Dr. Samantha Ege, a musicologist, concert pianist, and author, has dedicated much of her career to uncovering the untold stories of Black women in classical music. She participated in an interview with Jewell Hillery on Sunday’s WGN Weekend Morning News to talk about her latest book, South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene. The book shines a spotlight on a group of trailblazing Black women in the early 20th century who not only defied societal expectations but also fundamentally changed the course of Chicago’s classical music landscape.
One of the central figures in Ege’s book is Florence Price, the first Black woman to have a symphony performed by a major national orchestra—the Chicago Symphony Orchestra. However, South Side Impresarios is not just the story of Price but a deeper exploration of the networks, collaborations, and behind-the-scenes efforts that allowed Price's success to happen. Through this work, Ege offers an essential contribution to the history of both Black women and classical music, acknowledging how these women created their own opportunities when the mainstream music world excluded them.
During the early 1900s, Chicago thrived as a hub of African American cultural expression. The Great Migration had brought thousands of African Americans to the city, many of them seeking better opportunities and escaping the entrenched racial discrimination of the South. In this context, a group of remarkable Black women began to make a name for themselves in the classical music scene. They were highly educated, driven, and fiercely determined to make their mark in a field that was overwhelmingly white and male-dominated.
One of the most pivotal figures in this movement was Florence Price, a composer and pianist who would eventually break barriers and become the first Black woman to have a symphony performed by a major national orchestra. Price’s symphony, brought to life by the Chicago Symphony Orchestra in 1933, became a defining moment in the story of American classical music. It was also a testament to the power of the networks and systems of support that these women had created for themselves.
Dr. Ege highlights the deep passion these women had for classical music, emphasizing how they personalized it and made it their own. They established unique networks and support systems, which ultimately led to Florence Price breaking barriers as the first Black woman to have a symphony performed by a major national orchestra. This milestone was achieved with none other than the Chicago Symphony Orchestra."
In South Side Impresarios, Ege details the roles that women like Price, along with other figures such as Margarete A. Curtis and Eva Jessye, played in forging these networks. These women, working in institutions like the Chicago Musical College and the Chicago Defender, an African American newspaper, laid the groundwork for a new era of Black participation in the world of classical music. Ege's research illuminates how, despite racial barriers and systemic exclusion, these women found ways to collaborate, support each other, and create pathways for success in a field that was not open to them.
The term “Race Women”—a central concept in Ege’s book—refers to a particular group of women who were not only involved in classical music but were also deeply committed to uplifting the Black community. These women were, as Ege explains, “from quite middle-class backgrounds” and were quite unusual for their time. In a period when the majority of African Americans lived in poverty and faced overt racial discrimination, these women represented a different kind of Black experience, one defined by intellectual ambition, artistic creativity, and cultural pride.
According to Ege, the term "Race Women" refers to women who were often hailed from relatively affluent backgrounds. Despite being atypical for their era, these women made significant contributions to reshaping the classical music landscape. This term is crucial for understanding the unique position these women occupied—straddling both the elite world of classical music and their desire to advocate for racial equality and empowerment.
In many ways, these women helped to redefine what it meant to be both Black and successful in the classical music world. At a time when the barriers to entry for Black musicians were high, the “Race Women” established their own networks of support, which allowed them to break through racial and gendered restrictions. They created spaces for Black artists to be celebrated and ensured that future generations of Black musicians would have a pathway to success in an industry that had, until then, largely excluded them.
Through their collaborations, these women were able to push back against the prevailing racial stereotypes of the time, showing that Black people could, and did, excel in the world of classical music. They also played an instrumental role in changing the perception of what classical music could be, introducing elements of Black culture and identity into the genre.
The story that Dr. Ege tells in South Side Impresarios is not just one of individual success but also of collective action. The women Ege profiles in her book were not isolated figures but part of a larger movement that sought to change the cultural landscape of Chicago, and by extension, the United States.
During the early 20th century, the classical music world was dominated by white, European traditions. Black musicians who wanted to pursue careers in this field faced steep obstacles. Beyond the obvious barriers of racism, they also had to contend with the pervasive gender discrimination that kept women—Black or white—on the sidelines. For Black women in particular, there were very few opportunities to perform, much less to be recognized for their compositional talents.
This made the achievements of women like Florence Price even more extraordinary. Price’s symphony, performed by the Chicago Symphony Orchestra in 1933, was a monumental moment in American classical music. It was not just a personal achievement for Price but a symbol of what could be accomplished when Black women worked together to overcome systemic barriers.
Ege’s book also shines a light on the people and institutions that supported these women, including patrons, critics, and Black-led organizations like the Chicago Defender. These supporters played a crucial role in providing financial assistance, platforms for performance, and the kind of moral support that allowed these women to continue their work in a challenging environment.
Dr. Ege’s personal connection to the women she writes about in South Side Impresarios is evident in her passion for their stories. As a Black woman, she acknowledges the lasting impact of the trailblazing work done by earlier generations of women. She credits much of her success to the groundbreaking contributions of these historical figures, whose efforts paved the way for opportunities she now enjoys.
Through her research, performances, and writing, Ege continues to honor the legacy of these women by ensuring that their contributions are not forgotten. In addition to her scholarly work, she is committed to using her platform as a concert pianist to elevate the voices of Black composers and performers, continuing the work of Price and others who fought for a place in the classical music world.
South Side Impresarios is more than just a historical account—it is a celebration of the transformative power of Black women in classical music. Dr. Ege’s work offers a comprehensive and deeply personal look at how these women not only changed the cultural landscape of their time but laid the groundwork for future generations of Black artists.
The legacy of Florence Price, Margarete A. Curtis, Eva Jessye, and others continues to resonate today, as their work paved the way for contemporary Black musicians in the classical world. Ege’s book is an important reminder of the power of persistence, collaboration, and cultural pride, and how a small group of determined women were able to break through barriers and leave a lasting mark on one of the world’s most exclusive art forms.
For anyone interested in understanding the deep history of Black women in classical music and the critical role they played in shaping Chicago’s music scene, South Side Impresarios is an essential read. It not only highlights the achievements of these remarkable women but also challenges us to think about the ways in which we continue to shape the cultural landscape today.
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