William L. Dawson – Negro Folk Symphony

Composed by William Dawson in the early 1930s and premiered at Carnegie Hall by the Philadelphia Orchestra in 1934, Negro Folk Symphony remains as one of the most powerful statement in American orchestral music. Born in Anniston, Alabama in 1899, Dawson had an innate sense for music. At 14 years old, he ran away from home with the help of his mother to study music at Tuskegee University, where he participated in the choir, band, and orchestra, all while beginning his composing career. After graduating from Tuskegee’s pre-college program, Dawson went on to receive a Bachelor of Music in theory from the Horner Institute of Fine Arts in Kansas City, Missouri, and later a master’s in composition from the American Conservatory of Music in Chicago in 1927. Dawson drew upon his knowledge of spirituals, his experiences as a black musician and educator, and his conviction that African American musical traditions deserved a central place in American music. As Antonin Dvorak said, “I am now satisfied that the future music of this country must be founded upon what are called Negro melodies. This must be the real foundation of any serious original school of composition to be developed in the United States.” Much like William Grant Still and Florence Price, Dawson was greatly influenced by Dvorak’s words.

The title of this work deserved thoughtful attention. For Dawson, the word “Negro” was not casual or derogatory; it was a term he used and acknowledged with pride. Throughout his life he worked to uplift African American history and culture, and he embraced the word as a marker of his dignity and identity. Modern audiences understandably may feel hesitation or discomfort when encountering the term today given the changed social contexts since the 1930s. However, understanding Dawson’s intention is essential to experiencing the weight and power behind this piece.

The foundation of this symphony is Dawson’s use of spirituals in the structure of the piece, allowing them to emerge in the melody and harmony across the ensemble without quoting them simply as arrangements of the spirituals themselves. Dawson wrote countless arrangements of African American folk songs and spirituals that he regularly performed with the Tuskegee Institute Choir, which he led and turned into an internationally renowned ensemble.

The first movement, “The Bond of Africa” contains the identified spiritual, “Oh, My Little Soul Gwine Shine Like a Star” which appears several minutes into the movement. Introduced as a cheerful secondary theme played by the oboe. It brings a sense of vitality that contrasts the dramatic sweeps of the broader movement.

Notably, the second movement, “Hope in the Night” does not contain a spiritual quotation, instead emphasizing atmosphere, reflection, and emotional depth. Dawson begins the movement with three strokes of gong, intended to represent the Trinity guiding the destiny of mankind. The result of this movement is a solemn and meditative story that forces introspective reflection.

The spiritual “Hallelujah, Lord, I Been Down into the Sea” appears in the third movement titled “O Le’ Me Shine, Shine Like a Morning Star!” helping propel the finale toward a sense of renewal. The movement transforms earlier material into vibrant rhythmic energy that culminates in a powerful affirmation of hope, destiny, and endurance.

Although the piece was highly praised at the time of its premiere, the symphony disappeared from standard orchestral repertoire for decades. Recent performances and scholarly attention have helped restore Dawson’s Negro Folk Symphony to the place it always deserved in American orchestral music. Today, the symphony is recognized as a milestone of American music and as a statement of cultural pride.

Max Bolen, SCO Community Musician, oboe