“Celebrating its 100th anniversary is the anchor piece for this program, George Gershwin’s ‘Rhapsody in Blue,’” says Diane Wittry, Allentown Symphony Orchestra Music Director and Conductor.

“And even more inspiring, this concert is a journey of the African-American spirit and development of jazz,” says Wittry.

Allentown Symphony Orchestra presents “Rhapsody in Blue,” 7:30 p.m. Nov. 9; 2 p.m. Nov. 10, Miller Symphony Hall, Allentown.

The program opens with “Ballade in A minor, Op. 33” by English composer Samuel Coleridge-Taylor (1875-1912).

Coleridge-Taylor, an underprivileged black child from a broken home, rose from humble beginnings to become one of the best-known British composers and the first black British composer of classical music to win acclaim in the United States.

He was admired by English composer Sir Edward Elgar and celebrated in Britain, only to die young and poor. His music struggled to survive.

“Ballade” opens with a splashy flourish of timpani, strings and flutes, joined dramatically by the orchestra. Sir Arthur Sullivan attended the work’s premiere and observed, “Much impressed by the lad’s genius. The music is fresh and original, his scoring brilliant and full of colour - at times luscious, rich and sensual.”

Contemporary composer Billy Childs’ work, “Diaspora, Concerto for Saxophone and Orchestra,” follows.

The concerto, composed in 2023, explores the complex experiences of the dispersal of African-Americans from their homeland through the lens of a saxophone solo.

“This three-movement concerto exudes emotions, ranging from heartfelt and very moving, to very angular and angry, while other parts are just absolutely beautiful,” says Wittry.

The concerto is a musical interpretation of poems by three Black poets: Nayyirah Waheed’s “Africa’s Lament” (1986); Claude McKay’s “If We Must Die” (1919) and Maya Angelou’s “And Still I Rise” (1978). During the course of the performance, the verses of each poem will be projected.

Says Wittry, “I was drawn to this concerto not only based upon the premise of the work. We are so pleased to have saxophonist Steven Banks as guest soloist, the person for whom the piece was written.”

Steven Banks is a prominent classical saxophonist recognized for his charismatic performances, dedication to expanding the classical saxophone repertoire and advocacy for diversity in classical music.

In 2022, Banks won the prestigious Avery Fisher Career Grant and was chosen to join WQXR’s Artist Propulsion Lab, a program designed to advance the careers of artists and support the future of classical music.

At the TEDx Northwestern University 2017 conference, he discussed overcoming institutionalized prejudices against women and people of color. He has written and given lectures on the history of Black classical composers.

After intermission, the concert continues with the “Afro-American Symphony (Symphony No. 1)” by American composer William Grant Still (1895-1978). Although a prolific composer of operas, ballets, symphonies and other works, he is most known for this symphony.

Written in 1930, the four-movement composition is often interpreted as drawing inspiration from the themes and rhythms of African-American poetry and aims to musically represent the poetry by incorporating elements of blues, spirituals and jazz.

“When Howard Hanson and the Rochester Philharmonic premiered this piece in 1931, it became the first symphony by a black composer performed by a major American orchestra,” says Wittry.

Still was raised by his mother and grandmother in Little Rock, Ark., and started studying medicine before turning to music.

His music studies began at Oberlin Conservatory of Music, Oberlin, Ohio, and the New England Conservatory of Music, Boston, Mass.

He was music arranger for bandleader Paul Whiteman, known as the “King of Jazz,” and blues composer W.C. Handy.

“This diversity of experience clearly led to the ‘Afro-American Symphony’ being one of the most performed symphonies between 1930 to 1950,” says Wittry.

The final concert selection is George Gershwin’s popular “Rhapsody in Blue” (1924). Paul Whiteman, popular bandleader of the 1920s, convinced Gershwin to write a piano score for a jazz concerto, advising that Whiteman’s house arranger, Ferde Grofé, would then orchestrate it for Whiteman’s band. Although Whiteman promoted the piece as a jazz concerto, Gershwin considered it a rhapsodic work for “piano and jazz band.”

The performance of this inimitable selection features British pianist Simon Mulligan, a musician well-known for his performances in the “Jazz Upstairs Series” at Miller Symphony Hall.

Mulligan’s solo work gains praise from critics and audiences alike. His collaborations include performances and recordings with Yehudi Menuhin, Joshua Bell, Leonard Slatkin and Sting.

He has performed worldwide, including Carnegie Hall, New York City; Wigmore Hall and Royal Albert Hall, London; Suntory Hall, Tokyo, and private performances for Queen Elizabeth II and President Barack Obama.

Mulligan has led his own jazz quartet since age 13, which has performed in major international festivals. His eclectic work has led to profiles in Downbeat, JazzTimes, BBC Music, Classic FM and Gramophone magazines.

Mulligan’s music career began as a music scholar of St. Paul’s School, London, which led to winning a scholarship to study at the Royal Academy of Music, London, and a scholarship to the International Piano Academy, Lake Como, Italy. He is one of the youngest recipients of the Fellowship of the Royal Academy of Music.

“Simon has been a friend of the Allentown Symphony Orchestra for many years,” says Wittry.

“He plays ‘Rhapsody in Blue’ differently than most classical artists. He adds color and nuance based on his jazz experience and as a jazz composer,” Wittry says, adding “Gershwin inspired the piece. Simon brings that feeling.”

“Rhapsody in Blue,” Allentown Symphony Orchestra, 7:30 p.m. Nov. 9; 2 p.m. Nov. 10, Miller Symphony Hall, Allentown, 23 N. Sixth St., Allentown. Free tickets for those age 21 and under. Tickets: box office; 610-432-6715; https://www.millersymphonyhall.org

“Classical View” is a column about classical music concerts, conductors and performers. To request coverage, email: Paul Willistein, Focus editor, pwillistein@tnon-line.com