New CD Explores Depth & Breadth of African-American Compositional Legacy
Concert violinist and educator Tami C. Lee Hughes records classical music spanning nearly 200 years
Tami C. Lee Hughes
“As a classically trained violinist, I had little exposure to music outside of ‘traditional’ repertoire during my educational training. I wanted to explore music that reflects other parts of my identity—I enjoy classical but I also have roots in gospel, jazz, and soul,” says Tami C. Lee Hughes, an assistant professor of violin at the University of Kansas. “I began researching music of African-American composers and assembled a program that would include early pieces through pieces of today. I applied for a grant through the University of Kansas to record the program and Legacy was born!”
That’s Legacy: Violin Music of African-American Composers (Albany Records), a collection of works that surveys the range of classical music created by little-known black composers. The disc is part of the Center for Black Music Research recording series.
The CD opens with a recording of Francis Johnson’s 1820 composition “Bingham’s Cotillion,” a dance tune created in the classical tradition. It is believed to be the first piece of music published by an African American.
The other tracks include mid-20th century composer George Morrison’s “Five Violin Solos,” which Hughes describes as “a set of spirituals with rich harmonies and strong religious overtones”; and contemporary composers David Baker’s “Jazz Suite”; Ozie Cargile’s jazzy “Mixed Feelings”; and Chad “Sir Wick” Hughes’ Latin-flavored “S.L.I.C.E.”
“The recordings on the CD are very diverse, which reflects the complexity and multifaceted quality of African-American music,” Hughes says. “I appreciate the progression of the pieces through time—it mirrors the progression of African Americans in our country. In the earliest stages, the works reflect conformity—for instance, ‘Bingham’s Cotillion’ shows that African Americans had to ‘conform’ to their surroundings to survive—and the trials of living without freedom as expressed through the spirituals/slave songs of ‘Five Violin Solos.’
“The contemporary pieces are much more free—the language reflects the relative freedom African Americans now experience in the modern society.”
“All of them are trailblazers,” Hughes says of the composers. “Notably, Francis Johnson and George Morrison, though very talented, were limited by prejudice and discrimination. But their voices shine through, however, on Legacy.”
In addition to stylistic differences, the works also range in difficulty, from the relative ease of “Bingham’s Cotillion” to Baker’s abstract “Jazz Suite.”
“I had to study and practice that piece for a long time before it began to make sense,” Hughes says. “ I was so worried when I started my journey with it, but am pleasantly surprised with the outcome—it is a wonderful piece that stimulates the imagination of both the performer and listener.”
Ultimately, Hughes says, Legacy is a challenge to the classical music world to embrace greater diversity. “The classical music world must continue to grow and evolve as the world changes,” she says. “As classical musicians, we should certainly embrace traditions of the past, but we must look to the future at the same time. With greater openness and diversity, we can help future generations connect with classical music and help them find their own voice in the music world.
“Legacy reflects my voice but there are so many other voices waiting to be heard. If the classical music world is ready to listen, there will be no limit to how we can grow expressively and culturally.”
To rate or comment on this article, you need a site membership.
If you have a site membership already, you are seeing this message because you have not logged in.
What do you want to do?
Log in using my site membership.
Join now.
- Southeast Symphony Celebrates Its 60th Anniversary
-
- Cypress String Quartet Pays Homage to America’s Rich Musical Traditions
-
- CSO Celebrates African-American Musical Heritage
-
- African-American Violinist Gayle Dixon Dies
-
- The Genesis of the Young Eight
-
- Cajun Tunes for Beginning String Orchestra: Grand Mamou
-
ARE FULLY MODERATED
You must be logged in to rate and comment. Log in or Join now.