Mixed Race Studies

Prodigy and Prejudice

The New York Times
1995-12-10

Phyllis Rose

Composition in Black and White: The Life of Philippa Schuyler. By Kathryn Talalay. Illustrated. 317 pp. New York: Oxford University Press

This enthralling, heartbreaking book restores to attention Philippa Schuyler, child prodigy of the 1930’s, pianist, composer, Harlem’s Mozart, “the Shirley Temple of American Negroes.” Her father was George Schuyler, a well-known black journalist. Her mother was Josephine Cogdell Schuyler, the white daughter of a Texas rancher. Insisting that her daughter was the normal product of “hybrid vigor” and good nutrition, Jody Schuyler dedicated her to the cause of integration: Philippa’s brilliance would break down racial barriers in America. Instead, as Kathryn Talalay tells this important story, racial barriers and a manipulative, demanding mother broke Philippa.

Based on fascinating family papers in New York’s Schomburg Center for Research in Black Culture, “Composition in Black and White: The Life of Philippa Schuyler” begins by plunging us into a 1920’s world of race enthusiasm: “Nordics” go to Harlem for the night life and white girls date black men to rattle their families and prove to themselves they have interesting lives. Josephine Cogdell arrived in New York in 1927, wanting to write. She had contributed pieces to The Messenger, a left-wing black publication whose editor was George Schuyler. They met and were immediately attracted to each other.

A fanatic diarist, Jody even described their first kiss, revealing (or boasting) that she found George’s lips “softer and more sensuous than white lips.” Her primitivist ideas — the flip side of racism—glorified everything African and saw salvation in miscegenation. She encouraged herself to marry Schuyler with the thought that “the white race . . . is spiritually depleted and America must mate with the Negro to save herself.”…

…From the age of 8, Philippa concertized constantly, a darling of both the black and the white press, a role model in black communities throughout America. Her visibility was achieved through George’s press connections and Jody’s tireless management. At 15, she soloed with the New York Philharmonic at Lewisohn Stadium before an audience of 12,000, in a program that included one of her own compositions. (A symphony she wrote at 13 was, Virgil Thomson said, as interesting as the symphonies Mozart wrote at that age.)

But some thought her playing had been undermined by her relentless performance schedule, and the older she got the more it seems emotional turmoil prevented her from being a great artist. She made the transition from child prodigy to concert pianist, but by her mid-teens, whether because of her own inadequacies or racial barriers or both, she had gone as far as she would go as a performer in America—she was a success with black audiences, but of limited appeal to whites…

Read the entire review here.