Atlantic Requiem: How a new symphony confronts the history of slavery

The intersection of ledger and loss

There is a deeply unsettling irony in the archives of the transatlantic slave trade. Many historical documents—records used to calculate the 'value' of enslaved people as cargo—start with the phrase, 'In the name of God, Amen.' Dr. Errol Francis, the artistic director of the charity Culture&, felt that contradiction needed a voice. His solution? Transform those cold, clinical insurance papers into an act of remembrance.

The composition

Enter Manchester-based composer David Önaç. His new 40-minute, five-movement work, Atlantic Requiem, premieres this Sunday at LSO St Luke’s in London. The project is backed by Lloyd’s of London—the very insurance market that historically insured ships carrying enslaved people—as part of its efforts to address its own past.

Önaç, who is of mixed heritage, blended contemporary classical music with jazz and gospel traditions. He sees it as a 'grand canvas' to explore the musical and cultural legacies born from both sides of the Atlantic. The piece uses the piano’s layout as a metaphor for history, noting how black and white keys converge, much like the disparate musical cultures he is merging.

Facing the dark side of history

While the requiem aims for reconciliation, it doesn’t shy away from the horrific realities of the period. One movement is particularly haunting, drawing from 1791 grand jury testimony regarding the brig Polly. It documents the murder of an enslaved woman who was thrown overboard by the captain’s orders because of a suspected smallpox infection.

Önaç noted that the captain’s account was chillingly detached, with the man expressing remorse only for losing a 'good chair' used in the act. For the creators, this isn't just about history; it's about forcing a reckoning with how we assign value to human life.

Why it matters

This project is a highkey heavy cultural moment. While some critics argue that artistic projects don't replace the need for formal financial reparations, Dr. Francis is clear on the intent: it’s not meant to be a political payout. Instead, it’s an acknowledgment of suffering and, more importantly, the survival of African people. It’s giving us a chance to process a trauma that still sits rent-free in our global history, using art to highlight how polarized and segregated society remains today.