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Making classical history - African Americans who have become symphony orchestra conductors
American Visions, Feb-March, 1993 by Robyn E. Wheeler
Anticipation is in the air; instruments are made ready. There's a soft but authoritative tap of the baton, then overwhelming silence. Finally, with the graceful rise and commanding downward thrust of the baton, a burst of harmonious sounds floods the auditorium. Today in the United States, should we be surprised to see an African American wielding the baton?
Without much fanfare, a growing number of African-American conductors are directing American symphony orchestras. This is notable, as even white American conductors have seen slow movement toward staff positions with orchestras. For years, European conductors often have been placed on the podiums of American orchestras because they have been viewed as the best for the job. "There's still that old idea that anything other than American is better," says D. Antoinette Handy, director of the Music Program of the National Endowment for the arts.
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For African-American classical musicians, ascension to the position of conductor or music director has been an even steeper climb. "For a long time, the assumption was that this was a closed society. The symphony orchestra, as an institution, was assumed to be an organization for white people," says Catherine French, president of the American Symphony Orchestra League.
It was in this stifling atmosphere that Dean Dixon, the first black conductor of international prominence, started his musical career. He studied virtually every instrument in the orchestra and achieved limited acceptance as a guest conductor. Unable to find career opportunity in the United States, however, he went to Europe in the 1940s. He became artistic and music director of some of Europe's more prominent orchestras. After 21 years, he returned to the United States and served as guest conductor for several orchestras, including the New York Philharmonic, America's oldest symphony orchestra.
Dixon was not alone in seeking recognition abroad. Everett Lee, a contemporary, also left the country in search of work. Like Dixon, Lee received several key conducting opportunities in Europe and then returned to the United States and conducted the New York Philharmonic late in his career.
Henry Lewis came along in the 1960s. The first black conductor to become music director of a major U.S. orchestra - the New Jersey Symphony Orchestra - he also holds the distinction of being the first black conductor to lead the Metropolitan Opera.
The strides of these pioneers have led to a changing atmosphere in symphony orchestras. "There are efforts being made by orchestras toward inclusion. They want to increase participation of African Americans in all areas, from staff volunteer organizations to the board of directors," French says. She estimates that there are approximately 13 black music directors and staff conductors in the United States, more than ever before.
As music director of the Oregon Symphony Orchestra, James DePreist holds the leading position of one of the nation's largest symphony orchestras. Other internationally renowned black conductors include Paul Freeman, founder and music director of the Chicago Sinfonietta; Isaiah Jackson, music director of the Dayton Philharmonic; Raymond Harvey, music director of the Springfield (Massachusetts) Symphony; Michael Morgan, assistant conductor of the Chicago Symphony Orchestra; and Leslie Dunner, associate conductor of the Detroit Symphony. Women who are frequent guest conductors include Margaret Harris, Tania Leon and Kay George Roberts..
How do these conductors manage to succeed in an unwelcoming atmosphere? "It boils down to inner focus," Leon says. "If you hear your calling and you persevere enough, you end up doing it, regardless of who supports you." Michael Morgan, at 35, is one of the youngest rising American conductors. "I've been trained to have a pretty clear idea of when I'm right about something and when I should be listening to other people because they have more experience," he explains.
Despite significant advances, there is still room for additional efforts to be made by orchestras. "Orchestras in the States have to address the cultural makeup of society through music and leadership. They have to push to enter into the 20th century before the 21st century arrives," says Kay George Roberts, professor of music at the University of Massachusetts at Lowell and music director of Ensemble Americana in Germany.
African-American children must also be made aware that conducting classical music is a career choice. Currently, their exposure and education generally do not include classical music, and radio stations aimed at the black community do not foster interest. "Ears just listen, and individuals decide whether or not they like what they hear. But if your ears are never exposed to certain kinds of music, you won't truly know whether you like it or not," Leon says.
Black conductors, too, have a hand to play in the evolving world of orchestras. Paul Freeman believes black conductors should be ambassadors to the community: "They must assist in the creation, on a grass roots level, of places where black children can learn instruments and parents can be encouraged to attend concerts with their children." Some, like Isaiah Jackson, Tania Leon and Michael Morgan, are doing that now. It is only with this kind of effort that we will see more blacks as members of the orchestra, more blacks in the audience, more blacks as orchestra managers and executive directors, and more black conductors on the podiums of U.S. orchestras.
