Black Music Seen

In this powerful episode of Black Music Seen, David Norville sits down with brothers William Henry Curry and Ralph Curry — two musicians whose lives trace the arc of Black classical history in America From pounding on pianos in working-class Pittsburgh homes to standing on the Great Wall of China with the Cleveland Orchestra, the Curry brothers reflect on the early teachers who changed their lives, the “lightbulb moments” that revealed their calling, and the relentless work required to sustain excellence. William shares the unforgettable story of conducting Beethoven’s Ninth at age 21 — without rehearsal — after a last-minute emergency. Ralph recounts his audition journey with the New York Philharmonic and the complicated reality of being among the first Black fellows in a major orchestra. Together, they speak candidly about: Growing up in a segregated America Being told there “aren’t many of your kind” in major orchestras Boardrooms that resisted Black leadership The pressure to be twice as good The difference between talent and integrity Why doing the work still matters They also reflect on progress — slow, often glacial — and the responsibility they now feel to support the next generation of Black classical musicians. This is a conversation about resilience. About community. About the love of music that endures even when the system does not. Black Music Seen continues its commitment to preserving the lived stories of Black classical musicians — honoring those who carried the culture and those shaping what comes next.

Following our conversation with Lawrence Brownlee, this episode centers on Weston Sprott and Shea Scruggs — founding members of the Black Orchestral Network — for a deeper look at how BON began and what it means to build something that lasts. What started as informal conversations among friends evolved into a sustained effort to create community, advocacy, and infrastructure for Black orchestral musicians. Weston and Shea reflect on the early days, the urgency of 2020, and the quiet consistency required to transform reflection into action. The conversation explores: • The organic beginnings of BON • The responsibility of mentorship • The evolution from community gathering to formal organization • Recent initiatives including Dear American Orchestras Part III, which examines the experiences of orchestral fellows and offers recommendations for structural improvement This episode offers a candid look at the work behind the work — the relationships, conversations, and commitment that continue to shape the Black Orchestral Network. Black Music Seen remains committed to preserving the lived stories of Black classical musicians — honoring those who carried the culture and those building its future.

In this episode of Black Music Seen, we spotlight the next generation of leadership in Black classical music. Hosted by Brittney Bryanna Burgess — Executive Director of Black Collegiate Musicians — this conversation features Shania Watts (violist at The Juilliard School and President of the Juilliard Black Student Union) and Wynter McCray (double bassist at Juilliard and Vice President of the Juilliard Black Student Union). Recorded live at OPERA America, this dialogue centers on mentorship, self-advocacy, and the importance of building a life in classical music that extends beyond the practice room. From learning how to say no, to asking questions without fear, to imagining a more diverse and sustainable future for the concert hall, this episode reflects on what it means to lead with intention. Black Collegiate Musicians works to connect and uplift Black music students nationwide, serving as a network of support, advocacy, and community. This episode continues our commitment to preserving the lived stories of Black classical music — from those who carried the culture to those shaping what comes next.

On today’s episode, we’re joined by violinist, writer, and cultural historian Rosalyn Story.   For more than 30 years, Rosalyn Story has performed violin with the Fort Worth Symphony — but her artistry doesn’t stop there. She’s also a novelist, a journalist, and a passionate keeper of Black musical history. Whether chronicling the legacy of opera trailblazers like Sissieretta Jones or guiding students through the soundscape of African American music, Rosalyn brings a rare kind of dual fluency — one grounded in both performance and storytelling.   In this episode, she shares how a $0.75 violin class in Kansas City sparked a lifelong passion, what it meant to be the only Black musician in the room, and how music — especially jazz — continues to sustain her in moments of grief and resistance.   It’s a conversation about resilience, reverence, and the many ways we remember who we are — through sound, through stories, and through one another.

In today’s episode, we’ll meet 23-year-old Quenton Blache, a remarkable cellist and composer. Quenton has performed with prestigious groups like the National Youth Orchestra of the USA and Sphinx Virtuosi. He has also been commissioned to create works for the Sphinx Virtuosi, North Carolina Chamber Music Institute, and Little Orchestra Society. Quenton is particularly passionate about composing for visual media and has scored numerous short films and documentaries. Today, he joins us to discuss his latest project, "To Whom I Pray," an audiovisual piece.   We'll explore Quenton's journey, listen to some of his works, and, at the end of the show, premiere his brand-new piece.

On today’s episode, We’re highlighting the Gateways Music Festival — a powerful meeting ground for Black classical musicians from across the country. It’s more than a festival. It’s a home. A reunion. A proving ground. You’ll hear from four extraordinary artists who carry that legacy forward: Alex Laing, Curtis Stewart, Melissa White, and Damien Sneed. From world premieres to reimagined classics, from personal reflections to artistic breakthroughs — this episode is a window into the soul of Gateways.

On today’s episode, we’ll meet George Lewis. A Chicago-born trombonist, technologist, musicologist, and composer.    He’s the Artistic Director of the International Contemporary Ensemble and the Edwin H. Case Professor of American Music at Columbia University. He’s widely recognized as a trailblazer in modern music, particularly for his groundbreaking work in creating computer programs that improvise alongside human musicians in live performance.   Over his remarkable career, George has explored the vast possibilities of sound through electronic and computer music, multimedia installations, and both notated and improvised forms. His innovative contributions are documented in more than 150 recordings.   George's achievements have earned him numerous accolades, including a MacArthur Fellowship, a Guggenheim Fellowship, fellowships from the National Endowment for the Arts, and honorary doctorates from Harvard University and The Curtis Institute of Music. At 72, George continues to be a dynamic force in music, with his work being performed and premiered all over the world.   Today we’ll get a chance to talk to George Lewis about his upbringing, learn about influential forces like the Association for the Advancement of Creative Musicians or AACM. We’ll learn how George designed electronics that can improvise with humans live in concert. And, we’ll hear his music. 

In today’s episode, we’ll meet Booker Rowe. A Philadelphia born violinist who played for just over 50 years with the Philadelphia orchestra. He sat down with us to tell his story and even agreed to chat with two of our Black Orchestral Network founding members with whom he has a pretty special connection .    Booker, like so many Black musicians we’ll hear from in this series carries with him a rich history of personal stories, musical moments, triumphs and setbacks… all the while bearing witness to the beautiful and troubling experiences one faces when you are Black and just so happen to love classical music.    In the style of a true gentleman, Booker Shares his story. 

In this episode of Black Music Seen, tenor Lawrence Brownlee joins Weston Sprott and Shea Scruggs for an unfiltered conversation about the real work behind a lasting career in classical music. From singing in church to performing leading roles at the Metropolitan Opera, Brownlee reflects on the long road to artistic authority — including the rejection, setbacks, and self-doubt that shaped him along the way. He speaks candidly about losing early competitions, being told he would never have a major career, and why he believes failure is not an obstacle, but a necessary ingredient of success. Together, they explore: • The difference between confidence and arrogance • The discipline required to sustain excellence • The legacy of Black opera pioneers who paved the way • What it means to stand on the shoulders of Marian Anderson, Leontyne Price, and George Shirley • The responsibility of mentorship and carrying the culture forward Black Music Seen continues its commitment to preserving the lived stories of Black classical musicians — honoring those who carried the culture and those shaping what comes next.

On today’s episode, we’re talking with Beverly Kane Baker—a pioneering violist whose career has spanned decades, stages, and generations. From her early training at Juilliard to her role as principal violist with the Virginia Symphony Orchestra, Beverly has carved out a legacy grounded in excellence, community, and spiritual purpose. In our conversation, she reflects on growing up in a music-filled neighborhood, the mentors who shaped her, and the values of discipline, service, and joy that continue to guide her life. We also talk about what it means to show up—fully and authentically—as a Black woman in classical music spaces, and how she continues to inspire the next generation.

On today’s episode, we’re talking with Carlos Simon—a Grammy-nominated composer, cultural storyteller, and one of the most influential musical voices of our time. Carlos’s music blends gospel, jazz, classical, and cinematic soundscapes to tell stories that speak to our collective memory, our spiritual traditions, and the urgency of now. From his work with the Kennedy Center and Boston Symphony to his bold compositions like Requiem for the Enslaved, Amen!, and brea(d)th, Carlos is using music as a form of ministry, resistance, and joy. We sat down ahead of the upcoming premiere of his monumental new work, Good News Mass, commissioned by the LA Philharmonic. It’s a gospel-infused reimagining of the Catholic Mass that features spoken word, orchestral brilliance, and visual storytelling—anchored in the Black sacred tradition. In this conversation, we talk about the creative journey behind Good News Mass, what it means to compose from a place of faith and ancestral presence, and how Carlos continues to push boundaries while remaining deeply rooted in purpose.

Today, we’re joined by a rising star whose artistry is captivating audiences worldwide—18-year-old pianist and composer Rhyuhn Green. Born and raised in Philadelphia, Rhyuhn has already made waves with his award-winning single Symbiosis, featured on NPR’s Tiny Desk and From the Top, as well as performances with the Philadelphia Orchestra and Curtis Institute of Music. A Kovner Fellow at Juilliard, Rhyuhn’s talent extends beyond classical music—his work fuses jazz, rock, and R&B, showcasing his versatility as a producer and performer. Rhyuhn is stepping into a new chapter with the release of his first album, Pheonixes—a bold statement on rebirth, resilience, and creative evolution. On this episode, we’ll get to know Rhyuhn, hear his music, and explore the inspirations behind Pheonixes.   Pheonixes is out now available everywhere. 

This month, we’re bringing you an extraordinary episode of Black Music Seen, recorded LIVE at our BON Summit this past October!   Featuring two brilliant scholars: Dr. Matthew Morrison and Dr Richard Desinord, we explored the obstacles that hinder the integration and expression of Black cultural aesthetics in so called classical music.   What do we mean when we talk about “authenticity” and “aesthetics” in Black music? How do we continue to bring more Black culture into classical music? What can we learn from those who came before us?   Black cultural aesthetics are in focus in this episode.   🎧 Don’t miss this special episode of Black Music Seen, where live energy meets academic brilliance, offering a fresh perspective on the art we celebrate.

On today’s episode, we’re talking with The Uptown String Quartet, a group that was formed in the 80s and guided by the legendary American drummer and Composer Max Roach. The group started as a double quartet that played with Max’s band and later became a group that consisted of violinists Diane Monroe and Lesa Terry, Max’s Daughter - Violist Maxine Roach and their late colleague, cellist Eileen Folson.   This all-Black, all-women string quartet has pushed boundaries and redefined what it means to be virtuosi since the mid-80’s. From their roots in Harlem to stages across the globe, the Uptown String Quartet was one of the first groups to notably bridge African-American sounds - like blues, swing, jazz, soul, funk, and improvisation with string quartets.   From playing jazz venues like the Blue Note to performing notable programs like The Cosby Show and Mr. Rogers Neighborhood, we’re going to explore the quartet’s rich history, their memorable moments, and the unique stories that have shaped them as artists and as trailblazers in the music world.

Black Music Seen presents a special episode in celebration of Hispanic Heritage Month!  This episode of Black Music Seen is a heartfelt tribute to Pete ‘El Conde’ Rodriguez—the legendary Afro-Latin salsa singer whose legacy has shaped generations. In this episode, his children, Cita Rodriguez and Pete Rodriguez Jr., are joined by their cousin, Emilio Carlo, the Black Orchestral Network’s Director of Projects and a classically trained violist, to share insights into their family’s cultural influence and the power of Afro-Latin music.

On February 24th, the Black Orchestral Network hosted a captivating live episode of Black Music Seen at SphinxConnect24. Facilitated by David Norviile, the episode featured an intergenerational panel discussion with four esteemed guests: Dale Allmond Breidenthal, Francisco Joubert, Jennifer Arnold, and Joseph Conyers. In this engaging episode, the panelists delved into our evolving orchestral landscape and explored the pursuit of a more inclusive future for orchestral musicians. From reflecting on their respective experiences in classical music to examining trends over time, the conversation offered valuable insights and perspectives.

Today's episode honors women in classical music. Join Lexi Ligon Halloway, Deja Wilson, Jennifer Arnold, and Ebonee Thomas from the BON steering committee as they lead an inspiring conversation celebrating the contributions of women in classical music. Plus, hear submissions from our amazing community. 

In this episode, we'll meet Dale Allmond Breidenthal, a distinguished violinist hailing from Los Angeles, CA, with roots deeply embedded in the vibrant West Adams/Crenshaw District. Dale's musical journey began at the University of Southern California, where she honed her craft under the tutelage of renowned violinist Eudice Shapiro. Following her graduation, Dale embarked on a remarkable career trajectory, earning a coveted position with the prestigious Los Angeles Philharmonic (LAPhil) in 1983, under the baton of Maestro Carlo Maria Giulini. Throughout her illustrious tenure with the LAPhil, Dale has not only showcased her exceptional talent but has also dedicated herself to nurturing the next generation of musicians as a private music instructor for the Youth Orchestra of Los Angeles (YOLA). Her commitment to artistic excellence and community service has earned her the esteemed Dalzell chair for Artistic Service to the Community by the LAPhil. In this insightful episode, Dale shares captivating anecdotes from her decades-long career, offering a glimpse into the inner workings of the orchestral world. From her unforgettable experiences performing for movie soundtracks like "Hidden Figures" and "Da 5 Bloods" to her unwavering dedication to social justice, Dale's story is as inspiring as it is impactful. Join us as we delve into the remarkable journey of Dale Allmond Breidenthal, a true luminary of classical music.

From the Inaugural Black Orchestral Network Summit 2023 - BLACK MUSIC SEEN LIVE:Voices of Black Empowerment - a facilitated conversation about history of activism and Black Musicians   Speakers: Dr. Fredara Hadley, Ethnomusicology Professor at The Juilliard School Dr. Tammy L. Kernodle, University Distinguished Professor of Music at Miami University in Oxford, OH David Norville, Producer for New York Public Radio’s WQXR

In today’s episode, we’ll meet Rufus Olivier Jr. - the principal bassoonist for the San Francisco Opera and San Francisco Ballet. He joined the symphony in 1977 at only 21 years of age after winning the position for 2nd bassoon. When the Symphony split from the Opera, Rufus auditioned for the Opera and won the principal position. In 1992 he won the principal audition for the Ballet as well.   He has recorded many movie, video, CD, and TV soundtracks including Disney’s Never Cry Wolf and San Francisco Opera’s Grammy-nominated CD Orphée et Eurydice. He was even awarded a Grammy for the soundtrack Elmo in Grouchland.   Over several decades, Rufus Olivier Jr. has led a career as a bassoonist very much worthy of uplifting and celebrating. We had an amazing time sitting down with him and getting to know him. He’s an exuberant guy, full of laughs, who’s certainly mastered the art of the bassoon and “navigating” life one step at a time, day by day.