William Grant Still: Song of a New Race

Throughout his lifetime, American composer William Grant Still (1895-1978) wrote more than 150 works, including 8 operas and 5 symphonies. His love of music began at a young age. Still’s stepfather encouraged his exploration of classical music, while his grandmother sang African-American spirituals; as a result, Still’s distinctive compositional language combines these two seemingly separate musical worlds.

William Grant Still

William Grant Still, known as “the Dean” of African-American composers, reached many important musical milestones during his career. His first symphony – the “Afro-American” (1930) – was the most widely performed symphony composed by an American until the 1950s. He was the first American composer to have an opera produced by the New York City Opera. He was also the first African American to conduct a prestigious American orchestra (the New Orleans Philharmonic) and have an opera performed on national television.

Symphony No. 2, Song of a New Race

Even though Still’s Symphony No. 2, (“Song of a New Race” [1937]) is not as well known as his first symphony, its Western-infused-African compositional style helps tell the story of African Americans through the 1900s. This symphony works together with his first, the “Afro-American”, to paint the full picture. While the “Afro-American” symphony used music to show the daily life of African Americans after the Civil War, “Song of a New Race” tells the story of Still’s people in modern times, a new man of various races integrated into American society.

I. Slowly (0:00)

“Song of a New Race” opens with gorgeous harmonic colors supporting a lyrical-yet-bluesy theme. Listen to the theme at 0:38, where supporting African-style drums and unique harmonies lead to a full thematic statement at 1:09. This blues melody gets developed, passed around the orchestra and explored through different rhythms and harmonies before the introduction of the second theme at 4:09. This theme is more “classical” in nature, but even in its development, you can hear elements of the first blues melody coming through. The two themes dance together, juxtaposing tension and jazz with sweet melodies and laid-back rhythms.

II. Slowly and deeply expressive (9:55)

The second movement opens with a sweet, song-like melody. This idea spends a few minutes developing a film-esque mood before finally introducing the main theme at 11:37 (listen for the solo violin). Various other solo instruments chime in, treating the theme like a conversation. A second, rhythmic theme enters at 14:39, building up to a restatement of the main theme at 15:34. The coda, slightly more agitated in nature, leads directly into the third movement.

Slowly and deeply expressive combines sections of lush, full, Romantic-era strings with sparse, folk-like instrumental solos, highlighting just how well Still thought an integrated American society could work.

III. Moderately fast (18:17)

This short, dance-like movement plays with folk-like themes reminiscent of American ragtime music. Symphonic “big band” jazz sounds support this lively dance. Moderately fast contrasts in tone and atmosphere with the rest of the symphony, as driving energy moves the music forward rather than the laid-back exploration of melody and theme.

IV. Moderately slow (22:00)

In the final movement, we hear a solemn theme reminiscent of the blues melody from the first movement. Lush, jazz harmonies support this musical idea (listen to the section starting at 23:49 for an example), alternating with brass instruments playing motifs reminiscent of African spiritual music (check out 22:47, 23:40, and 24:58 for examples). A second mood at 25:24 adds some exciting liveliness.

27:45 starts the conclusion of “Song of a New Race” with a somber restatement of the African theme before a call-and-response section between the brass and the strings (28:36). Moderately slow ends with a crash before cutting out all sound – except soft strings fading away.

William Grant Still’s Symphony No. 2 (“Song of a New Race”) combines African spiritual themes with Western classical music in a beautiful, engaging way. This piece was Still’s way of showing hope for an integrated American society. As his musical viewpoint still needs to be heard today, this incredible composition, full of life and color, should be celebrated throughout the world.