whom we heard yesterday, be the next Copland?) And of course, there are the composers like Gershwin who adopted African-American styles as their own.

So where does that leave William Grant Still? His first symphony, “Afro-American”, is in four movements, and has more character than the Second New England School, all the richness of Dvorak’s “New World Symphony”, far more depth than any of Copland’s popular works, and can claim the African-American heritage better than Gershwin can. Everybody should know this music.

Like many symphonies, the second movement is slow and lyrical. Lush, jazz-inspired harmonies and blue-note melodies abound.

Dudamel‘s back again. Expect to see him a lot.

This is one crazy video. Crazy-awesome, that is. I love how the audience is so into the music, they are standing up, dancing, clapping, cheering, throwing stuff. Why not? How can you sit still in this sort of atmosphere, with this music? And wow, those musicians nail it, even while standing up and dancing! Have a great Mardi Gras!

Leonard Bernstein‘s Mambo from West Side Story:

There are plenty of accounts that European and American audiences used to be this rowdy at concerts. The current “stuffy” atmosphere at Art Music concerts is often blamed on: 1) the late 19th century rise of the middle-class, which sought ways to distinguish itself from the lower class, and thus created a set of “rules” for concert-going; 2) the subtle but long-running smear-campaign against Art Music in movies & TV (who listens to Art Music? The losers, the squares, the fuddy-duddies, and the bad guys, who invariably have English accents); 3) Gustav Mahler.