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The Poetic Mingus and the Politics of Genre in String Quartet No. 1

Abstract In 1972, the Whitney Museum of American Art commissioned new musical settings of poems by Frank O'Hara for a concert honoring the late poet. Among pieces by Virgil Thomson and Ned Rorem, the program featured a new work by Charles Mingus: his String Quartet No. 1. Mingus's piece was performed only once, at that concert, and was never recorded. It survives only in manuscript form. String Quartet No. 1 thwarts nearly all expectations of a piece by Mingus. Scored for strings and voice, the work's modernist approach to rhythm and pitch is unprecedented for the composer. Mingus chafed at being categorized as a “jazz” composer, and String Quartet No. 1's style is both a bid for and an undermining of the prestige of the high art world. Faced with primitivist discourses that characterized jazz musicians as unschooled and nonverbal, Mingus deployed poetry as a mode of resistance. He worked with poetic texts throughout his life, often writing the poetry himself. Mingus's sensitive setting of O'Hara's text in String Quartet No. 1 points to the centrality of poetry to Mingus's artistic and political project, and suggests that the piece's anomalous style can be partially understood as his response to O'Hara's text.