Composer of the Month: Florence Price
“In some of my work, I make use of the [Negro folk] idiom undiluted. Again, at other times, it merely flavors my themes. And still at other times, thoughts come in the garb of the other side of my mixed racial background. I have tried for practical purposes to cultivate and preserve a facility of expression in both idioms.” - Florence Price
Florence Price (1887–1953) was a groundbreaking American composer, pianist, and music educator, best known as the first African American woman to have her symphony performed by a major orchestra. Born in Little Rock, Arkansas, she showed prodigious musical talent from a young age - performing piano for the first time at age 4 and composing her first piece at age 11 - and later studied at the New England Conservatory. Despite facing racial and gender barriers, she developed a distinctive compositional voice blending classical traditions with African American spirituals and folk melodies.
Her Symphony No. 1 in E minor won first prize in the Wanamaker Foundation Awards in 1932 and was premiered by the Chicago Symphony Orchestra, marking a historic moment in American music. Price composed over 300 works, including symphonies, concertos, chamber music, choral pieces, and piano works. She was also a prolific songwriter, with her arrangements of spirituals such as My Soul’s Been Anchored in the Lord gaining international recognition.
Price’s music is celebrated for its rich harmonies, lush orchestration, and deep cultural expression. Though underrecognized in her lifetime, her work has recently seen a resurgence, inspiring new generations of musicians and scholars. Today, she is hailed as a pioneering figure who expanded the presence of African American voices in classical music.
Florence Price’s Greatest Hits
“Symphony No. 1 in E minor - 1st Movement”
Florence Price’s Symphony No. 1 in E minor is a landmark composition in American music history. Completed in 1932, it won the Wanamaker Foundation Award and was premiered by the Chicago Symphony Orchestra in 1933, making Price the first African American woman to have a symphony performed by a major orchestra.
The work blends European symphonic traditions with African American musical influences, including spirituals and folk rhythms:
Spirituals and Folk Melodies: Price infuses the symphony with melodic lines reminiscent of African American spirituals. Though original, these melodies echo the call-and-response patterns and expressive phrasing typical of spirituals.
Syncopation and Rhythmic Drive: The symphony features syncopated rhythms and lively, dance-like figures, particularly in the third movement (Juba Dance). The Juba is a traditional African American dance with percussive foot stomping and clapping, reflecting the rhythmic vitality of Black musical traditions.
Blues and Gospel Harmonies: Price employs harmonies and chord progressions that evoke the sounds of the blues and gospel music, which were integral to the African American experience in the early 20th century.
Call-and-Response Patterns: Certain passages in the symphony reflect the call-and-response structure found in spirituals and African American folk music, creating a dialogue between orchestral sections.
By weaving these elements into a European symphonic framework, Price created a powerful and unique work that celebrated African American heritage within the classical tradition. Today, her first symphony is recognized as a significant and powerful contribution to American classical music.
“Memory Mist”
Florence Price’s Memory Mist is a lyrical and introspective piano piece that showcases her gift for melody and expressive harmony. Written in a Romantic style with impressionistic influences, the work features flowing lines, rich harmonies, and delicate textures that evoke a sense of nostalgia and reflection. You’ll hear some chords commonly heard in jazz standards, too.
Like much of Price’s music, Memory Mist blends classical traditions with subtle hints of African American musical heritage, including soulful phrasing and expressive chord progressions. The piece highlights her ability to create deeply emotional and evocative music, offering a glimpse into her distinctive compositional voice and her contributions to American classical piano repertoire.
“Ticklin’ Toes”
Florence Price’s Ticklin’ Toes is a lively and playful piano piece that captures the spirit of ragtime and early jazz. With its syncopated rhythms, bright melodies, and energetic character, the piece reflects Price’s ability to blend classical technique with African American musical traditions. The piece features a bouncy, dance-like feel, reminiscent of Scott Joplin’s ragtime style, yet infused with Price’s unique harmonic language. Ticklin’ Toes showcases her versatility as a composer, highlighting both technical brilliance and rhythmic vitality. It remains a delightful example of her lighter, more whimsical works, demonstrating her deep connection to African American musical heritage.
