The Next Wave in Classical Music Innovation
In 1892, Antonin Dvořák packed his portmanteau for New York City, bringing with him all the accumulated musical insight of centuries of European musical tradition. But Dvořák left any sense of Eurocentric cultural supremacy in the Old Country; he was determined to learn about, and be influenced by, the music of Native- and African-Americans. Traveling the US, he heard melodies and rhythms that opened his mind, expanded his palette, and inspired one of the most beloved pieces in the classical canon: the New World Symphony. And the conservatory he was hired to lead was very unusual for its time — it allowed women and people of color to enroll. Other composers have likewise transformed classical music by including influences of other cultures; think Beethoven’s Turkish March, Brahms’ Hungarian Dances, the Asian influence on the music of Ravel and Debussy, or the electrifying Mambo from Bernstein’s West Side Story.
The world of classical music becomes larger, more enriched and more appealing to a wider audience with each generation’s greater openness to inclusion of other cultures.
Today, we are at the beginning of the next wave of classical music’s evolution: the stage at which the performers who bring us this art truly reflect the diversity of our society. And one chief catalyst for this change is the ASO’s Talent Development Program (TDP).
The Talent Development Program is celebrating 25 years of identifying, mentoring and developing middle and high school Atlanta-area musicians of African-American and Latino heritage for careers as professional classical musicians, and has helped nurture nearly 100 young musicians to earn admission to the nation’s top music schools.
The program now includes weekly private lessons with ASO musicians, summer program financial assistance, mentoring and one-on-one coaching, audition preparation assistance, solo recital and chamber music performances, family education and life skills training.
I recently spoke with some of the TDP’s most accomplished graduates about the importance of the program to their development, the doors it opened for them and which they, in turn, are now opening for others, and about the meaning of diversity and the importance of inclusion to the future of classical music.
Cellist Khari Joyner, a 2009 graduate of the TDP, has been hailed by the New York Classical Review as “one of the most exciting young musicians on the classical scene.” Atlanta audiences will remember his thrilling performance of Tchaikovsky’s Rococo Variations with the ASO at Piedmont Park in June. Currently pursuing his doctoral degree at Juilliard, he is crafting a remarkable career as a performer and teacher, engaging audiences around the world.
“It’s important for anyone wanting to become a musician to see people like themselves represented on stage. The TDP was a great way to get exposure to people that looked like me. Part of achieving our goal of inclusion is continually pushing for musicians from backgrounds that have traditionally been left out, and giving them more opportunities.”
Harpist Angelica Hairston, a 2009 TDP grad, is channeling the life lessons she’s learned as one of only a handful of young African-American harpists into leadership of Challenge the Stats, an organization devoted to finding tangible solutions toward a more equitable arts field, as well as directing the Urban Youth Harp Ensemble.
“I remember the excitement of youth orchestra rehearsals — the music was so captivating. But I would notice how much I stood out among my colleagues; I was swimming in a sea of 200 musicians with only a handful of complexions that resembled my own. I realized that the classical music field would often be isolating as a woman of color. It took me a while to be comfortable in my own skin. Mentors in TDP helped me navigate through these spaces — what it means to be yourself when ‘yourself’ is not the norm in classical music.”
Chelsea Sharpe, a 2011 TDP grad, is now a professional orchestral violinist in the New World Symphony, an innovative Miami orchestra designed as a launching pad for talented musicians at the beginning of their careers.
“As I continue to evolve as a player, the more I realize how crucial the Talent Development Program was to my growth as well as how much it played a role in establishing my love for sharing music. Navigating the classical music world, which is certainly behind other arts institutions in diversity and inclusion, was difficult because I did not have many role models and the majority of students at the music festivals I attended were not people of color. The TDP greatly aided me in demonstrating that I was capable of reaching my musical goals, and it gave me a community of young people who looked like me and had similar goals.”
Stanford Thompson, a 2005 TDP graduate, divides his professional time between playing trumpet and serving as Executive Director of Play On, Philly!, an organization that provides classical music instruction and mentoring to hundreds of under-served African-American, Latinx and Southeast Asian youth. He is also in demand as a keynote speaker and consultant on issues of inclusion and collaboration.
“The mentorship that I received through the TDP helped me during the times I doubted my chances of successfully auditioning for each next step. They often believed in me more than I believed in myself. The ASO family became my extended family.”
It seems a safe assumption that we should collectively pursue diversity in the arts. But why assume? Why not ask those on the front lines, as it were, what diversity really means, what it takes to achieve it, and what the actual benefits are?
“Diversity enhances excellence and helps reach the changing demographics around us,” says Stanford Thompson. “I believe this music is for everyone, and has the power to address some of the most compelling problems in society.”
Khari Joyner adds, “The roots of classical music are much more broad than they appear. A truly enriching and inclusive atmosphere will increase our music’s relevance among a wider population with the vibrancy, energy and innovation that people of different backgrounds can bring.”
“Artistry is about empathy,” says Angelica Hairston. “We have to create spaces where everyone feels welcome, where no one is isolated, where arts can actually penetrate into those points that make us uncomfortable. Artists should be at the center of the conversation, building empathy.”
And Hairston sums it up with words that inspire and motivate:
“Privilege is such a powerful thing when it’s used to uplift and empower people of color. At the end of the day, you just keep doing the right thing and the needle will continue to move in the right direction.”
As I interviewed these talented musicians by phone, I used audio editing software to record our conversations. Being in the room myself, my questions were naturally input at a higher volume level than their speaker-phone responses. In transcribing, I amplified their volume levels, a process appropriately called ‘normalization’, and thought, “Yes, their message needs to be amplified! It’s as if they’re speaking to us from across the street, with a lot of cultural traffic noise obscuring our ability to hear.” For the benefit of artists and audiences alike, we can all act as amplifiers, allies and advocates.
Support for the Talent Development Program generously provided by AT&T, The Coca-Cola Company, Georgia Power and Georgia Pacific.
Follow Challenge the Stats.
Follow Play on, Philly!
Visit Michael Kurth’s website.
Where to find TDP:
NOV 30 | 8pm
FIRST PRESBYTERIAN CHURCH ATLANTA
Recitals are free, but ticketed. Reserve your tickets at aso.org/TDP
TDP 25TH ANNIVERSARY CONCERT
FEB 9 | 8pm
ATLANTA SYMPHONY HALL
Music Director Robert Spano, TDP alumni, the Atlanta Symphony Orchestra and special guests Imani Winds will join together for an evening of music in celebration of the 25 impactful years of the Talent Development Program. Purchase tickets at aso.org/TDP25.
