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A Negro Symphony Orchestra

A Negro Symphony Orchestra Since 1937, when a Los Angeles publication mentioned the fact that one of my ideals is the realization of a Negro Symphony Orchestra so fine that it would rank with—and perhaps surpass—the best in the world, several people have come forth with the same idea. I can well understand their enthusiasm, because each time the thought recurs to me, its tremendous possibilities fire my imagination anew. The personnel of this group would have to be selected from over the entire United States, after exhaustive auditions, because only the very best players should be admitted. Perhaps they will be young­ sters, devoted to fine music. Perhaps they will be older musicians who once dreamed of careers in symphonic music but who were faced with the necessity of earning a living as well as with the old and false belief that "there is no place for a Negro in serious music." Perhaps these things caused them to identify themselves with commerical music, though their dreams still persisted and they never lost their proficiency nor their love for other music. Perhaps then training in the jazz world will even have enhanced them virtuosity, and they will be able to play perfectly passages http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

A Negro Symphony Orchestra

Black Sacred Music , Volume 6 (2) – Sep 1, 1992

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Copyright
Copyright © 1992 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-6.2.97
Publisher site
See Article on Publisher Site

Abstract

Since 1937, when a Los Angeles publication mentioned the fact that one of my ideals is the realization of a Negro Symphony Orchestra so fine that it would rank with—and perhaps surpass—the best in the world, several people have come forth with the same idea. I can well understand their enthusiasm, because each time the thought recurs to me, its tremendous possibilities fire my imagination anew. The personnel of this group would have to be selected from over the entire United States, after exhaustive auditions, because only the very best players should be admitted. Perhaps they will be young­ sters, devoted to fine music. Perhaps they will be older musicians who once dreamed of careers in symphonic music but who were faced with the necessity of earning a living as well as with the old and false belief that "there is no place for a Negro in serious music." Perhaps these things caused them to identify themselves with commerical music, though their dreams still persisted and they never lost their proficiency nor their love for other music. Perhaps then training in the jazz world will even have enhanced them virtuosity, and they will be able to play perfectly passages

Journal

Black Sacred MusicDuke University Press

Published: Sep 1, 1992

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