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Donald Macleod, in conversation with composer Adolphus Hailstork, explores his responses to Dvorak and William Grant Still.

American composer Adolphus Hailstork has written in many genres, ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Called the Dean of African American composers and now in his eighties, Hailstork’s works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music, including Kurt Masur, Daniel Barenboim and Lorin Maazel.

Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that had a significant impact upon the development of his own musical language. For many years he’s been a Professor of Music at the Old Dominion University in Norfolk, and His own list of teachers is impressive - not least Nadia Boulanger at the American Institute at Fontainebleau.

Donald Macleod, in conversation with the composer, explores the influence of Hailstork’s African-American heritage upon his music. Hailstork discusses when he first heard spirituals, and how these works sung by those who were born, lived and died as slaves, had a huge impact upon him. The composer shares with Macleod how the music and musical direction of William Grant Still was influential upon Hailstork’s own creative journey, in the bringing together or African and European traditions. Hailstork also discusses the huge impact of visiting dungeons for the slave trade in Ghana, and how this was translated into his own Symphony No. 2.

Fanfare on Amazing Grace
Eastern Virginia Brass Quintet
Rob Cross, timpani
James Kosnik, organ

Three Spirituals for Orchestra
Virginia Symphony Orchestra
JoAnn Falletta, conductor

Swing Low Sweet Chariot (String Quartet No 2)
Ambrosia Quartet

Symphony No 2 (excerpts)
Grand Rapids Symphony
David Lockington, conductor

Produced by Luke Whitlock