2022–2023 | 123rd Season

The Cosmic Journey of a Symphony

The Philadelphia Orchestra

The world-renowned Philadelphia Orchestra strives to share the transformative power of music with the widest possible audience, and to create joy, connection, and excitement through music in the Philadelphia region, across the country, and around the world. Through innovative programming, robust education initiatives, a commitment to its diverse communities, and the embrace of digital outreach, the ensemble is creating an expansive future for classical music, and furthering the place of the arts in an open and democratic society. In June 2021, the Orchestra and its home, the Kimmel Center, united to form The Philadelphia Orchestra and Kimmel Center, Inc., reimagining the power of the arts to bring joy, create community, and effect change. This concert—a Celestial Odyssey—opens with the Zodiac Suite by the composer and pianist Mary Lou Williams, who worked closely with many of the jazz greats of the mid-20th century. Inspired by the 12 astrological signs, she based each of the sections on people she knew from her creative world.

Mary Lou Williams: Child Prodigy to Jazz Legend

Mary Lou Williams was born Mary Elfrieda Scruggs in Atlanta, Georgia, on May 8, 1910. Her father left the family shortly after she was born and her mother, Virginia Winn, married Williams’s stepfather, Fletcher Burley. When Williams was four, her mother and stepfather moved the family to Pittsburgh, Pennsylvania. It was around this age that Williams’s mother taught her to play the piano. Williams excelled at the instrument and learned to play ragtime, boogie-woogie, and blues, as well as popular and classical styles. Nearby white families had been upset when Williams’s African American family moved to their East Liberty neighborhood and they harassed her and her parents, even throwing bricks at their house. However, when they discovered her remarkable talents on the piano, the harassment ended and Williams even gave private concerts for white families in Pittsburgh, which led to her nickname, “the little piano girl of East Liberty."

Williams studied music at Pittsburgh’s Westinghouse Junior High School. By the age of 15, she had gone on the road with a small band that accompanied a vaudeville act. Williams encountered hostility from managers and fellow musicians who did not want a woman to perform in the band, but the band’s saxophonist, John Williams, stood up for Williams’s right to play with them. She would later go on to marry him but divorce some years later. In 1945, the New York Philharmonic Orchestra performed her composition “Zodiac Suite,” which featured four sections, each in the style of different musicians, and blended jazz and classical styles. The physical strain of Williams’s rigorous performing schedule eventually took its toll, and in the mid-1950s, she took a three-year hiatus from public appearances. Around this time she converted to Catholicism and founded the Bel Canto Foundation to help jazz musicians struggling with substance abuse. In 1957, she became a leading advocate for jazz, dedicated to educating young African Americans about their musical heritage. Williams received a Guggenheim Fellowship (1972-1973) and in 1977 she was named an artist-in-residence at Duke University, where she led the jazz orchestra and taught jazz history. Williams passed away at home in Durham, North Carolina on May 28, 1981.

Field Hollers to Jazz: The

Evolution of African American Music

Jazz music originated in New Orleans in the late 19th century and grew out of the African American experience. One important location in the development of jazz was Congo Square, a public space in New Orleans where enslaved Africans and free people of color would gather on Sundays to sing, dance, and play music. These gatherings were an important cultural exchange, as people from different African ethnic groups would share their music and rhythms with one another. Over time, the music that was played in Congo Square began to incorporate elements of European music as well, such as brass instruments and military-style marching bands. Buddy Bolden – a cornet player, was an African-American bandleader who was dubbed the “first man of jazz,” cementing his place in jazz history. Some other early jazz African-American musicians of the time included Mutt Carey, Bunk Johnson, and Joe Oliver.

Many jazz musicians of the time, such as Louis Armstrong, got their start playing in New Orleans' clubs and bars, and the city became known as a hub for jazz music. While some subgenres of jazz have a distinct sense of melody, harmony, and rhythm, jazz generally is a genre that embodies musical freedom from solo play to call-and-responses. Despite its popularity, jazz music was often seen as controversial due in part to its association with African American culture. Many jazz musicians faced discrimination and hardship throughout their careers, but they persevered, and their music continued to inspire and influence people around the world today. Take a listen to this brief history of jazz.

Left: Congo Square remains an important symbol of the cultural exchange and musical innovation that gave rise to jazz, and is now recognized as a National Historic Landmark. Right: Bolden Band

A Journey Through the Stars

The performance in itself began with storytelling by speaker Charlotte Blake Alston, then opened with the Zodiac Suite. Aries, Taurus, and Gemini were played by clarinet player Evan Christopher. Christopher's solo was one that definitely took you to the stars. He was very confident on stage, swaying with the symphony, and letting his fingers dance over the instrument effortlessly. With each note, Christopher brought to life the soulful spirit of jazz, creating an uplifting symphony that had the audience wanting more. His interactions with the concert members also did not go unnoticed by me. Before and after each solo performance, he would always fist bump the other two members and mouth to them that they did great. This really impressed me, as I could clearly see the sportsmanship and care he showed toward his team. The next zodiac sign, Cancer, was played by Nicole Glover, tenor saxophone. As Nicole starts to play, it's as if the instrument became an extension of her own body, allowing her to express her deepest emotions through every note. She had great breath control, thus allowing her to sustain long, expressive sounds that linger in the mind long after the music has ended. It takes quite a skill for one to maintain that much control over their own body, and Glover did exactly that while maintaining her upright posture. Leo, Virgo, and Libra were then followed by Brandon Lee, who played the trumpet. The sound of Lee's trumpet was like cutting through the air. It's no wonder that he was "awarded his first Grammy as a sideman on Christian McBride’s big band album, “Bringin’ It.” Lee's playing was like a portal to the soul of New Orleans jazz, the music creating a vibrant world that feels like home, even if you've never been there before.

The next four zodiac signs, Scorpio, Sagittarius, Capricorn, and Aquarius were accompanied by the Aaron Diehl Trio, which included Aaron Diehl, David Wong, and Aaron Kimmel. Each member of the trio brought their unique talents to create a rich and complex sound, which contributed to the group's cohesive and dynamic sound. One person in particular who stood out to me was Aaron Kimmel. His drumming is a perfect blend of power and subtlety. Previously, whenever I thought of a drummer and what they did, I always had the notion of hard drum playing like in a rock band. Kimmel proved me wrong, and even though his drumming was barely there, it added to the overall experience and cohesiveness of the orchestra. He was able to articulate the sound and know when to play softly, and even his solo performance proved his unfathomable skills.

Pisces, the last zodiac sign, was performed by Alicia Hall Moran, mezzo-soprano. In an interview with Essence, Hall once stated: "When I perform, I’m really concerned about the body. I like to follow the rhythms of not only the music but also my own body and how I want to react to the rhythm and the sound coming out of my own mouth." Hall was not lying when she said this. The moment she walked out on stage, the moment she entered through the doors leading to the stage, her posture stood out, as if she was coming out to accept a Grammy award and give her world-renowned speech. Her elegance spoke volumes, and her opera voice, with her impressive range and control, created a sound that was deeply moving.

Music Without Borders

Music has always been a powerful tool for bringing people together and breaking down barriers. In the world of classical music, breaking borders means embracing diversity and recognizing the value of different perspectives and experiences, and using these to enrich the music and create a more meaningful connection with the audience. At the heart of breaking borders in the orchestra and creating a truly inclusive environment is the recognition that music is for anyone. It is a universal language that can transcend cultural and societal barriers, and connect people in a way that few other things can. Within the audience, I saw the diversity of onlookers all gathered in an enclosed space, eagerly awaiting the performance. I had a chance to talk to another person of a different race seated next to me about the musical piece, and he gave me insight into the performers, as it hadn't been his first rodeo. We had a great conversation during intermission and I promised it wouldn't be the last time I visit an orchestra.

For years, orchestras have been predominantly white and male, and musicians of color have often faced barriers to entry and advancement. However, within the orchestra performers, I saw the inclusivity of people of various backgrounds and genders, including those of Asian heritage, white Americans, Latinas, and African Americans. Granted, there were very few African-American performers and there is still much work to be done in the world of classical music. However, the progress made by orchestras like the Philadelphia Orchestra proves the power of commitment to inclusivity.

Reflections

Attending the "Celestial Odyssey" performance by the Philadelphia Orchestra was an incredible experience that exceeded all of my expectations. As a first-time watcher, I was blown away by the sheer beauty and power of the music and was truly mesmerized by the skill and precision of the musicians. At the helm of it was the conductor, whose speed and precision led the musicians to create a performance that was truly out of this world. With each movement of his hands, he seemed to weave the notes together with a sound that was both complex and ethereal. He moved with each and every beat, swaying with the rhythm, and letting his body do the talking. It honestly pulled at my heartstrings and led me to want to see more of his outstanding performance.

As the performance unfolded, I found myself completely engrossed in the music, transported to another world. The sound was at once haunting and joyful, with moments of incredible intensity and others of pure serenity. Despite having high expectations going into the performance, I was completely blown away by what I saw and heard. The musicians played with skill and passion, and the conductor's leadership brought out the best in each of them. It was clear that everyone involved in the production was deeply committed to their craft, and their dedication was evident in every note that they played. The violin concertmaster stood at the forefront of the orchestra, wielding her instrument with confidence and grace. Her fingers danced across the strings of the violin, producing a sound that captivated the audience. Not only did her fingers danced on the strings, but her body did as well, carrying the melody. I found myself moving my head with her and tapping my feet to the sound.

Leaving the performance, I felt both energized and deeply moved by what I had experienced. I knew immediately that I wanted to come back and experience more of what the Philadelphia Orchestra had to offer. This was truly a celestial odyssey that left me with a sense of wonder and awe, and a deep appreciation for the power of music to transport and transform us.