I’m sorry. I just really don’t care about sports.

Two years ago (Superbowl 48, or XLVIII, as the sportsters like to say) the big deal (in the art music world, at least) was that opera superstar Renée Fleming sang the national anthem. It was the first time an opera singer performed at a superbowl, and was probably the first time most football fans ever heard something akin to opera (with the exception of “kill the wabbit“, of course).

This year, Gustavo Dudamel conducted the Youth Orchestra of Los Angeles in the superbowl halftime show (though you wouldn’t know it, since they barely get mentioned. Forget these young people and their passion for art. Gotta leave plenty of room for … Coldplay …)

Dudamel is the rock star of conductors. He skyrocketed to fame through his success with the Orquesta Sinfónica Simón Bolívar, a Venezuelan youth orchestra (which is no longer a youth orchestra – the band was so good, they grew up together and became a world-renowned pro orchestra.) Now Dudamel is working his magic with the Youth Orchestra of Los Angeles, which provides free instruments, music lessons, and academic assistance to underserved communities in LA.

but … Coldplay … ?

Hats off to Dudamel! Here’s him conducting the Orquesta Sinfónica Simón Bolívar in a performance of a dance by Meixcan composer Arturo Marquez.

… Cold … play …

(2nd 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.

You might mistake this first movement for something by Gershwin. The main theme uses a twelve-bar-blues pattern.

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.

American music history deals a lot with American composers’ search for 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, 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.

Here’s the third movement of the symphony, which might be one of the only orchestral compositions featuring the banjo!