I first encountered the work of this composer in 1982 in a broadcast concert of the Milwaukee Symphony that featured his Symphony No. 1. He was billed then as, “Primous Fountain III”. I listened and, as was my obsessive practice, I recorded the work on a cassette tape so that I could listen again and not have the experience fade into obscurity. I have listened many times to this wonderful piece and now in the age of social media one can find more of his music on his web page and his Facebook page.
Fountain was born in Chicago in 1949 where he attended Wendell Phillips High School and after graduation completed an orchestral piece Manifestation (1967) which was performed by the Chicago Symphony. He has also had performances by the Boston Symphony and the New England Conservatory under Gunther Schuller. I was fortunate recently to make the acquaintance of Mr. Bill Doggett who is a lecturer and marketing representative for black composers who is in touch with Mr. Fountain. He informs me that Mr. Fountain is alive and well and living in his native Chicago.
Though largely self-taught he later studied with Hans Werner Henze and Gunther Schuller and these experiences seem to have been absorbed into the composer’s palette. In a 1972 interview with Charles Amirkhanian, conductor Harold Farberman and composer Charles Shere the then 20 something Fountain seems to react with disinterest to the apparently sincere but rather uncomfortable efforts to address racial issues in music. He speaks as though he feels his music to be so natural a part of his life that he reports his amazing abilities are simply normal to him. He seems unconcerned with the political aspects of being a “black composer”. His instinct for complex things like orchestration are like walking or breathing, second nature. His identity is in his music.
After hearing his youthful work Manifestation none other than Quincy Jones commissioned Fountain’s Symphony No. 2. There is a performance by the Lugansk Symphony Orchestra of the Ukraine under the baton of Miran Vaupotic available for listening on the composer’s web site as well as on You Tube which now sports a performance of the first two movements of his fourth symphony along with the second movement of his Cello Concerto and selections from other orchestral works.
His idiom might be called conservative in that it incorporates a standard orchestra and uses well-known forms such as Symphony and Concerto but his skill at writing is the point much as it is with other composers trained in schools like Julliard, Curtis, Berklee and the New England Conservatory.
His work sounds at times like a latter day Stravinsky with jagged rhythms and rich orchestration. There is a passionate post-romantic intensity to the pieces I have heard. I definitely want to hear more.
Fortunately there is now a YouTube channel dedicated to this composer’s work. There are, however, no commercial recordings of this man’s music that I was able to find. Here we see a prodigy who was embraced by many in the world of serious music and whose star appeared to have been rising.
But for all the love and attention that prodigies sometimes get it hardly guarantees exposure beyond their youth. Fountain is not well-known but that has nothing to do with the quality of his music from what I have been able to hear. And as sincere as the performances are in the MP3 and YouTube selections they are hardly the pinnacle of musical interpretation. His music is complex and challenging to performers and I have no doubt that a major symphony orchestra with an insightful conductor could better demonstrate the power of his music.
One hopes that the body of music of this American composer will find an audience in his native country some day but limitations of arts funding and the plight of the black minority composer suggest that this will not be an easy path. I hope that some enterprising young musicology student might take on the cataloging and analysis of his work to help this process. Any takers?
Maybe the people at Naxos records or one of the many fine and creative independent labels who have recorded so much neglected music might take on the task of bringing some of this music to classical audiences. It would be a loss to allow it to languish under-appreciated and largely unheard. We truly don’t know what we’re missing and I think that is a terrible shame.