University Symphony Orchestra performs 'Afro-American' in season opener

University Symphony Orchestra performs William Grant Still’s Symphony No. 1, “Afro-American”. (Taneen Momeni/Clarice Smith Performing Arts Center)

The University of Maryland Symphony Orchestra opened its 2024-2025 season on Oct. 5, with a performance of William Grant Still’s Symphony No. 1, “Afro-American.”

The concert took place at the Clarice Smith Performing Arts Center in the Dekelboum Concert Hall. Other pieces on the program included Hector Berlioz’s “Le Carnaval Romain” and Emmanuel Séjourné’s “Concerto for Marimba and Strings.”

“Afro-American,” was the first symphony composed by an African-American to be performed by a major orchestra and premiered in 1931.

The symphony, created as a love letter to Black culture, integrates blues rhythms and instruments like the banjo with traditional symphonic arrangement. It is a piece imbued with cultural significance and emotion.

David Neely, the director of orchestral activities at this university, considers Still’s “Afro-American” one of the most important pieces of orchestral music in the American canon.

“The whole idea of a symphony is a European invention, and he’s taking that and infusing it with things that he wanted to bring in, mainly things from African American culture of the period. And I think he did it successfully,” said Neely. 

The symphony consists of four movements: Longing, Sorrow, Humor, and Sincerity. Neely felt that it rightfully set the tone for the introductory concert of the season.

“I think the music is so clear, especially with the epigraphs that each movement has, sorrow or sincerity or longing…we don’t have to guess what the composer was feeling. We know, and then we can bring them into the music,” said Neely.

Erica Spear, a graduate student working with the university’s orchestral ensembles, reiterated the importance of introducing composers like Still to students and audiences.

“I really appreciate that there has been an effort in the classical community to diversify recently, because yes, it is a very old traditional art form, but I think that there are ways for us to continue this tradition of orchestra, but also be forward-thinking,” said Spear.

Spear also praised the effort that Neely puts into programming for the season, taking into account both the audience and the students. Neely similarly expressed his love for teaching and how an academic setting allows him and the students to explore pieces at a pace very different from a professional orchestral setting. He is also concerned with making sure that composers like Still, and others from his era are not neglected in his teaching or his performances.

“I think we’re in a time now where it is clear that the great Black composers of the 20th century and today need advocacy and performing and our business…most of us in the business are doing everything we can, so people can hear great music.”