THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Saturday, January 13, 1996 TAG: 9601130295
SECTION: LOCAL PAGE: B1 EDITION: FINAL
TYPE: Column
SOURCE: Charlise Lyles
LENGTH: Medium: 88 lines
``Sell out.''
``You're not black enough.''
``That's the white man's thing.''
It's a shame the way young African-American classical musicians get dissed.
Then they have to deal with those who don't believe blacks can master classical music.
Northside Middle School orchestra teacher Sharon Garcia believes no such nonsense. Her students, black and white, are masters. They play Nelhybel's Marcato and compete in regional music festivals.
On Friday, Garcia took her students to Old Dominion University's Performing Arts Center on 49th Street to hear a black string ensemble. They were preparing for a chamber concert you can hear tonight for free. At 7 p.m. is a lecture, ``Classical Music and the Black Experience.'' The concert follows at 8.
ODU assistant music professor Armenta Adams Hummings has modeled the concert after the Gateway Music Festival. His mother created it three years ago in Winston-Salem to give black classical musicians badly needed exposure.
Hummings, 26, is an unassuming man with the unwavering gaze of an African god engraved on a totem pole. The son of a classical pianist, he probably rocked in the womb to Beethoven.
Growing up, he, too, had to deal with ostracism. But the story of a great-grandfather who played fiddle on a plantation guided his fingers on the viola bow. A Boys and Girls Club scholarship help send him to school.
Hummings recruited about 10 musicians from local high schools for tonight's concert.
He always is looking for more than a few good musicians. And he always finds lots of enthusiasm among middle schoolers like Garcia's.
``But I notice a big drop-off between that grade and conservatory,'' says Hummings. ``Subconsciously, they don't form the image of blacks as musicians. I think it has to do with the lack of visibility of black performers.''
On stage, Hummings and his contemporaries are a marvel of concentration, gently stroking moody Faure's Quartet for Piano and Strings in C minor.
On this wintry day, bulky snowshoes anchor erect posture over graceful, burnished curves of cello and violin.
As harmony rises to the vaulted ceiling, I'm convinced we have a right to this music, to compose it, play it, enjoy it, celebrate it. Emma Harris, Doris Jerlene Harding, Adolphus Hailstork and others in this community have dedicated their lives to it.
When black hands go to the bow, fingertips to the ivory, we make the music ours by virtue of passion and soul.
Just as impressive as Hummings and his contemporaries was the astute interest of Garcia's students. No napping here. No sireee. She pointed me to eight of her best. Six are African Americans.
``First chair,'' are the first words out of their mouths.
Orchestra was the only elective Yvette Surls could take. Then she got hooked. ``I like playing harmony,'' says the 13-year-old violinist.
``Just last week, Marissa played in the regionals, which is a reeeeal HIGH honor,'' says Giles Flowers, a green-eyed cellist.
``My hand still aches,'' Marissa Phillips says of the violin competition.
This crew put the teasing and taunts behind them long ago.
``We rehearse whenever we can, even at lunch time,'' says Flowers.
But ask them about career aspirations. . .
``O-B-G-Y-N,'' says Kevin Gore, string bass and pianist.
``Criminal justice lawyer,'' says Surls.
``My mom's always bothering me about violin,'' says Tiffany Jones. ``But I don't know. . . ''
``Computer programming'' says violinist Andrew Ross II.
Honorable professions all. But perhaps, the sight and wonderful sound of the ensemble from the stage will be just the thing to change a mind or two. ILLUSTRATION: Drawing
by CNB