A Celebration of African Diaspora at the New York Philharmonic
At the New York Philharmonic’s vibrant festival entitled Afromodernism: Music of the African Diaspora, composer Nathalie Joachim aims to illuminate the diverse tapestry of Black musical expression. She draws inspiration from a myriad of influences, including the soul-stirring sounds of Haitian funeral brass bands and the rhythmic pulse of swing, while also paying homage to the minimalistic traditions of New York. “We are not a monolith,” she emphasizes, highlighting the multiplicity of experiences within Black artistry.
Historically, Black musicians have faced significant challenges in gaining visibility and recognition within the classical music realm. Despite some strides toward inclusivity, there remains a stark underrepresentation of Black artists among orchestra players, soloists, composers, and conductors. However, this week, the New York Philharmonic is making a concerted effort to place Black musicians at the forefront of its programming.
On Thursday and Friday, the orchestra will perform works from a selection of both contemporary composers, such as Joachim and Carlos Simon, as well as cherished historical figures like William Grant Still. Still’s Symphony No. 4 is particularly noteworthy, as it celebrates the beautiful fusion of various musical cultures that have emerged in the United States.
Additionally, on Saturday, the Philharmonic will host a Young People’s Concert that will delve into experiences of the African diaspora, fostering understanding and appreciation among younger audiences. Later this month, the Philharmonic will also present a concert by the International Contemporary Ensemble, showcasing a diverse array of works by Black composers.
Composer Carlos Simon aspires to dismantle prevailing stereotypes surrounding Black American culture. He is set to debut a piece that highlights various dance forms, including tap, holy dance, ring shout, and waltz. “There will be people in the audience who had no idea that Black people were doing a waltz,” Simon remarks, reflecting on the opulent debutante balls held by affluent Black Americans in the 1930s. “It’s going to be a learning experience.”
