February is designated Black History month: a time of reflection, celebration, recognition, and an opportunity to honor the contributions of Black communities throughout history.
This year, the Orchestre classique de Montréal (OCM) dedicated a remarkable concert to this cause with Échos Lointains d’Afrique, a program that not only highlighted the musical brilliance of Afro-descendant composers but also served as a powerful testament to the rich cultural tapestry that continues to shape classical music today.
Held at Salle Pierre-Mercure on February 6th, the concert presented a lineup of compositions by artists with deep-rooted connections to Black history, including George Walker, William Grant Still, Samuel Coleridge-Taylor, and the Canadian-Haitian composer David Bontemps. What truly set this performance apart, however, was the world premiere of Bontemps’ Le Deuil des roses qui s’effeuillent, a poignant song cycle based on the poems of Jacques Roumain, in honor of his 80th death anniversary.
The program was not only a rich journey through Afro-classical music, but a tribute to the breadth and depth of Black artistry.
The concert brought together renowned soprano Suzanne Taffot, conductor Kalena Bovell, and the OCM for Bontemps’ new work, Le Deuil des roses qui s’effeuillent, a piece that captured the sorrow of loss and the elegance of life’s fleeting nature, evoking the delicate images painted by Roumain’s poetry. Bontemps’ work was met with solid applause, solidifying his presence as a notable force in contemporary classical music.
A highlight of the evening was also the inclusion of Samuel Coleridge-Taylor’s Novellettes, Op. 52 and William Grant Still’s Danzas de Panama. Both composers infused their work with elements of Black identity and culture, and the orchestra’s deft handling of these pieces created a rich, vibrant soundscape.
The concert’s finale, a stirring arrangement of spirituals, served as an emotional climax. With Deep River, Give Me Jesus, Sometimes I Feel Like a Motherless Child, and He’s Got the Whole World in His Hands, arranged by Michael Hogan and Hugo Bégin, the audience was transported to a place of deep spiritual resonance, filled with both sorrow and uplifting hope.
As the concert drew to a close, one couldn’t help but reflect on how such celebrations of Black excellence continue to enrich Montreal’s cultural landscape.
Taras Kulish, the OCM’s general director, aptly noted that the orchestra has long been committed to honoring the diverse communities of Montreal, and this concert exemplified that dedication.
Also in the spotlight at the merch table was a copy of David Bontemps’ opera La Flambeau on CD. This release marked a significant achievement in the composer’s career, cementing his contribution to the world of opera and classical music. The opera,performed by the OCM in 2023 has already been lauded for its profound depth and emotional richness which continues to highlight Bontemps as one of the foremost black contemporary composers shaping the future of classical music.
The OCM’s Échos Lointains d’Afrique was a celebration of the power of music to connect us all, to tell stories, and to uplift diverse voices.
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