Leading from the keyboard, Joseph Horowitz tells a remarkable story. On arrival from Bohemia, Dvorak expected American music to follow European classical models. From student Harry T. Burleigh, he learned that it was Black sorrow songs and spirituals, and later used Black themes in his Ninth Symphony, “From the New World,” and Op. 96 string quartet, “American.” He later became the first Black composer to influence American classical music. Messrs. Horowitz and Shirley present the composers’ works with CCM pianists.
This event is free, but registration is required.
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You have a unique opportunity to experience the evolution and intersection of two “American” musical giants, Antonin Dvorak and his student, Harry T. Burleigh—in a live presentation by former New York Times music critic and cultural historian Joseph Horowitz, and living-legend Grammy winner, former Metropolitan Opera tenor, and National Medal of the Arts recipient, George Shirley.
• Of the major Classical and Romantic composers, only Dvorak spent significant time in America (1892-95). On arrival from Bohemia, he assumed that American music was based on European classical traditions. From student Burleigh, he learned that it based on Black sorrow songs and spirituals. Dvorak later used Black and Native American themes in his Ninth Symphony, “From the New World,” Op. 96 string quartet, “American,” and Op. 98, “American Suite.”
• Burleigh became a legendary composer and arranger of spirituals, the pre-eminent African-American vocal recitalist, the first Black composer to influence American classical music, and a mentor to Marion Anderson. If you go to YouTube and listen to Ms. Anderson sing “Deep River” – an iconic performance – there will be no mention of Harry Burleigh. But there would be no Marian Anderson “Deep River” without Harry Burleigh, because he composed it.
Works by Dvorak and Burleigh will be performed. A Q+A session between the audience and performers will follow.
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A world-renowned performer of more than 80 operatic roles—in many cases the first Black artist to do so—Mr. Shirley appeared opposite opera’s greatest divas, including Martina Arroyo, Teresa Berganza, Monserrat Caballé. Grace Bumbry, Mirella Freni, Anna Moffo, Roberta Peters, Leontyne Price, Renata Scotto, Theresa Stich-Randall, Joan Sutherland, Renata Tebaldi, and Shirley Verrett in the world’s great opera houses. He also performs art songs and spirituals.
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A New York Times music critic before becoming executive director of the Brooklyn Philharmonic Orchestra, today Mr. Horowitz is the author of 11 books, mostly on music, including the highly praised 2022 work, Dvorak’s Prophecy and the Vexed Fate of Black Classical Music. Mr. Shirley wrote the book’s forward. A concert producer and a cultural historian, he has been a pioneering force in the development of thematic programming and new concert formats.
Mr. Horowitz has taught at the Eastman School, the Manhattan School of Music, the Mannes College of Music, the New England Conservatory, and the Institute for Studies in American Music at Brooklyn College, among others. He is the recipient of fellowships from the National Endowment for the Humanities, the Guggenheim Foundation, Columbia University, and New York University, as well as a Certificate of Appreciation from the Czech Parliament.”