Phyllis Fleming: 'It would be most enlightening to broadcast a documentary on Black classical musicians throughout history'

[ABOVE: Ritz Chamber Players  BELOW: Kimbanguist Symphony Orchestra]

Phyllis Fleming is a violinist who writes occasionally from the Washington, D.C. area:

Greetings Friends,

 

In less than an hour, CBS "60 Minutes" will air a story that is sure to be part of conversations around various water coolers tomorrow.  I saw a good portion of the segment last Friday on the "CBS Morning Show" with Charlie Rose and Wynton Marsalis.  Both mentioned how great it would be to bring the Kmbanguist Symphony Orchestra to the U.S.   I agree that would be a wonderful musical exchange.  In essence, it's a great story.  I'm just having trouble with the slant of it. 

 

As you know, it's impossible for me to keep quiet on topics near and dear to me, so I have a letter ready to post on the CBS "60 Minutes" website and to Charlie Rose at the "CBS Morning Show". 

 

I'm very interested in your feedback--pro, con or indifferent.

 

Cheers!

Phyllis
[Phyllis Fleming]

 

Dear Mr. Simon,

This letter is regarding your story about the Kimbanguist Symphony Orchestra in Central Africa.  I am certain that it was intended to be complimentary.  However, the manner in which the orchestra was introduced is insensitive to Black classical musicians worldwide.  I quote, "Central Africa's Democratic Republic of Congo is about the last place one would expect to find a symphony orchestra."  It is also not true that the Kimbanguist Symphony Orchestra is "...the only all-black orchestra in the world."  http://www.cbsnews.com/8301-18560_162-57409952/music-in-the-heart-of-the-congo/?tag=contentMain;cbsCarousel

 

For several days prior to the broadcast, the CBS network previewed the segment, "...some of the most beautiful music in the world...coming from one of the most unlikely places..."   Statements like that shake me to my core.  They are similar to remarks that I often hear on the local news when a crime takes place in an upscale neighborhood.  Residents, in shock, exclaim to reporters, "We just don't expect things like this to happen in our area."  It is as if crime is "expected" and acceptable in specific neighborhoods.  Crime should never be expected or acceptable in any neighborhood any more than classical music should only be expected among certain people in certain places.

 

To me, this implies that we should not "expect" to find a symphony orchestra of people of color, in a country ravaged by war and poverty.  These are the very places that need the peace of mind that music can bring.   I have often wondered how much more our nation would contribute to world peace if we dropped musical instruments, instead of bombs throughout various countries. 

 

Since when is it "unlikely" to find musicians in Africa or anywhere else on the planet who might be inspired to play or listen to the music of Beethoven.  There are elements of the human experience that permeate the music of Beethoven.  Consequently, his music can touch people of any nationality or socio-economic background.  It is the narrow mindset of such thinking that reinforces barriers that continue to exclude Black classical musicians from symphony orchestras throughout the world and especially in the United States.   One only has to attend a symphony orchestra concert in any major American city and count the number of musicians from the African diaspora.  We do exist, though we are not often recognized.

 

Mr. Simon, thank you for a wonderful story about a noteworthy group of musicians.  I commend them and their directors for their dedication and success.  However, it was not necessary to present them as a novelty or spectacle.  I suggest that you explore the achievements of other Black classical musicians--among them, the Soulful Symphony from the Baltimore-Washington, DC area, directed by Darren Atwater, the Harlem String Quartet and the Ritz Chamber Players. 

 

It would be most enlightening to broadcast a documentary on Black classical musicians throughout history, especially of those here in the United States.  The Symphony of the New World in New York (1960s), co-founded and directed by Kermit Moore is deserving of international attention.  Equally deserving was the Detroit Community Symphony (1960s), directed by G. Anderson White and the Harlem Festival Orchestra (1980s) founded by Felix Farrar.  These organizations welcomed the talents of classically trained musicians, especially those who were barred from mainstream institutions.  Your research might begin with a visit to www.AfriClassical.com  or by contacting the National Association of Negro Musicians.

 

Respectfully yours,

 

Phyllis M. Fleming, Violinist

Washington, DC