Johann Baptist Vanhal’s Concerto in D Major, which Kira Thurman imagines Draylen Mason playing:
Two of the pieces Kira Thurman played for her music school audition:
The piece that Thurman says she is “obsessed with playing and listening to”:
An excerpt from Cycles of My Being by Tyshawn Sorey:
The Spark Catchers, by British composer of African descent, Hannah Kendall:
Essay by artist and critic “Coco Fusco, Censorship, Not the Painting, Must Go: On Dana Schutz’s Image of Emmett Till,” which Thurman cites on p. 244:
Dana Schutz, “Open Casket” (2016), in the 2017 Whitney Biennial (photo by Benjamin Sutton/Hyperallergic)
In Langston Hughes’s short story “Home,” Roy Williams plays the following pieces in his mother’s house when he returns from Europe:
The most famous of the Hungarian Dances by Brahms (called “The Gypsy Dances” by Hughes):
Roland Hayes singing “The Crucifixion” (for more on Hayes, including the poem Langston Hughes wrote on the assault on the great tenor in Georgia, see here):
The “Meditation” from the opera Thaïs by Jules Massenet:
It’s worth noting in the context of the Hughes story that, in the 2018 film Green Book, composer and pianist Don Shirley does not play classical music for white audiences, but rather his own jazz-classical hybrid form, a choice that makes white listeners more comfortable with the separation between him and themselves; in a sense, Hughes tells us, it’s the blurring of race and musical genre that leads to Roy’s death. For Don Shirley in the film, it’s only in a black bar that he’s finally allowed to play the music that he loves the most.
For more about the real Don Shirley, the subject of the film, read this.
What do Kira Thurman’s essay and Langston Hughes’s story tell us about the experiences of black classical musicians?