Price, Florence (1887-1953)

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    The Curious Case of Nora Holt, a Pioneer of Black Classical Music and Jazz

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    “Fabulous is the word for Mrs. Nora Douglas Holt,” read the 1974 obituary in The Amsterdam News.And fabulous she was: A pioneer of the Black classical music scene in Chicago, Holt also became an important figure in the Harlem Renaissance and the Jazz Age in Paris. Born into the middle-class, she moved back and forth between worlds: concert artist and blues singer, newspaper columnist and club hostess, erudite scholar and scandalous socialite.This fluidity led to friendships with two women who represented distinct versions of fame for Black women in the early 20th century: Josephine Baker, the working-class dancer from St. Louis, who became the toast of Paris; and the composer Florence Price, who transformed Chicago’s classical music scene, rising to national fame with her symphonies.Holt’s life didn’t follow familiar narratives. Hers was not a rags-to-riches story, like Baker’s; nor was it, like Price’s, a cathartic breakthrough for Black musicians in the white world of classical music. Instead, she had a kind of mutability, frequently changing her name and her place in culture, collapsing ideas about respectability and sexual liberation.Music was the through line in Holt’s life. She first made her name in classical music. For young, middle-class Black women in the late 19th and early 20th centuries, classical music could open doors to salon culture, church leadership, jobs teaching music and civic engagement.In 1918, Holt, a pianist, became the first Black person in the United States, female or male, to earn a master’s degree in music, from Chicago Musical College. She also worked in the male-dominated fields of music criticism, scholarship and composition. Her music journalism, public lectures, recitals and community organizing became a blueprint for other Black women seeking to become leaders in Chicago’s classical musical scene.“Of course, men are supposed to have better business minds than women,” she wrote to a male colleague after founding a magazine, Music and Poetry, in 1921. “But I have made this thing go and the opportunities are yet unlimited.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      As Florence Price’s Music Is Reconsidered, She Turns 135. Again.

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      The work of Florence B. Price is having a renaissance, and new, foundational details about her life and racial identity are still being discovered.By any measure, a Florence B. Price renaissance is well underway.Seven decades since her death, and nine since the groundbreaking premiere of her Symphony in E minor, her luminous music is enrapturing audiences worldwide. Most recently, the London-based Chineke! Orchestra highlighted that symphony on its debut North American tour, which has included stops at Lincoln Center and Jordan Hall in Boston, where Price herself performed as a New England Conservatory pupil. She has amassed a recorded catalog that includes recent Grammy Award-winning albums by the Philadelphia Orchestra and the New York Youth Symphony.This excitement stems from a half-century of scholarly and artistic work built on foundations laid by the late musicologists Barbara Garvey Jackson and Rae Linda Brown. A fluke discovery of dozens of Price’s unpublished scores at her abandoned Illinois summer home in 2009, which was then publicized in 2018, added significant momentum that has grown unabated since.While the explosion of attention is welcome, it has far outpaced a careful assessment of the historical record that may reshape how we view Price and her world. Brown, the leading authority on Price, died in 2017, before she could fully integrate the new discoveries into her magisterial biography that was published in 2020. But, knowing that there was still a great deal more to uncover, she remarked in a 2015 speech, “It is for the next generation of music scholars to tell the rest of the story.”As we take up the task of writing a new Price biography that draws on materials that were once lost, we have responded to Brown’s invitation by starting at the beginning. Here are just a few of the revelations that have led us to rethink what we know of Price, her music and the world she inhabited.To start, April 9 happens to be Price’s 135th birthday — again. The current scholarly consensus holds that she was born in Little Rock, Ark., in 1887. We believe that a preponderance of evidence, corroborated by a recently uncovered government document housed in the Library of Congress, now points to her true birth year as 1888.This small change would be a significant inconvenience for those invested in complete biographical accuracy, such as library cataloging teams. Yet such an otherwise slight discrepancy articulates the broader reality that basic facts about Price remain vexingly difficult to grasp and have emerged only through painstaking analysis of scattered and often disorganized records. Four decades ago, the historian Deborah Gray White described this dimension of Black women’s historiography as “mining the forgotten.”Through our meticulous research, we have also created a new sketch of the winding and at times traumatic multigenerational experience of racial ambiguity for Price and her family.Newly available photographs whose labels include Price’s maternal grandmother, Mary McCoy, and great-grandmother, Margaret Collins, appear to confirm that they would have been perceived as white according to post-bellum racial thought. Although no photograph of Price’s maternal grandfather, an Indianapolis barber named William Gulliver, is known to survive, local newspapers described him as “colored.” Curiously, the 1860 census lists the entire Gulliver family as “mulatto,” while the 1870 census lists them as “white.”That year, Gulliver sued Indianapolis City Schools for rejecting his daughter, Florence Irene (Price’s mother), from the white high school on racial grounds. Rather than seeking racially equitable admission, he argued that she was white by virtue of mixed European, African and Cherokee ancestry. The court disagreed, and a photograph from the time suggests that her racially ambiguous appearance placed her in the fissures of a hardening color line.In 1876, Florence Irene married a prominent dentist named James H. Smith and moved with him to Little Rock, where they both lived openly as members of the city’s Black elite. Despite their racial ambiguity, the Smiths clearly aligned themselves with Black political causes and at times continued to use the courts to resist tightening Jim Crow constructions of race, largely without success.After Dr. Smith died in 1910, however, Florence Irene deserted the family altogether to pass as white, entering what the historian Allyson Hobbs has called “a chosen exile.” The musicologist Michael Cooper has recently uncovered that she likely passed as white until she died in 1948, only five years before her daughter’s own death.One of Florence B. Price’s two daughters, Florence Louise, openly resented that sense of abandonment, passed down in family lore. Florence Irene “wasn’t the one who shouldn’t have married my grandfather,” she once wrote, “just the opposite.” No evidence currently suggests any reconnection between Florence Irene and the rest of the Price family.Price herself was well aware of racial interstices. In her final year of conservatory study in Boston, she falsely registered as a Mexican resident to avoid harassment from vocally segregationist, Southern white students — a longstanding problem for students of color.Much later in her career, on July 5, 1943, race, gender and American identity all ran through Price’s mind. In a now-famous letter to Serge Koussevitzky — her second to the influential Boston Symphony Orchestra conductor — she closed with a contemplative assertion, “I have an unwavering and compelling faith that a national music very beautiful and very American can come from the melting pot just as the nation itself has done.” And, repeating a hitherto unanswered call, “Will you examine one of my scores?”Earlier in the letter, she had written of the “two handicaps of sex and race,” the “Negro blood in my veins,” and how her Arkansas upbringing had shaped her understanding of African American folk music. Knowing of Koussevitzky’s keenness to champion American composers in wartime, Price then introduced the melting pot, not as an idealistic metaphor, but as her reality. He declined to program any of her music.Here and elsewhere, Price’s vocabulary paints a distinct self-understanding. In a document in Price’s handwriting, likely dating from 1939, she describes her maternal ancestry as “French, Indian and Spanish,” obscuring William Gulliver’s African descent. In contrast, she labeled her paternal ancestry as “Negro, Indian and English.” From this perspective, to tell Koussevitzky that she had “some Negro blood” was a sensible turn of phrase embracing an unclassifiable racial identity.In our reading, Price’s description punctured “one-drop” ideologies while affirming the creolization of her background. She wanted to complicate rigid conceptions of race, following the stance that her family had clearly taken for generations. As Hobbs has argued, the mutability of racial self-identification open to racially ambiguous people “reveals the bankruptcy of the race idea” while “offering a searing critique of racism” and “disarming racialized thinking.”And so, as we work to construct Price’s genealogical portrait and her recognition as the first African American woman composer of her stature, we consider how the dynamics of racial passing, ambiguity, colorism and — most important — her self-definition, factored into the path she charted as a creative artist.Notably, Price explained her musical style to Koussevitzky in terms of ambiguity and fusion. “Having been born in the South and having spent most of my childhood there,” she told him, “I believe I can truthfully say that I understand the real Negro music. In some of my work I make use of this idiom undiluted. Again, at other times it merely flavors my themes. And at still other times thoughts come in the garb of my mixed racial background.”Price’s capacious sense of self generated an equally capacious horizon of expression captured most clearly in her series of four solo piano works called “Fantasie Nègre.” From the first in the set, which draws upon the spiritual “Sinner, Please Don’t Let This Harvest Pass,” to the last, which weaves an original theme into rhapsodic declamations, each uses different strategies for sounding the folkloric and the fantastical of Black pasts, presents and futures.Price’s engagement with Black folk idioms in her symphonies and chamber music has also entered the spotlight as listeners have encountered these works for the first time. Often extracted for family performances, her dance-inspired “Juba” movements are especially popular. But limiting engagement to Price’s folkloric music is a mistake. As the composer George E. Lewis has argued, expanding conceptions of the possibilities in Black music must accompany an expanding understanding of Black life.A prolific song composer, Price was deeply inspired by the outstanding Black poets of her era, including Paul Laurence Dunbar, Langston Hughes, Georgia Douglas Johnson and Joseph Seamon Cotter Jr. She even set some of her own poetry. She was a voracious and eclectic reader who could bring extraordinary musical dynamism to texts across styles and themes. Her setting of “Debts,” by Jessie Belle Rittenhouse, is a profound meditation on the inward experience of love, while “Tobacco,” her setting of a comic poem by Graham Lee Hemminger, shows off her dry wit.Price’s approaches to the piano and organ, her principal instruments, were equally voluminous. Large-scale works like her Piano Concerto and organ suite display her virtuosic skills as a performer. Her picturesque character pieces — such as “Flame,” “Clouds” and “In Quiet Mood” — reveal a supreme colorist with an imaginative harmonic vocabulary and firm narrative sense.While recordings of these pieces display the breadth of Price’s creativity, many of her compositional ambitions went unfulfilled at the time of her death, in 1953. Drafts of two symphonies (one of which formed the basis of her tone poem “The Oak”), two piano concertos and a handful of chamber pieces are incomplete, while other major scores for chorus, piano and solo voice remain unpublished. Even so, as Price’s life and works come into sharper focus, the world will continue to find that her music cannot be contained. More

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      These Young Musicians Made an Album. Now It’s Nominated for a Grammy.

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      The debut album of the New York Youth Symphony, featuring some players who were in middle school, is up against recordings by some of the world’s top orchestras.When the Grammy nominations for best orchestral performance were announced last month, several of the usual suspects made the cut. There was the august Berlin Philharmonic, for an album conducted by the composer John Williams, and the Los Angeles Philharmonic under the baton of its maestro, Gustavo Dudamel.But a newcomer also got a nod: the debut album of the New York Youth Symphony, a prestigious musical program for musicians between the ages of 12 and 22.The news that the ensemble’s album had earned a Grammy nomination astonished some of its young players.“I jumped in the air and I screamed, like I have never screamed before,” said Isabella Marquez, 18, who played violin on the album and watched a livestream of the Grammy nominations announcement in the kitchen of her Manhattan apartment with her mother and grandmother.“I never thought that I would be on an album, much less a Grammy-nominated album,” said Marquez.Clockwise from top left: Kennedy Plains, 22, a bassoonist, Joshua Choi, 18, a clarinetist and Iris Sung, 17, a violinist, who all played on the album, and Dmytro Tishyn, a 16-year-old bassoonist from Ukraine who played with the ensemble last month at a concert at Carnegie Hall.The recording might never have happened had it not been for the pandemic. When live performance was halted in 2020, and a Carnegie Hall concert was canceled, the ensemble decided to try to make an album instead.After the police murder of George Floyd and the social justice protests that spread throughout the nation that summer, the orchestra decided to rehearse and record works by Black composers, and selected pieces by Florence Price, Jessie Montgomery and Valerie Coleman. “We need to promote music that deals with these issues,” the orchestra’s music director, Michael Repper, said in an interview.The album, which is untitled, came together after six weeks of remote instruction followed by in person socially distant rehearsals and four days of recording sessions in which the musicians recorded the sections of the orchestra separately — all without a single Covid-19 infection, Repper noted. It was produced by Judith Sherman, a 13-time Grammy winner, who is nominated as classical producer of the year.Many of the young players were proud to have simply recorded an album during the pandemic. They were stunned when it was recognized by the Grammys, amid such illustrious competition — orchestras many of them have long revered.Joshua Choi, an 18-year-old principal clarinetist in the youth program, said he listened to the Berlin Philharmonic’s principal clarinetist, Andreas Ottensamer, whenever he needed motivation.After learning of the Grammy nomination, he couldn’t find the words to tell his parents, and stared in shock at his roommate, who plays oboe in the youth symphony, Choi said.“That’s pretty mind blowing,” Choi said. “I still can’t process that.”Michael Repper, the orchestra’s music director, during a rehearsal at Carnegie Hall.Todd Midler for The New York TimesIris Sung, the orchestra’s 17-year-old concertmaster, said she was in class at Tenafly High School in New Jersey when the nomination was announced. After her mother broke the news on her way home from school, she shared the nomination on Instagram, and as her phone flooded with congratulatory messages she thought back to recording it “in such a strange time.”“Just knowing that all that had paid off, I think was just something so special to me,” Sung said.The album features music by Price, including “Ethiopia’s Shadow in America” and her Piano Concerto in One Movement, featuring the pianist Michelle Cann; “Umoja: Anthem of Unity” by Coleman; and “Soul Force,” by Montgomery.Montgomery, 40, a composer whose works have been performed by the Los Angeles Philharmonic, the St. Louis Symphony Orchestra and the Minnesota Orchestra, and who is now the Chicago Symphony Orchestra’s composer in residence, played violin with the New York Youth Symphony as a teenager.“It was the first time I had ever played youth symphonies, really, and it was a really important moment in my education,” Montgomery said. “That was my gateway into orchestral music.”For this recording, she held a video call with the young players, where she answered their questions on articulation and dynamics.When she was young, Montgomery said, orchestras rarely played music by Black composers. She said it was comforting to see that change.When the orchestra was unable to play one of its regular concerts at Carnegie Hall during the pandemic, it decided to make a recording. Todd Midler for The New York Times“Young people in the world right now are coming up in music at a time where Black art is centralized, and I think that is a very positive thing from the perspective of a young person,” Montgomery said.Kennedy Plains, a 22-year-old bassoonist and former member of the Youth Symphony, said that she was glad that ensembles were playing music by a more diverse roster of composers, and that she had appreciated the chance to work with Montgomery on a video call.“I hadn’t really got to play works by a lot of composers of color before,” Plains said, who learned to play the bassoon in middle school.Jessica Jeon, 14, a violinist, said that after learning of Price through the youth program, she gave a presentation about her to her seventh grade civil and human rights class.Price, who became the first Black woman to have her music played by a major American orchestra in 1933 when the Chicago Symphony performed her Symphony in E Minor, has been enjoying a renaissance in recent years, along with other composers of color.“They didn’t have the chance to become super well known such as Mozart or Beethoven because of their race or their gender or their sexuality,” said Jeon, who was 12 when the album was recorded. “Because of that, I felt inspired to try to introduce more people to them.”When the youth symphony returned to Carnegie Hall last month, it played with Dmytro Tishyn, a 16-year-old bassoonist from Ukraine who had fled after the Russian invasion.Repper, who will pass his music director role to Andrew Jinhong Kim in the 2023-2024 season, said that he hopes the album inspires more orchestras to play and record music by Black composers.“Orchestras don’t deserve any extra credit at this point for performing works by Black composers,” he said. “They don’t deserve any extra credit for performing works by women. It’s something that should have been done for decades.”The Grammy Awards will be presented on Feb. 5 in Los Angeles. More

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      Clara Schumann and Florence Price Get Their Due at Carnegie Hall

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      Two works by these composers have been marginalized in classical music, but they were never forgotten, as their histories show.Two composers marginalized by history will take center stage at Carnegie Hall this week.On Friday, the Philadelphia Orchestra will perform Florence Price’s Symphony No. 3 and Clara Schumann’s Piano Concerto, which is making its Carnegie debut with Beatrice Rana as the soloist 187 years after its premiere.Yannick Nézet-Séguin, the Philadelphia ensemble’s music director, called the concert, which sandwiches those two pieces between classics by Ravel, an example of varying artistic perspectives. “A work of art is a viewpoint from an artist,” he said in an interview. “And if you have only one part of society that always gets their viewpoint heard, we constantly hear one viewpoint. It’s so important to have different viewpoints.”As a result of rediscoveries and shifting approaches to programming, works by Schumann and Price have migrated to classical music’s mainstream in recent years, with attention from major orchestras, especially Philadelphia, and recordings on prestige labels like Deutsche Grammophon. But they were never truly forgotten, as their histories show.Schumann: Piano Concerto in A minorIn 1835, the piano concerto by Schumann (then Clara Wieck, not yet married to the composer Robert Schumann) premiered at the Gewandhaus in Leipzig, Germany, under the baton of Felix Mendelssohn. She was just 16, but already famous as a composer and virtuosic performer. The work earned ovations, and later, the Viennese demanded three performances in one season. But after Robert Schumann’s journal, Neue Zeitschrift für Musik, among others, reviewed it as a “lady’s” composition, she shelved it.The concerto’s second edition didn’t come about until 1970, according to Nancy B. Reich’s biography “Clara Schumann: The Artist and the Woman.” (The pianist Michael Ponti is believed to have made the first recording in 1971.) Decades of work by musicians and musicologists culminated in Schumann’s widely celebrated 200th birthday in 2019. But despite new recordings by Ragna Schirmer and Isata Kanneh-Mason, who recently debuted the concerto with the Baltimore Symphony and the Los Angeles Philharmonic, major orchestras, including the New York Philharmonic, continue to ignore it.Some artists have shrugged off the concerto, which Schumann completed when she was 15, as the work of a teenager. But it has had a long-ranging influence on some of the most beloved piano concertos that came after it.“It was written at a pivotal point in the history of the genre,” Joe Davies wrote in “Clara Schumann Studies,” published by Cambridge University Press last year. “It invites a powerful reimagining of what the concerto can be and do. Stylistically and expressively, she put her own stamp on the genre.”In an interview, Rana, who called the concerto “a genius work in many ways,” said: “I think that it’s very, very underestimated — the intellectual value of this concerto in the history of music.” Schumann’s nontraditional, through-composed form, seamless without breaks between movements, Reich has noted, bears the influence of Mendelssohn’s First Piano Concerto. Rana called it as revolutionary as concertos by Liszt and Robert Schumann, both of which it predates by over a decade.Yannick Nézet-Séguin leading the Philadelphia Orchestra at Carnegie in a program featuring Florence Price’s music in February.Steve J. ShermanThe concerto’s powerful march opening, deceptively simple in its orchestral unison, contains the five-note motif that unites the themes across its three movements. In its transformative second movement Romanze, a tacit orchestra listens to the piano sing an exquisite love duet with a solo cello — an instrument that both Robert Schumann and Brahms featured in their concerto’s solo movements. Its final, longest movement displays the full breadth of Clara’s pianistic prowess and personality.Alexander Stefaniak, the author of “Becoming Clara Schumann,” writes that Robert emulated her form and improvisatory style; Robert also inverted Clara’s piano entrance in his piano concerto (also in A minor). Based on that, you could consider her reach extending to Grieg’s and Rachmaninoff’s first concertos, which echo Robert Schumann’s. Brahms might even have been inspired by her third movement Polonaise in his First Concerto’s third-movement Hungarian dance.“You can see she was a great virtuoso because what she writes is very challenging for the piano,” Rana said.At Carnegie, Nézet-Séguin intentionally avoided the cliché of programming Schumann with her husband’s work. For him, she and Price stand on their own. As composers, they had “the self-confidence to believe in what they wanted to bring to the world,” he said. “They are works that have no equivalent.”Price: Symphony No. 3 in C minorPrice’s Third Symphony is a work rooted in the traditions of symphonic Romanticism and classical Black composition, simultaneously adding to and expanding the expectations of orchestral technique. “A cross-section of Negro life and psychology” is how she described it in a letter to Sergei Koussevitsky, the Boston Symphony Orchestra’s music director, in 1941. That was a year after the symphony’s premiere, with Valter Poole and the Michigan W.P.A. Symphony, which was positively received in the Detroit press and even earned a mention in Eleanor Roosevelt’s syndicated column, “My Day.”Price’s music, Nézet-Séguin said, is “like a great wine that really ages very well.” He and the Philadelphia Orchestra released a Grammy Award-winning recording of her First and Third Symphonies last year. Since then, he added, “We keep exploring all the finesse and the detail and the language.”Philadelphia’s recording of the Third is the most high-profile, though not the first. (That was by Apo Hsu and the Women’s Philharmonic, released in 2001.) The album comes after decades of artists championing Price’s work, including luminaries like Marian Anderson and Leontyne Price, as well as present-day virtuosos like Michelle Cann, Samantha Ege and Randall Goosby, whose live recording of the violin concertos with the Philadelphia Orchestra will be released on the Decca label next year.Rae Linda Brown, in her book “The Heart of a Woman: The Life and Music of Florence B. Price,” described the Third Symphony as a reflection of “a maturity of style and a new attitude toward Black musical materials.” Rather than applying African American music idioms through melody and harmony alone, Price incorporates conventions of form, texture, rhythm and timbre, an approach she also used in her Concerto in One Movement (1934), Violin Concerto No. 1 (1939) and Violin Concerto No. 2 (1952). Her percussion section calls for snare drum, cymbals, triangle, orchestral bells, castanets, wood blocks and sand blocks, to name a few; and she expands the brasses and woodwinds beyond the sets of twos from her earlier works. The first and final movements feature more contrapuntal motion and tonal ambiguity.Nézet-Séguin said that during a rehearsal, a Philadelphia Orchestra member mentioned that Price probably played a lot of Bach, and that the third movement Juba-Allegro’s melody seemed to be a reference to Bach’s Brandenburg Concerto No. 3. That speaks to another core aspect of her style: her use of the African American musical procedure of signifyin(g), in which older works and forms are referred to and transformed in new, unexpected directions.The juba dance movement of Price’s Third features asymmetrical phrasing, rhythmic complexity and interaction between sections. The cool trio section, with habanera rhythms and a muted trumpet, and her use of a modified jazz progression for the main theme, reflects a creative palette that crosses time, region and culture.UNLIKE SCHUMANN’S CONCERTO, Price’s symphony is not making its Carnegie Hall debut. But it has been performed there only once before — by the Gateway Music Festival Orchestra this year. By contrast, according to the hall’s archives, the Ravel works on Friday’s program, “Le Tombeau de Couperin” and “Boléro,” have been performed there 48 and 114 times.“We’ve had too much of the white European male for too long,” Nézet-Séguin said, adding that it was time to aim “for a certain kind of balance in terms of what we see on our concert stage.”Nézet-Séguin is an established Price champion by now; he and the Philadelphians brought her works to five European cities this summer alone. And Rana can say the same about Schumann, having toured the concerto with Nézet-Séguin, and having prepared a recording to be released in February.“The only way to give dignity to a piece is to listen to it,” Rana said. “It needs to be played. It needs to be heard.”Sarah Fritz, a musicologist who is writing a book about Clara Schumann, teaches at the Westminster Conservatory of Music at Rider University.A. Kori Hill is a musicologist, freelance writer and staff member of the nonprofit ArtsWave. She lives in Cincinnati. More

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      Review: Without a Note of Beethoven, an Orchestra Shines

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      At Carnegie Hall, the Philadelphia Orchestra gave pride of place to a once-forgotten Florence Price symphony, alongside new works and a classic.The vast majority of the music the Philadelphia Orchestra is playing in its eight concerts at Carnegie Hall this season is by Beethoven.Under its music director, Yannick Nézet-Séguin, this ensemble plays the master with warmth and verve. And alongside the nine classic symphonies, it is presenting contemporary works written in response, a tried-and-true technique to scooch in the new with the old, spoonful-of-sugar style. They’ve been worthy performances.But even though three of the concerts are yet to come — Beethoven’s First and Ninth on Feb. 21, then his “Missa Solemnis” and a John Williams gala in April — I reckon that nothing the Philadelphians do at Carnegie this season will be more impressive than Tuesday’s performance.There was not a note of Beethoven. Nor, for that matter, any piece that could be considered a standard audience draw. The closest thing to a chestnut, Samuel Barber’s 1947 soprano monologue “Knoxville: Summer of 1915,” bloomed in the fresh company of two new works and Florence Price’s once-forgotten Symphony No. 1.When the Chicago Symphony Orchestra premiered the Price in 1933, it was the first work by a Black woman to be played by a major orchestra. While women and composers of color are now better represented on programs, it is still all too rare for them (or for anything but a canonical piece) to have the anchor position at a concert’s end.So it was a progressive, even inspiring statement for Philadelphia — which released a recording of Price’s First and Third symphonies last year — to close with the First. And the players gave it the same vitality and subtlety they’ve brought to Beethoven.The opening bassoon line was here less a solo showpiece than a mellow song nestled modestly within the textures of the strings. In that bassoon call — along with the blending of folk-style melodies and classical sweep, and a dancing finale — Price’s symphony bears the unmistakable influence of Dvorak’s “New World.” But it is very much its own piece, with an arresting vacillation between raging force and abrupt lyrical oases in the first movement and a wind whistle echoing through the vibrant Juba dance in the third.Price clearly knew she had a good tune in the slow second movement, a hymnlike refrain for brass chorale that she milks for all it’s worth. But the many repetitions, with delicate African drumming underneath, take on the shining dignity of prayer. And the ending, with rapid calligraphy in the winds winding around the theme, rises to ecstasy, punctuated by bells.Sounding lush yet focused and committed, Nézet-Séguin’s orchestra even highlights a quality I hadn’t particularly associated with Price: humor, in her dances and in the way a clarinet suddenly squiggles out of that slow hymn, like a giggle in church.The concert opened with a new suite by Matthew Aucoin adapted from his opera “Eurydice,” which played at the Metropolitan Opera last fall. At the Met, Aucoin’s score swamped a winsome story, but in an 18-minute instrumental digest, it was easier to appreciate his music’s dense, raucous extravagance, the way he whips an orchestra from mists into oceans, then makes pummeling percussion chase it into a gallop. Ricardo Morales, the Philadelphians’ principal clarinet, played his doleful solo with airily glowing tone, a letter from another world.There was grandeur, too, in Valerie Coleman’s “This Is Not a Small Voice,” her new setting of a poetic paean to Black pride by Sonia Sanchez that weaves from rumination to bold declaration. The soprano Angel Blue was keen, her tone as rich yet light as whipped cream, in a difficult solo part, which demands crisp speak-singing articulation and delves into velvety depths before soaring upward to glistening high notes. Blue was also superb — sweet and gentle, but always lively — in the nostalgic Barber.In its inspired alignment of old and new, the concert recalled last week’s program at the New York Philharmonic, which also closed with a rediscovered symphony by a Black composer. When it comes to broadening the sounds that echo through our opera houses and concert halls, change can be frustratingly slow. But to hear, within a few days, two of the country’s most venerable orchestras play symphonies by Julius Eastman and Florence Price did give the sense of watching the tectonic plates of the repertory shift in real time.Philadelphia OrchestraAppears next at Carnegie Hall, Manhattan, on Feb. 21. More

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      When Europe Offered Black Composers an Ear

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      Spurned by institutions in America, artists were sometimes given more opportunities across the Atlantic.In early September 1945, amid the rubble of a bombed-out Berlin, the Afro-Caribbean conductor Rudolph Dunbar stepped onto a podium and bowed to an enthusiastic audience of German citizens and American military personnel.The orchestra had gathered in an old movie theater functioning as a makeshift concert hall in the newly designated American zone of the city. First on the program was “The Star-Spangled Banner.” Then came a fairly standard set of orchestral pieces, with Carl Maria von Weber’s “Oberon” Overture followed by Tchaikovsky’s “Pathétique” Symphony. But one piece stood out from the rest: William Grant Still’s “Afro-American Symphony.” When it premiered in 1931 in Rochester, N.Y., it was the first symphony by a Black American to be performed by a major orchestra.Still’s symphony received a robust round of performances in the United States in the 1930s. That decade was a watershed for Black composers like him, who finally managed to convince powerful American ensembles to perform their music. The “Afro-American Symphony” was quickly followed by Florence Price’s Symphony in E Minor, in 1933, and William Dawson’s “Negro Folk Symphony,” in 1934. These works appeared frequently on concert programs in America at the time — and then disappeared.Still’s symphony received a robust round of performances in the United States in the 1930s.The Vicksburg Post/Associated PressIt was Dunbar, a clarinetist who had studied at the Institute of Musical Art (later the Juilliard School), who brought back Still’s music. In New York, the two had struck up a friendship before Dunbar set off in 1924 for Europe, where he studied and performed for over a decade. A student of renowned musicians like the conductor Felix Weingartner and the clarinetist Louis Cahuzac, he was steeped in the world of European art music.But he was also a committed Black activist. Running in the same circles as Black Marxists and Pan-Africanists like George Padmore, Dunbar had long made plain his loathing of white supremacy, whether in the form of Nazism or British imperialism. In fact, he’d already performed Still’s “Afro-American Symphony” for its European debut a few years earlier, on a concert with the London Philharmonic at the Royal Albert Hall to raise funds for Black soldiers fighting the Nazis.Dunbar was invited to perform in Berlin by Leo Borchard, whom the victorious Allies had appointed the Philharmonic’s conductor, and was also an anti-Nazi dissident and resistance fighter who aided German Jews fleeing the Third Reich. The message of Dunbar’s debut could not be clearer: Classical music could not be divorced from a global fight against racism.In the 1980s, the pianist Althea Waites brought the music of Florence Price (shown here) to German audiences — who eagerly applauded.University of Arkansas Libraries Special CollectionsThe work of racial justice in the arts has always been a global effort. Europe’s role in this fight, however, deserves closer inspection. Spurned by the barriers white-dominated institutions placed on them in the United States, Black American composers and musicians have long perpetuated the idea that European audiences were more welcoming. Writing to The New York Age newspaper while studying abroad in London in 1908, the Black American composer Clarence Cameron White said as much: “On every side you find the European musician and music-lover as well realizes that music is too broad and too universal to be circumscribed by the complexion of the skin or texture of the hair.”There is some truth to White’s claim. Some of the earliest performances of William Grant Still’s music had taken place in Paris. At the Théâtre des Champs-Élysées in February 1933, the Pasdeloup Orchestra performed his symphonic poem “Africa,” led by the Austrian conductor Richard Lert, who later fled to the United States after the rise of the Nazis. Safely exiled in Los Angeles, in 1944, Lert invited Black American bass Kenneth Spencer to join him in a performance of Nathaniel Dett’s oratorio “The Ordering of Moses,” another work by a Black composer that would soon disappear for decades.In June, one of the largest festivals outside the United States to celebrate the music of Black composers took place in Hamburg, Germany. Daniel Dittus/ElbphilharmonieIn Torino, Italy, in 1952, the Black American conductor Dean Dixon introduced the music of Ulysses Kay — who was residing at the American Academy in Rome as a winner of the prestigious Rome Prize — to Italian audiences. “Once you secure the allied interest of Europeans according to the highest standards available, you will be heard,” Dixon said.Later, during the Cold War, Kay toured Soviet Russia on behalf of the State Department. In the 1980s, the pianist Althea Waites brought the music of Florence Price to German audiences — who eagerly applauded. “There they listen to my music instead of looking at me,” Waites said. In recent years, composers such as Tania León and George Lewis have also received premieres in Europe.In June, one of the largest festivals outside the United States to celebrate the music of Black composers took place in Hamburg, Germany. Initiated and led by the Hampsong Foundation and the performer and scholar Louise Toppin, the three-day festival at the Elbphilharmonie showcased an array of contemporary pieces and historical works. (Full disclosure: I wrote program notes for the festival and supervised the translations for it.)“The whole experience ended up being a real celebration of Black excellence, but on a continent that I have called home for the past eight years,” said the composer Anthony R. Green, an American based in the Netherlands, whose pieces “Three Quotes from Shakespeare” and “Sojourner Truth” appeared in the festival.William Dawson’s “Negro Folk Symphony” was played at the festival.via W.E.B. Du Bois Papers, Special Collections and University Archives, UMass Amherst LibrariesStaging the festival was no easy feat. It involved translating dozens of Black American art songs from English into German. Moreover, historical negligence shaped what scores and parts the orchestra and singers could find. “This music was forgotten about,” the conductor Roderick Cox said of William Dawson’s “Negro Folk Symphony.” “It was neglected; you couldn’t get access to this music through the publishers; the parts were in shambles.”Indeed, Dawson’s symphony — once heralded as a brilliant success — had been dormant in the United States for decades. Perhaps unsurprising, the only recent recording of it was made in Vienna.But praising Europe for offering a platform for the music of Black American composers omits an important part of the story. White European support of and advocacy for Black American musicians has often come at the expense of their own Black populations. As many Black European intellectuals and activists have pointed out, Europeans know the names of George Floyd, Breonna Taylor, and Trayvon Martin, but do they know those of Oury Jalloh, Stephen Lawrence, and Jerry Masslo?Prestigious music institutes such as Darmstadt, in Germany, have rarely invited Black composers to join their international communities, or given Germany-based Black composers such as Robert Owens and Benjamin Patterson their due. In the city of Hamburg, which has a Black population dating back to the 19th century and was the birthplace of Marie Nejar, an Afro-German woman who survived the Nazis performing as a child actress, the performers and audience at the Elbphilharmonie’s music festival this summer were almost entirely white.Europe has been lax about promoting its own historical Black composers and musicians, such as George Bridgetower, Amanda Aldridge, Chevalier de Saint-Georges and Avril Coleridge-Taylor. Many recent high-profile performances of Black European performers and composers can be attributed to the Chineke Orchestra in England — Europe’s first ensemble to have a majority of musicians of color — rather than to white European musical institutions. Other Black European composers, such as Werner Jaegerhuber, a Haitian-German composer who lived in Germany from 1915 until he was forced to flee the Nazis in 1937, have yet to receive significant European attention.The recognition of Black composers on any stage puts pressure on institutions to contend with their racist pasts and to imagine a better future. Rudolph Dunbar’s performance of Still’s “Afro-American Symphony” and Roderick Cox’s of Dawson’s “Negro Folk Symphony,” nearly a century apart, suggest that efforts to advance racial justice go hand in hand with a commitment to embracing music’s power. Performing the music of Black composers is not simply or only an opportunity to correct historical wrongs. Nor should it be considered the equivalent to eating your proverbial broccoli. Rather, it is an invitation to dine on the most exquisite meals. To fight for the music of Black composers is to fight for a better world. More