Vol. 5 of American Piano Music. The Anthology of American Piano Music is designed to show the stylistic breadth, high musical quality, and great originality of the best American piano works. The series contains underrated, neglected or forgotten masterworks of the American literature for solo piano from the 18th to the 21st century that have been selected primarily for their musical worth and originality. The com- positions are assembled in a series of themed CDs, their programs being connected by one common theme or overarching idea. Vol. 1, "American First Sonatas", comprises the first piano sonatas by four American composers from different periods, including the very first sonata ever composed in North America. Vol. 2, ‘Music of the Night’, a 2 CD album, assembles a selection of American nocturnes and other piano works related to the theme of Night, while Vol. 3, 'American Landscapes', includes three complete cycles of character pieces and eight stand-alone works featuring musical impressions from North American landscapes. Vol.4 contains the complete set of compositions for piano and orchestra by George Gershwin. The present CD (Vol.5, "American Dances") is a compilation of works for solo piano that are related to the theme of Dance.

The Royal Scottish National Orchestra teams up with its Assistant Conductor Kellen Gray to record works by three of the twentieth century’s greatest African American voices. Released to coincide with Black History Month, the two symphonies by William Levi Dawson and William Grant Still proved to be fundamental in the utilization of Afro-American idioms within the symphonic form. Each composer focused on one of the two original staples of African American music: folk and jazz.

William Levi Dawson’s Negro Folk Symphony takes its inspiration from West African folk idioms, American Negro spirituals and early African American folk rhythms and songs from Gullah culture. William Grant Still’s Symphony No. 1 draws its influence from elements popular in jazz and pre-jazz popular genres. Although the latter is the more well-known figure in American music, Dawson was every bit as significant in the timeline of African American music, and his only published symphony is astonishingly mature for a composer’s earliest efforts at symphonic writing. This program also celebrates the centenary of George Walker’s birth with the inclusion of his Lyric for Strings.

All World Premiere Recordings!

Featured in the New York Times' "5 Classical Albums You Can Listen to Right Now"

William Grant Still, the “Dean of Afro-American Composers,” was part of the Harlem Renaissance and wrote nearly 200 works including nine operas and five symphonies. Still’s many awards included three Guggenheim Fellowships and eight honorary doctorates. His work combines Classical forms with jazz and blues idioms and was inspired by the rich tradition of African American spirituals. Still hoped that his music would serve a larger purpose of interracial understanding, and this joyous, moving and hauntingly beautiful program –featuring all world premiere recordings – is infused with Still’s love of God, country, heritage, and even his mischievous dog Shep.

REVIEW:

William Grant Still's music evokes the melting pot that makes up the American experience, incorporating sounds and textures from many genres, including blues, African-American spirituals, French impressionism, and more.

The three movements of the Violin Suite of 1943 fall in the traditional fast-slow-fast format, but the styles of each vary dramatically, with the second movement, "Mother and Child," a beautiful, passionate lullaby bordered by two dance movements. The final work, Threnody: In Memory of Jean Sibelius, was commissioned for a celebration concert marking the composer's 100th birthday. This work displays Still's adaptability, infusing aspects of the Romantic symphonic sound with mid-20th century modern American.

--Allmusic.com (Keith Finke)

All the items on this program are world premiere recordings, so I think it would not be amiss if some information were to be forwarded for the benefit of all those interested in this very special music.

Can’t You Line ‘Em (1940) captures the rhythm and spirit of the construction gangs, particularly those lining up railroad tracks. A CBS commission, this piece was premiered on 17 February 1940 with the CBS Radio Orchestra on their network program American School of the Air.

Originally composed as the second movement of three Visions for solo piano, Summerland (1936) is Still’s delicate description of the serenity and purity of Heaven.

Another work originally written for solo piano, Quit Dat Foolnish (1935) conjures up a jazzy romp with the composer’s mischievous dog, Shep. Still also wrote a version for solo saxophone and orchestra, transposed for this recording by Dana Paul Perna.

Pastorela (1946) is a tone picture of a Californian landscape, peaceful but exciting, arousing feelings of languor in some of its aspects, and of animation in others, presenting an overall effect of unity in its variety.

American Suite (circa 1918) is the composer’s first symphonic work. Still sent the parts of the American Suite to Chicago Symphony conductor Frederick Stock. In 1998, Still’s daughter Judith Anne shared the orchestral parts with Dana Paul Perna, who created the present score.

Fanfare for the 99th Fighter Squadron (1945), which resonates with pride, courage, and patriotic resolve, was composed in honor of the Tuskegee airmen who during WWII gave everything for the cause of peace and justice. This work was premiered by Leopold Stokowski and the Los Angeles Philharmonic on 22 July 1945 in commemoration of the end of war and the valiant service of those Airmen.

Serenade (1957) was originally intended as material for a cello concerto proposed by Still’s friend, the famous cellist Gregor Piatigorsky. Instead, it became a commission by the Great Falls, Montana High School Orchestra, with its lush cello writing hinting at its conception.

The Violin Suite (1943) is a musical impression of three works of art. African Dancer is a stunning bronze statue by Richmond Barthe (1901-1989). Mother and Child is a poignant colored lithograph by Sargent Johnson (1888-1967). Gamin is a sassy bronze bust by Auguste Savage (1892-1962). These works were featured in The Negro in Art, a book published in 1940 by Still’s friend and champion Alain Locke (1885-1954). The book so impressed Edith Halpert (1900-1970), a Russian-Jewish refugee, visionary and art promoter, that she contacted Locke to promote an exhibition in her Downtown Gallery in New York. The exhibition opened on 8 December 1941, the day after the Japanese attack on Pearl Harbor, but despite the deep sadness that engulfed American society, this first major commercial showing of African American art in New York was a great success. Still rose to the occasion and translated the artists’ imagination into music full of verve, tenderness and very often charm.

The beautiful Threnody: In Memory of Jean Sibelius (1965) was commissioned for a concert in memory of Finland’s national hero, composer Jean Sibelius (1865-1957), on the one hundredth anniversary of his birth. Still’s tribute is a noble and haunting farewell, channeling the spirit and mystique of Sibelius the man and the composer.

This is a marvelously exciting hour of music by a composer of substance whose recorded catalog is still only average. Hopefully, Naxos’s advocacy for Still’s oeuvre will induce more labels and listeners to turn to this uplifting repertoire which is as moving as it is entertaining. Do not remain still to Still’s sound world. You will be missing an experience and you might come to regret that. A peach of an issue, superbly performed, recorded and annotated.

--Classical Music Daily (Gerald Fenech)

“The Souls of Black Folk and the Vexed Fate of Black Classical Music”
Written and produced by Joseph Horowitz
Visual presentation by Peter Bogdanoff
Film three in the six-film Naxos series:
“Dvorak’s Prophecy: A New Narrative for American Classical Music”

If George Gershwin’s Porgy and Bess – the highest creative achievement in American classical music – embodies a glorious (and controversial) fulfillment of Dvořák’s prophecy, there also exists a buried lineage of exceptional compositions by Black composers following in Dvořák’s wake. Coming first was his assistant Harry Burleigh, whose seminal settings of “Deep River” are – as our film illustrates – as much compositions as transcriptions. Burleigh’s initiative was sealed by singers like Paul Robeson and Marian Anderson. But William Levi Dawson’s oracular Negro Folk Symphony, though triumphantly premiered by Leopold Stokowski and his Philadelphia Orchestra in 1934, gathered dust – and Dawson was never to create the symphonic catalogue he seemed destined to undertake. Commentators include George Shirley, the most legendary name in present-day Black classical music, also Kevin Deas, music historians Gwynne Kuhner Brown and Michael Cooper, and conductor Michael Morgan. This film includes performances by pianist Benjamin Pasternack, The Fort Smith Symphony conducted by John Jeter, The Vienna Radio Symphony conducted by Arthur Fagen and Kevin Deas recorded in live performance.

“The disconnection between the rich history of Black American music and the classical music we typically hear has proved impoverishing. Because of our current conversation about race we now observe a seemingly desperate effort to make up for lost time, to present Black faces in the concert hall. I think that's only fair. But if it's going to become a permanent new way of thinking, there has to be new understanding. Dvořák's Prophecy is on time, it's a bull's-eye. We have been left unprepared for the current cultural moment. Joe Horowitz's book explains how we got there. . . . Dvořák's Prophecy proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.” –from George Shirley's Foreword to Dvořák's Prophecy