Julia Perry

Julia Perry was an American composer, conductor, singer and teacher born in Lexington, Kentucky on March 25, 1924. She studied voice, piano, and composition at Westminster Choir College from 1943 - 1948 earning both an undergraduate and graduate degree. In the summer of 1951, she studied composition with twelve-tone Italian composer Luigi Dallapiccola at the Berkshire Music Center in Tanglewood.

Between 1952 and 1957, Perry was awarded two Guggenheim Fellowships, continued her studies with Dallapicolla in Florence, Italy; studied with Nadia Boulanger at The American Conservatory at Fontainebleau where she was awarded the prestigious Prix Fontainebleau for her Viola Sonata; attended the Accademia Chigiana in Siena, Italy studying conducting; and toured Europe with support from the United States Information Agency.

Returning to the United States in 1959, her compositional style began evolving as the impact of the civil rights movement affected her deeply. In her later pieces, she embraced her African American heritage by writing music that integrated idioms from Negro spirituals and other Black genres. The last decade of her life was marred by financial and physical distress. In 1970, she suffered the first of multiple strokes that would paralyze her right side, limit her speech capabilities and confine her to a wheelchair for the remainder of her life.

Even with those challenges, she continued composing, using her left hand, until her death from cardiac arrest in 1979 at the age of 55. She is buried in Glendale Cemetery in Akron, OH. In the years after her death, many of her works were destroyed.

Source: Walker-Hill, H. (2002). From Spirituals to Symphonies: African-American Women Composers and Their Music. Greenwood Press.

Julia Perry at Tanglewood
Photo: Irene Britton Smith

PERRY’S EARLY LIFE

Written By: Dr. Yvonne Giles, Lexington Historian
November 2021

Nearly one hundred years ago, Julia Amanda Perry made her first appearance in Lexington in 1924. She was the fifth child born to Dr. Abraham and Mrs. America Heath Perry. Clara, America and Lucie were her older siblings. The youngest sister, Lettie Alycia, would be born five years later.

Julia was blessed with an extended family that included her grandmother Clara Perry, two great-uncles, Leon and William and their wives, Birdie and Ella Taylor. They lived in town, within four blocks of the family’s home on Vertner, now Eastern Avenue. Aunt Lucie and Archie Taylor, her husband lived in Dayton, Ohio but most certainly traveled by train to see her family.

With the number of adults around, especially Grandmother Clara, there would be no lack of support for this young family. African American family tradition dictates that older members offer guidance and helping hands to the younger. Older siblings were directed – sometimes under dire warning if they failed – to ‘watch out’ for the youngest. In turn they knew elder members would need care toward the end of their lives.

We find the Taylor/Perry families in East Lexington, one of the rapidly developing residential areas of the city. According to census data, 7,171 people, an increase of 133%, had moved to Lexington following Emancipation in 1865.  The demand for lots on which to build is not unlike the development of property in this day and time. Owners of large acreage subdivided their land to sell to African Americans who wanted to own their homes. Gunntown, Goodloetown and Kinkeadtown were subdivisions in which new buildings appeared. 

Grandmother Clara, unlike most, bought two lots in 1880 in Gunntown and built their two-story house so that it was surrounded by a large yard.  It remained in the family until 1934 and still stands. She was married to Abraham Perry, a Thoroughbred jockey, turned trainer. He worked with notable breeders not only here in Kentucky but also in New York, Maryland, and Illinois. He began training Thoroughbreds in 1875 in his native Woodford County. In 1885, the years of perfecting his skill, paid off. The Thoroughbred Joe Cotton won the Kentucky, Tennessee, Coney Island derby races and nine other handicap and stakes races in the U.S. To cap his career, he became an owner of Thoroughbreds and opened his own training stable. His 1908 obituary stated, ‘he was one of the most successful race horse trainers in Kentucky as well as one of the most substantial Negro citizens of Lexington.’ 

The Kentucky Association racetrack had been established in 1823 in East Lexington. The old track stood on sixty-five acres at the junction of Race and Fifth streets. Abraham was one of five trainers who lived near the track. Fellow trainer, Edward Dudley Brown and his family, lived two doors from Perry. Brown would become the first African American trainer inducted into the National Racing Museum Hall of Fame in 1984. Raleigh Colston, Sr., trainer for Chinn and Forsythe, lived on East Second Street. Lee Christy, trainer for J. B. Harper, lived on Chestnut Street. Courtney Mathews, trainer for the McDowell Stable at Ashland Estate, lived on Breckinridge. All their homes still stand; Mathews home is on the National Register of Historic Places.

Clara managed her husband’s earnings to maintain their home and provide for the education of their children. She paid the tuition for their son and daughter to attend Chandler Normal School. It had been opened in 1872 for African Americans by the American Missionary Association.  Upon graduation in 1903, Abraham attended Meharry Medical College, Nashville, Tennessee. An announcement in the paper stated that Abraham was the youngest among three hundred graduates and because of his education at Chandler had achieved high marks on his medical exam. He opened his practice in 1908 at his family home. Lucie, after graduating, attended Fisk University, also in Nashville, Tennessee. She earned a degree in music and became a music instructor. She married Archie Taylor, a physician, in 1914. The next year Abraham married America Heath, a nurse, in Columbus, Ohio.

Julia and her siblings may not have been born with silver spoons in their mouths, but they did have opportunities not available to most African Americans. Professionally, economically, socially and culturally, the Perry family would be considered upper-middle-class.

Click the image to watch Connect: The Life & Music of Julia Perry featuring local historian Dr. Yvonne Giles, Whit Whitaker, Executive Director of the Lyric Theatre & Cultural Arts Center, and musicologist Dr. Kendra Preston Leonard who has created a Julia Perry Working Group online with resources about Julia Perry’s music, her scores and her life.

Panel Installed in African Cemetary No. 2 about The Perry Family.

Photo: Akron Symphony Orchestra

JULIA Perry’s lost catalog published at last

Reported by The Violin Channel
December 2024

In 1970, Perry suffered a paralytic stroke. As musicologist J. Michele Edwards explained: “Her letters reveal her effort to walk, talk, and conduct again. She did learn to write with her left hand and resumed composing; however, she endured tragic emotional and financial difficulties.”

Perry’s work fell into obscurity after her death in 1979 and is only now beginning to receive attention. Until now, many of her roughly 100 compositions have remained unknown.

In 2024, Perry’s centennial year, the Estate of Julia A. Perry assigned all copyrights for her unpublished work to Videmus Inc., a non-profit arts organization dedicated to promoting concert works by African American, women, and under-presented composers, which has now released Perry’s previously unpublished music in a new partnership with Boosey & Hawkes.

Spanning several years, the new publication of Perry's catalog will help scholars to reconstruct her musical and personal journey for future biographers.

When Perry died, 21 of her approximately 100 works had been published, and there was no mechanism to secure permission to publish the rest of her catalog.

In 2021, the Akron Symphony sought a legal solution — with the support of Probate Judge Elinore M. Stormer of Summit County, Ohio, an estate was opened in Perry’s name on October 12, 2022. Over the course of two years, the estate granted permission for performances and recordings, and ultimately transferred copyrights to Perry’s unpublished music to Videmus Inc. in September 2024.

Since then, the three key figures leading the effort to publish Perry’s music have been Videmus’s editorial team of Dr. Louise Toppin; conductor Christopher Wilkins, music director of the Akron Symphony; and conductor James Blachly, music director of the Johnstown Symphony Orchestra and Experiential Orchestra.

Since 2021, Wilkins has led multiple reading and recording sessions and performed many of Perry’s unpublished works with the Akron Symphony.

Blachly first encountered Perry’s music in 2014 and has championed Perry’s music in performances for the past five years. His latest album with the Experiential Orchestra, “American Counterpoints” on the Bright Shiny Things label, features the first commercial recording of Perry’s Concerto for Violin and Orchestra performed with soloist Curtis Stewart. The album is currently nominated for two 2025 GRAMMY Awards in the Classical Compendium and Best Classical Instrumental Solo categories. This is the first GRAMMY nomination for Julia Perry's music.

“Julia Perry’s prominence in music history as an African American woman composer has been erased for too long,” said Videmus’s founder Dr. Louise Toppin. “Her story as a rising star in the world of composition and conducting during the years of extreme segregation in the United States is both compelling and astonishing. Her compositions (although to date her known output is small) show craftsmanship of the highest caliber that appeals to performers and audiences alike. Many of her compositions remain lost. Videmus is devoted to uncovering any works that still lie in publishers’ archives, university libraries, or in public or private collections. The neglect Perry’s music has faced is not unique. We hope that this endeavor might serve as a model for others seeking to bring additional works of unjustly ignored composers to light.”

“During her too-brief career, Julia Perry’s compositions earned praise in every esteemed musical circle from New York to Paris, despite the immense systemic challenges she faced,” added Steven Lankenau, Senior Vice President of Boosey & Hawkes. “She is an indisputably important figure in the history of 20th-century American music, and Boosey & Hawkes is proud to partner with Videmus to bring her unpublished works to the public as this noteworthy composer’s larger legacy continues to unfold.”

LEXPHIL PERFORMANCES of works by julia perry

OPENING NIGHT: HOME

September 20, 2019
Singletary Center for the Arts
Thomas Heuser, Conductor Finalist
Short Piece for Orchestra

SORROW, STRENGTH, & LOVE

September 20, 2021
The Lyric Theatre & Cultural Arts Center
Kelly Corcoran, Guest Conductor
Dr. Yvonne Giles, Historian
Courtney Porter, mezzo-soprano

Community Room Performance
Hosted by Erin Fung, Principal Clarinet
Symphony No. 13 for Wind Quintet
Serenity for solo clarinet

Main Hall Performance
Pastoral featuring Michael O’Brien, flute
Stabat Mater featuring Courtney Porter, mezzo-soprano


  • Symphony No. 13 for Wind Quintet (1976)
    Serenity for Clarinet or Oboe (1972)
    Pastoral (1959)
    Stabat Mater (1951)

    Julia Perry composed and studied (she counted Luigi Dallapiccola and Nadia Boulanger among her instructors) squarely within the modernist and post-modernist environments of the mid – 20th century. Genre conventions, diverse tonalities, and timbral possibilities of old and new instruments were applied, rejected, and transformed in highly individualistic ways by Perry and her contemporaries.

    Whether an orchestral vocal work drawing on medieval-era Christian hymns and poetry; a merging of symphonic and chamber music genres; or a character piece, Perry approached and dismantled genre conventions with a fresh and informed eye. Her most consistent compositional tools included 12-tone technique, rhythmic idiosyncrasy, melodic expressivity, contrapuntal motion, and dissonant tonalities.

    Perry completed her Symphony No. 13 for Wind Quintet following a stroke. Due to its shorter length and instrumentation, it might seem strange she would call the work a symphony rather than a quintet. But while the instrumentation may be that of a quintet it is symphonic in content and scope. Divided into four movements, Perry inverts the standard moderate-slow-funny-fast symphonic model. After a moderate and rhythmically complex first movement, the second movement is blisteringly quick, as well as harmonically and rhythmically adventurous. Rather than layering compound rhythms within simple meter, the third movement features more frequent meter changes (though not nearly as many as the Divertimento). The final movement is a return to an exciting tempo, harmonic variety, and rhythmic creativity.

    Serenity for Clarinet or Oboe balances a moderate tempo and idiosyncratic tonality with a rich expressivity. In this way, the work is not static or weighed down, but moving somewhere. It might be linear. It might be circular. It’s less about the destination than the journey.

    Pastoral is dark and meditative. The flute moves the work forward with interjections, responses, and layering with the strings. Of note are the moments of alignment between the flute and first violin, blurring the line between woodwind and string instrument in a stunning, haunting timbral blend.

    Stabat Mater for contralto and string orchestra is Perry’s best known and most programmed work. Also dedicated to the composer’s mother, she wrote the vocal part with Marian Anderson in mind (though Anderson never performed it). Perry’s Stabat Mater engages with the original Stabat Mater in title and theme: the latter is a 13th Christian hymn, chronicling the Virgin Mary’s witness of her son’s crucifixion. Perry sets Jacopone da Todi’s Latin poem about a spectator at the crucifixion, who is first detached then invested in Christ’s sacrificial burden. The accompanying English translation was done by Perry.

    Stabat Mater was well received nationally and internationally. For some, it is Perry’s most expansive and visionary work. Divided into ten sections, dissonant tonalities, melodic richness, and intense emotionality are used to great effect. Perry’s standard rhythmic complexity is on full display across the ensemble; and the dramatic range given to the vocalist highlights the composer’s vision of Anderson in the role of contralto.

LexPhil’s concert Sorrow, Strength, & Love and Julia Perry featured on Kentucky Educational Television’s Kentucky Life program.

LEGACY - THE PERRY FAMILY

October 1, 2022
Luigart 110

Adrienne Godfrey Thakur, Host
Dr. Yvonne Giles, Historian & African Cemetery No. 2 Board Member
Alicia Helm McCorvey, soprano
Whit Whitaker, tenor
Jacob Coleman, piano

LexPhil String Quartet
Daniel Mason, violin
Julie Lastinger, violin
Henry Haffner, viola
Benjamin Karp, cello

Julia Perry
How Beautiful Art the Feet
Free at Last
Lord! What Shall I Do?
I’m a Poor L’il Orphan in this Worl’
By the Sea

Julia Perry Portrait
Ken Burney, artist

2022-23 SEASON FINALE: BLOOM

May 20, 2023
Singletary Center for the Arts
Mélisse Brunet, Music Director

Homunculus C.F.
featuring Sandbox Percussion

ADDITIONAL RESOURCES

Julia Perry Working Group: 
https://kendraprestonleonard.hcommons.org/2021/02/23/julia-perry-working-group/

Notable Kentucky African Americans Database
https://nkaa.uky.edu/nkaa/items/show/966

History of the Lyric Theatre: 
https://www.lexingtonlyric.com/aboutus.html

TEXT: From Spirituals to Symphonies - Helen Walker-Hill 
https://www.amazon.com/Spirituals-Symphonies-African-American-Women-Composers/dp/0252074548

Seeking the Truth About Julia Perry
https://van-magazine.com/mag/julia-perry-centenary/