The South Dakota Symphony and the Lakota Music Project

Joseph Horowitz, At 250, Has America Delivered on Its Classical Music Promise? NYTimes, July 4, 2026.

The article is a general review of classical music in America starting with Henry Lee Higginson and the Boston Symphony. It's interesting throughout, but I want to present a single excerpt, from the end.

In the Midwest, the South Dakota Symphony Orchestra (for which, full disclosure, I serve as scholar in residence) likewise fulfills the credo pronounced long ago by Theodore Thomas when he crusaded for symphonic music across the United States: “A symphony orchestra shows the culture of the community, not opera.”

In fact, the concert orchestra, to a remarkable degree, proved an American invention — a civic hub comparable to the opera house abroad. The South Dakota Symphony enjoys a music director, Delta David Gier, who moved to Sioux Falls 22 years ago and has raised a family there. Gier has at all times insisted that an orchestra aspire to serve a specific community in specific ways. His signature initiative is the Lakota Music Project, which binds the orchestra to Native American reservations throughout the state. Beyond that, all the proposals now controversial in Boston, including thematic festivals and “affinity programing,” have already been implemented in Sioux Falls.

Do the South Dakota Symphony musicians, in Eagle Hawk’s words, “feel it”? The orchestra maintains a nine-member, full-time core consisting of a string quartet and wind quintet, both self-governing. They perform more than 100 times per season. At the Pine Ridge or Rosebud reservations, they play with Lakota drummers and singers, and mentor young musical aspirants. The remainder of the orchestra’s members, many of whom come from the Twin Cities area of Minnesota, are self-selecting: They do not trek to Sioux Falls for the income, but are enticed by the repertoire, which is brave, and the vibe, which is exhilarating.

The history of the Lakota Music Project tracks the South Dakota Symphony’s larger trajectory. It is an exercise in building trust and mutual understanding. Early on, the symphony members and the Porcupine Singers would play for each other. Personal and musical relationships evolved. Then there were fledgling attempts to make music together. The most recent Lakota Music Project tour, last October, premiered two compositions: one by Jeffrey Paul, the orchestra’s extraordinary principal oboist, and one by Bermel, with whom I conferred about those Met Opera broadcasts. The performers included symphony musicians alongside Pine Ridge’s Creekside Singers and the Dakota flutist Bryan Akipa.

In both pieces, elements of Native American and Western classical music merged triumphantly. Bermel has recast his composition to include the entire South Dakota Symphony; it premieres in November as part of a two-week festival considering “Native American inspirations” in classical music, beginning with Dvorak’s “New World” Symphony (accompanied by visuals exploring his indebtedness to Longfellow’s “The Song of Hiawatha”). Given the intellectual heft of this exercise, tracking the “Indianist” movement Dvorak inspired and its more recent aftermath, the festival will reach beyond the concert hall not only to local high schools, but to classrooms and concerts at four universities in four South Dakota cities.