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Donald Macleod in conversation with Adolphus Hailstork explores some of his early musical influences.

American composer Adolphus Hailstork has written in many genres, ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Called the Dean of African American composers, and now in his eighties, Hailstork’s works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music including Kurt Masur, Daniel Barenboim and Lorin Maazel.

Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that have had a significant impact upon the development of his own musical language. For many years he’s been a Professor of Music at the Old Dominion University in Norfolk, and he resides in the state of Virginia, USA. His own list of teachers is impressive - not least Nadia Boulanger at the American Institute at Fontainebleau.

Donald Macleod explores for the first time the varied musical world of Adolphus Hailstork. In a down-the-line conversation with the composer, Hailstork discusses how he has a particular fondness for writing for choir and orchestra, and how in his early years, his mother encouraged him in music. The composer also chats about how spirituals have influenced two of his string quartets including his String Quartet No. 3, and how in the case of his Piano Sonata No. 2, he wrestled with breaking away from what he’d previously written in his first sonata. The programme ends with the final two movements of Hailstork’s Symphony No. 3, and the composer reflects with Macleod on how his use of the Indian Tabla was because he’d once learnt how to play this instrument.

The Lamb
McCullough Chorale
Donald McCullough, director

String Quartet No 3 (Moderato)
Ambrosia Quartet

Piano Sonata No 2
Andrey Kasparov, piano

Symphony No 3 (excerpt)
Grand Rapids Symphony
David Lockington, conductor

Produced by Luke Whitlock