Insights from Classically Black: a one-day symposium by Black Lives in Music

Making Music Access and Inclusion lead Alison Reeves talks about her attendance at Classically Black, and how it inspired thoughts on diversifying the repertoire of member groups playing classical music.

In October, Black Lives in Music (BLiM) – supported by ABRSM – presented Classically Black, a one-day symposium shining a light on Black and underrepresented musicians and composers. It also marked BLiM’s fourth anniversary, formed to challenge the current inequality of opportunity for Black, Asian and Ethnically Diverse musicians, particularly in Classical music. Making Music was lucky to score an invite, as we’ve been working with BliM on our INCLUDE programme – Roger Wilson, co-founder is on our Critical Friends Advisory Panel.

Fitting for an anniversary, the day was a great celebration of music and musicians and left us with a huge positivity about the talent in this country, and positivity for the future of classical music if it is being driven forward by these exceptional musicians. Highlights included a new work event, with composers Jason Yarde, Pete Letanka and Julian Joseph presenting and talking on new commissioned work, played by a specially created orchestra of ethnically diverse players. Julian Joseph’s violin concerto Kayryouacou is a remarkable piece, complex but accessible and deserves many more performances. You can hear the two other powerful works on BBC Sounds, recorded as premieres by the BBC Symphony Orchestra.

...the day was a great celebration of music and musicians and left us with a huge positivity about the talent in this country, and positivity for the future of classical music if it is being driven forward by these exceptional musicians.

The evening concert was by Ayanna Witter-Johnson, singer-songwriter, cellist and composer, who works across classical, reggae, soul and jazz genres. The first half focussed on her work composed for classical ensembles and vocalists, and showcased her remarkable ability to merge genres. A highlight was Branle Riddim, for string quartet and percussion, blending a French renaissance dance style (branle) with Jamaican dancehall rhythms to create a driving, energetic piece to get the body moving! The whole concert was broadcast by BBC 3 and well worth a listen on BBC Sounds.

The exceptional quality of the works, and the musicians performing them was not in doubt at the event. But earlier in the day at a panel event, we heard from Black musicians and composers (including pianist Beatrice Nichols) that they were still faced with prejudice and discrimination as they built their reputations in their professions. We heard stories of how hard they had to work to prove themselves, against the belief that their work was of a lower standard or quality. The bias exists and is not shifting quickly. I found myself thinking about how much confidence it takes to present yourself as a musician, and how your confidence is attacked when you are faced with a sub-conscious conviction that you won’t be good enough, before you even start.

Even though the day was about musicians working in professional sector, Making Music was welcomed, for our perspective on what could change in the leisure-time sector. We have been working on supporting members to diversify their repertoire for a number of years now, and our next Conversations about Inclusion event is on this theme: Jeremy Haneman and some of our members will discuss how repertoire choices help – or hinder – the creation of an inclusive and diverse group, and to connect with a more diverse audience. We’ve heard from members who are doing the important job of performing works by under-represented composers; member group Scarborough Symphony Orchestra will perform the last of the five symphonies of William Grant Still next year, making them the first orchestra in the UK (including professional) to perform this cycle, and their concert will also include work by Samuel Coleridge-Taylor and Adolphus Hailstork.

...we heard from Black musicians and composers (including pianist Beatrice Nichols) that they were still faced with prejudice and discrimination as they built their reputations in their professions. We heard stories of how hard they had to work to prove themselves, against the belief that their work was of a lower standard or quality.

Members tell us though that often the challenge is finding these under-performed works, as well as how to resource the time needed to learn and rehearse new work, and pay related fees, particularly for works in copyright. Events like Classically Black provide an opportunity to platform an impressive body of under-performed works, that hopefully will be picked up and played by more and more ensembles, as they deserve to be. The organisers hope the symposium will become an annual event, so look out for next years and join the celebrations.

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