Bridging Cultural Divides in Classical Music Interpretation
William Grant Still, American Art Song, and the Responsibility of Interpretation
The early 20th century witnessed a significant shift in the landscape of classical music, marked by the emergence of pioneering African American composers who, long before the culminating events of the civil rights movement, defied racial barriers and enriched the genre with their unique perspectives and experiences. Their contributions not only expanded the repertoire but also led the way for a groundbreaking generation of singers and other musicians from diverse backgrounds to embrace and interpret music by minority composers, particularly those reflecting the Black experience in America. One pioneering Black composer, William Grant Still (1895 -1978), helped pave the way for cross-cultural collaborations of diverse musical traditions, leading to a more inclusive and enriched classical music landscape.
Often referred to as the "Dean of African American Composers and Music," William Grant Still courageously led the way as a trailblazing early 20th century Black composer, fusing African American music traditions with that of classical European music. Still composed across the musical spectrum from opera and art song to spirituals, tone poems, chamber music, ballet scores, orchestral works, and television and film music. His compositions, such as his most famous song cycle, Songs of Separation, challenged traditional norms and showcased the richness of Black music by blending elements from jazz, blues, and spirituals with musical theater and more classical forms. Still's ability to nimbly capture and distill a single music form or compose in one style, and then blend that style with another, was just one demonstration of how masterful the composer was of many systems and techniques. As Dr. Darryl Taylor, founder of the African American Art Song Alliance, keenly observed, "If you can ignore the music of Still, then you can ignore anybody. Still is un-ignorable.”
Then why is it that so many classical singers and musicians like myself, trained at very prestigious music conservatories and schools across America, were never made aware of a musical genius like William Still? This blatant omission of many Black composers is undoubtedly a failing of the music school and conservatory system that has prevailed for many decades. I can still recall how visibly uncomfortable some of my past teachers and coaches were during my lessons when it came to working on spirituals or music by Black composers so it should come as little surprise as to why these composers remained hidden in the background in favor of their more well-known European and
BRIDGING CULTURAL DIVIDES IN CLASSICAL MUSIC INTERPRETATION
Caucasian American counterparts.
Still’s music is often described as distinctly American, but because of the color of his skin, he spent much of his life in total obscurity due to attitudes towards race. His exploration of music and mastery of many styles and genres, was more likely out of necessity than inspiration. Like many Black artists of his time and certainly in the decades to follow, Still had to appeal to the masses and be able to play everything in order to find paid work. This required him to be a jack, and more astonishingly, a master, of all trades. Despite Still's Herculean efforts to get his own works performed, it would surprise many to know that more influential composers like Leonard Bernstein (1918 -1990) and Aaron Copland (1900 -1990) disparaged Still's music in interviews, and there was a concerted effort by many prominent musicians and music administrators to blacklist him. Systemic racism ensured that musicians of color did not succeed. However, Still found a sympathetic admirer in famed British-born American conductor Leopold Stokowski (1882 -1977) who recognized Still's genius and conducted the Philadelphia Orchestra in a performance of the world premiere of Still's Symphony #2 in 1937. While Still may have been virtually unknown by the time he passed in 1978, his expanding popularity today is most certainly attributed to the growing number of African American music artists performing and academics teaching at music institutions about works by Still and his Black contemporaries. And even more notably, we have Judith Still, his devoted daughter, to thank for working tirelessly to preserve and promote her father’s legacy.
Judith Still, the daughter of Still’s unconventional -and, at the time, illegal interracial marriage with Russian-born and Jewish pianist and journalist, Verna Arvey (1910 -1987), has been on a mission to popularize her father’s works. She single-handedly worked to get Still's music in the hands of publishers, and after repeatedly being denied, she began a family-owned and operated publishing business to get Still's music out to the public. Today, as she herself puts it, "business is booming." Still’s compositions are proof that quality music, often times by artists of color, has been discarded for decades and would ultimately have been forgotten if not for the passionate efforts of others.
During the civil rights movement of the 1940 to 60s, there was an emergence of Black singers whose mere presence and undeniable talent made their growing impact on classical music impossible to ignore. Singers like Marian Anderson, Martina Arroyo, Grace Bumbry, Todd Duncan, Simon Estes, Roland Hayes, Dorothy Maynor, Jessye Norman, Leontyne Price, Paul Robeson, Shirley Verrett, and Camilla Williams among others honed their craft while navigating the many societal limitations during those years. Celebrated today for their beautiful voices and expressive interpretations, these artists transcended racial barriers to become iconic figures in the world of opera and on the recital stage, captivating audiences with their interpretations of works by European composers.
Singers like Jessye Norman famously refused to sing in a language that she could not fluently speak, and the legendary soprano labored for hours immersing herself in European culture, meticulously studying the language as well as the poetic and operatic texts, and fine-tuning her French and German diction out of respect for the music. This level of commitment by Norman resulted in performances of European works, including Richard Strauss's Four Last Songs with the Gewandhausorchester Leipzig conducted by Kurt Masur, that are often cited among the definitive
BRIDGING CULTURAL DIVIDES IN CLASSICAL MUSIC INTERPRETATION
recordings. These artists, put in long hours and did the work. So, this begs the question, what responsibility does a non-Black singer have today when it comes to interpreting the songs of African American composers?
Just as African American singers can excel in interpreting works by European composers, there exists a compelling opportunity, dare I say obligation, for singers of European or other non-Black ancestries to explore, embrace and perform music by Black composers. By embracing diversity in their repertoire, artists contribute to a more inclusive and comprehensive understanding of classical music, and by engaging with diverse musical traditions, they honor the legacy of Still and his Black contemporaries. Still himself stated, "I don't think that it is good for the world of music to have everything come out of the same mold. God didn't place only roses on earth, or only lilies or only violets. He put flowers of many sorts and many colors here. The beauty of each enhances that of the others."
Artists must be free to interpret all types of music - even those from backgrounds that may be foreign to their own. The brilliant German soprano, Lotte Lehmann (1888 -1976), put it best when she boldly wrote in 1945 in her book, More Than Singing: The Interpretation of Songs,"Why should a singer be
denied a vast number of wonderful songs, if she has the power to create an illusion which will make her audience believe in it? It would be a very sad indication of incapacity if one could not awaken in the listener sufficient imagination to carry him with one into the realms of creative fantasy. Must one be young and beautiful to sing songs about love and happiness? On the concert stage, it is the unlimited power of your art which must change you into just that figure which you seek to bring to life. So the singer soars above all limitations, is young, is beautiful, is man or woman, longing and fulfillment, death and resurrection.”
Verdi’s opera Aida is about an Ethiopian princess; Puccini wrote Madame Butterfly about a Japanese woman. Can these roles only be sung by them? The door has to swing both ways, otherwise what is the point of having a door? Music has to transcend and is meant to be enjoyed by - and interpreted by - all of us.
Still’s works like “Plain Chant in America”, “Weeping Angel”, “Rising Tide”, and “My Brother America” resonate with me personally because this multi-genre blend of music contributes to an American sound that better reflects a melting pot. I firmly believe that it is the role of the artist, if they desire and are capable of telling an authentic story, to channel that cultural exploration. Bravi tutti to the pioneering artists who dare to transcend the limitations of their own realities and experience. So, this wonderful collection of Still's music presented by Gabriel Rollinson, Yajie Zhang, and Hartmut Höll, is beyond welcome and perfectly timed for the cross-cultural Renaissance of song.
It’s no small coincidence that these ongoing discussions in the classical world coincide with another cultural moment as the controversy surrounding Beyonce’s country album, due out this year, ignites yet another conversation about race. Unaware of the history and roots of country and western music, a vocal number of fans are visibly uncomfortable with Black music artists crossing over. Music needs to be enjoyed by a mixed audience, and performed by a diverse range of artists. It’s a natural evolution,
BRIDGING CULTURAL DIVIDES IN CLASSICAL MUSIC INTERPRETATION
and as singers and musicians of European and non-Black ancestries continue to explore and embrace performing music by Black composers, they contribute to a more inclusive and enriched classical music landscape, honoring the legacy of those who paved the way for cross-cultural collaboration and artistic expression. In this reciprocal exchange of musical traditions, the universal language of music becomes a powerful tool for unity, diversity, and celebration of the human experience. And for this African American musician, my heart could not feel more joy as I reflect on the beauty of Still's works being so movingly performed by diverse and gifted artists such as the ones on this compilation.
Blair Boone-Migura, Founder
The Art Song Preservation Society of New York
