Suite for Violin and Orchestra

Originally written for violin and piano, William Grant Still's "Suite for Violin and Orchestra" was inspired by significant artists of the Harlem Renaissance.  Each of the three movements depict three sculptures created in the 1930s: Richmond Barthé’s African Dancer, Sargent Johnson’s Mother and Child, and Augusta Savage’s Gamin. The suite follows traditional fast-slow-fast Classical form. The first movement, African Dancer, illustrates the unrestrained urgency of the dancing figure using varying tempi and hints of the jazz. Mother and Child, later arranged for string orchestra alone, sings a gently syncopated melody in a soothing lullaby. The final movement, like the child in the sculpture Gamin, invokes mischievous and playful motifs with blues-infused fiddle techniques.

 

 

Originally written for violin and piano, William Grant Still's "Suite for Violin and Orchestra" was inspired by significant artists of the Harlem Renaissance.  Each of the three movements depict three sculptures created in the 1930s: Richmond Barthé’s African Dancer, Sargent Johnson’s Mother and Child, and Augusta Savage’s Gamin. The suite follows traditional fast-slow-fast Classical form. The first movement, African Dancer, illustrates the unrestrained urgency of the dancing figure using varying tempi and hints of the jazz. Mother and Child, later arranged for string orchestra alone, sings a gently syncopated melody in a soothing lullaby. The final movement, like the child in the sculpture Gamin, invokes mischievous and playful motifs with blues-infused fiddle techniques.

Originally written for violin and piano, William Grant Still's "Suite for Violin and Orchestra" was inspired by significant artists of the Harlem Renaissance.  Each of the three movements depict three sculptures created in the 1930s: Richmond Barthé’s African Dancer, Sargent Johnson’s Mother and Child, and Augusta Savage’s Gamin. The suite follows traditional fast-slow-fast Classical form. The first movement, African Dancer, illustrates the unrestrained urgency of the dancing figure using varying tempi and hints of the jazz. Mother and Child, later arranged for string orchestra alone, sings a gently syncopated melody in a soothing lullaby. The final movement, like the child in the sculpture Gamin, invokes mischievous and playful motifs with blues-infused fiddle techniques.