Black Music Seen

In this powerful episode of Black Music Seen, David Norville sits down with brothers William Henry Curry and Ralph Curry — two musicians whose lives trace the arc of Black classical history in America

From pounding on pianos in working-class Pittsburgh homes to standing on the Great Wall of China with the Cleveland Orchestra, the Curry brothers reflect on the early teachers who changed their lives, the “lightbulb moments” that revealed their calling, and the relentless work required to sustain excellence.

William shares the unforgettable story of conducting Beethoven’s Ninth at age 21 — without rehearsal — after a last-minute emergency. Ralph recounts his audition journey with the New York Philharmonic and the complicated reality of being among the first Black fellows in a major orchestra.

Together, they speak candidly about:

Growing up in a segregated America

Being told there “aren’t many of your kind” in major orchestras

Boardrooms that resisted Black leadership

The pressure to be twice as good

The difference between talent and integrity

Why doing the work still matters

They also reflect on progress — slow, often glacial — and the responsibility they now feel to support the next generation of Black classical musicians.

This is a conversation about resilience. About community. About the love of music that endures even when the system does not.

Black Music Seen continues its commitment to preserving the lived stories of Black classical musicians — honoring those who carried the culture and those shaping what comes next.

Following our conversation with Lawrence Brownlee, this episode centers on Weston Sprott and Shea Scruggs — founding members of the Black Orchestral Network — for a deeper look at how BON began and what it means to build something that lasts.

What started as informal conversations among friends evolved into a sustained effort to create community, advocacy, and infrastructure for Black orchestral musicians. Weston and Shea reflect on the early days, the urgency of 2020, and the quiet consistency required to transform reflection into action.

The conversation explores:

• The organic beginnings of BON
• The responsibility of mentorship
• The evolution from community gathering to formal organization
• Recent initiatives including Dear American Orchestras Part III, which examines the experiences of orchestral fellows and offers recommendations for structural improvement

This episode offers a candid look at the work behind the work — the relationships, conversations, and commitment that continue to shape the Black Orchestral Network.

Black Music Seen remains committed to preserving the lived stories of Black classical musicians — honoring those who carried the culture and those building its future.

In this episode of Black Music Seen, tenor Lawrence Brownlee joins Weston Sprott and Shea Scruggs for an unfiltered conversation about the real work behind a lasting career in classical music.

From singing in church to performing leading roles at the Metropolitan Opera, Brownlee reflects on the long road to artistic authority — including the rejection, setbacks, and self-doubt that shaped him along the way. He speaks candidly about losing early competitions, being told he would never have a major career, and why he believes failure is not an obstacle, but a necessary ingredient of success.

Together, they explore:
• The difference between confidence and arrogance
• The discipline required to sustain excellence
• The legacy of Black opera pioneers who paved the way
• What it means to stand on the shoulders of Marian Anderson, Leontyne Price, and George Shirley
• The responsibility of mentorship and carrying the culture forward

Black Music Seen continues its commitment to preserving the lived stories of Black classical musicians — honoring those who carried the culture and those shaping what comes next.

In this episode of Black Music Seen, we spotlight the next generation of leadership in Black classical music.

Hosted by Brittney Bryanna Burgess — Executive Director of Black Collegiate Musicians — this conversation features Shania Watts (violist at The Juilliard School and President of the Juilliard Black Student Union) and Wynter McCray (double bassist at Juilliard and Vice President of the Juilliard Black Student Union).

Recorded live at OPERA America, this dialogue centers on mentorship, self-advocacy, and the importance of building a life in classical music that extends beyond the practice room. From learning how to say no, to asking questions without fear, to imagining a more diverse and sustainable future for the concert hall, this episode reflects on what it means to lead with intention.

Black Collegiate Musicians works to connect and uplift Black music students nationwide, serving as a network of support, advocacy, and community.

This episode continues our commitment to preserving the lived stories of Black classical music — from those who carried the culture to those shaping what comes next.

On today’s episode, we’re joined by violinist, writer, and cultural historian Rosalyn Story.

 

For more than 30 years, Rosalyn Story has performed violin with the Fort Worth Symphony — but her artistry doesn’t stop there. She’s also a novelist, a journalist, and a passionate keeper of Black musical history. Whether chronicling the legacy of opera trailblazers like Sissieretta Jones or guiding students through the soundscape of African American music, Rosalyn brings a rare kind of dual fluency — one grounded in both performance and storytelling.

 

In this episode, she shares how a $0.75 violin class in Kansas City sparked a lifelong passion, what it meant to be the only Black musician in the room, and how music — especially jazz — continues to sustain her in moments of grief and resistance.

 

It’s a conversation about resilience, reverence, and the many ways we remember who we are — through sound, through stories, and through one another.