By Candy Moreno
On the cold, gloomy evening of February 1, for the first time, I went to a classic recital,. It was at the small yet warmly inviting Dweck Cultural Center in the Brooklyn Public Library. The recital took place in a small, simple auditorium that held about one hundred people. It was empty when we first arrived, but it quickly filled to its capacity with an audience ranging from young adults to older listeners. Source Code by Jessie Montegomery, We The People by Akua Dixon, Middleground by Shelly Washington, and many more were the pieces that were played that evening. All were played by the Harlem Chamber Players: Claire Chan (Violin), Ashley Horn (violin), William Frampton (viola), and Wayne Smith (Cello). The concert celebrated Black History Month, highlighting the work of talented African American composers whose compositions connect to African American musical history. The moment the musicians walked into the auditorium, with their uniformly, perfectly well-dressed, black suits, and the lights dimmed, I knew that the audience and I were about to witness something beautiful.
The evening was cold but soon warmed by the rich, melodic tunes, beginning with my favorite piece of the evening, Source Code by Jessie Montgomery. Jessie Montgomery is an American violinist and a multi-award winner, including a Grammy Award. She is a founding member of PUBLIQuartet and a former member of the Catalyst Quartet, Critics describe her work as “turbulent, wildly colorful, and exploding with life,” (Montgomery). Source Code was inspired by Montgomery’s chaotic multicultural energy of her childhood home, the Lower East Side in Manhattan. Source Code immediately left me on the edge of my chair with its unique and awkward melody. It opens with a steady, buzzing that gradually turns into a dark gloomy, anxious melody, almost as if the music itself is telling a mournful story. It soon erupts into a sudden outburst of an unusual strange rhythm yet interesting-creating an atmosphere of tension and paranoia. The music becomes sharp and suspenseful with coldness, before returning to the warm, grieving mood. The piece reminds me of the feeling of a psychological thriller in which the unstable protagonist is on the edge of transformation. If I had to describe it in one word, it would be “unsettling.” Source Code comes to an end with a disturbing, hypnotic buzzing that faintly fades, leaving the auditorium silent and the audience eager for what comes next.
The next composition was We the People by Akua Dixon. Ms. Dixon is a cellist, composer, and conductor, and is the first cellist to win the Downbeat Critics Poll, and is considered “amongst the treasures of contemporary jazz,” (Dixon). This composition had a background somewhat similar to Source Code. What made this piece different was its energetic, slightly chaotic rhythm, with a cheerful energy. It did not sound as dark or depressing as the first piece, but it felt as if the unstable protagonist had fully descended into a villainous, psychotic state. At moments, the melody sounded very familiar, as if I had heard something similar before, although I could not quite place my finger on it. There was something about the composition that strongly captured my attention. At one point, violist William Frampton, used a technique called snap pizzicato, where he plucked the strings of his viola producing a sharp, echoing sound, similar to a heavy water drop, which blended smoothly with the rest of the music. Overall, this composition gave me a similar experience to Source Code, except it felt more chaotic, energetic, and intense.
The third composition was Middleground by Shelley Washington. Middleground was included on PUBLIQuartet’s Grammy-nominated album, Freedom and faith. The article on Kcur.org states that Middleground was inspired by Washington’s childhood memories that she enjoyed from her time in the middle of the country, (Julie Blackmon’s ‘Night Swim). When the piece first began, I immediately thought it would have a similar style to the first two compositions. However, to my surprise, it sounded very different while still beautiful. The music had a bright, playful tone with a rich sound, but also carried a slight sense of suspense. It almost reminded me of Irish-style music, but played with the violin and cello, keeping it dance-like. The music briefly stopped, leaving Ms. Chan alone, playing a warm, slow melody. Seconds later, the rest of the musicians joined in, creating a fuller sound. In the middle of this calm melody, second violinist Ashley Horn, suddenly interrupted with a sharp, “knife-stabbing” note, standing out from the rest of the musicians. He was later accompanied by the other musicians, bringing the piece back to its lively and energetic melody.
The fourth piece was Danzas de Panamá by William Grant Still. William Grant (1895-1978) was an American composer of nearly 200 works, including one I personally started to listen to on a daily basis and enjoy a lot, Symphony No. 1 Afro-American. Grant left a legacy that broke racial barriers in classical music, since he was the first colored composer to have a symphony performed by a well-known American Orchestra (Reich). Danzas De Panama is a vibrant and energetic piece inspired by traditional Panamanian folk dances. The work is made up of four movements, each representing different dances with influences from African, Caribbean, Spanish, and Indigenous traditions. The piece begins with a warm, elegant melody that later transitions into something more cheerful and playful. At one moment, I even heard a small piece that reminded me of the classic song La Cucaracha. There was a brief pause, and then the musicians continued with another elegant and soothing section. The melody is lively, expressive, and cheerful, which could be danced to. The rhythm throughout the piece had strong pulses that transmitted the feeling of celebration.
Last but not least, At the Octoroon Balls by Wynton Marsalis. At the Octoroon Balls mainly focused on the Creole contradictions and the Octoroon Balls of the 19th century infusing with the culture of Marsalis birthplace, New Orleans. The piece has two parts: Creole Contradanzas and VII. Rampart St. Row House Rag. Creole Contradanzas shows the elegance of Creole ballroom dances with a soothing melody. The melody is soft and rich, creating an elegant musical melody. The piece maintains a steady pulse creating a beautiful rhythm. Unlike the second part, VII. Rampart St. Row House Rag, has a more lively and playful tune, similar to the New Orleans Jazz. The melody is bright and full of expression, with short, catchy phrases that feel as if the instruments are having a conversation. As the piece continues, the texture becomes more energetic and vibrant-fast and playful. It felt similar to watching an episode of the Tom and Jerry cartoon.
Overall, this beautiful recital left me in awe. I didn’t know what to expect since it was my first time attending one, but it made me eager to listen to more. I used to think classical music was boring and would even call it “old people’s music.” However, experiencing it in real life—seeing the sweat and dedication these musicians put into performing these works—left my ears and eyes with curiosity. The passion in the performance, the attention to every detail, and the hypnotizing sound of the string instruments echoing in an auditorium are indescribable. During the show, something that caught my eye was that several listeners were closing their eyes and moving their heads to the rhythm of the music, which made me realize that classical music continues to be deeply appreciated by many people of all ages. I will certainly be attending another recital very soon, and I would definitely recommend this experience to others as well. Work Cited
Blackmon, Julie. “Night Swim” /l “Middleground” by Shelley Washington.
KCUR, 19 Sept. 2023. Accessed 8 Apr. 2026.
“Bio.” Shelley Washington, https://www.shelleywashington.com/bio. Accessed 8 Apr. 2026.
Dixon, Akua. Akua Dixon. akua-dixon.com. Accessed 8 Apr. 2026.
Jessie Montgomery. “World Premiere Choreography by Donald Byrd to Jessie’s
‘Source Code'” Jessie Montgomery, 31Aug. 2025. Accessed 8 Apr. 2026.
Megan Reich. “Black History Month: William Grant Still.” All Classical Radio, 31 Jan. 2018, allclassical.org. Accessed 8 Apr. 2026.
Shelley Washington. “Shelley Washington.”
NYU Steinhardt School of Culture, Education, and Human Development, New York University. Accessed 8 Apr. 2026.
Wynton Marsalis’ “At the Octoroon Balls.” Orchestra of St. Luke’s, https://oslmusic.org/event/wynton-marsalis/. Accessed 8 Apr. 2026
