In August, Black Classical Music will be released, the twenty-first release by 19'40''. It includes works by Afro-descendant composers. In this series of articles, we tell the stories of the composers and their work.
WILLIAM GRANT STILL
William Grant Still was a prominent African-American composer and conductor who left an indelible mark on classical music.
Still’s compositions, spanning symphonies, operas, chamber music, and choral works, were characterised by a fusion of Western classical traditions and African-American musical elements. This unique blend showcased his rich cultural heritage, incorporating spirituals, jazz, and folk tunes.
In 1931, Still made history as the first African-American composer to have a symphony performed by a major American orchestra. His Symphony No. 1, “Afro-American Symphony,” premiered with the Rochester Philharmonic Orchestra, captivating audiences by incorporating blues themes and rhythms.
Beyond his musical achievements, Still made significant strides in breaking racial barriers. In 1936, he conducted the Los Angeles Philharmonic Orchestra, becoming the first African American to lead a major American orchestra. He also worked as the first African-American composer at 20th Century Fox in the 1940s, contributing to the film industry.
William Grant Still actively advocated for the recognition of African-American composers, making invaluable contributions to their inclusion in the classical music canon. His compositions often reflected the struggles and aspirations of African-Americans, serving as a catalyst for social change.
Summerland for piano (Arr. for alto sax and piano)
Summerland is the second of the Three Visions composed by William Grant Still for solo piano. It is also the only one that exists in a different form, as the composer turned it into a version for solo violin and small orchestra. Three Visions was composed for Verna Arvey, Grant Still's wife, who first performed this work in 1936. The composition is divided into three parts: the same melody introduces and concludes the entire movement, encompassing a central section where melody and counterpoint captivate the listener with its intensity and beauty. Catherine Parson Smith, an American writer who has followed Grant Still's work, states that "The harmonies in these Visions are strange," but we do not share the same opinion. Grant Still depicts the vision of paradise using harmonies that are extremely soft, deep, and rich, drawing from a blues and jazz-inspired sonic universe while also bearing the marks of his academic training. The melodic character of Summerland becomes even more apparent through the instrumentation chosen by Enrico Gabrielli.