For much of his life William Grant Still was invariably referred
to as the “Dean of African-American Composers”.
Though his music partakes of many African-American elements,
it also demonstrates his varied training under Chadwick and
Varese and the many years he spent writing music for jazz bands,
radio, music and television. Today Still can be seen simply
as one of that number of American nationalist composers who
came to maturity between the wars.
In the late 1920s Still began a musical trilogy that would portray
the African-American experience in the U.S.: Africa,
a tone poem describing the original homeland; the Symphony No.
1 (African-American) describing the years leading to
the Emancipation Proclamation; and the Symphony No. 2 (Song
of a New Race) describing a future where African-Americans
would take equal part in the destiny of their country.
The Symphony No. 2 is a major work, blending jazz, blues and
gospel elements with a nationalist feeling akin to that of the
Eastman School. All of the movements are relatively slow (cf.
Vaughan Williams’ Symphony No. 3). The slow movement proper
is the most beautiful and expressive, while the “moderately
slow” finale shows Still’s great technical skill
as he joins thematic elements of all four movements into an
emotionally satisfying conclusion.
Wood Notes is a suite evocative of nature in the American
South. Each of the four pieces begins with simple, almost trivial
material, which Still then transforms into something far more
poignant than one would have expected.
While numbered as the third, The Sunday Symphony was
the last of Still’s five symphonies to be written. It
describes the typical Sunday of a churchgoer (Still was quite
devout) and while not as profound as the Symphony No. 2 it is
equally sincere and more compact in expression. The opening
movement is full of energy, somewhat reminiscent of Gershwin,
but with modal elements and scoring reminiscent of the Big Bands.
In the Prayer movement Still develops the main melody
for English horn to a poetic coda in his best style. Relaxation
is very simple, while the last movement alternates resolution
worthy of an army going into battle with a lovely central section
describing twilight and the thoughts of the worshipper as he
prepares for the coming day.
The key to performing Still’s music is to concentrate
on his obvious sincerity and technical ability, while not letting
his tendency towards sentimentality to overwhelm all else. John
Jeter realizes this and wisely brings out the positive elements,
demonstrating complete control of his players (especially regarding
rhythm) and deriving enthusiastic performances. The Fort Smith
(Arkansas) Symphony has some troubles with ensemble, but the
overall sound is lush, as much of the music requires. This disc
completes the Naxos series of the Still symphonies. While there
are other impressive recordings of the first two symphonies,
Jeter faces no real competition with the last three, and the
entire set can be recommended to all fans of American music.
William Kreindler
William
Grant Still on Naxos American Classics
Fort Smith Symphony/John Jeter 