George Theophilus Walker (June 27, 1922 – August 23, 2018) was a trailblazing American composer, pianist, and educator, celebrated for his profound contributions to classical music. In 1996, he became the first African American composer to win the Pulitzer Prize for Music for his work Lilacs for voice and orchestra. Walker’s compositions blend neoclassical structures with lush harmonies, rich lyricism, and an inventive use of texture. His music reflects a deep engagement with both European classical traditions and African American musical heritage, often incorporating spirituals, jazz influences, and modernist techniques.

A child prodigy, Walker was admitted to the Oberlin Conservatory at the age of 14 and later became the first Black graduate of the Curtis Institute of Music in 1945, studying piano with Rudolf Serkin and composition with Samuel Barber’s teacher, Rosario Scalero. He went on to earn a Doctor of Musical Arts from the Eastman School of Music and held teaching positions at Rutgers University, Smith College, and the Peabody Institute, mentoring generations of musicians.

Walker’s String Quartet No. 1, Lyric (1946) is one of his most enduring works, particularly its second movement, Molto Adagio, which was later turned into Lyric for Strings. Originally titled Lament and dedicated to the memory of his grandmother, the movement is a deeply expressive and poignant meditation on loss.

The movement opens with warm, singing lines in the violins, gradually unfolding into a lush, deeply moving texture reminiscent of Samuel Barber’s Adagio for Strings. However, Walker’s harmonic language introduces a sense of searching and uncertainty, creating a uniquely personal and introspective quality. In an interview not long before his death, Walker commented: “I never played a string instrument, but somehow strings have always fascinated me.” In Lyric, we hear the beginning of this lifelong fascination.

With its soaring melodies and heartfelt lyricism, Lyric for Strings has become one of Walker’s most frequently performed works, often featured in memorial settings and reflective concerts. The piece stands as a testament to Walker’s ability to transform personal grief into universally resonant beauty, solidifying his place as a vital voice in American classical music.

​