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?
Classical music cannot save anyone. But I still find our discussions of its role in black lives too one-note, tone-deaf and flat. What is absent from conversations on black experiences in classical music and what is grossly underestimated in our debates is classical music’s shocking power . . . Black popular music is not the only thing capable of moving the body irrespective of what the mind wants.
. . . I do not believe that the answer to critics’ questioning of blackness and classical music is for black people to stop playing it. Such an argument allows only white people the freedom to enjoy a musical work for its own sake, and it dictates to black people not only what their social responsibilities are as artists, but the terms by which they are to fight against their own oppression.
. . . Held up as symbols of racial advancement, used to denigrate others who cannot or will not make the same aesthetic choices, or denounced as Uncle Toms, black classical musicians inhabit a liminal space. But it is a space that encourages us to consider the full range of experiences that should be available to people of color, including the pleasure of abstract, even Western, art music. It is a space in which Draylen Mason chose to thrive. And because of him and others, it is a space in which I choose to remain.
As a frequent attendee of new [classical] music events around the world, I often feel as though the presence of people who look like me is not wanted or is merely tolerated . . .this feeling arises mainly from observations of concert programming [whose absence of works by black composers sends] the message “black composers have not composed music good enough for us to play or for this stage” . . . Classical music did not escape the greater social construct of racism and patriarchy, which is why composers such as Ignatius Sancho, Chevalier de Saint-Georges, Blind Tom, Florence Price, Margaret Bonds, William Grant Still, and plenty more are usually only studied in non-required specialized classes. . . There is also a trend that places the music of black composers mostly in themed concerts, more often than not related to social justice or for Black History Month. While this is not necessarily negative, the injustice arises when absolute music or music with non-social themes by black composers is overlooked. In sum, we are not one-trick ponies.
Some examples of new classical music by black composers referenced by Kira Thurman:
Cycles of My Being, a song cycle composed by Tyshawn Sorey, with texts by Terrance Hayes, performed by Lawrence Brownlee.
The Spark Catchers, by black British composer Hannah Kendall:
Anthony R. Nelson is himself one of the founders of a classical music ensemble with the beautiful name Castles of Our Skins, which is dedicated to fostering and performing works by composers of color. Here is video from some of their concerts:
Why do you think black composers are so rare in the worlds of classical music? Do you think the western art music traditions offer meaningful opportunities for self-expression for black musicians and audiences?
The trailer for a forthcoming documentary about tuba virtuoso Dr. Richard Antoine White, who was a homeless child in West Baltimore (Freddy Gray’s neighborhood), and later became the first African-American to earn a doctorate in tuba performance. I will get hold of the documentary for class as soon as it’s available.