Celebrating Juneteenth Through the Power of Black Classical Music: 5 Songs Every Singer Should Know

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As we commemorate Juneteenth, I honor the resilience, artistry, and legacy of Black Americans whose contributions have shaped every facet of American culture—including classical music. Juneteenth, observed on June 19th, marks the day in 1865 when enslaved people in Galveston, Texas, were finally informed of their freedom, more than two years after the Emancipation Proclamation. It is a day for reflection, education, and celebration of Black freedom and excellence.

Classical music, often seen as a traditionally Eurocentric art form, has been enriched and transformed by Black composers and performers for centuries. Their works reflect both technical mastery and deep emotional storytelling rooted in the Black experience. Whether you’re a seasoned opera singer, a music educator, or a young vocalist building your repertoire, these five classical songs and arias by Black composers are essential additions—not only for their musical value but also for the cultural narrative they preserve and elevate.

I remember my years as a music major. Every recital by a Black singer ended with a set of spirituals from students to the professionals. It was not until much later that I learned many of the composers were also an important part of the history of classical music and made significant contributions to the genres. Since this was the case, why is it that singers (at least when I majored in music) only presented white classical "Eurocentric" composers? I never questioned it back then because I was just happy to shine light on these composers during the spiritual section of my recital. Often times I would watch the reaction of music lovers and students just after a singer completed the spiritual section of the recital. Nine times out of ten, it resulted in a standing ovation and one or two encores. It was as if it were wrong to sing repertoire by Black classical composers other than spirituals. If singers, especially Black singers, had to become proficient students of Mozart, Beethoven, Handel, and other composers, why was it not required that students of all races learn classical songs by composers who happen to be Black?

It has not been until the past three or four years that many white singers made an effort to embrace and share the music of classical composers who happen to be Black in their recitals (not just at the end). This was a huge step in unwrapping what so many felt as "white guilt," but rather an opportunity to share classical music and connect with their audiences. Listen to my recital with classical music and spirituals honoring Marian Anderson for my TV special

1. “Ride On, King Jesus” – arr. Hall Johnson

Why It Belongs in Your Repertoire: Spirituals are America’s original classical music, and Hall Johnson’s arrangements bring them to life with vivid harmonies and expressive depth. “Ride On, King Jesus” is a powerful declaration of faith and triumph, filled with vocal athleticism and soul.

Performance Tip: This piece allows for both dynamic control and storytelling—lean into the rhythmic drive and spiritual fervor.

2. “Dream Variation” – Margaret Bonds

Why It Belongs in Your Repertoire: Set to the poetry of Langston Hughes, this art song exemplifies the collaborative brilliance between two Harlem Renaissance giants. Bonds’ lyrical piano writing and vocal lines elevate the yearning and beauty in Hughes’ words.

Performance Tip: Let the phrasing mirror the gentle optimism and dreamlike quality of the text. It’s ideal for recital programs centered on American or Black literature.

3. “The Negro Speaks of Rivers” – Margaret Bonds

Why It Belongs in Your Repertoire:Another masterpiece from Bonds, this work showcases a rich baritone or mezzo voice and speaks deeply to ancestral memory and identity. It is a tribute to Black endurance and history.

Performance Tip:Take time with the imagery. This is a dramatic, almost operatic art song that requires deep emotional connection and legato singing.

4. “Calvary” – arr. Charles Lloyd Jr.

Why It Belongs in Your Repertoire: A moving spiritual that brings audiences to tears. Charles Lloyd Jr.’s arrangement blends traditional gospel idioms with classical structure, making it a stunning crossover piece for recitals and worship services alike.

Performance Tip: Use the full color of your lower register and allow your emotional interpretation to lead the vocal choices. Less is more—until it’s not.

5. “My Dream” from Troubled Island – William Grant Still

Why It Belongs in Your Repertoire: William Grant Still’s opera Troubled Island was the first by an African American to be performed by a major American opera company. “My Dream” is a standout aria, filled with longing and lyricism, perfect for sopranos seeking underrepresented operatic works.

Performance Tip: Let the aria breathe. The orchestration is lush, and the vocal line soars. Ideal for auditions and performances highlighting American opera.

Why It Matters

Performing works by Black composers isn’t just a gesture—it’s a responsibility. By integrating these pieces into standard recital and audition repertoire, singers not only honor the past but actively reshape the future of classical music to reflect the diversity and richness it truly holds.

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