'Lift Every Voice' has evolved into Pittsburgh Symphony tradition

It takes time and repetition for a success to become a tradition.

The Pittsburgh Symphony’s “Lift Every Voice” concert made its debut three years ago as a collaboration with Hill District neighbors to celebrate the legacy and vibrancy of the local community. It has evolved, says symphony president Melia Tourangeau, “to celebrate the accomplishments of African Americans throughout Pittsburgh and the nation.”

For composer Kathryn Bostic, there’s also a bigger dynamic at play.

“It reflects the truth of music, which is its universality. Music is evocative. It leaves you feeling a certain way,” she says.

Andre Raphel will conduct vocal soloists, choir and Pittsburgh Symphony Orchestra in “Lift Every Voice” on Feb. 29 at Pittsburgh’s Heinz Hall.

The program includes music by Pittsburgh’s Billy Strayhorn and Duke Ellington, “Amazing Grace” sung by Demareus Cooper, the spiritual “He’s Got the Whole World in His Hands” sung by Cooper and Chantal Braziel, and concludes with Richard Smallwood’s “Anthem of Praise.”

This concert also will introduce Bostic’s symphonic arrangement of music she wrote for the American Masters program “Toni Morrison: The Pieces I Am.” Bostic’s August Wilson Symphony received its world premiere at the first “Lift Every Voice” concert. She’s already been commissioned by the symphony for another new piece when this tradition continues next year.

Morrison, who died in August, won the 1993 Nobel Prize for literature and the 1988 Pulitzer Prize for fiction.

“I chose four moments in this two-hour documentary,” says Bostic. “The music reflects her life as an iconic author, but also that she’s so accessible as a human being. When you look at this film you feel like you’re talking with a family member. She’s so authentic and genuine, so I wanted the score to reflect that nobility but also that kind of simplicity.”

The composer decided she wanted her music to have an intimate quality. In expanding it from the small ensemble used in the documentary to a symphony orchestra, she chose to use strings, winds and percussion, but not brass.

“I didn’t want to overwhelm her talking, the cadence of her voice and her captivating personality,” Bostic says. “You want to enhance what she says, but at the same time I wanted to give space to hear what she’s saying and more importantly to feel what she’s saying.”

The concert also will feature flutist Shantanique Moore, who is playing with the symphony this season as the eighth recipient of its Orchestra Training Program for African American Musicians fellowship.

Moore says she chose to play Swiss composer Frank Martin’s “Ballade” for Flute and Orchestra because she “loves its passionate nature.”

The young flutist has been playing Pops and educational concerts, and has been studying with symphony musicians to refine her ensemble skills and ability to match sonorities with her colleagues.

“I’m feeling really excited about my future,” she says. And to help prepare her for the next step in her career, she been taking mock auditions with symphony musicians.

“This concert is an important component of the orchestra’s intentional commitment to meaningful artistic experiences that cross geographical and disciplinary boundaries, and that are responsive to the diverse issues and interests of the Pittsburgh community,” says Tourangeau.