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Florence Beatrice Price (née Smith; April 9, 1887 – June 3, 1953) was an American classical composer, pianist, organist and music teacher. Born in Little Rock, Arkansas, Price was educated at the New England Conservatory of Music, and was active in Chicago from 1927 until her death in 1953. Price is noted as the first African-American woman to be recognized as a symphonic composer, and the first to have a composition played by a major orchestra.[2] Price composed over 300 works: four symphonies, four concertos, as well as choral works, art songs, chamber music and music for solo instruments. In 2009, a substantial collection of her works and papers was found in her abandoned summer home.

Florence Price
Price, c. 1942
Born
Florence Beatrice Smith

(1887-04-09)April 9, 1887
Little Rock, Arkansas, United States
DiedJune 3, 1953(1953-06-03) (aged 66)
Chicago, Illinois, United States
Occupation
  • Musical composer
  • pianist
  • organist
  • music teacher
Years active1899–1952
Spouses
    Thomas J. Price
    ​
    ​
    (m. 1912; div. 1931)​
    [1]
      Pusey Dell Arnett
      ​
      ​
      (m. 1931; separated 1934)​
      Children3
      Signature

      Biography



      Early life and education


      Florence Beatrice Smith was born to Florence (Gulliver) and James H. Smith on April 9, 1887, in Little Rock, Arkansas,[3] one of three children in a mixed-race family. Her father was the only African-American dentist in the city, and her mother was a music teacher who guided Florence's early musical training.[4] Despite racial issues of the era, her family was well respected and did well within their community.[5] She gave her first piano performance at the age of four and had her first composition published at the age of 11.[6]: 34 

      She attended school at a Catholic convent, and in 1901 by the time she was 14, she graduated as valedictorian (scholar) of her class.[7] In 1902, after high school, she enrolled in the New England Conservatory of Music in Boston, Massachusetts with a double major in organ and piano teaching.[7] Initially, she passed as Mexican to avoid racial discrimination against African Americans, listing her hometown as "Pueblo, Mexico".[6]: 54  At the Conservatory, she studied composition and counterpoint with composers George Chadwick and Frederick Converse.[2] Also while there, Smith wrote her first string trio and symphony. She graduated in 1906 with honors, and with both an artist diploma in organ and a teaching certificate.[8]


      Career


      In 1910, Smith returned to Arkansas, where she taught briefly and moved to Atlanta, Georgia. There she became the head of the music department of what is now Clark Atlanta University, a historically black college. In 1912, she married Thomas J. Price, a lawyer. She gave up her teaching position and moved back to Little Rock, Arkansas, where he had his practice and had two daughters.[5] She could not find work in the by now racially segregated town.

      After a series of racial incidents in Little Rock, particularly a lynching of a black man in 1927, the Price family decided to leave. Like many black families living in the Deep South, they moved north in the Great Migration to escape Jim Crow conditions, and settled in Chicago, a major industrial city.[6]: 54 

      According to her daughter, Florence really wanted to be a doctor but felt the difficulties of becoming a woman doctor at the time were too formidable. Instead, she became that even greater rarity a woman composer of symphonies.[9]

      There Florence Price began a new and fulfilling period in her composition career; she was part of the Chicago Black Renaissance. She studied composition, orchestration, and organ with the leading teachers in the city, including Arthur Olaf Andersen, Carl Busch, Wesley La Violette, and Leo Sowerby. She published four pieces for piano in 1928. While in Chicago, Price was at various times enrolled at the Chicago Musical College, Chicago Teacher's College, University of Chicago, and American Conservatory of Music, studying languages and liberal arts subjects as well as music.[6]: 98 

      In 1930, an important early success occurred at the twelfth annual convention of the National Association of Negro Musicians (NANM), when pianist-composer Margaret Bonds premiered Price's Fantasie nègre [No. 1] (1929) in its original version titled "Negro Fantasy". Of this performance, Carl Ditton wrote for the Associated Negro Press:

      The surprise of the evening was a most effective composition by Mrs. F. B. Price, entitled 'A Negro Phantasy', played by the talented Chicago pianiste, Margaret Bonds. The entire association [i.e., NANM] could well afford to recommend this number to all advanced pianists.[10]

      In 1931, financial struggles and abuse by her husband resulted in Price getting a divorce at age 44. She became a single mother to her two daughters. To make ends meet, she worked as an organist for silent film screenings and composed songs for radio ads under a pen name. During this time, Price lived with friends. She eventually moved in with her student and friend, Margaret Bonds, also a black pianist and composer. This friendship connected Price with writer Langston Hughes and contralto Marian Anderson, both prominent figures in the art world who aided in Price's future success as a composer.[6]: 170  Together, Price and Bonds began to achieve national recognition for their compositions and performances.

      In 1932, both Price and Bonds submitted compositions for the Wanamaker Foundation Awards. Price won first prize with her Symphony in E minor, and third for her Piano Sonata, earning her a $500 prize.[11] (Bonds came in first place in the song category, with a song entitled "Sea Ghost".)

      Early in 1933 leading Arts advocate Maude Roberts George, president of the Chicago Music Association, music critic of the Chicago Defender and eventual national president of the National Association of Negro Musicians, paid $250 (about $5,093 in 2021 dollars) for Price's First Symphony to be included in a program devoted to "The Negro in Music", with the Chicago Symphony Orchestra, conducted by Frederick Stock, as part of the Century of Progress World's Fair.[12] Although this concert, like the Fair in general, was unmistakably tainted by the racism that characterized Chicago and the U.S. in general in the 1930s,[13] George's underwriting made Price the first African-American woman to have her music played by a major U.S. orchestra.[11][14][15][16] Later in that same season the Illinois Host House of the World's Fair devoted an entire program to Price and her music, a striking invitation given that Price had adopted Illinois as her home state only five years earlier.[6]: 149–50 

      A number of Price's other orchestral works were played[when?] by the Works Progress Administration Symphony Orchestra of Detroit, the Chicago Women's Symphony,[5] and the Women's Symphony Orchestra of Chicago.[17]

      In 1940, Price was inducted into the American Society of Composers, Authors, and Publishers for her work as a composer. In 1949, Price published two of her spiritual arrangements, "I Am Bound for the Kingdom", and "I'm Workin' on My Buildin'", and dedicated them to Marian Anderson, who performed them on a regular basis.


      Personal life


      In 1912, Price married prominent Arkansas attorney, Thomas J. Price (also known as John Gray Lucas),[1][18][4] upon returning to Arkansas from Atlanta. Together, they had two daughters and a son; Florence (d. 1975[19]), Edith and Thomas Jr.[19] The Price children were raised in Chicago.

      Florence Price divorced Thomas Price in January 1931, and on February 14, 1931, she married the widower Pusey Dell Arnett (1875–1957), an insurance agent and former baseball player for the Chicago Unions some thirteen years her senior. She and Arnett were separated by April 1934; they apparently never divorced.[20]

      On June 3, 1953, Price died from a stroke in Chicago, Illinois, at the age of 66.[6]: 235 


      Legacy and honors


      Price Elementary School, Chicago
      Price Elementary School, Chicago

      In 1964, the Chicago Public Schools opened Florence B. Price Elementary School (also known as Price Lit & Writing Elementary School) at 4351 South Drexel Boulevard in the North Kenwood neighborhood of Chicago, Illinois in her honor.[21] Price's student body was predominately African-American. The school operated from 1964 until the school district decided to phase it out in 2011 due to poor academic performance which ultimately led to its closing in 2013. The school housed a piano owned by Price. The school building currently houses a local church as of 2019.[22] In February 2019, The University of Arkansas Honors College held a concert honoring Price.[23][24] In October 2019, the International Florence Price Festival announced that its inaugural gathering celebrating Price's music and legacy would take place at the University of Maryland School of Music in August 2020.[25][26] From 4 to 8 January 2021 Price was the BBC Radio 3 Composer of the Week.

      Following her death, much of her work was overshadowed as new musical styles emerged that fit the changing tastes of modern society. Some of her work was lost, but as more African-American and female composers gained attention for their works, so has Price. In 2001, the Women's Philharmonic created an album of some of her work.[27] In 2011, pianist Karen Walwyn and The New Black Repertory Ensemble performed Price's Concerto in One Movement and Symphony in E minor.[28][29]


      Discovery of manuscripts in 2009


      In 2009, a substantial collection of her works and papers was found in an abandoned dilapidated house on the outskirts of St. Anne, Illinois, which Price had used as a summer home.[30] These consisted of dozens of her scores, including her two violin concertos and her fourth symphony. As Alex Ross stated in The New Yorker in February 2018, "not only did Price fail to enter the canon; a large quantity of her music came perilously close to obliteration. That run-down house in St. Anne is a potent symbol of how a country can forget its cultural history."[31] Three settings of her work Abraham Lincoln Walks at Midnight were rediscovered in 2009; a setting for orchestra, organ, chorus, and soloists was premiered on April 12, 2019 by the Du Bois Orchestra and Lyricora Chamber Choir in Cambridge, Massachusetts.[32]

      In November 2018, the music publisher G. Schirmer announced that it had acquired the exclusive worldwide rights to Florence Price's complete catalog.[33][34] In 2021, classical pianist Lara Downes initiated a project, Rising Sun Music, to draw attention to the influence of composers from a diversity of backgrounds upon American Classical music, assisted by producers such as Adam Abeshouse, to release newly recorded works of composers such as Price and Harry Burleigh, whose importance often has been lost in historical accounts of the development in the field.[35]

      With the 2022 installment in the Catalyst Quartet’s ongoing Uncovered series focusing on the music of Black composers comes nearly two hours' worth of Price’s chamber music. "The most substantial piece, Price’s A-minor Quintet for Piano and Strings got its first recording just last year, courtesy of the Kaleidoscope Chamber Collective. Like that one, this performance impresses for its technical and expressive excellence: everything’s beautifully balanced and comes to life just as it should." Also from artsfuse.org's Jonathan Blumhofer: "Taken together, this is an album that’s at once musically significant but, more than that, thoroughly enjoyable. How tragic that, largely on account of her race and gender, Price’s music was almost erased. Yet how happy it is that revivals do happen – and how exciting that, thanks to the advocacy of groups like the Catalysts and musicians like [Michelle] Cann, we’re seeing a deserving composer finally taking her place in the American canon."[36]


      Works



      Composition style


      Even though her training was steeped in European tradition, Price's music is in an American idiom and reveals her Southern roots.[5] The strong influence of the composition style of Dvorak is often noticeable, e.g., in her first violin concerto.[citation needed] She wrote with a vernacular style, using sounds and ideas that fit the reality of urban society. Being a committed Christian, she frequently used the music of the African-American church as material for her arrangements. At the urging of her mentor George Whitefield Chadwick,[37] Price began to incorporate elements of African-American spirituals, emphasizing the rhythm and syncopation of the spirituals rather than just using the text. In her first symphony, a melody is inspired by the spiritual but solidly rooted in instrumental writing. Compared with Dvorak's 9th symphony, the third movement is titled Juba Dance. This antebellum folk dance would further inspire European art music composers like Debussy in its later manifestation the cakewalk.[6]: 131  The weaving of tradition and modernism reflected the way life was for African Americans in large cities at the time.[citation needed]

      Florence Price composed numerous works: four symphonies, four concertos, as well as choral works, plus art songs, and music for chamber and solo instruments, works for violin, organ anthems, piano pieces, spiritual arrangements, three piano concertos, and two violin concertos. Some of her more popular works are: "Three Little Negro Dances", "Songs to the Dark Virgin", "My Soul's Been Anchored in the Lord" for piano or orchestra and voice, and "Moon Bridge". Price made considerable use of characteristic African-American melodies and rhythms in many of her works. In the program notes for her piano piece Three Little Negro Dances, Price wrote: "In all types of Negro music, rhythm is of preeminent importance. In the dance, it is a compelling, onward-sweeping force that tolerates no interruption... All phases of truly Negro activity—whether work or play, singing or praying—are more than apt to take on a rhythmic quality."[38]


      Symphonies



      Concertos



      Other orchestral works



      Choral



      Solo vocal (all with piano)



      Instrumental chamber music



      Works for piano


      Undated:


      Arrangements of spirituals


      Undated:


      Works for organ


      (supplied by Calvert Johnson)


      Works for violin (with piano accompaniment)



      Discography


      Selected recordings of compositions by Florence Price
      Year Album Performers Label
      1987 Althea Waites Performs the Piano Music of Florence Price[89]" Althea Waites Cambria Records
      1993 Art Songs by American Composers Yolanda Marcoulescou-Stern Gasparo Records
      1993 Black Diamonds Althea Waites Cambria Records
      1997 Chicago Renaissance Woman: Florence B. Price Organ Works Calvert Johnson Calcante CAL 014
      Here's One [Music for Violin and Piano by American Composers] (The Deserted Garden)[90] Zina Schiff; violin; Cameron Grant; piano 4-Tay Inc. 4TAY-CD-4005
      2000 Negro Speaks of Rivers Odekhiren Amaize; David Korevaar Musician’s Showcase
      2001 Florence Price: The Oak; Mississippi River Suite; and Symphony No. 3 / Women’s Philharmonic Apo Hsu; Women’s Philharmonic Koch International Classics
      2006 Lucille Field Sings Songs by American Women Composers Lucille Field Cambria Records
      2011 Florence B. Price: Concerto in One Movement and Symphony in E minor Leslie B Dunner; Karen Walwyn; New Black Repertory Ensemble Albany TROY1295
      2013 Piano Phantoms (The Goblin and the Mosquito)[91] Michael Lewin; piano Sono Luminus DSL-92168
      2018 Florence B. Price: Violin Concertos Nos. 1 (D major - 1939) and 2 (D minor - 1952) Er-Gene Kahng; Janacek Philharmonic; Ryan Cockerham Albany TROY1706
      Florence B. Price: Symphonies Nos. 1 (E minor - 1932) and 4 (D minor - 1945)[92] Fort Smith Symphony; John Jeter Naxos American Classics
      2019 Florence Price: The Deserted Garden (1933) and Elfentanz (undated) Dawn Wohn; violin and Esther Park; piano Perspectives; Delos Music DE 3547
      Florence B. Price: Dances in the Canebrakes (Nimble Feet / Tropical Noon / Silk Hat and Walking Cane)[93] arranged by William Grant Still (1895-1978) for orchestra / Chicago Sinfonietta; Mei-Ann Chen Album Project W - Works by Woman Composers Cedille Records
      Beyond the Traveler: Piano Music by Composers from Arkansas (Sonata in E minor) Cole Burger; piano MSR Classics
      2020 Florence Price: Symphony No. 3 and Concert Overture No. 1 BBC National Orchestra of Wales; Michael Seal; BBC Symphony Orchestra; Valentina Peleggi BBC Music Magazine BBCMM454
      Pioneers: Piano Works by Female Composers (Piano Sonata in E minor: II. Andante)[94] Hiroko Ishimoto; piano Grand Piano; HNH International GP844
      2021 Florence Price: Symphonies Nos. 1 & 3 Philadelphia Orchestra and Yannick Nézet-Séguin Deutsche Grammophon
      American Quintets: Amy Beach; Florence Price; Samuel Barber (Quintet; c. 1935)[95] Kaleidoscope Chamber Collective Chandos CHAN 20224
      Florence Beatrice Price: Symphony No. 3 in C minor (1940); The Mississippi River (1934); Ethiopia's Shadow in America (1932)[96] ORF Vienna Radio Symphony Orchestra; John Jeter Naxos Naxos 8 559897
      Florence Price - Virtuoso and Poet Alan Morrison; organ ACA Digital Recordings; Inc. CM 20132

      See also



      References


      1. "Biography". Florence Price.
      2. Slonimsky, N. (ed.), The Concise Edition of Baker's Biographical Dictionary of Musicians, 8th edn, New York: Schirmer, 1994, p. 791.
      3. Slonimsky (1994) gives 1888.
      4. Ege, Samantha (2020). "Composing a Symphonist: Florence Price and the Hand of Black Women's Fellowship". Women & Music. 24 (1): 7–27. doi:10.1353/wam.2020.0010. S2CID 226592558 – via Lincoln: University of Nebraska Press.
      5. Walker-Hill, Helen (1893). Piano Music by Black Women Composers. Darby, Pennsylvania: Greenwood Press. pp. 76–77.
      6. Brown, Rae Linda (2020). The Heart of a Woman: The Life and Music of Florence B. Price. Chicago: University of Illinois Press. ISBN 978-0252043239.
      7. James Greeson. "[excerpt] The Caged Bird: The Life and Music of Florence B. Price". YouTube. Retrieved 2021-12-21.
      8. Slonimsky and biography.com agree on 1906.
      9. Jackson, Barbara Garvey (1977). "Florence Price, Composer". The Black Perspective in Music. JSTOR. 5 (1): 29–43. doi:10.2307/1214357. ISSN 0090-7790. JSTOR 1214357. OCLC 17360561.
        • The Pittsburgh Courier* (Pittsburgh, Pennsylvania) 6 September 1930.
      11. Price, Florence (January 1, 2008) [1932]. Brown, Rae Linda; Shirley, Wayne D. (eds.). Symphonies nos. 1 and 3. A-R Editions. pp. xxxviii–xlv. ISBN 978-0895796387.
      12. See "Program Notes on Florence B. Price for Chicago Symphony Orchestra's 'Rivers' Series by Barbara Wright-Pryor, President, Chicago Music Association, NANM, Inc.". John Malveaux Music.
      13. See John Michael Cooper, "The Problem with Programs: Florence Price’s First Symphony, the 1933-34 World’s Fair, and Three Tribbles, Part 1, Part 2, and Part 3
      14. Oteri, Frank J. (January 17, 2012). "Sounds Heard: Florence B. Price—Concerto in One Movement; Symphony in E Minor". NewMusicBox. Archived from the original on June 23, 2017. Retrieved September 16, 2015.
      15. "The Price of Admission: A Musical Biography of Florence Beatrice Price". WQXR-FM. February 6, 2013. Retrieved September 16, 2015.
      16. Baranello, Micaela (February 9, 2018). "Welcoming a Black Female Composer Into the Canon. Finally". The New York Times. Retrieved February 10, 2018.
      17. Brown, Rae Linda (1993). "The Woman's Symphony Orchestra of Chicago and Florence B. Price's Piano Concerto in One Movement". American Music. 11 (2): 185–205. doi:10.2307/3052554. JSTOR 3052554.
      18. "Biography". Florence Price. Retrieved 2020-05-30.
      19. "Who Was Florence Price?". Research Frontiers.
      20. See Rae Linda Brown, "Lifting the Veil: The Symphonies of Florence B. Price", in Florence Price: Symphonies Nos. 1 and 3, ed. Rae Linda Brown and Wayne Shirley, Recent Researches in American Music, No. 66 [Middleton, Wisconsin: A-R Editions, 2008], xxxi,
      21. Price, Florence (January 1, 2008). Symphonies nos. 1 and 3. A-R Editions, Inc. ISBN 9780895796387 – via Google Books.
      22. "DNAinfo - Bronzeville Pastor Reviving Empty School - September 2013". Archived from the original on 2017-11-18. Retrieved 2019-06-06.
      23. "Honors College to Host Performance of Florence Price Violin Concerto and Duos". University of Arkansas News.
      24. "Florence Price: A Tribute | University of Arkansas". fulbright.uark.edu.
      25. "International Florence Price Festival". The Clarice Smith Performing Arts Center. Archived from the original on 2019-10-31. Retrieved 2019-10-31.
      26. "Festival Celebrates Trailblazing Composer Florence Price". International Florence Price Festival. Retrieved 2019-10-31.
      27. "At Last ! Music by Florence Price performed by the Boston Symphony Orchestra | Women's Philharmonic Advocacy". wophil.org. Retrieved 2022-01-10.
      28. "Florence Price: Symphony No. 3, Mississippi River". Women's Philharmonic Advocacy. Retrieved July 6, 2016.
      29. McQuiston, Bob (February 28, 2012). "Classical Lost and Found: Florence Price Rediscovered". NPR. Retrieved July 6, 2016.
      30. "Florence Beatrice Smith Price (1887–1953) - Encyclopedia of Arkansas". www.encyclopediaofarkansas.net. Retrieved 2019-03-27.
      31. Ross, Alex, "The Rediscovery of Florence Price", The New Yorker, February 5, 2018.
      32. "The Lost World of Florence Price". The Boston Music Intelligencer. 18 April 2018. Retrieved 2021-03-06.{{cite web}}: CS1 maint: url-status (link)
      33. "News - G. Schirmer Acquires Florence Price Catalog"
      34. Michael Cooper, "A Rediscovered African-American Female Composer Gets a Publisher", The New York Times, Nov. 15, 2018
      35. Beaugez, Jim, How Black Composers Shaped the Sound of American Classical Music, Smithsonian, February 5, 2021
      36. Blumhofer, Jonathan (February 23, 2022). "Classical Music Album: Florence Price — "Uncovered, Vol. 2"". artsfuse.org. Retrieved 2022-02-28.
      37. Baranello, Micaela (2018-02-09). "Welcoming a Black Female Composer Into the Canon. Finally". The New York Times. ISSN 0362-4331. Retrieved 2019-03-27.
      38. Jackson, Barbara Garvey (Spring 1977). "Florence Price, Composer". The Black Perspective in Music. JSTOR. 5 (1): 30–43. doi:10.2307/1214357. ISSN 0090-7790. JSTOR 1214357. OCLC 17360561.
      39. Recorded by the BBC National Orchestra of Wales under conductor Daniel Blendulf; broadcast for International Women's Day on BBC Radio 3's Live in Concert program of March 8, 2015.
      40. "Concert Overture No. 1 | Florence Price". www.wisemusicclassical.com.
      41. "Concert Overture No. 2". englisch.
      42. "Priceline". Jordan Randall Smith.
      43. "Collection: Florence Beatrice Smith Price Papers Addendum | ArchivesSpace at the University of Arkansas". uark.as.atlas-sys.com.
      44. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      45. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      46. World-premiere recording by Christine Jobson on Nearly Lost: Art Songs by Florence Price (N2A Publishing, 2019).
      47. Hughes: "Dream Variation"
      48. Hughes: "Water-Front Streets"
      49. ed. John Michael Cooper (New York: G. Schirmer, 2021)
      50. John Michael Cooper. "Four Songs from The Weary Blues". wisemusicclassical.com. Retrieved 10 March 2021.
      51. see “Florence Price and Langston Hughes Cast a Ballot for the Working Class”, Journeys (blog), October 27, 2020.s
      52. Perf. Justin Hopkins and Jeanne-Minette Cilliers (https://www.youtube.com/watch?v=-uoX_9WMGbo)
      53. "To Be Rediscovered When You Were Never Forgotten: Florence Price and The "Rediscovered" Composer (Tropes of Black Composers, Part One)". Harry T. Burleigh Society.
      54. Article on arkansaslife.com
      55. new edition, ed. John Michael Cooper (New York: G. Schirmer, 2019)
      56. ""The Musical Artistry of Florence Price: Hidden Figure No More", by Prof. Linda Holzer" (PDF).
      57. ed. John Michael Cooper, in Seven Descriptive Pieces (New York: G. Schirmer, 2020)
      58. ed. John Michael "Cooper (New York: G. Schirmer, 2020)
      59. Recorded by Lara Downes (Flipside Records FL0018 [2020])
        • The Pittsburgh Courier*, September 6, 1930.
      61. "On A Quiet Lake". 31 January 2020 – via open.spotify.com.
      62. ed. Barbara Garvey Jackson (Fayetteville, Arkansas: ClarNan, 2017)
      63. Recorded by Lara Downes, Flipside Music FL0024 [2020])
      64. See John Michael Cooper, “Full Circle: On the Recovery of Florence B. Price’s Fantasie nègre No. 2”, Journeys (blog), March 22, 2020.
      65. Posthumous premiere by Lara Downes at New England Conservatory, November 1, 2019
      66. Recorded by Lara Downes (Flipside Music FL0017 [2020])
      67. See John Michael Cooper, “Florence Price, Teacher”, Journeys (blog), July 14, 2020.
      68. "Florence Beatrice Price, Compositeur afro-américain". chevalierdesaintgeorges.homestead.com.
      69. See John Michael Cooper, “Summer Moon: Reflections on a Little-Known Gem by Florence Price”, Journeys (blog), May 17, 2020.
      70. Recorded by Lara Downes (Flipside Music FL0019 [2020])
      71. "Down A Southern Lane". 31 January 2020 – via open.spotify.com.
      72. See John Michael Cooper, “Florence Price and Racist Stereotypes”, Journeys (blog), July 16, 2020.
      73. "Remembrance". 17 January 2020 – via open.spotify.com.
      74. See John Michael Cooper, "Florence Price and Tranquility", Journeys (blog), July 13, 2020.
      75. "Your Hands In Mine". 14 February 2020 – via open.spotify.com.
      76. ed. John Michael Cooper (New York: G. Schirmer, 2021).
      77. premiered by Lara Downes at New England Conservatory, November 1, 2019
      78. Recorded by Lara Downes (Flipside Records FL0018 [2020])
      79. See John Michael Cooper, "Florence B. Price: Clouds", Journeys (blog), April 8, 2020.
      80. Recorded by Lara Downes (Flipside Records FL0020 [2020])
      81. See John Michael Cooper, "In Sentimental Mood: A Mash-Up by Florence B. Price", Journeys (blog), April 8, 2020.
      82. See John Michael Cooper, “The Joy of Whimsy: Rediscovering Another Facet of Florence Price’s Musical Imagination”, Journeys (blog), August 7, 2020.
      83. "Sketches in Sepia". 17 January 2020 – via open.spotify.com.
      84. Two separate compositions bear the title To a White Rose and were conceived as part of this set.
      85. Recorded by Lara Downes (Flipside Records FL0020] [2020]): To a Yellow Rose; To a White Rose (Version B); To a Red Rose
      86. Recorded by Lara Downes (Flipside Records 0020 [2020)(
      87. See John Michael Cooper, “Florence Price and the Art of Musical Storytelling: Snapshots for Piano Solo”, Journeys (blog), August 7, 2020.
      88. "MoMA QNS in New York Architects: Michael Maltzan architecture, Los Angeles, Cooper, Robertson & Partners, New York", Building in Existing Fabric, München: DETAIL - Institut für internationale Architektur-Dokumentation GmbH & Co. KG, 2003, doi:10.11129/detail.9783034614894.130, ISBN 978-3-0346-1489-4
      89. de Lerma, Dominique-René (1988). "Music Review: Althea Waites Performs the Piano Music of Florence Price". The Black Perspective in Music. 16 (1): 117. doi:10.2307/1215135. JSTOR 1215135.
      90. "Here's One | Jeffrey James Arts Consulting". Retrieved 2021-11-02.
      91. "Piano Recital: Lewin; Michael - NIEMANN; W.R. / LYAPUNOV; S.M. / GRIEG; E. / TAUSIG; C. / MEDTNER; N. / DVORAK; A. (Piano Phantoms) - DSL-92168". www.naxos.com. Retrieved 2021-11-02.
      92. "PRICE; F.B.: Symphonies Nos. 1 and 4 (Fort Smith Symphony; Jeter) - 8.559827". www.naxos.com. Retrieved 2021-11-02.
      93. "Orchestral Music - PRICE; F.B. / ASSAD; C. / MONTGOMERY; J. / ESMAIL; R. / HIGDON; J. (Project W) (Chicago Sinfonietta; Mei-Ann Chen) - CDR90000-185". www.naxos.com. Retrieved 2021-11-02.
      94. "Piano Recital: Ishimoto; Hiroko - BACKER GRØNDAHL; A. / B?DARZEWSKA-BARANOWSKA; T. / BEACH; A. / BON; A. (Pioneers - Piano Works by Female Composers) - GP844". www.naxos.com. Retrieved 2021-11-02.
      95. "American Quintets Strings Chamber Chandos". Chandos Records. Retrieved 2021-11-02.
      96. "PRICE; F.B.: Symphony No. 3 / The Mississippi River / Ethiopia's Shadow in America (ORF Vienna Radio Symphony; Jeter) - 8.559897". www.naxos.com. Retrieved 2021-11-02.

      Additional sources



      Further reading





      На других языках

      [de] Florence Price

      Florence Beatrice Smith Price (* 9. April 1887 in Little Rock, Arkansas; † 3. Juni 1953 in Chicago, Illinois) war eine US-amerikanische Komponistin. Sie war die erste Afroamerikanerin, die in den USA als Komponistin klassischer Musik bekannt wurde.[1]
      - [en] Florence Price

      [es] Florence Price

      Florence Beatrice Price, de soltera Smith (Little Rock, 9 de abril de 1887 - Chicago, 3 de junio de 1953) fue una compositora clásica, pianista, organista y profesora de música estadounidense. Price es considerada la primera mujer afroamericana en ser reconocida como compositora sinfónica, y la primera en tener una composición interpretada por una orquesta importante.[1]


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