Striking a Chord

Earlier in the year (2005), the Annual BBC Proms at Royal Albert Hall showcased vocalist virtuoso Bobby McFerrin, and the African Children’s Choir with jazz accompanist Michael Wolff, and also later in the season Baaba Maal, renowned Senegalese singer. And when last year, the West Indies celebrated their 75th year playing cricket at Old Trafford, they were greeted with a musical - a commissioned piece performed, as a joint venture, by the Halle Orchestra and Manchester’s Moss Side Youth Club. Further, John Holt, the reggae singer is performing with the Royal Philharmonic Orchestra.

Bobby McFerrin

Link: Bobby McFerrin's Personal Website

Buy Music: Bobby McFerrin
Buy Music: Baaba Maal

It would seem that Classical music is attempting to broaden its appeal and thus developing groundbreaking work for potential musicians and singers. However, we appear to be still at the stage where, at any given performance, there will be one, possibly two, black faces among the performers. Think of the painting of Henry VIII’s trumpeters. There is one lone black trumpeter, capriciously named in the records as John Blanke. At that time the black population of England was only a few hundred.

Classical music was the popular music of its time. This is no longer the case. It is a music that we educate our young people into. An appreciation of it usually comes from the music played in the home, and with the learning of a musical instrument. It is very much a middle class pursuit and often not seen as being cool. This is so despite initiatives in schools to promote an appreciation of classical music.

In America, early black classical performers were discriminated against and had to leave America to perform in Europe. Singers like Elizabeth Taylor-Garfield, the ‘Black Swan’, performed in London between 1850-1860. Sissieretta Joyne-Jones, referred to as ‘Black Pattie’ to prevent confusion with white soprano Adelina Pattie, formed the group Black Pattie and the Troubadours in 1896. This extended her career by 15 years. Her work survived by mixing opera and theatre in order to showcase talent.

In the 1950s & 1960s, with the colour bar well and truly in place, the only way for singers like Marian Anderson to make her debut was to do recital work. It was viewed at that time as the quickest way to succeed. Hence Anderson, who was the first black person to perform at the New York Metro, skilfully incorporated a fusion of Negro spiritual and classical music into her repertoire.

It is now well over forty years since the historical occasion in 1963, when Anderson performed to over 75,000 people at the Lincoln Memorial, in Washington. This moment was brought about as a result of the refusal of the Daughters of the American Revolution to let Anderson perform at Constitution Hall. First Lady Eleanor Roosevelt was so enraged that she resigned from this august committee, resulting in the Secretary of the Interior Congressman Harold Icke instigating this event. Black Opera companies quickly formed across the States during this period of revolutionary change.

The legacy of black singers working in the genre, has come full circle. Now professional black British singers have to leave Britain to find work and acceptance in the USA. This does not mean that there is a lack of initiatives and new programmes to involve ethnic minorities in Classical music.

The Halle Orchestra is tackling the problem of inclusion by taking classical music into communities. The Halle run family workshops, with cr�che facilities, and have a number of residences working with young people who are either visually or hearing impaired. Halle are keen that audiences get to experience a wide spectrum of music. They worked with Moss Side Youth Club and a Sikh percussion group. This culminated with the Hamming for Halle which brought the orchestra together with Reggae and Sikh music for that performance at Old Trafford Cricket ground. There are numerous similar innovative initiatives - too many for this piece to give full justice and credit. There is practically nowhere in the UK, no strata of our society, where an orchestra widening participation team have not reached.

Marian Anderson
[Picture Source & Biog]

Link: Marian Anderson Biography

Books on Marian Anderson, including The Voice That Challenged a Nation: Marian Anderson and the Struggle for Equal Rights by Russell Freedman

Buy Music: Marian Anderson

TV Programmes such as Operatunity on Channel 4 (by Diverse productions) are showcase talent. The winners of the season go on to perform in grand opera houses, gain recording contracts and tours, and this is just the beginning of the rewards.

Alexander Pushkin
[Picture Source. "Alexander Pushkin on his father's side was descended from one of the oldest families of the Russian gentry. His mother was the grand-daughter of Peter the Great's Abyssinian Engineer-General."]

Theodore Drury of Opera Kids says that playing instruments is the big challenge. "There are no quick fixes. You have to practice and develop a wide appreciation and love for music."

Chris Evans of the Royal Philharmonic Orchestra feels that they are leading the way with developing new audiences. It is understood that they cannot afford to offer orchestral experience only to "an elite". They are leading initiatives in prisons and youth clubs. The Henry Wood Promenade Concerts were founded on the principles of accessibility: informal, cheap concerts providing everyone easy opportunities to hear the best music and music-making in the world. In that sense nothing has changed. The Proms continues to reach out to new and diverse audiences to ensure that future generations of Prom goers have a chance to see the Proms. In addition to the large-scale events for children, the Blue Peter Proms and the BBC Children’s Prom in the Park, they are working this year on three schemes which develop contact with new and younger audiences.

The BBC Proms: out & about events in May and June with the BBC Symphony Orchestra and BBC Concert Orchestra go to venues where they would not normally go. The concerts aim to give 7-12 year old youngsters and their families an opportunity to experience live classical music of the highest quality, breaking down the barriers associated with classical concert-going and allowing them to interact with the orchestra and experience the power and vibrancy of an orchestral concert for the first time.

Young composers aged between 11 and 18 are invited to enter the BBC Proms sixth annual Young Composers Competition and have their music performed by top musicians and broadcast on BBC Radio 3. They also get the opportunity to discuss their work with leading musicians and composers.

Marketing Director, Andy Ryans of the Halle Orchestra says that they earnestly try to utilise the publicity machinery and ensure that all audiences are able to hear about their orchestra. They have worked hard to develop good relationships and programs which have clear goals, over a 3 year period, to work with the community and put on something different other than western music. Much of the work which has helped to reach new audiences is done in tandem with organisations like Arts About Manchester.

The Royal Festival Hall has done admirable work in supporting and developing mixed audiences and producing a broader showcase of activities. They are one of the leading exponents of family learning, and make good use of non-traditional music forms. They have been foremost in delivering Gamelan family workshops.

The Black writer Alexander Pushkin is as revered in Russia as Shakespeare in England. Samuel Coleridge Taylor, poet composer is remembered for the composition Hiawatha. In France, Monsieur de Saint George, Le negre des lumieres (see left), has been rediscovered.

Keith Waithe

The Black Cultural Archives, established in 1981 in Brixton, organised a number of classical concerts in the Caribbean tradition in the 80s, where attending concerts and activities in church halls, on the beach and in homes was commonplace. On these occasions poems were recited, storytellers regaled and singers sung covering a range of music genres - folk, gospel and opera. The concerts of the Black Cultural Archives took place at the Queen Elizabeth Hall and The Commonwealth Institute. They were a critical turning point for many black performers. They trail blazed individuals such as Guyanese flautist Keith Waithe (Personal Website) and composer Shirley Thompson. It saw the debut of Kora player Tunde Jegede (Personal website), and Clement Ishmael.

Clement Ishmael, Conductor and Music Director of Disney’s Lion King, has worked across all music genres. His original training was as a conductor, and agrees on the pivotal role that the Black Cultural Archives played some twenty two years ago when they commissioned himself, Shirley Thompson (Interview in Jamaica Gleaner), Errollyn Wallen (Personal Website), and Keith Waithe to perform at the concerts mentioned. These performers, all these years later, are still working in the field and the hard work is paying off. They have all paid their dues in the community by teaching, sharing and playing.

At last years 42nd Anniversary of Jamaican Independence, celebrated at St. Martins-in-the-Fields, traditional Negro Spirituals were given the operatic treatment sung by Marie Garrison, a teacher taking sabbatical to pursue and develop her musical career together with Robert Anderson and Pianist Maxine Franklin (Biog).

In interviews with Ishmael, Waithe and co, we find they are immensely proud and passionate about how their careers developed. Like most of the people we spoke to, whether they be in Composing, Performing, Marketing, Education or Commissioning work, they are concerned about underlying issues. There is a genuine interest and desire to see classical music broadening its horizons. There is concern about how music is taught and the lack of time devoted in the curriculum. They are really alarmed at ever decreasing opportunities to play instruments which makes it virtually impossible for some young people to master their instruments. There are additional concerns related to developing clear sustainable strategies and stable funding so that the work can flourish.

Tony Henry (Personal Flash website) shared strategies which helped him to develop his career. Tony is currently enjoying unprecedented acclaim for his work but it was not always like this. ‘I have had to learn a lot, first of all the talent is important, so is the ability to take constructive criticism [however painful].’

Maxine Franklin
(Picture Source)

He goes on to say, ‘I have learnt a lot about paying a lot of attention to the competition and where you are within it. It may come as no surprise but really the better you get, the more you have to learn. Any teacher out their worth his salt will insist you embrace that. And finally, set your goals high. Have faith in yourself, practice, practice and practice. Bearing all that in mind have fun.’

He also shared his views on developing and stimulating new audiences, ‘There's a growing audience that's getting into classical music and it's clear the momentum is going to continue. But there's an awareness of how hard it is to create decent singers/musicians. We live in a culture where increasingly people are looking for the easiest option and we have to remind them that an acquired taste needs to be worked at. Opera is the new cool, the more people get that, the greater the audience. There are foundations in place for up and coming musicians but I'm not sure what to do beyond.’

The access to tutoring and instruments is also patchy and in some instances inconsistent. There are some music shops now who have systems set up where you can hire an instrument and buy it at the same time. Not everyone is aware of this opportunity says Simon Pickett former Bassoon player and now Education Director of Halle.

Tony Henry

Althea Ifeka

Althea Ifeka (Personal Website) is of English and Nigerian Heritage and grew up in Australia. She plays and teaches the Oboe and Cello, ‘I have been a musician for twenty five years, truth be known I could not do anything else. I really enjoy teaching young people and know from my own records that 70 per cent of the people who I tutor are from multi racial communities. Parents, in particular from the Caribbean, are passionate about education and are keen for their young people to develop a range of interests.’

As Dominique Le Gendre composer and guitarist put it, ‘we knew more and embraced more from Europe than Africa, so when I came over from Trinidad as an adult I knew my Dickens, Auden, Yates and Shakespeare.

Whatever happens you need to have an audience, you need to be able to train the young people to appreciate music across the genres and have an understanding of where classical music fits in. Changes will only take hold once you have been exposed.’

[The Arkangel Company recorded all thirty-eight of William Shakespeare's plays, complete and unabridged. Each play features original music composed by Dominque Le Gendre]

Clement Ishmael, all round music composer, conductor and organiser started playing music with established white choirs, it took a long while for his work to be recognized and funded by the Arts Council. What he had to do in the end was to ring them and let them know that he would not be applying again. He feels that things have improved as there was a time when his work was pigeon-holed and that certainly held him back.

He says, ‘I ensure that I am involved with working with children’s opera companies like W11 based in Notting Hill. It is vital that black people are seen in all aspects of music, lighting, conducting, singing and playing. The only way you can get a feel for what the issues are is going back to the pipeline. Are black and minority ethnic young people applying to study music? … how does the career fair after they have completed? Like all aspects of life now…it is the competition.’

Tunde Jegede

We managed to speak with Wayne Marshall in Austria while he was conducting West Side Story. He says,
‘I grew up in Birmingham and when my parents arrived from Barbados in the 50s they carried on the traditions of going to church as a family, and appreciating all types of music. My mother played the piano, and I followed on from this, coupled with working hard at school. … my main spring board after leaving the Royal College of Music was to work at St George’s Cathedral Windsor Castle as an organist and concert pianist. Another turning point was working in Glyndebourne ’86 where I worked on Porgie and Bess. This is where I met Simon Rattle and my current management team.

My parents ensured that I wanted for nothing and encouraged my interest and perseverance in music. I know no other way of life. The times are different now and young people have so many choices that pull on their time. All I know is that you need to put in the work of practicing continuously when you are young, as this is what paves the way for you in the long run. I remember practicing, when I was younger, 6-7 hours. If you know this is what you want to do, this is what it takes. People do not ignore good talent.’

Jean Nicholls, General Manager of The Birmingham Opera Company talked about recruiting and identifying emerging talents.

‘I suspect that they have underestimated that communities are reflected in what they are seeing and people feeling comfortable. Going the extra mile to make it clear we will audition good people working in non theatrical venues has helped, including opportunities in our work opportunity to see from the inside, that has been powerful to strip away the mystique Opera comes from the heart. Many of the stories are still strong… good stories now.’

Rodney Clarke

Rodney Clarke (Personal Flash Website) attended Dulwich College. He is of Jamaican won young Baritone singer of the year studied at the Royal Academy. He secured �20,000 in prize money which enabled him to concentrate full time on developing his musicianship.

Last year at a Black Music Congress debate looking at white artists involved in black music, the 'pop' music industry was charged with institutional racism. There is so much evidence testifying to the fact that record companies routinely spend more resources on white artists performing black music than on their black counterparts. I don't think matters are so clear cut within classical music. Yes, there is institutional racism in that generally speaking there is little access or pro-active engagement of black artists. Also, the few black artists who strike out on their own seldom make any meaningful progress, despite evident talent. However, it could be argued that there is not racism or colour bar at work, and that the paucity of black talent within classical music is simply because most neither relate to or aspire to build their career around classical music. There is some truth in that.

To find out about promotion of classical music by ethnic minorities we contacted some different ethnic groups. Kwaku is the founder of the Black Music Congress. He says the Asian Music Circuit is the UK’s premier touring company for music from all over Asia. Funded by the Arts Council of England since 1991, it is an independent company with charitable status, whose mission is to bring the best of Asian music to the British public. The Asian Music Circuit works with a wide variety of concert and festival promoters in the UK and Europe to produce a range of quality tours each year. It works with new and upcoming artists as well as top-level performers, promoting classical, devotional, folk and contemporary Asian genres. The Asian Music Circuit also runs a comprehensive education programme, which includes public workshops by visiting artists, school projects and the annual Indian Music Summer School.

Shirley Thompson
(Biog & Picture Source)

We also contacted Terry Childs London branch of officer of the Musicians Union who had this to say in regards to complaints of racism from Black and minority ethnic members. No incidence has been recorded of any members experiencing racism during auditions or playing.

Black History Month is celebrated in America, Canada and Jamaica in February and in the UK in October. In the UK, black organisations and community groups organise events and activities which platform both current and historical participation in diverse areas. The historical associations with classical music are often surprising.

Mary Seacole was a Jamaican Nurse who fulfilled her ambition to nurse soldiers in the Crimean war despite being denied the opportunity by Florence Nightingale. Seacole’s life was celebrated over a three day period in Sussex Gardens, the home of St Thomas’s hospital. Classical music was a big feature of the festivities.

Errollyn Wallen
(Picture Source)

In 2000, Larry Coke and his company, GyeNyame for Performing Arts, staged an aria in her name which was performed at the Linbury Studio Royal Opera House. Seacole also won the prestigious 100greatblackbritain awards held earlier this year. The Black Cultural Archives will be organising (and are looking for partners) a fundraising classical music concert to take place in late 2005. It will celebrate the finding of a permanent home in Brixton after a long search of twenty two years.

Partnership is the name of the game across all aspects of work in the UK e.g. in initiatives like Gain, managed by the Arts and Business, Arts Council England, Decibel and the Greater London Authority. Black and minority ethnic people are actively recruited on to the boards of key London arts organisations including the London Philharmonic Orchestra, Photographers Gallery and the Royal Opera House.

Key movers and shakers from the community are enriching boards as trustees. They include former MP Paul Boateng, academic Stuart Hall, lawyer Karen McHugh, journalist Baz Bambigoye, writer and social commentator Bonnie Greer, and academic and cultural strategist Baroness Lola Young.

Nitro, formerly the Black Theatre Co-op and the Royal Opera House produced a joint event, Nitro at the Opera. The event held in November 2003 at the Royal Opera House was an unmitigating success, with over 1200 people attending the activities spread throughout the afternoon. Events took place throughout the venue and good use was made of the 5 crush bars and the Linbury studio. Performers who showcased at this world premiere included nine black British composers who are successful and established artists in a wide variety of musical fields.

Nitro at the Opera (Pic Source)

The event included family workshops and comedy plus the opportunity to perform alongside and meet; Nicky Brown, Dainty Drysdale, Errollyn Wallen, Ola Onabule (Personal website), Orphy Robinson (Personal website), Alex Wilson, Clement Ishmael and Dominque Le Gendre.

Ola Onabule

Link: A Nitro at the Opera: Preview of Nitro's day-long festival of black music-theatre throughout the Royal Opera House Nov 2003

Link: A Nitro at the Opera Guardian Review November 11, 2003

Orphy Robinson
(Photo source)

Activities of this proportion do not come overnight, but are literally as a result of the relationship building between Deborah Bull, Director of Royal Opera House (RHO2) who first met with the composer, musician and artistic director of Nitro theatre company, Felix Cross.

Bull was keen to create partnerships between these two art forms, theatre and opera, in order to create the pilot Nitro at the Royal Opera House Festival. This activity took over two years from initial brainstorming to running the pilot activity, which led to the significant breakthrough of the first woman composer and the first black person to compose an opera for the Opera House. It will premiere in Autumn 2006. Dominic Le Gendre’s work, has come as a direct result of this innovative event.

Before we went to press we spoke with a very excited Dominique who is currently on holiday in the wilds of Scotland. ‘ I never imagined or envisaged that I would have had the opportunity to perform my first major piece of work with the Royal Opera House and contribute to making history.’ Dominque states these initiatives are fantastic as this type of activity should be part of succession planning but it is important that young people who engage in all these programmes feel that they can continue, and that clear paths are evident. Succession planning is critical so that future generations will feel empowered and confident.

So is there institutional racism in British classical music? The evidence points to hurdles. Fierce competition, and a lack of clear path objectives are just a couple. Continual strong initiatives to involve young people, and the highlighting of successful contemporary and historical individuals will contribute to increasing inclusion of minority communities in classical music at every level. [MM 18/09/05]

Relevant Additional Links

• Black History & Classical Music: Composers & Musicians of African Descent
• Jamaica's Classical Musicians
• The Negro Music Journal [NMJ] - "The Negro Music Journal: A Monthly Magazine Devoted to the Educational Interest of the Negro Race in Music was published in fifteen monthly issues from September 1902 to November 1903 in Washington, D. C....."
  
  
• Buy Music: Striking a Chord - A category in our online shop which contains a selection of music created by some of the artists featured in this article.

Famed opera singer Marian Anderson lived in Danbury, Connecticut for over 50 years. On February 27th & 28th 2005, the US Postal Service joined with the Danbury Museum & Historical Society in dedicating the Marian Anderson stamp. The museum still have some cancelled cachets left at $10 each. Contact the museum to purchase.