Fine Tuning: Florence Price

Two additions to my classical CD collection.  On the left are two symphonies (Nos. 1 and 3) by Florence Price.  On the right is a CD that presents Price's extraordinary Piano Quintet along with works by Amy Beach and Samuel Barber that were less impressive to me.  Exploring the music of Florence Price was one of the musical highlights of 2024 for me.

One of my new year's resolutions was to explore the music of Florence Price. I encountered her Symphony No. 1 last year and was impressed. I wanted to learn more about her in 2024 and managed to listen to most of her major music before my mom died. Life (or, rather, death) took me away from this topic for awhile and now I've come back around to fulfill the resolution. I have re-listened to all my favorite compositions of hers over the past couple of weeks.

Almost all this music was lost and forgotten until 2009 when it was accidentally found in a trunk in an abandoned house. What an amazing discovery! A few of Price's pieces were out there but scarcely performed. The vast majority had simply vanished from the musical landscape. This 2009 find brought an avalanche of quality compositions from the 1930's era to light. The classical world, at least here in America, was electrified. In this post I want to touch on what are, for me, the most meaningful pieces based upon hours of listening.

Let's begin with the piece that first brought her genius to my attention – her surprising Symphony No. 1 in E minor which was premiered by the Chicago Symphony Orchestra in 1932. This remarkable composition showcases her mastery of both European classical traditions and African-American musical elements thereby creating something uniquely American and profoundly moving. A similar mixing of these musical styles runs through almost all her compositions.

It opens with a bold and assertive E minor theme, which showcases the grandeur and seriousness of the symphony. There are nods to Dvořák’s “New World Symphony” in its blending of folk melodies with European classical tradition, but Price adds a uniquely American and African-American touch. The main motif is lyrical and expansive, with rhythms that evoke spirituals. There are passages of rich harmony that contrast with lighter sections reminiscent of dance-like rhythms. Traditional symphonic instrumentation, with prominent roles for the strings and brass, as well as delicate woodwind passages.

The heart of the symphony is found in the next movement. It opens with a slow, solemn melody that evokes the character of a spiritual, deeply lyrical and hymn-like. Price borrows from the African-American spiritual "Sinner, Please Don’t Let This Harvest Pass" in this movement (this spiritual was a favorite of hers as it is featured in several of her compositions). The music flows with a sense of reverence, serenity, and introspection. The brass and woodwinds often carry the melody, supported by lush strings. There’s a haunting beauty in the timbres, especially the use of the brass in a subdued, almost choral fashion.

The third movement is a lively Juba, a traditional African-American dance. It’s spirited with energetic cross-rhythms that inject a sense of joy and vitality. Here, Price taps into the folk traditions she admired, creating a piece with distinct dance-like energy. The themes are rhythmic and infectious, resembling the liveliness of a folk dance, with call-and-response elements. Percussion and strings play a central role in driving the rhythmic energy, while woodwinds and brass interject with playful melodies. The movement exudes vibrancy and contrasts with the solemnity of the previous section.

The finale returns to a faster pace with a presto tempo, delivering a triumphant and energetic conclusion. It combines elements of the previous movements, bringing back the grandeur of the first and the rhythmic vitality of the third. The themes here are bold and determined, with elements of folk music and classical symphonic orchestration intertwined. The final sections develop into a climactic finish, blending the symphony’s motifs into a unified whole. The brass and strings lead much of the thematic material, while the woodwinds provide a lively counterpoint. The full orchestra is used to great effect, building toward a powerful conclusion.

As it typical for her, Price manages to mix several diverse musical influences seamlessly, making this premiere symphony a powerful and deeply moving work. Her balance of solemnity, rhythmic liveliness, and symphonic structure is distinctive. The symphony reflects the musical zeitgeist of the 1920s and 1930s. Though Price was deeply rooted in the classical and spiritual traditions, the composition also contains the jazz influence of that era which seeps into the harmonic and rhythmic language of her work. The jazz-inflections and the freedom in some of her melodic treatments suggest the vibrant, evolving music scene of the time. Few composers match Price in terms of her magnificent, multifaceted blend of musical styles.

At the time I discovered it, I gave her Symphony No. 1 an “honorable mention” in my listing of Great First symphonies. That still stands. Intrigued by this symphonic work, I ventured into Price's chamber music and soon made an even grander discovery. Her Piano Quintet in A minor (1935) proved to be the crown jewel of my exploration. Once again, she integrates African-American musical idioms into the late Romantic chamber music tradition in a thoroughly satisfying manner.

The way she uses the piano - sometimes as a partner, sometimes as a protagonist - shows her deep understanding of both the classical piano quintet tradition and African-American piano styles. The work compares favorably with the great piano quintets of Schumann, Brahms, Dvořák, and Franck, while maintaining its distinctive voice. Yet unlike these European works, Price's quintet adds something new to the form through its incorporation of ethnic musical elements without ever feeling forced or artificial.

The quintet opens with a masterful handling of the sonata form while establishing a unique sonic world. The primary theme combines late Romantic gestures with pentatonic inflections, and Price's development of this material shows exceptional sophistication. Her piano writing is particularly noteworthy here - the instrument weaves in and out of the texture, sometimes providing harmonic support, other times emerging as a powerful solo voice. The string writing displays deep understanding of quartet texture, with moments of rich homophony contrasting with intricate contrapuntal passages. The development section shows remarkable ingenuity in how she transforms her themes while maintaining structural coherence.

In the slow movement Price creates a deeply moving atmosphere through a melody that suggests the contours of a spiritual without directly quoting one. The piano often takes on an almost improvisatory character here, with delicate figurations that seem to float above the strings' sustained harmonies. Her use of modal harmonies creates a distinctive sound. The middle section features some of her most sophisticated writing for strings, with complex layering of voices that never loses clarity.

These first two movements take up about two-thirds of the composition. The final two movements are comparatively concise. The third movement is wonderful! Another lively Juba dance that is vibrant, rhythmic, and filled with joy, serving as a complete contrast to the somber mood of the previous movement. Multi-layered rhythms and lively dance-like figures dominate, bringing a folk-inspired exuberance to the music. The piano plays a bouncy, rhythmically driven role, while the strings provide playful responses. This movement is all about rhythm and energy. The piano leads with sharp, percussive accents, while the strings echo and reinforce the rhythmic patterns.

The fourth movement ties the work together, returning to a more lyrical and flowing style, yet retaining some of the rhythmic vitality of the Juba movement. Price weaves together themes from earlier movements, creating a sense of unity and closure. The melodies are grand and sweeping, but with an underlying rhythmic drive that keeps the movement moving forward with purpose. The piano and strings are in full dialogue here, with moments of virtuosic display from the piano balanced by the lush harmonic textures of the strings.

Throughout all movements, Price demonstrates remarkable skill in handling ensemble balance. The piano never overwhelms the strings, yet its presence is always felt. Her string writing shows deep understanding of both individual instruments and quartet texture. The harmonic language throughout manages to be both sophisticated and accessible, combining chromatic complexity with moments of modal clarity.

What particularly impresses me is how organic the integration of different musical traditions feels - nothing seems forced or artificial. Each movement maintains its own character while contributing to a coherent whole. The work represents a perfect synthesis of classical form, Romantic expression, and African-American musical elements.

Additionally, the quintet captures that distinctive 1930's American sonic world. You can hear echoes of composers like Copland and still-lingering late Romanticism, but filtered through Price's personal lens. The "Americana" elements come through in her use of open harmonies and certain melodic shapes that evoke the pastoral American sound of the period. But unlike Copland's more deliberately folksy Americana, Price's version feels more urban and sophisticated, perhaps reflecting her Chicago environment.

The African-American influences are profound but subtle - they're not simply quoted or imposed on the classical format but deeply integrated into the musical fabric. You hear it in the melodic inflections, the rhythmic patterns (especially in the third movement), and certain harmonic progressions that suggest ethnic spirituals and church music.  Simultaneously, the quintet offers plenty of traditional classical punch which declares her complete mastery of the late Romantic style. Her development sections, her handling of motivic transformation, and her sophisticated counterpoint all demonstrate deep understanding of the European classical tradition.

While diverse, these elements - 1930s Americana, African influences, and classical traditions - don't feel like separate ingredients but rather form a completely integrated, personal style. It's as if Price found a way to express multiple aspects of American musical identity simultaneously, creating something both of its time and timeless. This holds true for all of her compositions where she blends various musical idioms.

As her music has been rediscovered, works like this quintet have found a new audience and are now being recognized for their importance in expanding the scope of American classical music. It’s a work that shows her skill in blending cultures and genres, and it's being performed more frequently as her legacy is re-evaluated and celebrated. It is one of the finest piano quintets I've ever heard. I would not rank it alongside the magnificent Schumann composition in this form but it is in the neighborhood.

Price's two compositions for string quartet also strike me as exceptional. Both quartets have their distinct charms—one being more lyrical and meditative, while the other has a more dynamic and vibrant character. I find it difficult to choose a preference between them since they each offer something unique. The liveliness in these string quartets really does bring an infectious energy to the music. 

The String Quartet No. 1 (1929) consists of only one movement of about 16 minutes. Despite being in a single movement, it traverses contrasting sections that evoke varied moods, blending lyrical passages with rhythmic vitality. The seamless transitions between themes and textures reflect Price's ability to craft a dynamic and unified musical narrative within a condensed format. It begins tuneful and lively, with clear, flowing themes before offering a more introspective and tender mood, reminiscent of the rich harmonic textures in spirituals. It picks up pace, for the ending, full of rhythmic energy and vibrant interplay among the instruments.

Her String Quartet No. 2 (1935) is more ambitious, feeling more dynamic and rhythmically charged. It is also twice as long, reflecting more of a symphonic structure across its four movements. Price infuses it with a greater sense of energy and expressiveness, giving it a more adventurous and contemporary feel, rooted in her signature style.

It begins with a rhythmically dynamic and harmonically rich environment. The thematic material often interweaves between the instruments, creating intricate dialogues and complex textures. Its themes are lyrical yet rhythmically driven, with moments of introspection giving way to lively, energetic passages.

She explores more lyrical and expressive musical territory in the second movement. Here, the quartet becomes more introspective, with beautiful, singing lines that seem to reference spiritual or folk song traditions. The movement often features moments of profound emotional depth, with rich harmonic colors and subtle dynamic contrasts that showcase Price's masterful understanding of string writing.

The third movement is a traditional, lively and energetic scherzo or dance-like section. Price infuses this movement with rhythmic vitality, potentially drawing from another Juba dance. The movement features playful interactions between the instruments, with quick exchanges and rhythms with a pronounced sense of jubilant celebration. The interplay between instruments showcases her rhythmic inventiveness and wit.

The finale offers a powerful and exuberant conclusion to the quartet. It is both technically sophisticated and emotionally compelling. The movement showcases virtuosic playing, complex rhythmic patterns, and a sense of triumphant energy that brings the entire work to a rousing conclusion.

Both quartets demonstrate her skill in balancing classical forms with lively, folk-inspired rhythms and melodies. The second quartet, in particular, highlights her boldness in experimenting with form and mood, while the first carries a more traditional but equally compelling charm.  Influences from the 1920s and 1930s jazz scene are featured while remaining firmly rooted in classical traditions.

As I've spent time with these works, I've come to appreciate how Price's music represents something uniquely American while transcending cultural boundaries. Her compositions demonstrate that innovation can arise from the thoughtful fusion of diverse musical traditions, creating works that speak to both the specific context of their creation and universal human experiences. The ongoing rediscovery of her music by contemporary audiences and performers feels less like a revival and more like a long-overdue recognition of her significant contributions to the classical repertoire.

Through her Symphony No. 1, the string quartets, and especially the Piano Quintet, Price proves herself to be a composer of remarkable range and depth. Her ability to create works that are both technically sophisticated and emotionally resonant, while successfully bridging different musical traditions, marks her as one of the most significant, if lesser known, American composers of the 20th century.

Price also wrote several important concertos, most notably her Piano Concerto in One Movement (1934) and her two violin concertos. The piano concerto is particularly significant - it's structured as a single continuous movement but effectively contains three linked sections that function like traditional concerto movements.

Her Violin Concerto No. 1 in D major (1939) is a remarkable work that deserves to be better known. Like the Piano Quintet, it demonstrates her sophisticated handling of form and orchestration while incorporating diverse musical elements forming her own unique tradition. The second violin concerto was composed toward the end of her life in 1952. It reveals a different facet of her artistry. This work shows a more introspective side to her writing, with an elegant, refined approach that differs from her earlier, more dramatic compositions. This piece is missing the whimsical nature of much of her earlier works. Nevertheless, it demonstrates her continued evolution as a composer and her ability to create deeply expressive music in a more compact form.

The so-called "Concerto in One Movement" (1934) is actually her piano concerto. This is a fascinating work that reimagines the concerto form in an innovative way. While technically "in one movement," it clearly unfolds in three distinct sections that flow into each other, creating a sophisticated hybrid of single-movement and traditional three-movement concerto form.

Its beginning is dramatic and virtuosic, beginning with a powerful orchestral introduction that establishes both the work's serious character and its unique sound world. Price's orchestration here is masterful - she creates rich textures without ever overwhelming the piano. The solo piano writing combines virtuosic display with real musical substance, including elements that suggest, as you would expect by now, both the European classical tradition and African-American musical practices.

The middle section is particularly beautiful, based on an original theme that has the character of a spiritual without being an actual quotation. Price's handling of this material shows great sophistication - the piano and orchestra engage in a dialogue that's both intimate and expansive. Her orchestration here is especially subtle, with delicate instrumental colors supporting the piano's singing line.

Another Juba dance graces the conclusion, transformed into a brilliant display piece for the piano. Price's handling of rhythm here is sophisticated - she maintains the dance character while creating complex interactions between soloist and orchestra. The way she builds to the conclusion is masterful, bringing together various elements from earlier in the work while maintaining forward momentum.

Among her other significant works, "Ethiopia's Shadow in America" (1932) is an orchestral suite that stands out for its bold conceptual approach, telling the story of enslaved Africans in America through three distinctive movements. The “Mississippi River Suite” is another notable orchestral work that showcases her talent for evocative writing. In this piece, Price weaves together various musical scenes that capture the essence of the great river, incorporating spirituals like "Nobody Knows the Trouble I've Seen" into her orchestral palette. While the suite creates a vivid sonic landscape and demonstrates her skill with orchestral color, it doesn't quite reach the emotional or structural heights of her finest compositions.

“Ethiopia's Shadow” is a programmatic work in three movements that tells the story of African-Americans: from Africa through enslavement to adaptation in America. It's a deeply personal work with profound historical consciousness. Price's orchestration here is particularly evocative, especially in how she uses different instrumental colors to suggest both African musical elements and the transformation of these elements in America.

For the Ethiopian piece, the first movement is subtitled "The Arrival of the Negro in America when first brought here as a slave.” It begins with a haunting, dark orchestration that suggests both lament and dignity. Price uses modal harmonies and pentatonic melodies that evoke African musical traditions, while her orchestration - particularly in the lower strings and woodwinds - creates a sense of weight and solemnity appropriate to the subject matter.

"His Resignation and Faith" comes next and it centers on spiritual-like themes, with Price's orchestration becoming more transparent and hymn-like. The way she handles the orchestra here is particularly moving, with moments of both intimate chamber-like writing and full orchestral statements that suggest religious transcendence.

"His Adaptation, a fusion of his native and acquired impulses" concludes the suite and amplifies the energetic character through dynamic orchestral writing. The movement suggests dance-like qualities with Price employing complex contrapuntal techniques, weaving multiple melodic lines that create rhythmic tension and musical complexity. The orchestration becomes more intense, with brass and percussion playing prominent roles in creating a sense of celebration and musical vitality. The overall effect is a vibrant, rhythmically charged conclusion that demonstrates Price's sophisticated musical imagination and her ability to synthesize diverse musical influences into a cohesive, compelling orchestral statement.

"Mississippi River Suite" (1934) demonstrates a different kind of programmatic writing. It follows the great river's course while incorporating various musical traditions associated with it. Price's orchestration here is particularly colorful, with wonderful attention to instrumental detail. She incorporates several spiritual and folk melodies, including "Nobody Knows the Trouble I've Seen" and "Deep River," but transforms them through sophisticated orchestral development rather than simple quotation.

The suite's structure allows her to create distinct episodes that nonetheless flow into each other naturally, much like the river itself. Her handling of transitions is masterful - the way one section flows into another suggests both the physical movement of the river and the blending of different cultural traditions along its banks.

Price balances descriptive elements with pure musical development. The piece works both as a portrait of the Mississippi and as a purely musical structure. Her orchestration is especially evocative - she creates different orchestral colors to suggest various moods and landscapes while maintaining a coherent overall sound.

The inclusion of spirituals in both works shows how Price could incorporate these materials in different ways for different purposes - more programmatic and historically conscious in "Ethiopia's Shadow," more integrated into the musical landscape in the "Mississippi River Suite." Both pieces demonstrate Price's complete mastery of the orchestra and her ability to create large-scale structures that serve both musical and extra-musical purposes. They're excellent examples of how she could write programmatic music that transcends simple description to create works of genuine symphonic substance.

What a joy it is to discover all this music by this wonderful talent, tragically forgotten for several decades. Florence Price is a fine composer of remarkable range and ambition. Her best compositions are masterpieces of American classical music, successfully fusing different musical traditions and creating something uniquely powerful and enduring. The ongoing rediscovery of her music feels like a vital correction to our understanding of American classical music, and I'm grateful that my exploration began with some of her strongest works, which led me to appreciate the full scope of her artistic vision.

Her work is as much a marvelous gift to the world of classical music as it was an astonishing find in 2009. It is fitting that this wide variety of compositions, far more numerous than what I have commented on here, struck the classical music world like a bolt of lightning because that sudden force is precisely the quality of her superior musical vision, creativity and style. She deserves a place at the table among the greatest composers of all time.

 

(Written with assistance from Claude and ChatGPT.)