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As Tahirah Whittington, the cellist of all-Black Chicago string quartet D-Composed, flew through a piece by Coleridge-Taylor Perkinson, her young audience stared in awe. The performance was part of a webinar series in which D-Composed shares clips of its concerts and presentations on Black composers with local schools. Even on a virtual platform, the kids.
Classical Notes: Black composers in spotlight
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“Dreams of a New Day” baritone Will Liverman and pianist Paul SanchezProvidedShow MoreShow Less
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One year after the George Floyd killing and the rise to new prominence of Black Lives Matter, the classical music field is woke. Or at least it’s trying hard to project that mindset by providing new opportunities to Black artists and more performances to Black composers. You can see it everywhere as the national arts scene comes back to life and institutions announce post-pandemic seasons.
When the Metropolitan Opera returns in the fall, opening night will see the world premiere of Terence Blanchard’s “Fire Shut Up in My Bones,” the first opera by an African American composer to be performed at the Met. Also in the fall, the Philadelphia Orchestra has scheduled music by William Grant Still and Florence Price, two overlooked masters from the last ce