IX—
Piano Music

Until 1934, almost all of Still's works were for orchestra, for that was his field. He felt at home in it as he did in no other. True, some piano reductions of his orchestral works had been made, and he had used the piano as a unique addition to the orchestra in several of his symphonic works. The Black Man Dances for piano chiefly, with orchestral accompaniment, came suddenly and was the forerunner of many more interesting and lovely works for that instrument. This suite of dances rep-

resents four characteristic phases in the life of the Race. The first is an African flute serenade. After a short introduction, the flute has the principal and sole theme, which is thereafter embellished with little piano cadenzas. The second is a tribal dance, in which the entire ensemble is used more rhythmically than melodically. The third section is a Barrel-house episode, reminiscent of the blues and of old-time ragtime piano players and player pianos. The last is a Shout, expressing the religious ecstasy of the Negro in rather free and joyous style. It is much fuller for piano than either of the three preceding dances. This suite was commissioned by Paul Whiteman and is as yet unperformed.^[7]

It would be incorrect to class this suite as "great" music, or even to say that it fully utilizes the possibilities of the piano as a solo instrument. However, it is important because it served as a prelude to other piano works by Still that are truly inspired and that not only display a more intimate knowledge of the infinite possibilities of the piano, but utilize those possibilities in hitherto unsuspected ways. For that reason, Still's piano music is difficult for the contemporary pianist to grasp.

Kaintuck', for piano and orchestra, is short and poetic, but equally as strong as Still's previous works. As a matter of fact, a careful study reveals it to be by far the finest work for piano to date of any Negro composer. Its creation came easily. It was written to express musically his inner reactions to the peaceful, shimmering, misty sunlight on the blue grass of Kentucky. It is a subjective not an objective picture, however. Kaintuck' is built chiefly on two themes: everything else grows out of them. The piano opens the poem quietly, then runs into a rhythmic accompaniment to the orchestral statement of the themes. Both the piano and the orchestra are heard in huge, authoritative chords just before the cadenza by the solo instrument. This cadenza, unlike most, does not aim toward the exploitation of the interpreter, but simply and colorfully enhances the thematic and harmonic material that has preceded it. The theme is re-stated, and the piano closes the poem as quietly as it opened it. It is haunting, memorable. It was first played on two pianos at a Los Angeles Pro Musica concert, with Verna Arvey, to whom the work is dedicated, at the solo piano. Since then, Dr. Hanson has played it in Rochester and Eugene Goossens in Cincinnati. The composer has also conducted it in his own orchestral concerts in Northern and Southern California, with Verna Arvey as soloist.

One of the finest groups of piano compositions to be written by any American composer is the Three Visions by William Grant Still, published by J. Fischer and Bro. The harmonies in these Visions are strange.

Example 18.
"Dark Horseman," from Three Visions  for piano. 
Courtesy of William Grant Still Music.

Example 19.
"Summerland," from Three Visions . 
Courtesy of William Grant Still Music.

By them, the listener is aware that the "visions" are real only to the dreamer. As music, they exemplify the scope of Still's musical individuality. Once again, he has given us strongly contrasted moods, unified by his own personal idiom and by his spiritual concept of the music he creates. The first Vision is one of horror. It is entitled "Dark Horsemen," and in it the hoof beats of the horses alternate with the shrieks of anguish they cause by their very presence (example 18). The second Vision is a portrait of promised beauty in the afterlife. It is called "Summerland," after the peaceful Heaven of the Spiritualists (example 19). It has been arranged by the composer for small orchestra, and published. The last Vision is of the radiant future, a vision of aspiration that is ever-climbing, never-ending. It is called "Radiant Pinnacle" (example 20). Its continual rhythmic flow and its final, deceptive cadence leave one with the feeling that there is more to come: that the last word has not been said.

"Quit Dat Fool'nish" was composed as a little encore piece for Kaintuck' . It is for piano alone, as are the Visions . So joyous and effervescent is it that, when played as an encore, it has often been known to be encored on its own account!

Example 20.
"Radiant Pinnacle," from Three Visions . 
Courtesy of William Grant Still Music.