Thursday, November 29, 2007

David N. Baker (b. 1931), African American Jazz & Classical Composer With 2000 Works


[Basically (David) Baker; Buselli/Wallarab Jazz Orchestra; GM Recordings 3049]


Dr. David N. Baker is a renowned composer of both jazz and classical music. He is Composer-in-Residence for the 2007-2008 Season for the Ritz Chamber Players of Jacksonville, Florida. As an instrumentalist Baker first played trombone and later switched to cello. The author of 60 books and 400 articles, he has received commissions from over 500 people and groups; he has composed 2,000 jazz and classical works.

Baker's compositions appear on at least 65 recordings, including several conducted by the African American conductor Paul Freeman. One such CD is
African Heritage Symphonic Series, Vol. III, which includes his Cello Concerto (1975) (19:56). Katinka Kleijn is cello soloist; the Chicago Sinfonietta is conducted by Dr. Freeman; the CD is Cedille 90000 066 (2002). Dr. Dominique-René de Lerma writes in the liner notes:

His original intention to become an orchestral trombonist was short lived – orchestral work was more or less out of reach for African Americans at the time – so Baker entered the jazz world. He enjoyed rapid success, performing and rcording in the U.S. And Europe with several jazz legends including Quincy Jones, George Russell, Maynard Ferguson, and Lionel Hampton. An accident put an end to Baker's trombone playing in 1962. He began studying the cello, first with Leopold Teraspulsky and later with Janos Starker. In 1966, he joined the faculty at Indiana and began training a new generation of jazz musicians.

Dr. Baker's website includes this Biography:

David Nathaniel Baker, Jr. was born December 21, 1931 in Indianapolis, Indiana. He is Distinguished Professor of Music and Chairman of the Jazz Department at the Indiana University School of Music in Bloomington, Indiana, as well as conductor and artistic director of the Smithsonian Jazz Masterworks Orchestra (visit: David Baker's Oral History - Smithsonian Jazz). A virtuoso performer on multiple instruments and top in his field in several disciplines, Mr. Baker has taught and performed throughout the USA, Canada, Europe, Scandinavia, Australia, New Zealand and Japan. He is also the conductor and musical & artistic director of the Smithsonian Jazz Masterworks Orchestra.


Mr. Baker received both bachelor's and master's degrees in music education from Indiana University and has studied with a wide range of master teachers, performers and composers including J.J. Johnson, Bobby Brookmeyer, Janos Starker, George Russell, William Russo, Bernard Heiden, and Gunther Schuller, among others. A 1973 Pulitzer Prize nominee, Mr. Baker was nominated for a Grammy Award in 1979, and has been honored three times by Down Beat magazine -- as a trombonist, for lifetime achievement, and as the third inductee to their Jazz Education Hall of Fame.

Mr. Baker has received numerous awards, including the National Association of Jazz Educators Hall of Fame Award (1981), President's Award for Distinguished Teaching from Indiana University (1986), the Arts Midwest Jazz Masters Award (1990), the Governor's Arts Award of the State of Indiana (1991), the Indiana Historical Society’s Living Legend Award (2001), the James Smithson Medal from the Smithsonian Institution (2002), the American Jazz Masters Award from the National Endowment for the Arts (2000), and an Emmy Award (2003) for his musical score for the PBS documentary For Gold and Glory. He has received honorary doctorates from Wabash College, Oberlin College, and the New England Conservatory of Music. In 2007 he will be honored by The John F. Kennedy Center for the Performing Arts with their Living Jazz Legend Award.

As a composer Mr. Baker has been commissioned by more than 500 individuals and ensembles, including Josef Gingold, Ruggerio Ricci, Janos Starker, Harvey Phillips, the New York Philharmonic, the St. Paul Chamber Orchestra, the Beaux Arts Trio, the Fisk Jubilee Singers, the Louisville Symphony, the Ohio Chamber Orchestra, the Audubon String Quartet, the International Horn Society, the Indianapolis Symphony, the Chicago Sinfonietta, and the Plymouth Music Series. His compositions total more than 2,000 in number, including jazz and symphonic works, chamber music, and ballet and film scores.

Mr. Baker's service in music organizations is wide-ranging and includes membership on the National Council on the Arts; board positions for the American Symphony Orchestra League, Arts Midwest, and the Afro-American Bicentennial Hall of Fame/Museum; and past chairs of the Jazz Advisory Panel to the Kennedy Center and the Jazz/Folk/Ethnic Panel of the National Endowment for the Arts. He is past president and past vice president of the International Association for Jazz Education, and past president of the National Jazz Service Organization. He currently serves as senior consultant for music programs for the Smithsonian Institution. He has served a number of times on the Pulitzer Prize Music Jury and is Chair of the Jazz Faculty of the Steans Institute for Young Artists at the Ravinia Festival in Chicago, IL. He has more than 65 recordings, 60 books, and 400 articles to his credit.

Wednesday, November 28, 2007

Building Me A Home: Check Out AfriClassical.com & AfriClassical Blog

Building Me A Home writes:

If you enjoyed the Mahler post, check out this blog/website that's devoted to classical composers, musicians, and performers of African descent.

AfriClassical.com

AfriClassical the Blog

It's very interesting, especially finding out that Beethoven composed a piece for a black violinist. Except they had a falling out and Beethoven renamed it and gave it to someone else. Juicy!

Posted by Spinner at 5:04 PM

Zenobia Powell Perry (1908-2004), African American Composer


Judith Weingarten wrote a Comment on “Maria Corley, African American Pianist”:

This is great. Where can I buy Maria Corley's CD (on the web, as I live in Italy)?

I wrote a blog piece about Zenobia Perry in August [on Zenobia: Empress of the East] and have been dying to hear her work played. This is is my chance!

Judith November 2, 2007 6:24 AM

Judith Weingarten presents a brief biographical sketch of Zenobia Powell Perry, and notes that a website has been dedicated to her at www.ZenobiaPerry.org/ The liner notes for Soulscapes: Piano Music by African American Women; Maria Corley, piano; Troy 857 (2006) have this to say of the composer:

“Zenobia Powell Perry was born in Boley, Oklahoma, and died in Wilberforce, Ohio where she taught at Central State University from 1955 until her retirement in 1982. She was educated at the Tuskegee Institute, the University of Northern Colorado, and the University of Wyoming. Her teachers included Darius Milhaud and Robert Nathaniel Dett. She composed a mass, an opera, pieces for band and orchestra, songs, chamber works, and piano pieces. 'Homage' was written for the 90
th birthday of composer William Dawson (1899-1990) and is based on one of his favorite spirituals, 'I Been 'Buked'."

Conference on Black Music Research Feb. 14-17, 2008


The Center for Black Music Research of Columbia College Chicago, www.CBMR.org/, has announced its National Conference on Black Music Research, February 14-17, 2008 at the Palmer House Hilton in Chicago, Illinois:

Please join us for the Center’s tenth conference dealing with issues relating to the research, teaching, and performance of music of the black diaspora. A major component of the 2008 conference will deal with reassessing the black music diaspora. Scholars and researchers of black music will be joined by scholars in the allied fields of diasporal studies, history, and philosophy to address such questions as what the black music diaspora is, why it is important, and how it should be understood.


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Black+History" rel="tag">Black History
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Music+Diaspora" rel="tag">Music Diaspora

Tuesday, November 27, 2007

Call for Papers: 2009 William Grant Still Festival/Conference, Natchez, Mississippi


[William Grant Still, Conducting (Photo is the sole property of William Grant Still Music, and is used with permission.)]


A cultural group in Natchez, Mississippi, is planning

A WILLIAM GRANT STILL FESTIVAL/CONFERENCE

for the year 2009 (dates as yet undetermined).


If you would like further information on this event as the planning develops, or if you think that you would like to present a scholarly paper or lecture-recital during this occasion, please send us your contact information. [The call for papers will be released sometime in 2008 or early 2009. It is proposed that the theme for the conference relate to multicultural arts and education.]


Send Name, Address, Phone, Fax & E-Mail. Mail to: William Grant Still Music, 809 W. Riordan Road, Suite 100, Box 109, Flagstaff, AZ 86001-0810

Or fax to: (928) 526-0321 Or email: wgsmusic@bigplanet.com


We Need To STOP: Francis B. "Frank" Johnson: Black Bugler & Composer


[The Music of Francis Johnson & His Contemporaries: Early 19th-Century Black Composers; Diane Monroe, Violin; The Chestnut Brass Company and Friends; Tamara Brooks, Conductor; Music Masters 7029-2-C (1990)]

We Need To STOP:

William J. Zick has done a fine job over at AfriClassical.com of compiling information on historical African American classical musicians. I like classical music, but I would not say you can find me in the record store aisle browsing CD covers, but this site is worth looking at. Figure skating is a sport I follow, so I can recognize a work or few. It is absolutely fabulous with its audio, photos, and important stories. It is a good visit for students and if you have children learning to play instruments. Perhaps they will appreciate lessons a bit more.

One of the musicians featured on his site is bandleader Francis Johnson (1792-1844) and he led the first African American musicians to Europe according to Zick. A research publication excerpt, from professor Dominique-René de Lerma of Lawrence University, featured on Zick's site, details some of Frank's racial discrimination trials:

"Johnson's career was never far from the ugliest forms of racial persecution. White bands often refused to participate in parades when Johnson's band was scheduled to appear; and when the band toured to St. Louis, Missouri, its members were arraigned, fined and ordered from the state under laws prohibiting the entry of free Blacks. A particularly violent incident occurred near Pittsburgh: "At the close of the concert the mob followed Mr. Johnson and his company shouting "n____" and other opprobrious epithets, and hurling brick-bats, stones and rotten eggs in great profusion upon the unfortunate performers. One poor fellow was severely, it is feared dangerously, wounded in the head, and others were more or less hurt. No thanks to the mobocrats that life was not taken, for they hurled their missiles with murderous recklessness if not with murderous intention." The Tribune [NY], May 23, 1843."

Racialicious: Classical music not all whites in wigs

Racialicious:

“Zick’s AfriClassical.com website documents the history of minorities composing and performing classical music. His work combines a love of classical music with a commitment to racial equality.”

Full Post

Monday, November 26, 2007

Guadeloupe Attitude on homage to Guadeloupean guitarist Atuahualpa Ferly

In a post dated 26 November 2007, Guadeloupe Attitude, written by our friend Jean-Claude Halley of Guadeloupe, expresses approval of the AfriClassical post which favorably reviewed the career of the young classical guitarist of African descent, Atahualpa Ferly (b. 1974), who is a native of Guadeloupe:


Un juste hommage au guitariste Guadeloupéen Atahualpa Ferly De la part de notre ami Bill Zick, qui continue son reperrage des musiciens noirs sur son très beau site.

[A rough translation might be: “Rightful homage to the Guadeloupean guitarist Atahualpa Ferly from our friend Bill Zick, who continues his reporting on Black musicians on his very beautiful site.”]

ABC Søk: AfriClassical: From Pianos for Uganda to Kampala Music School

Verden.ABCSØK.no:

Pianos for Uganda was a charitable effort begun in 1998 which collected used upright pianos from Britain, shipped them to Uganda, and allowed music students ...


URL:

http://africlassical.blogspot.com/2007/11/from-pianos-for-uganda-to-kampala-music.html

Info

76k - hurtigbuffer - Lignende side


Atahualpa Ferly (b. 1974) Guitarist of African Descent, Performs in Les Nuits Caraïbes



Atahualpa Ferly is a native of Guadeloupe (b. 1974) and is a highly accomplished classical guitarist and educator of African descent. He first studied the guitar with his father at the age of 8 and has subsequently taken master classes with such prominent classical guitarists as Leo Brouwer and Costas Cotsiolis. His website is:
http://pagesperso-orange.fr/citedesarts/c-ferly02-04-23.html

The website indicates that Ferly studied classical music at Ecole Nationale de Musique (ENM) [National School of Music] of Aulnay and is now in his 4th year at Conservatoire National Supérieur de Musique (CNSM) [National Higher Conservatory of Music] of Paris in the class of Roland Dyens. The site goes on to say that he is the winner of several contests, such as the Inter-Caribbean Competition of Martinique and the Montdidier and Rennes competitions, and has been invited to the Festival of Bair-Mahault Guadeloupe.

The website http://journeesdelaharpe.free.fr/spip.php?article13 reports Atahualpa was a unanimous 1st Prize winner at ENM and upon admission to CNSM won the 1st Prize for Guitar for 2002 in the class of Roland Dyens. It also notes he won the 2nd Prize in the Bardonechia Chamber Music Competition in Italy, and was a finalist in the 2004 International Guitar Competition of Coria, Spain. We are told further that Ferly gives regular concerts in France and abroad, all the while teaching at Ecole de Musique du Havre [School of Music of Le Havre] in Normandy. Interested in cultural exchange, he has made a concert tour in West Africa with the singer Jacques-Greg Belobo.

The 6th Annual Festival de Musique Classique des Nuits Caraïbes [Caribbean Nights Festival of Classical Music] will take place from February 23 to March 7, 2008 on Guadeloupe and Martinique.
Information is available from Bernadette Beuzelin, cafeierebeausejour@wanadoo.fr


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Guadeloupe+Martinique" rel="tag">Guadeloupe Martinique

Sunday, November 25, 2007

Chicago Sinfonietta: THE DREAM LIVES ON, Annual Tribute to Dr. Martin Luther King, Jr.

Dr. King’s message is too grand for any one art form to fully express. Recognizing this, the Sinfonietta combines dance, gospel music, and orchestral pieces both ancient and modern in this joyful annual celebration. Sphinx competition winners Christina Castelli and Melissa White join us on violin, while the Deeply Rooted Dance Theater presents a World Premiere piece set to the music of Samuel Barber. Then, the Apostolic Church of God Sanctuary Choir will rock the house with their gospel fervor.

Adolphus Hailstork
Celebration

Samuel Barber
Adagio for Strings

Joseph de Bologne, Le Chevalier de Saint-Georges
Symphonie Concertante, Op.13

Gospel Music

January 20 - Sunday, 3:00pm, Dominican University, 7900 W Division, River Forest

January 21 - Monday, 7:30pm, Orchestra Hall at Symphony Center 220 South Michigan Avenue
Chicago

[Maestro Paul Freeman, Founder and Conductor of the Chicago Sinfonietta, is profiled at AfriClassical.com]


Chicago+Sinfonietta" rel="tag">Chicago Sinfonietta
King+Tribute" rel="tag">King Tribute
Christina+Castelli" rel="tag">Christina Castelli
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Civil+Rights" rel="tag">Civil Rights

Chile Welcomes Cuba's Leo Brouwer, Afro-Cuban Guitarist, Composer & Conductor


[Concierto de Volos (28:01); Orquesta de Cordoba; Leo Brouwer, Conductor; GHA Records 126.025 (1998)]

Cuban composer, guitarist and orchestra conductor Leo Brouwer is currently in Chile to receive a tribute from the people and authorities of the South American nation.

For two weeks, the author of emblematic scores of Latin American vanguard music of the twentieth century, will teach classes, conduct a concert of pieces by him, and receive the Pablo Neruda Artistic and Cultural Order from President Michelle Bachelet.

"I'm very excited, as this is my first visit to Chile," said Brouwer, 68, shortly after arriving to Pudahuel Airport.

On Tuesday, December 4, the distinguished musician will perform in a one time only concert that will also include two other Cuban musicians, flautist Niurka Gonzalez and guitarist Joaquin Clerch.

Chilean music critics have compared Brouwer's visit to the one in 1960 by Russian composer Igor Stravinsky. The El Mercurio newspaper reported that Brouwer's program in Santiago de Chile is having the same effect on music loving Chileans as the visit by Stravinsky, author of The Rite of Spring.
(CubaNews)

[Leo Brouwer is profiled on AfriClassical.com]

34pages: Corrected CD Description, “Electric Vivaldi, The Four Seasons” by Gregory Walker


Posted November 24, 2007

submitted to 34pages by Brandon Hebert

Composer and violinist Gregory TS Walker has provided us with corrected information on the CD Electric Vivaldi, The Four Seasons, which was discussed in the AfriClassical post Gregory TS Walker, African American Composer and Violinist …

You can read the full story here


Gregory+Walker" rel="tag">Gregory Walker
classical+music" rel="tag">classical music
New+Age" rel="tag">New Age
Four+Seasons" rel="tag">Four Seasons
Black+Violinist" rel="tag">Black Violinist
African+American" rel="tag">African American

Saturday, November 24, 2007

The Symphony of the New World is not the New World Symphony

Wilmer Wise comments on "Harry Smyles (1918-2003), African American Oboist, Helped Launch Symphony of the New World":

Please, don't confuse "The Symphony of the New World" with the "New World Symphony." They are different groups, with different goals.
The SOTNW was a NY based orchestra of pros. The NWS is a group of youngsters based in Florida.
I played the first concert with the SOTNW in the sixties, it was a major event for musicians of color.
Wilmer Wise

November 22, 2007 3:03 PM

AfriGeneas: Edmond Dede, African American Composer Born Nov. 20, 1827


[Edmond Dede; Hot Springs Music Festival; Richard Rosenberg, Conductor; Naxos 8.559038 (2000)]


AfriGeneas Genealogy and History Forum: Edmond Dede, Composer Born Nov. 20

By:Mhenga
Date: Tuesday, 20 November 2007, 6:28 pm


Edmond Dede, African American Composer Born Nov. 20, 1827
By William J. Zick
Subsequent instruction from Ludovico Gabici ended when White hostility against African American musicians forced him to flee to Mexico, where he continued his training. Upon his return to New Orleans Dede began working as a cigar maker. ...

[Full Post]:AfriClassical

Edmond Dede is profiled at AfriClassical.com


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Corrected CD Description, “Electric Vivaldi, The Four Seasons” by Gregory Walker


African American composer and violinist Gregory T.S. Walker has provided us with corrected information on the CD Electric Vivaldi, The Four Seasons, which was discussed in the AfriClassical post Gregory T.S. Walker, African American Composer and Violinist With CD “Electric Vivaldi”. He points out that his father George T. Walker is not included in the personnel for the recording. In addition, Marcelo Sanches plays cello, the synthesizer is played only by Lori Walker, and the catalog number is Newport Classic 85569 (2006). We appreciate these corrections from Gregory T.S. Walker.

Friday, November 23, 2007

Violin Blog: Gregory TS Walker, African American Composer and Violinist With CD

November 23rd, 2007

Since his debut with the Colorado Symphony Orchestra in 1992, Gregory Walker’s talents have been in demand for every conceivable musical challenge from the Colorado premiere of Black Romantic Joseph White’s Violin Concerto with the …[Full post]

Posted in Uncategorized on Violin Blog


Gregory+Walker" rel="tag">Gregory Walker
Hip-Hop+Symphony" rel="tag">Hip-Hop Symphony
classical+music" rel="tag">classical music
Electric+Violin" rel="tag">Electric Violin
Black+Composer" rel="tag">Black Composer
Black+Performer" rel="tag">Black Performer

Gregory T.S. Walker, African American Composer and Violinist With CD “Electric Vivaldi”


[Electric Vivaldi, The Four Seasons; Antonio Vivaldi, composer; George Walker, composer; Gregory Walker, violin; Marcelo Sanches, electric cello; George Walker, electric violin; Lori Walker, synthesizer; Lori Lynne Walker, synthesizer; Boulder Philharmonic Orchestra; Eric Bertoluzzi, conductor; Newport Classic 85669 (2006)]


Dr. Gregory T. S. Walker is an African American composer and violinist whose parents are also professors of Music. Dr. Helen Walker-Hill is a pianist and scholar of music by African American women. Dr. George T. Walker is a composer and pianist who is the first African American to win the Pulitzer Prize in Music during his lifetime, in 1996. He is profiled at AfriClassical.com

Gregory Walker is Associate Professor of Music at the University of Colorado at Denver. His faculty web page and his personal website describe a prolific and adventurous composer and performer. The Orchestral Solos page of his website reads:

"...silky violin tone and beautifully calibrated phrasing..." - The Newark Star-Ledger

"Since his debut with the Colorado Symphony Orchestra in 1992, Gregory Walker's talents have been in demand for every conceivable musical challenge from the Colorado premiere of Black Romantic Joseph White's
Violin Concerto with the Loveland Chamber Orchestra to a cameo electric violin solo on tour with French pop star Anne Pigalle. Dr. Walker has performed throughout the United States and abroad with numerous orchestras including the Cleveland Chamber Symphony (Ohio), the Yaquina Chamber Orchestra (Oregon), Encuentro Musicale de los Americas (Havana, Cuba), the Breckenridge Festival Orchestra (Colorado), and the Filharmonia Sudecka (Walbrzych, Poland)."

Multimedia Guitar is a section which includes The Intelligent Life (music, dance, and drama) (1994). The Concert Works web page credits Walker with being the first Black composer of a rap symphony:

"In 1993, the Colorado Symphony commissioned Walker to compose what was acclaimed to be the first rap symphony, Dream N. the Hood. He received the American Academy of Arts and Letters Charles Ives Fellowship in 2000.

In performances ranging from Filharmonia Sudecka's premiere of the previously-censored
XUCUOYKCUFA in Poland to the Detroit Symphony's controversial reading of micro*phone for Amplified Orchestra, Walker has pushed the stylistic limits of the symphony orchestra."


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Black+Violinist" rel="tag">Black Violinist
New+Age" rel="tag">New Age

Thursday, November 22, 2007

Sim ÖZDEN: Dr. Timothy K. Njoora, Composer, 'claiming Kenya’s place in the world of concert music'

submitted to Sim ÖZDEN by Ty Barry

Njoora for his insights into classical music composition in Kenya in general and, more specifically, his own creative process of presenting African and Kenyan musical heritage in classical music forms and, ‘claiming Kenya’s place in the …

full story on AfriClassical here


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Kenyan+Heritage" rel="tag">Kenyan Heritage
Kenya+News" rel="tag">Kena News
Africa+News" rel="tag">Africa News
African+Music" rel="tag">African Music

Blog Design: Dr. Timothy K. Njoora, Composer, 'claiming Kenya’s place in the world of concert music'


submitted by Rey Andrews

Njoora for his insights into classical music composition in Kenya in general and, more specifically, his own creative process of presenting African and Kenyan musical heritage in classical music forms and, ‘claiming Kenya’s place in the …

click here for full story

Rey Andrews on 22 Nov 2007

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Kenyan+Music" rel="tag">Kenyan Music
African+Composition" rel="tag">African Composition
AfriClassical+Blog" rel="tag">AfriClassical Blog
Kenyan+Concert" rel="tag">Kenyan Concert

Our Michigan: Classical music not all whites in wigs


"It isn't right for people to grow up thinking that classical music is all white men in wigs." These are the words of Bill Zick, who wants people to know that minorities played an important role in the history of classical music.

Zick's AfriClassical.com website documents the history of minorities composing and performing classical music. His work combines a love of classical music with a commitment to racial equality.

A retired administrative law judge based in Ann Arbor, Zick has created an internationally recognized education resource on African heritage in classical music. The site contains biographies and audio samples of 52 composers and musicians and spans 500 years of music history. Last year, departments of education in 15 states used the resource.

"People of color have always been a part of classical music and that should be public knowledge," said Zick. In creating and maintaining his blog and website, Zick's main goal is education. "I want people to know the history of blacks in classical music. I want them to know that Henry VIII had a black trumpeter. I want them to know that Beethoven wrote his most challenging sonata for a black violinist," said Zick.

Although racial minorities have a long history in classical music, they are still under-represented among professional symphony orchestras. According to the Sphinx Organization, a Detroit-based advocacy and education organization, less than 4 percent of symphony orchestra members in the U.S. are African-American or Latino.

Zick, a white American, began his lifelong interest in civil rights in his youth. "I grew up with the sense that there was a great societal wrong about the way people of color were treated," he said. "My father was a fan of jazz and knew about racial inequality." His father would attend segregated jazz concerts in the 1930s in Flint. Zick said that after the white bands would play, whites were required to leave and then black performers could take the stage. He said his father would hide in the theater "because after midnight when the black musicians were allowed to play, that's when the music really got good."

He also had an early awareness of racial violence. "I grew up hearing my parents talk about living in Detroit in 1943. During the riots, my mother witnessed a mob of whites chase a black man, catch him and beat him," Zick said. "She is still haunted by what she saw and has always feared that the man was killed." During World War II, racial violence erupted in Detroit among factory workers. It arose from the stresses of a housing shortage, racial tension and inequality among workers who migrated from the south.

Zick hopes his efforts will lead to fair treatment of minorities by raising awareness of their accomplishments. "Regardless of your race, the more you learn about this history, the more basis you have for respecting people of color," he said.

The website gets over 100,000 visits per year, but not all are from educators or supporters of the work. Zick says that some white nationalists have visited the site and left disparaging remarks -- evidence of the persistent prejudice he seeks to mitigate.


Dr. Timothy K. Njoora, Composer, 'claiming Kenya’s place in the world of concert music'


Dr. Caleb Okumu Chrispo of the Department of Creative and Performing Arts at Kenya's Maseno University has informed us: “The most active Kenyan Composer at the moment is Dr. Timothy Njoora.”

Dr. Timothy K. Njoora is a Senior Lecturer in the Department of Music and Dance, Kenyatta University, Nairobi, Kenya. His faculty web page is: http://www.ku.ac.ke/music/njoora_home_page.htm

Dr. Njoora gives this account of his Background and Music Training:

I am currently working at Kenyatta University in the Department of Music and Dance. I studied Music, Composition and Music Education at Barrington College, Rhode Island, BA (1980) in Music and in Mississippi College, Clinton, Mississippi for my M. Mus, 1983 (Music Education). I joined Kenyatta University as a Lecturer in 1983, and worked in various capacities, including Departmental Chair (1991 to 1994), teaching music composition, acoustics, music history, music aesthetics, and music education until 1996 when I went for further studies. In the year 2000, I graduated with a Doctor of Musical Arts (Music Education and Composition) degree from University of Oregon. Beyond the University activities, I participated as a national music adjudicator for the Kenya Music Festival for many years, assisted the Ministry of Education in Kenya in various capacities in matters dealing with the national music curriculum. For my professional growth I attended several locally organized seminars and workshops and also attended international composers workshops in Amsterdam, Holland and Legon, Ghana. My compositional output includes pieces for solo voice, choir, orchestra, gamelan, and you will probably gather from my scores most of my compositional inspirations draw from Kenyan folk songs which I believe to be rich in rhythmic and melodic vitality among many other aspects.”

Prof. Njoora closes his faculty page with this thoughtful remark about his purpose as a composer:

Beyond the obvious implications for regional and national identity I see my compositions as a tool for 'construction of a personal artistic and stylistic space' well suited for claiming Kenya’s place in the world of concert music, but more importantly a fitting contribution to knowledge and posterity.

The following are excerpts from Prof. Timothy Njoora's list of compositions, which include vocal works, a composition for brass quintet, and a work for solo violin with piano accompaniment:

Sherehekea Maisha (Celebrate Life)

In our lives we often are privileged to share a life with people or “life forces” that is so special,
powerful and personal that words sometimes fail to capture the essence of such persons.

Songs From Kenya

This 1994 arrangement for orchestra and piano got the inspiration from the rich Kenyan folk tradition.” “The work received its premiere performance by the Nairobi Orchestra in March 1994, conducted by Dr. Paul Basler, a visiting Fulbright Scholar from the University of Florida, and Prof. Emily Akuno as the pianist.”

Ruru Mwana Koma (Sleep Child)

This beautiful lullaby is taken from the Gikuyu people and its traditional role quite obvious.” “The piece received its premier performance on Wednesday May 5th 1999 during the “Composers' Forum” of the University of Oregon. It was conducted by Dr. Bernard Scherr, while the pianist was Hung-Yun Chu. The vocalists were Rachel Gross, Norman Hetzel, Valerie Meidinger, Lewis Pollard, Natasha Spikler, Ohj Tavallai, Melody Vogel, Gene Yu, and Missok Yun.”

Re-Union, For Solo Violin & Piano Accompaniment

The piece was conceptualized over a relatively short period, which does not in any way reduce its emotional, structural, and artistic perception. It was composed to celebrate a long-cherished family re-union, and its performance the ultimate climax of a rather lonely period. It was first performed on Tuesday February 16th 1999 at Beale Hall, a University of Oregon Performance center, on the occasion of “Composers’ Forum,” with Derick Colson, violin and Charles Badami, piano (both colleagues).”

"Mt. Kenya Passage" For Brass Quintet

Mount Kenya Passage” for brass quintet explores one of the most colorful traditional ceremonies among the "Embu" people who live near the legendary mount Kenya. The ceremony had various aspects including dance, ceremonial rituals marking passage into adulthood by the boys and girls (referred to as candidates) of specified ages. The music opens with solemn section to portray the sombre mood associated with the beginning of the ceremony.

This is followed by an "echo" effect played by the trumpets, suggesting early dawn wake-up calls for the candidates. After the flowing middle section the music breaks into the dance-like mood which normally followed the ritual ceremony. The melody is repeated several times partly to emphasize the "call and response" singing style characteristic of the "Embu" people and partly consistent with repetitive mode, a feature consistent with many other communities in Kenya, and the nature of some folksongs of the region.”

AfriClassical wishes to express its appreciation to Dr. Timothy K. Njoora for his insights into classical music composition in Kenya in general and, more specifically, his own creative process of presenting African and Kenyan musical heritage in classical music forms and, 'claiming Kenya's place in the world of concert music'.








Wednesday, November 21, 2007

Blog Design: Civic Orchestra of Chicago Performs Amadeo Roldán's “Rítmicas” Nov. 30


Dominique-René de Lerma is Professor of Music at Lawrence University in Appleton, Wisconsin. He has been writing about African heritage in classical music for four decades, and has generously made his research entry on Amadeo Roldán

full story here

Amadeo+Roldán" rel="tag">Amadeo Roldán
classical+music" rel="tag">classical music
chamber+music" rel="tag">chamber music
Black+History" rel="tag">Black History
African+Heritage" rel="tag">African Heritage
Percussion+wEnsemble" rel="tag">Percussion Ensemble

Civic Orchestra of Chicago Performs Amadeo Roldán's “Rítmicas” Nov. 30


[Dorian 90245 (1997); Rítmicas; Tambuco Percussion Ensemble; Camerata de las Américas; Ricardo Gallarda, Conductor] Audio Samples: Rítmica 5 Rítmica 6


Amadeo Roldán was an Afro-Cuban composer, violinist, conductor and professor who is profiled at AfriClassical.com He was born in Paris to Cuban parents on July 12, 1900. Dr. Dominique-René de Lerma is Professor of Music at Lawrence University in Appleton, Wisconsin. He has been writing about African heritage in classical music for four decades, and has generously made his research entry on Amadeo Roldán available to this Website. Prof. De Lerma points out that Roldán's full name was Amadeo Roldán y Gardes. He also tells us Roldán was only 5 years old when he began studying the violin.

Roldán graduated from the Madrid Conservatory in 1916 after studying music theory and violin. He later took private lessons in composition from Conrado el Campo, according to Prof. De Lerma. The young musician also played the violin on tour in Spain. The research entry of Dominique-René de Lerma continues:

He moved to Havana in 1919 and became a student of Pedro Sanjuan.

In 1924 he became concertmaster of Havana's Orquesta Filarmonica and, following the death of Sanjuan, its conductor.”

Roldán's promotion to conductor of the Orquesta Filarmonica occurred in 1932.
Suite de La Rebambaramba (8:56) and Rítmica V (2:42) were recorded on CD by the New World Symphony, conducted by Michael Tilson Thomas, Argo 436 737 2 (1993). In the liner notes Simon Wright appraises Amadeo Roldán's role in the classical music of Cuba:

“An enthusiastic conductor and composer, Roldán put 'serious' Cuban music on the map by primarily bringing Afro-Cuban rhythms and sounds to the concert hall. They were the inspiration behind the ballet
La Rebambaramba(1827-28), based on a scenario by Alejo Carpentier depicting Havana's low-life on the day of Epiphany in 1830.”

This recording has been reissued as Latin American Classics, Eloquence 467603 (2002).

The Tambuco Percussion Ensemble has recorded Roldán's Rítmica V (2:14) and Rítmica VI (2:00), both composed in 1930, on the CD Rítmicas, Dorian 90245 (1997). The liner notes compare these to Edgar Varése's Ionisation, another work which helped pioneer the percussion ensemble.

At 7:30 pm Friday, Nov. 30, the Civic Orchestra of Chicago Chamber Series will present
Amadeo Roldán's Rítmicas I, II, III, IV, for woodwind quintet and piano. Other composers whose works will be on the program are Heitor Villa-Lobos of Brazil, Mario Lavista of Mexico, Elbio Barilari of Uruguay and Gustavo Leone of Argentina. The concert will take place in Buntrock Hall, Orchestra Hall – 200 South Michigan Ave. Members of the Civic Orchestra of Chicago will perform under the direction of Maestro Cliff Colnot.




Amadeo+Roldán" rel="tag">Amadeo Roldán
Afro+Cuban" rel="tag">Afro Cuban
classical+music" rel="tag">classical music
Black+Composer" rel="tag">Black Composer
Percussion+Ensemble" rel="tag">Percussion Ensemble
Rítmica+V" rel="tag">Rítmica V

Tuesday, November 20, 2007

'Classical music not all whites in wigs' says Michigan Messenger



"It isn't right for people to grow up thinking that classical music is all white men in wigs." These are the words of Bill Zick, who wants people to know that minorities played an important role in the history of classical music.

Zick's AfriClassical.com website documents the history of minorities composing and performing classical music. His work combines a love of classical music with a commitment to racial equality.

A retired administrative law judge based in Ann Arbor, Zick has created an internationally recognized education resource on African heritage in classical music. The site contains biographies and audio samples of 52 composers and musicians and spans 500 years of music history. Last year, departments of education in 15 states used the resource.

[Read Celeste Whiting's full article in Michigan Messenger, Tuesday, Nov. 20, 19:19 PM]



Michigan Messenger
classical music
Black Composers
Black Musicians
Black History
African Heritage


James DePreist Conducts Juilliard Orchestra in George Walker's Sinfonia No. 3


[Photo courtesy of George T. Walker]

The Juilliard Orchestra will present a concert on Monday, December 10, 2007 at 8 PM. It will feature James DePreist, Conductor; Brent Grapes, Trumpet; and Liza Stepanova, Piano. The concert will open with Sinfonia No. 3 by George T. Walker (b. 1922), an African American composer who is profiled at AfriClassical.com

André Jolivet's Concertino for Trumpet, Piano and Strings, and Ludwig van Beethoven's Symphony No. 3 in E-flat Major, Op. 55 ('Eroica') will complete the program. The Concert will take place in the Rose Theater on the fifth floor of the Time Warner Center at Broadway and 60th Street. Only standby tickets are available.







Commenter Says of Anthony Elliott: 'he was splendid'

AfriClassical recently posted Anthony Elliott, African American Cellist & Conductor. On November 19, 2007 at 11:28 a.m. a comment was made:

Jeffrey said...

I played Saint-Saens' 2nd Piano Concerto with Tony conducting the Houston Youth Orchestra many years ago--he was splendid!


Anthony+Elliott" rel="tag">Anthony Elliott
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Saint-Saens+Concerto" rel="tag">Saint-Saens Concerto
African+American" rel="tag">African American
Elliott+'splendid'" rel="tag">Elliott 'splendid'

Monday, November 19, 2007

Harry Smyles (1918-2003), African American Oboist, Helped Launch Symphony of the New World


[Oboist Harry Smyles with his son in the foreground]

When African American oboist Harry Smyles died in 2003, Andante quoted Ben Mattison's article on his life in The Plain Dealer (Cleveland):

Harry Smyles, an African-American oboist who helped to create the racially integrated Symphony of the New World, died on 15 January, the Cleveland Plain Dealer reports.

Smyles grew up in Kansas City, Missouri, and served in Europe during World War II, leading a dance band and editing a regimental newspaper. After the war, he studied at the Berkshire Music Center at Tanglewood and in New York City. He played oboe for two years with the National Orchestral Training Orchestra, and then began to work as a pit musician on Broadway.

In 1965, Smyles joined the newly created Symphony of the New World, intended as the first fully integrated ensemble. He was first oboist and personnel director for the group, which helped many musicians to gain the experience needed to play in major orchestras.

(Correction: A paragraph from Wikipedia on the New World Symphony Orchestra has been deleted in response to a Comment by Wilmer Wiles, who notes it is not the same ensemble as the Symphony of The New World)

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Edmond Dede, African American Composer Born Nov. 20, 1827


[Edmond Dede; Hot Springs Music Festival; Richard Rosenberg, Conductor; Naxos 8.559038 (2000)]


A Creole Romantic In Exile Was A Conductor in Bordeaux for 27 Years


Edmond Dede, profiled at AfriClassical.com, was a free Creole of color, born Nov. 20, 1827 in New Orleans, Louisiana. His parents had arrived from the French West Indies around 1809. Edmond's father was a bandmaster for a militia unit.

The boy first learned Clarinet, but switched to Violin, on which he was considered a prodigy. The liner notes for the Naxos CD were written by Lester Sullivan, University Archivist at Xavier University in New Orleans. Sullivan writes:

“He studied violin with Constantin Debergue, a local free black violinist and director of the local Philharmonic Society founded by free Creoles of color sometime in the late antebellum period, and with Italian-born Ludovico Gabici, director of the St. Charles Theater orchestra and one of the earliest publishers of music in the city. He studied counterpoint and harmony with Eugène Prévost, French-born winner of the 1831 Prix de Rome and conductor of the orchestra at the Théâtre d'Orléans, and with New York-born free black musician Charles Richard Lambert, father of Sidney and Lucièn Lambert, and a conductor of the Philharmonic Society, which was the first non-theatrical orchestra in the city and even included some white musicians among its one hundred instrumentalists, an extremely large aggregation for the time.”

Subsequent instruction from Ludovico Gabici ended when
White hostility against African American musicians forced him to flee to Mexico, where he continued his training. Upon his return to New Orleans Dede began working as a cigar maker. He saved his earnings to pay for further studies in Europe. Lester Sullivan adds:

In 1852 Dede's melody Mon pauvre coeur appeared. It is the oldest surviving piece of sheet music by a New Orleans Creole of color. He supplemented his income from music with what today would be characterized as his day job: he was a cigar maker, as were a number of other local musicians.”

His savings and money contributed by friends enabled him to travel first to Belgium and then on to France.
An audition in 1857 secured his admission to the Paris Conservatoire de Musique (Paris Conservatory of Music). Marcus B. Christian writes in Africana Encyclopedia:

“One of his teachers at the conservatory was the celebrated Jacques-François Halevy, who taught Charles-François Gounod. In this way, Dede later became an intimate friend of this great composer. His other instructor was noted French violinist and teacher Jean Delphin Alard.”

Upon completion of his studies,
Dede settled in Bordeaux, France. He married a French woman, Sylvie Leflet, in 1864. Their son, Eugene Arcade Dede, also composed classical music. Eugene's mazurka En chasse (4:12) was orchestrated by his father and is included on the Naxos CD.

The elder Dede served as
Orchestra Conductor at the Theatre l'Alcazar (Alcazar Theater) for 27 years. He also conducted performances of light music at the Folies Bordelaises. As a highly accomplished violinist, Dede performed his own compositions as well as those of others. He favored pieces by the French composer Rodolphe Kreutzer (1766-1831).

An African American composer, musician and conductor named Samuel Snaer, Jr. (1835-1900) conducted the first New Orleans performance of Dede's
Quasimodo Symphony. Patrons and music critics alike regarded the concert a great success. Marcus B. Christian continues in Africana Encyclopedia:

“Dede's Quasimodo Symphony was presented at the Orleans Theater on the night of May 10, 1865, before a vast audience composed of the leading blacks of New Orleans and prominent Northern whites, with composer-conductor Samuel Snaer, Jr. leading his own orchestra in its production. All of his compositions were considered of the highest order, including his best known piece, Le Palmier Overture (1865). During a stint in Algeria he wrote Le Sermente de L'Arabe (1865).”

Dede returned to New Orleans only once, in 1893. He lost his treasured Cremona violin at sea during the voyage to the United States, but his performances on another instrument were praised by critics and audiences alike. Lester Sullivan writes:

“Dede also introduced two new songs, one of which, Patriotisme, he regarded as his farewell to New Orleans, for in it he laments his destiny to live far away because of 'implacable prejudice' at home. [The song is a setting of a poem of the same name, written by the African American historian Rodolphe Lucien Desdunes (1849-1928).]

Grateful for receiving honorary membership in the Société des Jeunes-Amis, a leading local social group composed mostly of Creoles of color of antebellum free background, but
weary of the increasing inconveniences and indignities of racial segregation, Dede returned to France and became a full member of the Society of Dramatic Authors and Composers in 1894.”

Dede died in 1903 in Paris, where many of his compositions have been preserved at the Bibliotheque Nationale (National Library) . It was there in 1998 that Richard Rosenberg found the sheet music for the Naxos CD. He also found scores for works by several other Creole Romantics, including:

Eugene Arcade Dede
Charles Lucien Lambert
Lucien-Leon Guillaume Lambert
Sidney Lambert

Rosenberg is Conductor of the Hot Springs Music Festival, www.hotmusic.org, which brings together 200 music students and professionals from around the world each Summer. Master classes and public performances are given in the historic resort town of Hot Springs, Arkansas.

Marcus B. Christian identifies two locations at which the early African American sheet music of New Orleans has been conserved:

“For original scores of New Orleans black music, see the Howard-Tilton Library of Tulane University and the Marcus Christian Collection of the Earl Long Library at the University of New Orleans.”

My Poor Heart [Excerpt]
When I see you Oh! my Creole love,
I think I see a halo,
Decorating your brow,
Divine one, every day I beseech you,
With passion,
To share the flame that devours,
My poor heart.

An additional recording with one track devoted to compositions of Edmond Dede is: Turn-of-the-Century Cornet Favorites; Columbia Chamber Ensemble; Gunther Schuller, conductor; Sony 94886 (2005).







Sunday, November 18, 2007

Anthony Elliott, African American Cellist & Conductor


[Dance Like The Wind: Music of Today's Black Composers; Anthony Elliott, cello; Yolanda Williams, Dan Dressen, Maria Jette, soloists; VocalEssence Ensemble Singers and Chorus with orchestra; Philip Brunelle, Artistic Director; Clarion Records CLR 906 (2004)]

Following is the Biography of cellist, conductor and University of Michigan Professor Anthony D. Elliott. His personal website is: www.AnthonyElliott.net/ and his faculty website is http://www.music.umich.edu/faculty_staff/elliott.anthony.lasso

Anthony Elliott, Professor of Cello, and Conductor of the Michigan Youth Symphony Orchestra at the University of Michigan, continues a groundbreaking career in the field of classical music. He is a long time advocate for music in public and inner city schools, and has worked toward the development of new constituencies with symphony boards and foundations. He has given countless workshops, clinics and performances in schools and community centers across the country.

Anthony Elliott was the first African-American musician to be appointed to a “front desk” position in a major symphony orchestra, when he was selected by Stanislav Skrowaczewski to become the Associate-Principal of the Minnesota Orchestra. With the financial assistance of the Minnesota Orchestra and the Jerome Foundation of Saint Paul, he commissioned and premiered the Cello Concerto by African-American composer, Primous Fountain. A number of prominent African-American composers have dedicated works to him including Primous Fountain, Augustus Hill, James Lee and Chad Hughes. He served as Principal Cello of the Vancouver Symphony. He has served on the boards of the Afro-American Musical Opportunities Association, the Music Assistance Fund, and the Sphinx Organization. Recently he served as guest conductor for the Sphinx Chamber Orchestra in a critically acclaimed concert in Carnegie Hall. He established a scholarship fund at the Community Music Center of Houston, and was one of three nationally known jurors for the National Black Music Colloquium and Competition, held at the Kennedy Center in Washington, D.C.

In 1987 he won the Emanuel Feuermann International Cello Competition, and was the top ranked American cellist in the 1979 Concours Cassado in Florence, Italy. He has appeared frequently as a soloist with major orchestras including the New York Philharmonic, the Detroit Symphony, the Minnesota Orchestra, the Vancouver Symphony, and the CBC Toronto Orchestra. As a guest artist he performs at the Aspen, Sitka, Seattle Texas, and Bargemusic Festivals, Chamber Music International of Dallas, and Houston’s DaCamera Series. He was a member of Quartet Canada and the Lyric Arts String Quartet. He has appeared with members of the Chamber Music Society of Lincoln Center, members of the Emerson, Juilliard, Cleveland, and Concord String Quartets, and with the present and former concertmasters of the Concertgebouw, the Berlin Philharmonic, the Philadelphia Orchestra, the Chicago Symphony, and the Cleveland Orchestra.

He has conducted symphony, opera and ballet to great acclaim, including the Kent/Blossom Chamber Orchestra at the Blossom Music Festival, an honor he has shared with Leonard Slatkin and Jahja Ling. He has also shared podium duties at the Texas Music Festival with such noted maestros as Christoph Eschenbach and Maxim Shostakovich. He has also led the Sphinx Symphony, the Scott Joplin Chamber Orchestra, the Prince George’s Philharmonic, the Kitchener-Waterloo Symphony, the CAMMAC Orchestra, the Vancouver Chamber Players, the All Northwest Orchestra, and the Washington, Texas, North Carolina, Maryland, Alaska, Alabama, and North Dakota All State Orchestras. He served for many years as Music Director of the Houston Youth Symphony and Ballet, leading that orchestra on a two week concert tour of Holland, Germany and Austria.

Regarded as one of the leading cello teachers, his students hold prominent positions in major symphony orchestras including the Chicago Symphony, the Cleveland Orchestra, the Los Angeles Philharmonic, the Detroit Symphony, the Houston Symphony, Vancouver Symphony, and the Milwaukee Symphony. The cellists of the Chiara, Pacifica, DuPonte, and Anderson String Quartets are also his former students. His students have fared well in National and International Competitions, including an Avery Fisher Career Grant winner, and the National ASTA Competition.


Anthony Elliott has a number of recordings to his credit, including these which are available from
http://cdbaby.com/cd/aelliott:

Music for Cello and Piano by African American Composers (2003)

Anthony Elliott, Timothy Hester, Lara Hanoian
Rachmaninoff Music for Cello and Piano (2002)

Anthony Elliott and Phillip Bush
French Music for Cello and Piano (2003)

Anthony Elliott and Ruth Tomfohrde
Slavic Music for Cello and Piano (2003)


Other recordings are available from general music websites and from Anthony Elliott's website.


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Music+Professor" rel="tag">Music Professor

Friday, November 16, 2007

The Ritz Chamber Players, Accomplished Musicians Of African Descent




[Photos courtesy of The Ritz Chamber Players; Terrance Patterson, Artistic Director]

The Ritz Chamber Players is “the nation’s first chamber music ensemble series comprised solely of accomplished musicians spanning the African diaspora”. It was founded in 2002 by Artistic Director, Terrance Patterson, who plays clarinet. The group's website is RitzChamberPlayers.org Excerpts from reviews of its performances include:


A remarkable ensemble” The Baltimore Sun

Riveting” Classical Voice of North Carolina

Irresistible” The Baltimore Sun

Phenomenal” The Florida Times-Union


Members of the Ritz Chamber Players are accomplished musicians who perform with major orchestras such as the New York Philharmonic, Boston Symphony, Pittsburgh Symphony, Philadelphia Orchestra and London Symphony. The ensemble describes itself as follows:

Founded in 2002 by Artistic Director and Clarinetist Terrance Patterson, the Ritz Chamber Players performs a subscription series at the Times-Union Center for the Performance Arts in Jacksonville, Florida. In 2004, the Ritz Chamber Players made their Carnegie Hall debut to a standing room only crowd, with critics proclaiming the group’s performance 'extraordinary' and 'vital and fresh.' In 2005, they made their international radio debut with the BBC, and, in 2006, performed before a national television audience on the 37th Annual NAACP Image Awards, and continual performances as part of the Madison and Amelia Island Chamber Music Festivals.


About the Ritz Chamber Players

The Ritz Chamber Players performs a complete concert season that showcases works from African American composers as well as the standard classical repertoire, offering the Jacksonville community the opportunity to witness world-class performances by black chamber musicians as well as experience the thrill of world premieres.

Each performer has a successful musical career in addition to his or her work with the Ritz Chamber Players. Members have performed with artists ranging from Placido Domingo to Fred Rogers of “Mr. Rogers Neighborhood,” and from the New York Philharmonic, Boston Symphony, and Philadelphia Orchestra to the London Symphony, and in cities worldwide. It is an unfettered love for chamber music that brings this ensemble together each season to perform as the Ritz Chamber Players.


About the Artists

Terrance Patterson – Clarinet, Founder and Artistic Director

A Jacksonville, Florida, native, Terrance Patterson has performed in Paris, London, Milan, Brussels, Belgrade, Munich, Amsterdam, Moscow, Washington, D.C., Baltimore, Miami, Philadelphia, Los Angeles, and New York. He plays with the Jacksonville Symphony Orchestra, the Sphinx Symphony of Detroit and the Nashville, Florida West Coast, Huntsville, Festival, and Las Vegas Symphonies. He attended the Peabody Conservatory of the Johns Hopkins University where he studied with clarinetist Lorin Kitt, principal clarinetist of the National Symphony Orchestra.


Tai Murray – Violin

Since making her debut with the Chicago Symphony at age eight, violinist Tai Murray has performed extensively as a soloist with orchestras across the United States and Europe. She has performed at the Los Angeles Hollywood Bowl, Salt Lake City’s Abravanel Hall, and Chicago’s Mandel Hall. Concerto performances include appearances with the Baltimore, Chicago, Kansas City, Los Angeles, Utah and Washington, D.C., Symphonies. Murray was the only solo artist invited by the Chicago Symphony to perform in the Rotunda of Chicago’s Symphony Center during its Inaugural Festival. She holds an Artist Diploma in music performance from Indiana University and is a graduate of the Juilliard School where she studied under Joel Smirnoff.


Amadi Hummings – Viola

When it comes to classical music, violist Amadi Hummings has just about done it all. A world-class musician, Hummings performed at the U.S. Supreme Court and has toured around the world, including Israel, Canada, South America, Central America, India, Japan and throughout the Caribbean. He has been a guest of the Chamber Music Society of Lincoln Center in New York and of the Kennedy Center in Washington, D.C. His performances have been broadcast on National Public Radio’s “Performance Today,” “St. Paul Sunday,” and on WNYC in New York. Hummings is also Director of Program Development for the Gateways Music Festival. He is presently Professor of Viola at James Madison University.


Tahirah Whittington – Cello

Cellist Tahirah Whittington, originally from Houston, Texas, has performed for audiences in the United States, Chile, Japan, France, Italy, and Spain. Her solo performances have included appearances with the National Symphony Orchestra in Washington, D.C., and the Ann Arbor Symphony in Michigan, as a result of winning first prize at the 1999 Sphinx Competition. An avid chamber musician, Ms. Whittington is a member of the acclaimed Core Ensemble (piano, cello, percussion) that tours with an actor and performs Chamber Music Theater. She is also a member of the Ritz Chamber Players based in Jacksonville, Fla. Ms. Whittington received her Master of Music in cello performance from The Juilliard School under the tutelage of Joel Krosnick and received her Bachelor of Music at the New England Conservatory as a student of Laurence Lesser.


Terrence Wilson – Piano

Since his professional debut with the Philadelphia Orchestra, American pianist Terrence Wilson has established a reputation as one of today's most gifted young instrumentalists. He has already appeared with many other prestigious ensembles including the Houston Symphony under Christoph Eschenbach, the Atlanta Symphony under Yoel Levi, the Cincinnati Symphony under Robert Spano, the Orchestre de Chambre de Lausanne under Jesus Lopez-Cobos, the Detroit Symphony under Neeme Järvi, the St Louis and Colorado Symphonies under Marin Alsop, the Minnesota orchestra, and the Baltimore, Dallas, Indianapolis, San Francisco, and Columbus Symphonies. He has also made highly acclaimed recital debuts in New York, at the 92nd Street Y, in Washington, at the Kennedy Centre, and in Paris, at the Louvre. In 1998 Mr. Wilson was awarded the Avery Fisher Career Grant and in May 2001 he graduated from the Juilliard School where he received the prestigious Sony ES Award for Musical Excellence and most recently the William Petschek Award.


The Ritz Chamber Players have had several talented Composers-in-Residence, including Jonathan Bailey Holland (2006-2007), Tania Justina León (2004-2005), Adolphus Cunningham Hailstork (2003-2004), Coleridge-Taylor Perkinson (2002-2003) and Alvin Singleton (2002-2003). All have been the subject of profiles in either AfriClassical.com or AfriClassical Blog.

2007-2008 Concert Schedule

Opening Concert - Thursday, December 6, 2007

In Remembrance of the Dream – Thursday, January 24, 2008

Spring Concert - Thursday, April 3, 2008


Season Finale – Saturday, June 14, 2008


Ritz Chamber Players Listening Room
Hear a doze
n audio samples of the ensemble in performance of works by Bach, Dohnanyi, Dvorak, Handel, Mozart, Ravel, Saint-Saens and Tchaikovsky.

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chamber+music" rel="tag">chamber music

Thursday, November 15, 2007

History in the News: Georges Octors (b. 1923), Congolese Violinist & Conductor in Belgium


[James DePreist, conductor; Nokuthula Ngwenyama, violist and violinist; Julius Penson Williams, composer and conductor]

We are pleased to see that David Skinner of "History in the News" has linked to the AfriClassical post "Georges Octors (b. 1923), Congolese Violinist & Conductor in Belgium". The post has been placed in its Black History file. Both AfriClassical and its companion website, AfriClassical.com, are dedicated to Black History & Classical Music. The website profiles 51 Black Composers, Conductors and Instrumentalists, and has over 100 audio samples of their music.


History+News" rel="tag">History News
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Georges+Octors" rel="tag">Georges Octors
Congolese+Violinist" rel="tag">Congolese Violinist
Black+History" rel="tag">Black History
Belgian+Congo" rel="tag">Belgian Congo

Georges Octors (b. 1923), Congolese Violinist & Conductor in Belgium



[Tchaikovsky / Elgar / Dvorak: Serenades; Orchestre de chambre de Wallonie; Georges Octors, conductor; Cypres CYP2615 (2005)]


Georges Octors (b. 1923) is a conductor who was born in the Belgian Congo, now the Democratic Republic of the Congo. AfriClassical learned of him from Mabita Ma Motingiya.
Georges Octors graduated from the Conservatoire royal de Bruxelles, in Brussels, Belgium. Octors won the “Prix Henry Vieuxtemps” in 1941, according to the website of the Prize, which reports that he studied with R. Raskin and M. Crickboom. The website of Cypres Records provides a summary of his career in music:

A laureate of various international competitions, Georges Octors began his career as a solo violinist. In 1956 he created the Antwerp Bach Ensemble, a celebrated chamber orchestra which received enthusiastic plaudits during its many European tours. André Cluytens, musical director of the Belgian National Orchestra, appointed Octors as his assistant in 1960. From 1975 to 1989 Georges Octors served as the orchestra’s conductor and musical director. He is highly regarded in the Netherlands, where he conducts several orchestras, and where he served as musical director of the Gelders Orkest in Arnhem for ten years. Georges Octors has been a popular guest conductor with orchestras in Eastern and Western Europe, the United States and the former Soviet Union (including the Saint Petersburg Philharmonic Society and the London Symphony Orchestra), as well as in South Korea, where he conducts each year. Georges Octors conducted the finals of the Queen Elisabeth Competition every year from 1976 to 1989. He then became musical director of the Royal Chamber Orchestra of Wallonia for seven years, making several recordings which were highly acclaimed by the international music press. In 2001 Georges Octors conducted the semi-finals of the violin session of the Queen Elisabeth Competition, during which – for the first time – the Mozart concertos were performed with the accompaniment of the Royal Chamber Orchestra of Wallonia.”


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Wednesday, November 14, 2007

Calvin E. Simmons (1950-1982), First African American Conductor of Major U.S. Orchestra


Calvin Eugene Simmons was the first African American conductor of a major orchestra in the United States. He was born April 27, 1950 in Oakland, California. Simmons was just 32 years of age when he died Aug. 21, 1982 after falling from a canoe in a pond near Lake Placid, New York. His entry in Wikipedia Encyclopedia includes the following overview of his life and career:

At the age of nine Simmons entered the Bay Area's musical scene and began living his dream of becoming a world-class musician. He had been taught the piano from an early age by his mother, Matty. By the age of eleven, he was conducting the San Francisco Boys Chorus, of which he had been a member.

After working as assistant conductor of the Los Angeles Philharmonic under Zubin Mehta, Simmons became musical director of the Oakland Symphony Orchestra at age 28; he led the orchestra for four years. He continued to conduct the Los Angeles Philharmonic, both at the Dorothy Chandler Pavilion and at the Hollywood Bowl. He would be supporting Carmen Macrae singing jazz one night, and then conducting William Walton or Holst's The Planets a night or two later. He was the first African-American to be named conductor of a major U.S. symphony orchestra and a frequent guest conductor with some of the nation's major opera companies and orchestras (e.g. the Philadelphia Orchestra and others).

He made his debut at the Metropolitan Opera conducting Humperdinck's Hansel und Gretel, returning the following year. He was active at the Glyndebourne Festival in England. He collaborated with the British director Jonathan Miller on a celebrated production of Mozart's Cosi Fan Tutte at the Opera Theater of St. Louis (USA) shortly before his death. He remained active at the San Francisco Opera all his adult life, supporting intendant Kurt Herbert Adler, first as a repetiteur and then as a member of the conducting staff. He made his formal debut conducting Puccini's La Boheme with Ileana Cotrubas. His later work on a production of Shostakovich's Lady MacBeth of the Mtsensk District drew national attention.

His final concerts were three performances of the Requiem of Wolfgang Amadeus Mozart in the summer of 1982 with the Masterworks Chorale and the Midsummer Mozart Festival Orchestra.”

Beverly Sills, Chairwoman of Lincoln Center, had this to say:

"Calvin Simmons was an extraordinary human being and a superb musician. His story is one that should inspire people, especially young people, to go for the gold ring."

Composer John Harbison wrote Exequien for Calvin Simmons (5 mins.). His program note for the composition reads as follows:

“Exequien for Calvin Simmons was composed in August of 1982, shortly after I learned of the death of Calvin Simmons at 32 from drowning. It was not a piece I planned. I was composing a scene in a ballet, where the protagonist enters the underworld, but the shade I kept meeting was Calvin, a hero of our time, not of ancient times. I composed this Exequien as a going-out for him, based on that ‘meeting’; the music shared material with the ballet but does not belong in it.

All memorials are in some way self-serving, since we are also feeling sorry for ourselves, I first encountered Calvin when he called and asked for a piece to play with his Oakland Symphony. He is still the only conductor of a full time professional orchestra with whom I have had this experience (it became a yearly event), and when he did perform my music, he did with devotion and flair. He established links to many composers, to young American performers, and to new listeners. He lived joyously, with abandon, for the present. Even my short pieces, so immediate in response, couldn’t escape his buoyancy, and became a measure for slow dance rather than a dirge.”

Wikipedia comments on the composer's legacy:

“The Oakland Symphony Orchestra was reorganized in July 1988 as the Oakland East Bay Symphony Orchestra. Simmons has been honored by the naming of the Calvin Simmons Theatre at the Henry J. Kaiser Convention Center in Oakland.”


Calvin+Simmons" rel="tag">Calvin Simmons
classical+music" rel="tag">classical music
Oakland+Symphony" rel="tag">Oakland Symphony
African+American" rel="tag">African American
Black+Conductor" rel="tag">Black Conductor
Black+History" rel="tag">Black History

Tuesday, November 13, 2007

My Rap News Calls AfriClassical Piece On Jeffrey Mumford A “Great post”

My Rap News describes itself as “Where YOU decide what is important in the hip-hop/rap industry!” Today it posted a link to the AfriClassical post Jeffrey Mumford (b. 1955), African American Contemporary Composer:

Jeffrey invited me to sit on the porch at his Oberlin home and listen to his concerns about rap music. He’s concerned about how it shapes, or misshapes, the identity of too many black people.” read more …

Read the rest of this great post here"


+Rap" rel="tag">My Rap
+Mumford" rel="tag">Jeffrey Mumford
+music" rel="tag">classical music
+Identity" rel="tag">Black Identity
+music" rel="tag">rap music
+American" rel="tag">African American

Jeffrey Mumford (b. 1955), African American Contemporary Composer



[Jeffrey Mumford: The Promise of the Far Horizon; Albany Troy 698 (2004); Photo: Faculty image at Oberlin.edu]

Jeffrey Mumford is an African American composer who was born in 1955 in Washington, D.C. His publisher, Theodore Presser Company, provides this information:

“Awards include the "Academy Award in Music" from the American Academy of Arts & Letters, a Fellowship from the Guggenheim Foundation, a Fellowship to the Composers' Conference (Johnson, VT) and an ASCAP Aaron Copland Scholarship. He was also the winner of the inaugural National Black Arts Festival / Atlanta Symphony Orchestra Composition Competition.

Other grants have been awarded by the Ohio Arts Council, Oberlin College, the D.C. Commission on the Arts & Humanities Technical Assistance Program, (funded through the NEA), the Minnesota Composers' Forum, the American Music Center, the Alice M. Ditson Fund of Columbia University, Meet the Composer, the Martha Baird Rockefeller Fund for Music Inc., the ASCAP Foundation, and the University of California.

Mumford's most notable commissions include those from a consortium of presenters consisting of the Krannert Center for the Performing Arts at the University of Illinois, Urbana-Champaign, Chamber Music Columbus (OH), and Omus Hirshbein (New York) (for the Pacifica Quartet and pianist Amy Dissanayake), Cleveland radio station WCLV, violist Wendy Richman, the Nancy Ruyle Dodge Charitable Trust (for the Corigliano Quartet)...”

TheHistoryMakers.com interviewed Jeffrey Mumford on Jan. 12, 2005. The website reports:

Jeffrey Mumford is composer-in-residence at the Oberlin Conservatory of Music. A native of Washington, D.C., he earned his B.A. degree at the University of California, Irvine and his M.A. degree from the University of California, San Diego.

Mumford was an instructor in music at the Washington Conservatory of Music and artist-in-residence at Bowling Green State University. He composed solo works for voice, piano, and other instruments, as well as works for chamber ensemble, chorus and orchestra. His recordings include
the focus of blue light and Dark Fires.”

Wikipedia, The Free Encyclopedia, makes these observations in its entry on the composer:

Mumford's compositions, though thoroughly modern, are evocative and impressionistic, exploring the sensuous and tactile nature of sound in subtle and sophisticated ways. Like many other 20th and 21st century classical works, his compositions often involve a high degree of rhythmic complexity.

Black Composer Offers A Few Notes” was a blog post on Monday, July 9, 2007 by Regina Brett. It was first published the previous day in The Cleveland Plain Dealer:

Jeffrey Mumford usually stumps people when he asks them to name a black composer. They offer a blank look, then ask: Are there any? He rattles off a list: Florence Price. R. Nathaniel Dett. Tania Leon. Olly Wilson. Le Chevalier de Saint-Georges. George Walker. Add one more name to the list: Jeffrey Mumford.

Jeffrey invited me to sit on the porch at his Oberlin home and listen to his concerns about rap music. He's concerned about how it shapes, or misshapes, the identity of too many black people.” read more

[Sunday, July 08, 2007
Plain Dealer written by Regina Brett - Plain Dealer Columnist]


A List of Selected Compositions is also provided by the publisher:

fragments from the surrounding evening for piano
Albany Records Troy 266:
Dark Fires

the focus of blue light for Violin and Piano
CRI CD
650: The Focus of Blue Light

a window of resonant light for Cello, Piano and Percussion
Albany Troy 698: the promise of the far horizon, CORE Ensemble

the promise of the far horizon for String Quartet
Albany Troy 698:
the promise of the far horizon, Colorado Quartet

Wending
Albany Troy 698: the promise of the far horizon, Wendy Richman, Viola

a landscape of interior resonances for Solo Piano
Albany Troy 698: the promise of the far horizon, Margaret Kampmeier, Piano

the milliner's fancy for Solo Alto Saxophone
Albany Troy 698: the promise of the far horizon, Rhonda Taylor, Alto Saxophone

Selected Reviews quoted by Theodore Presser Company include:

"…a style of writing that is abstract yet attractively figurative…Mumford's sounds are distant and floating, often gentle and beguiling…remarkably rich and varied." - Joseph Dalton, Time Out New York

"[The] balance between impressionism and expressionism makes Mumford's music quite listenable if not outright interesting." - American Record Guide

"…evocative music that does not reveal all it has to say on the first hearing but invites and rewards repeated [listening]." - Joseph McLellan, Washington Post

"Put simply, Jeffrey Mumford's music is a place where extraordinary compositional skills, a keen mind, and an intuitive empathy for the full spectrum of human emotions, meet and are given expressive form." - Joshua Freeman, American Composer's Forum Newsletter


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African+American" rel="tag">African American
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Monday, November 12, 2007

Jonathan Bailey Holland (b. 1974), African American Composer Often Commissioned


[Dr. Jonathan Bailey Holland with the Indianapolis Symphony Orchestra and Robert Spano, conductor, after a performance of the composer's work “Summer Frenzy”. Photo from JonathanBaileyHolland.com]


Dr. Jonathan Bailey Holland is an African American composer who was born in Flint, Michigan in 1974 and has been composing since his days at the world-renowned Interlochen Arts Academy. Holland's website is JonathanBaileyHolland.com Here is an excerpt on his background and education, followed by a list of commissions and performances:


Background & Education

Originally from Flint, MI, Holland began studying composition while a student at the Interlochen Arts Academy, where he received a school-wide award for his very first composition. Upon graduation from Interlochen, he continued his composition studies with Ned Rorem at the Curtis Institute of Music, where he received a Bachelor of Music degree. He went on to receive a Ph.D. in Music from Harvard University, where his primary teachers were Bernard Rands and Mario Davidovsky. He has also studied with Andrew Imbrie, Yehudi Wyner, Robert Saxton and Robert Sirota. Currently, he is Associate Professor of Composition at the Berklee College of Music.”

Commissions & Performances

Holland's works have been performed and commissioned by numerous performing organizations. Highlights include:

Primary Movements, a ballet commissioned by the Dallas Symphony and the Dallas Black Dance Theater

Halcyon Sun, commissioned by the Cincinnati Symphony Orchestra, in celebration of the opening of the Freedom Center National Underground Railroad Museum

Motor City Dance Mix, commissioned by the Detroit Symphony, in celebration of the opening of the Max M. Fischer Music Center

Anansi and the Moss-Covered Rock, commissioned by the Baltimore Symphony Orchestra, for their educational concert series

Signals, commissioned by the National Symphony in honor of the 25th Anniversary of the Kennedy Center for the Performing Arts

Summer Frenzy, commissioned by the Minnesota Orchestra for their Viennese Sommerfest

House of Dreams, commissioned by the Baltimore Symphony Orchestra, in memory of James Rouse

Visit to St. Elizabeth's, commissioned by the Wellesley College Choir

Symphony (of Light), commissioned by the Mendelssohn Club of Philadelphia

Festival Music, commissioned by the Greater Twin Cities Youth Orchestras

The Great Race, commissioned by the Chicago Symphony Youth Orchestra to showcase two orchestras of varying levels performing at the same time

On his Faculty page at the website of the Berklee College of Music, Prof. Jonathan Bailey Holland expounds on his teaching philosophy:

"I think a lot of times people think about theory as random rules on how notes have to go together. I'm trying to stress that nothing is random, that everything makes sense from point A to point Z, and that everything at point A is the same as everything at point Z, just on a smaller scale. If you look at one phrase of music, everything that happens in that phrase is similar to what happens over the course of the entire piece.”

Holland has been a Composer-in-Residence most recently with the Ritz Chamber Players, 2006-2007. The website of the Greater Baltimore Youth Orchestras reviews his experience in an article from December 2005:

He has received awards and honors from the Massachusetts Cultural Council, American Music Center, American Academy of Arts and Letters, ASCAP, the Presser Foundation, Boston Conservatory, Austin Peay State University and Harvard University. Past associations include serving as Composer-in-Residence for the Plymouth Music Series of Minnesota (currently known as Vocal Essence) and the Detroit Symphony Orchestra. He has also served as Composer-in-Residence with the South Bend Symphony Orchestra as part of the Music Alive Residency program, sponsored by the American Symphony Orchestra League and Meet the Composer. The residency included the premiere of a newly commissioned work for their family concerts, as well as Holland's "Actions Rendered: Interpretations of Pollock for Three Orchestras," which is based on the paintings of Jackson Pollock. As an advocate for music education, many of Holland's residencies have included visits to schools, libraries, churches and civic groups, where he has given presentations about the art of composition. His catalog of compositions includes a number of educational works that have been performed frequently by several orchestras on family and young people's concerts.”







Comment on 'Why Brazil Sings Spirituals: 3.6 Million African Slaves'

[Photo from website of Juarês De Mira, http://www.negrospirituals.redeesperanto.net/JuaresTeatroSPprograma.htm ]


Mike S. Wright is Chair of the International Society for African to American Music (ISAAM). He has made a comment by E-mail on our post “Why Brazil Sings Spirituals: 3.6 Million African Slaves”, which begins:

UNESCO's web presentation Slavery in Brazil recounts the long and brutal history of African slavery in Brazil, where it is estimated 3.6 million Africans were imported.”

Mike S. Wright comments:

What a coincidence! This very same fact (and quite a few more statistics that the Goverments in countries that bought African Slaves would rather not want us to recall) came up from the guide who took us around Elmina Fort (Ghana) when we visited it during our stay in Ghana.

I am very pleased to hear of Juarês De Mira and would like to know more. Also, I am pleased to see at last, some interest from someone in that country where there seems a disproportionately small representation of classical musicians 'of colour' compared to the very sizable population that exists. Surely there must be others of great talent who have yet to be known outside Brazil or perhaps even outside the township in which they live.


Juarês+DeMira" rel="tag">Juarês DeMira
Afro-Brazilian+Singer" rel="tag">Afro-Brazilian Singer
Black+Bass" rel="tag">Black Bass
African+American" rel="tag">African American
Brazilian+Slavery" rel="tag">Brazilian Slavery
Black+History" rel="tag">Black History

Sunday, November 11, 2007

Have A Gum Drop Celebrates Mississippi Symphony's William Grant Still Tour

[Afro-American Symphony; William Grant Still; Royal Philharmonic Orchestra; Karl Krueger, conductor; Bridge 9086 (1999)]

Have A Gum Drop closed a post on Wimbo's music studies yesterday with a comment on the local performance of the Mississippi Symphony Orchestra's William Grant Still Tour:

Anyway, that's what's up at the moment. And tomorrow is the final performance, for us anyway, of the William Grant Still music with the Mississippi Symphony in Hattiesburg. WOOT! (for the symphony!)

We posted a comment today on Have A Gum Drop and invited Wimbo to visit the William Grant Still page of AfriClassical.com Today's concert by the Mississippi Symphony Orchestra was at 3 PM at Bennett Auditorium on the campus of the University of Southern Mississippi, in Hattiesburg. It was the fourth in a series of five performances of the music of William Grant Still at locations around Mississippi.

The William Grant Still Tour will conclude at 7:30 PM Thursday, Nov. 15, 2007 at Bologna Performing Arts Center in Cleveland, Mississippi.







From Pianos for Uganda to Kampala Music School


[Kampala Music School © 2007]

Pianos for Uganda was a charitable effort begun in 1998 which collected used upright pianos from Britain, shipped them to Uganda, and allowed music students to use them at schools and other appropriate locations. The program retained ownership of the instruments, and maintained them regularly. Its Newsletter No. 3 in March 2000 reported, among other things:

The upkeep and proper use of the pianos will continue to be monitored regularly. Most recipients have been able to contribute towards transport and importation costs. We continue to be immensely grateful to DAS Express in Gatwick who arrange the transport at very reduced rates.”

“The availability of good instruments has led to two exciting results - Ivan Kiwuwa aged 16 won a full Scholarship to Wells Cathedral School and started in January 2000 on the specialist Music course and is doing well. Paul Luggya, 20, has just won the Senior Music Class in the Kenya Music Competition sponsored by PriceWaterhouse Coopers which included all instruments and nationalities.”

Ivan Kiwuwa was the subject of this post on AfriClassical:

Ivan Kiwuwa (b. 1983), Ugandan Pianist & Violinist”

We learned of Ivan Kiwuwa from Dr. William H. Chapman Nyaho, pianist, professor and music editor. Born in the U.S. and raised in Ghana, he is profiled at AfriClassical.com We soon found Dr. Chapman Nyaho's high opinion of Ivan's musical talents is widely shared by audiences and critics.”
Full post

Fiona Carr was among the people involved in Pianos for Uganda, so we invited her to comment on the program:

“Yes, I helped start the scheme in 1999, as after 20 years of war Uganda had no reasonable pianos and a LOT of talent!
I decided only to teach Ugandan talent and when the students took their International ABRSM exams they caught the eye of the examiner and he helped Simon Yiga and me get the scheme off the ground.
Availability of pianos very soon made the talent explode and so raising funds and opening Kampala Music School became the next un-avoidable move! KMS opened in 2001 and within a very short time has become a centre of excellence. The web site which is currently being up-dated will fill you in on where it has now got to.

After some 80 pianos had been sent to and put around Uganda we closed the scheme as such, as money seemed more urgently needed for a new purpose built Music School.”

KampalaMusicSchool.com is the school's website. It explains:

“Over 60 donated pianos and an organ have been brought into Uganda and placed in schools, colleges, churches and practice centres, as well as numerous string, wind and brass instruments.”

“KMS was purpose built in an unused semi-basement at the YMCA in the centre of Kampala and it was opened in March 2001 with Simon Yiga appointed Director. It has 7 practice/teaching rooms and a class room, each with a piano, which are in use all of everyday.”

“KMS teachers, mostly Ugandan, have nearly all been trained by and studied with Fiona Carr, piano and Ulrike Wilson, voice.”

“The International ABRSM Diplomas have provided the incentive to advanced study here in Kampala and many of our students have been successful in Piano, Voice, Organ and Violin, as performers and teachers. The ABRSM examiner visits Kampala each June and the results are consistently well above the international average. A few of our students have gained full scholarships to study music at specialist music colleges in the U.K.”

Fiona Carr notes that Kampala Music School has begun a campaign to raise about £300,000 for land for a new building to house its operations. Fanfare No. 6, the Newsletter for March 2007, reports:

There is already a promise of German funding for the building once we have secured somewhere to put it.”


Pianos+Uganda" rel="tag">Pianos Uganda
Kampala+Music" rel="tag">Kampala Music
Ugandan+Pianists" rel="tag">Ugandan Pianists
Fiona+Carr" rel="tag">Fiona Carr
African+Pianists" rel="tag">African Pianists
classical+music" rel="tag">classical music

Saturday, November 10, 2007

Sierra Eye: Ignatius Sancho Among Africans In 'London, Sugar & Slavery'


[Ignatius Sancho: An African Man of Letters; Reyahn King et al.; National Portrait Gallery of the U.K. (1997)]

Sierra Eye points out that 'London, Sugar & Slavery', the new exhibit at Museum in Docklands, which opened Nov. 10, 2007, proves that African voices spoke eloquently of the evils of slavery, and were influential in bringing about Abolition by the British Parliament:

The Buxton table, at which the terms of the Abolition Act were hammered out, will be on display. But the gallery will debunk the myth that abolition was achieved by a few evangelical parliamentarians. Olaudah Equiano, Ottobah Cugoano, Ignatius Sancho, Phillis Wheatley and Mary Prince, are amongst those African voices whose eloquent testimony were crucial to forcing change. London, Sugar & Slavery acknowledges enslaved Africans as the prime agents of resistance. With as many as one in four slave ships experiencing a revolt, and armed uprisings including those on St Kitts (1639) and Haiti (1791), heroic and constant African defiance and disruption of enslavement is too often overlooked.” Full post

Excerpts from the Museum in Docklands Website:

On 10 November 2007, Museum in Docklands will open the only permanent gallery in London to examine the city’s involvement in transatlantic slavery and its legacy on the capital.”

London, Sugar & Slavery will show it was not just a few evangelical parliamentarians who abolished the transatlantic slave trade, but a widespread grass roots movement that included people freed from enslavement who wrote about their experiences, thousands of ordinary citizens who lobbied collectively and women who campaigned with their purses by boycotting sugar that had been produced by enslaved Africans.” Full article

Ignatius Sancho (1729-1780) was born on a British slave ship off the coast of what is now Guinea. He not only escaped slavery as a young man, but educated himself and wrote numerous letters to prominent people in Britain, stressing the evils of slavery. He became a composer and an author. A selection of his letters became a best-selling book after his death. The dramatic life of Ignatius Sancho is told at the website AfriClassical.com Its principal source is the book “Ignatius Sancho: An African Man of Letters” by Reyahn King et al. It was published by the National Portrait Gallery of the U.K. In 1997.


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Black+Composer" rel="tag">Black Composer

Celso Machado in Brazilian Guitar Festival, Eugene, Oregon, Feb. 9, 2008


The John G. Shedd Institute for The Arts, 285 E. Broadway, Eugene, Oregon presents Celso Machado, who is profiled at AfriClassical.com, in a Brazilian Guitar Festival headlined by Sergio & Odair Assad. The concert is scheduled for Saturday, Feb. 9, 2008 at 7:30 pm. The venue is the Jaqua Concert Hall of The Shedd Institute. For information call 541-434-7000:

Shedd regulars will remember 3 absolutely brilliant evenings of Brazilian guitar over the past couple of years: Sergio & Odair Assad (November 2004), Romero Lubambo (who appeared here in April 2006 with Luciana Souza), and Badi Assad (October 2006). All 3 return together to The Shedd February 9th joined by guitarist-pecussionist-composer and master Celso Machado for an extraordinary evening of Brazilian guitar. An exhilarating musical journey from the pulsating city of Rio de Janeiro to the jungles of the Amazon and back again. Full post


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Black+Guitarist" rel="tag">Black Guitarist

Violist Nokuthula Ngwenyama Joins Cellist Sophie Shao & Miami Quartet Jan. 27, 2008


The Philadelphia Chamber Music Society promises its patrons “Great Music, Renowned Artists and Affordable Prices”.

At 3:00 PM Sunday, January 27, 2008 the Society will present the American violist Nokuthula Ngwenyama, who is of Zimbabwean-Japanese heritage, with cellist Sophie Shao and the Miami Quartet. Nokuthula Ngwenyama is profiled at AfriClassical.com Her own website is http://www.Ngwenyama.com/new/home.html

The venue is the Pennsylvania Convention Center Auditorium, Room 114. The concert will be preceded by a free lecture at 1:45 PM, with Richard Freedman.

Program:
MOZART: Quartet in D Minor, K. 421
DEBUSSY: Quartet in G Minor, Op. 10
TCHAIKOVSKY: Sextet in D Minor, Op. 70, Souvenir de Florence


Nokuthula+Ngwenyama" rel="tag">Nokuthula Ngwenyama
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Black+Violist" rel="tag">Black Violist
Black+Instrumentalist" rel="tag">Black Instrumentalist

Friday, November 9, 2007

11th Annual Sphinx Competition, Jan. 23-27, 2008


The 11th Annual Sphinx Competition will be held January 23-27, 2008 in Ann Arbor and Detroit, MI.

Hear the nation’s top young Black and Latino string players compete for prizes and scholarships worth over $100,000.

Junior and Senior Finalists will perform with the all Black and Latino Sphinx Symphony Orchestra conducted by Tito Muñoz. To learn more visit SphinxMusic.org

The Founder/President of the Sphinx Organization is Aaron P. Dworkin, who is profiled at AfriClassical.com







Our Michigan: Sphinx at Smith College


[Photo of Aaron P. Dworkin by Bruce Giffin, Detroit Public Television]

Smith College of Northampton, Massachusetts calls itself “the nation’s largest liberal arts college for women”. Celeste E. Whiting writes in Our Michigan on Nov. 5:

Sometimes it's okay to feel really good about Michigan. Even southeast lower Michigan.

This week, Aaron Dworkin, founder and director of the Detroit-based Sphinx Organization visited Smith College. His appearance was part of Smith's annual Otelia Cromwell celebration. Cromwell was the first African American to graduate from Smith. She transferred in her junior year from Howard in 1898.
Full post

Otelia Cromwell graduated in 1900. For more information on her, visit the Otelia Cromwell page, presented by the Black Students Alliance of Smith College. Aaron P. Dworkin is profiled at AfriClassical.com


Aaron+Dworkin" rel="tag">Aaron Dworkin
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Black+History" rel="tag">Black History

Thursday, November 8, 2007

Quintet of the Americas Plays 'Yaravi' by William Grant Still Nov. 12

Sequenza21/ reports that the Quintet of the Americas will be in concert at New York City's Greenwich House Music School on Nov. 12, and will play “Yaravi” from William Grant Still's 1948 composition “Miniatures” for flute, oboe and piano. Dr. Dominique-René de Lerma has compiled a Works list which can be found at the William Grant Still page of AfriClassical.com The entry for “Miniatures” indicates that “Yaravi” is from Peru. It goes on to say:


Dedication: Sir John and Lady Barbirolli. 'This suite is based on folk songs of the Americas, and is a souvenir of the visit to America of Sir John and Lady Barbiolli, and of the many friends made by them during their stay.' Duration: 12:14.”

Read the post on
Sequenza21/



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Wednesday, November 7, 2007

Bongani Ndodana-Breen (b. 1975), South African-Canadian Composer



[Remember Dido; Bongani Ndodana-Breen, composer, Miniatures on Motherhood;
Ensemble Così Facciamo; Mucavi Records (2006)]

Bongani Ndodana-Breen was only 22 when Brett Pypper wrote this about him in a South African newspaper, The Mail & Guardian, Nov. 20, 1997:

THIS year's Standard Bank Young Artist Award for Music goes to a real-life composer, that august occupation that some South Africans feel must be "preserved", while others want to consign it to the dust heap of Eurocentrism.

So how refreshing that Bongani Ndodana is a 22-year-old native of the Eastern Cape who speaks Xhosa rather than German, talks of access to music as a right instead of a privilege, and is frank about his work emerging in "a cultural paradox".

"As part of my quest for an identity as an African, I have been drawn more and more towards an 'African aesthetic' within my art form, which is riddled with European conventions," says Ndodana.

Born in Queenstown and educated in Grahamstown, Ndodana was unable to receive his award personally at Monday's ceremony in Johannesburg. He is currently in Chicago where his string quartet The Sun, the Moon and the Rain had its world première last week.


The intervening decade has seen triumph after triumph for Bongani Ndodana-Breen. Now a Canadian, he provided us with this bio:

Composer and conductor Bongani Ndodana-Breen has written a wide range of music encompassing symphonic work, opera, chamber music and vocal music. According to The New York Times his “delicately made music - airy, spacious, terribly complex but never convoluted - has a lot to teach the Western wizards of metric modulation and layered rhythms about grace and balance. He reminds us that most of our notions about musical motion in the last century came in their roundabout way from Africa or Southeast Asia in the first place, and that Africans tend to do it better than we do.”
Performers around the world including the Belgian National Orchestra, Indianapolis Chamber Orchestra, Vancouver Opera Orchestra, Symphony Nova Scotia, Natal Philharmonic, New York City’s Vox Vocal Ensemble, MusicaNoir, Ensemble Cosi Facciamo Munich, Chicago’s Cube Ensemble, Ossia Ensemble and the choir of Wadham College Oxford University have performed his music.

In January 2006 The Miller Theatre, New York City presented a concert entirely of Ndodana-Breen’s music. In
The New York Times review of that concert, Bernard Holland wrote “Ndodana is not a raw talent; he is a talent and, at 31, possesses a clear and gentle voice of his own.” Current projects for 2007 and 2008 include works for the Hong Kong Chinese Orchestra, the Oregon-based dance company, BodyVox, and also the Haydn Trio Eisenstadt for the 300th anniversary of Haydn’s birth. He is also working on a film score for actor/director LeVar Burton.

Ndodana-Breen has received commissions for works such as the multimedia opera “The Passion of Winnie”, from the Luminato Festival in Toronto, as well as a piano quintet commissioned by “Art Impressions” for Maria João Pires’ production of Schubertiade with performances pending in Madrid, Lisboa, Sao Paolo, Macao, Paris and Berlin. Other organizations that have commissioned works include the Vancouver Recital Society, Madam Walker Theatre Indianapolis, Southern African Music Rights Organization (SAMRO), UNISA International Violin Competition, The Emancipation Festival Trinidad & Tobago, Playhouse Company Durban and the Cape Town City Ballet.

Ndodana-Breen, currently Artistic Director of Toronto’s MusicaNoir/Ensemble Noir, was the youngest and first Black composer awarded the Standard Bank Young Artist Award for Music in 1998, one of South Africa’s most prestigious arts prizes. This award led to a commission for his opera-oratorio Uhambo that he conducted at South Africa’s National Arts Festival. According to Canada’s The Globe and Mail “He seems to be just as interested in giving pleasure as in opening people’s minds… which makes him doubly a novelty on the Toronto New Music scene” (The Globe and Mail, Nov 2001). (Updated Sept. 2007)

Bongani's compositions are divided into four categories: Orchestra, Opera, Chamber Music, and Choral. The list can be found online at http://www.geocities.com/bonganin_99/works.html

Works for Orchestra include Symphony No. 2 “Umuntu Wa Bantu”:

45 min.; 5 movements. (2+2+2+2;2211;1,2perc,strings) Orchestra and Sop and Alt. Chorus. Texts "Veni Creator" and excerpts from the Presidential Inauguration address by Nelson Mandela of May 10, 1994. Commissioned by Madam Walker Theater Center for the Indianapolis Chamber Orchestra with funding from Ford Foundation/Africa Xchange and Lilly Endowment. Premiered July 1998, Madam Walker Theatre Indianapolis. Stanley de Rusha conducting the ICO.

When he sent us his bio, Bongani asked us to also visit: http://www.myspace.com/bonganindodanabreen The MySpace page provides media on a variety of projects, and lists 2008 performances in Chicago, Hong Kong, Portland, Oregon and Lisbon, Portugal.

Bongani+Ndodana-Breen" rel="tag">Bongani Ndodana-Breen
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Why Brazil Sings Spirituals: 3.6 Million African Slaves

[AfroBrazilian bass singer Juarês De Mira operates the Negro Spirituals Project: Songs of Freedom, in his native Brazil.]

Yesterday we presented a post with links to videos of Juarês De Mira singing African American spirituals which are often associated with North America. Seven of his songs are included at the Henry T. Burleigh page and the Audio page of AfriClassical.com Today we examine why the songs have relevance in South America's most populous country, Brazil.

UNESCO's web presentation Slavery in Brazil recounts the long and brutal history of African slavery in Brazil, where it is estimated 3.6 million Africans were imported. Emancipation did not come to Afro-Brazilians until 1888, it says. Here is a brief excerpt from its report:

The reign of D. Pedro II, also called the second reign, extended from 1840 to 1889. One of the great internal questions of the Empire was the slavery, which started in the beginning of the colonial times in 1532 and extended itself up to 1888. In these three centuries and a half of slavery the black race had an important role in the economic development that started from the colonial phase and continued after the Independence.

The blacks, bought in Africa, traversed the Atlantic Ocean in terrible conditions in vessels called “black ships”.

As to how many slaves entered Brazil there is an estimative from a famous historian (Taunay) who calculated in 3.600.000 African slaves arrived in Brazil. He distributed by centuries: 100.000 in century XVI, 600.000 in century XVII, 1.300.000 in century XVIII and 1.600.000 in century XIX.

Full Report at
: Slavery in Brazil



Juarês+DeMira" rel="tag">Juarês DeMira
Brazilian+Spirituals" rel="tag">Brazilian Spirituals
Video+Spirituals" rel="tag">Video Spirituals
African+American" rel="tag">African American
Black+History" rel="tag">Black History
Black+Vocalist" rel="tag">Black Vocalist

Tuesday, November 6, 2007

Juarês de Mira, Afro-Brazilian Singer of Spirituals


[Photo from website of Juarês De Mira, http://www.negrospirituals.redeesperanto.net/JuaresTeatroSPprograma.htm]

Juarês de Mira is an Afro-Brazilian bass who specializes in African American spirituals arranged by Henry Thacker Burleigh and other American composers. He contacted us about two years ago, and offered us the use of audio samples of seven songs arranged by Burleigh. They can be found on the Henry Burleigh page of AfriClassical.com, and on the website's Audio page. The titles are:

Swing Low, Sweet Chariot
Nobody Knows The Trouble I've Seen
Go Down Moses
Sometimes I Feel Like A Motherless Child
I Want To Be Ready
De Gospel Train
Deep River


Today we learned of brief audio clips of 14 spirituals sung by Juarês de Mira, with piano accompaniment by Luciano Filizola, at this website:

http://www.negrospirituals.redeesperanto.net/12musica.htm


Juarês de Mira has provided us with links to three online videos of his full-length performances of spirituals, and invited us to bring his singing to the public's attention:


http://www.youtube.com/watch?v=bUyhNMHdNkU


http://www.veoh.com/videos/v1404374tkTynwHz


http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=16919529


We hope to have further information on the singer in the near future.


Juarês+DeMira" rel="tag">Juarês DeMira
Afro+Brazilian" rel="tag">Afro Brazilian
Negro+Spirituals" rel="tag">Negro Spirituals
Black+Singer" rel="tag">Black Singer
African+American" rel="tag">African American
Art+Song" rel="tag">Art Song

International Library of African Music Calls for Submissions to “African Music”


African Music, Journal of The International Library of African Music”, Vol 8, No. 1, Nov. 2007, Rhodes University, Grahamstown, South Africa

Call For Papers
==========
From Diane Thram:

African Music, the peer-reviewed journal of the International Library of African Music, has been successfully relaunched with Volume 8, Number 1, (2007). This is a call for submissions for Volume 8, Number 2 (2008). The submission deadline is January 15, 2008.

Authors are asked to submit original, not previously published articles dealing with African Music and related arts as Word files formatted in compliance with Chicago Manual of Style guidelines. All illustrations must be numbered consecutively as Fig. 1, Fig. 2, etc. and submitted already formatted into the body of the article, unless other arrangements are made with the editor. Book, CD or film/DVD reviews are also welcomed. Send submissions as attachments via email to the editor at d.thram@ru.ac.za Inquiries are welcomed at this same email address.

Inclusion of a CD compilation of musical examples illustrating each article was an innovation with the 2007 edition of African Music that will be repeated with the 2008 issue. The 2008 issue is scheduled to appear in August 2008.

I welcome articles and reviews on all music with origins in Africa including contemporary eclectic styles. I urge you to consider contributing to this historic journal in the process of being re-invented to serve the community of scholars of African Music throughout the world. Please contact me via email if you have any questions regarding submission or if you wish to order a copy of Volume 8, Number 1 (2007).

Prof. Diane Thram, Director
International Library of African Music
Rhodes University
Grahamstown 6140, South Africa
email: d.thram@ru.ac.za
Fax: 27-046-622-4411
Telephone: 27-046-603-8557
www.ilam.ru.ac.za


African+Music" rel="tag">African Music
Journal+ILAM" rel="tag">Journal ILAM
Rhodes+University" rel="tag">Rhodes University
Diane+Thram" rel="tag">Diane Thram
International+Library" rel="tag">International Library
South+Africa" rel="tag">South Africa

Daily Observations: “Taking Stock” on James DePreist's Visit to Oregon Symphony


Fanfare Magazine, November-December 1995


Two days ago we published a post entitled “James DePreist (b. 1936), African American Conductor of Many American Works”. Maestro DePreist is profiled at AfriClassical.com Daily Observations reports today on the experience of members of the Oregon Symphony during a brief return engagement by their former director of 22 years:

Daily Observations: Taking Stock November 6, 2007
Posted by Charles Noble in: music, the orchestra world, trackback

Whenever you get a guest conductor back after a year’s absence or more, it’s often a good time to take stock of where the orchestra is at artistically, where the guest conductor is artistically, and what sort of trends you can divine from these observations. When the guest conductor is a former music director, in this case one who served in that position for 22 seasons, it’s all the more interesting. I don’t know if I’ve got anything really profound to say about the subscription series with James DePreist that concluded last night, but a few thoughts have crossed my mind in the five days of rehearsals and concerts. Full post


James+DePreist" rel="tag">James DePreist
Daily+Observations" rel="tag">Daily Observations
classical+music" rel="tag">classical music
Black+Conductor" rel="tag">Black Conductor
African+American" rel="tag">African American
Black+History" rel="tag">Black History

Monday, November 5, 2007

Paul Freeman (b. 1936), African American Conductor: 'Musical Excellence Through Diversity'




[African Heritage Symphonic Series, Vol. I; Fela Sowande; African Suite I. Joyful Day; Chicago Sinfonietta; Paul Freeman, conductor; Cedille 90000 055 (2000)]

[
Black Composers Series; Hale Smith, Ritual and Incantations; George Walker, Piano Concerto; Adolphus Hailstork, Celebration!; Roque Cordero, Violin Concerto, Eight Miniatures; Natalie Hinderas, piano; Sanford Allen, violin; Detroit Symphony Orchestra; Paul Freeman, conductor; Sony DSO-1111 (2002)]


Paul Freeman was born in Richmond, Virginia in 1936 and grew up there. He studied both clarinet and cello, then earned a Ph.D. at the Eastman School of Music. A Fulbright Grant enabled him to continue his studies in Berlin. He is profiled in AfriClassical.com

Maestro Freeman is Music Director of the Chicago Sinfonietta, which he founded in 1987 to achieve, in the words of its mission, "Musical Excellence Through Diversity". Its Web site describes the other positions Freeman has held:

In 1996, he was appointed music director and chief conductor of the Czech National Symphony Orchestra in Prague, a position he holds simultaneously with his Chicago Sinfonietta post. From 1979 to 1989, he served as music director of the Victoria Symphony in Canada, principal guest conductor of the Helsinki Philharmonic in Finland, associate conductor of the Dallas and Detroit Symphony Orchestras, and music director of the Opera Theatre of Rochester, New York.

A recipient of the Mahler Award for the European Union of Arts, Freeman is in constant demand as a guest conductor, having led more than 100 orchestras in over 30 countries. As one of America's most successful recording conductors, he has approximately 200 releases to his credit. His nine-LP series tracing the history of Black symphonic composers from 1750 to the present garnered a great deal of attention on the Columbia label in the mid-1970s.”

On January 25, 2005 the
Detroit Free Press published a story by music writer Mark Stryker entitled: A BLACK KEY: Conductor Paul Freeman, in town for the Sphinx Competition, adds color to the national classical music scene. Stryker begins with these observations about the Sinfonietta:

“Black and Latino musicians account for about 3 percent of the musicians in American orchestras but about 30 percent of the Chicago Sinfonietta.

Most orchestras have practically all-white boards of directors and audiences, but about a third of the Sinfonietta's board is non-white and about 40 percent of its audience is minority. Most orchestras rarely play music by minority composers, but the Sinfonietta integrates these works throughout its entire season.”

Mark Stryker reports that the Chicago Sinfonietta is characterized by diversity in all aspects of its operations:

“When it comes to diversity, this is an orchestra doing a lot of things right. It should come as no surprise that its driving force is founding music director Paul Freeman, the widely-traveled African-American conductor who spearheaded a landmark series of black composer recordings for Columbia in the 1970s when he was resident conductor of the Detroit Symphony Orchestra.
"It's a total committment," says Freeman, 69. "Often an attempt is made to integrate one or two areas of an orchestra's programs, but we do it at all levels - on stage, soloists, repertoire, the board and audiences.”

Mark Stryker goes on to describe the makeup of the Sinfonietta, and its budget, tours and recordings:

“With a $2 million annual budget, the Sinfonietta employs professional freelance musicians and performs a subscription series of five concerts performed in pairs at Orchestra Hall downtown and at Dominican University in suburban River Forest. Most unusual for an orchestra of its size, the Sinfonietta has toured overseas five times and made a dozen recordings, including an
African Heritage Symphonic Series for Cedille Records devoted to black composers.”

The Detroit Free Press article describes the process by which the Chicago Sinfonietta selects the freelance musicians who make up the ensemble:

“Freeman has called the Sinfonietta an affirmative action orchestra with no quotas and no numbers. He only selects players for the orchestra who meet the highest performance standards, and no one is displaced to make room for a minority player. But the orchestra keeps an extensive list of substitutes who are black or Hispanic. When an opening comes up, preference is given to a qualified player on the list.”

The Chicago Sinfonietta is the official orchestra of the Joffrey Ballet.

As noted above, Paul Freeman and the Chicago Sinfonietta have completed their
African Heritage Symphonic Series in three volumes. Many of the composers have their own pages at AfriClassical.com:

Vol. 1. Cedille 90000 055 (2000):
Samuel Coleridge-Taylor (1875-1912), Danse Nègre From African Suite (6:14)
Fela Sowande (1905-1987), African Suite (Selections) 10:02;
William Grant Still (1895-1978), Symphony No. 1 (Afro-American) (21:10).

Vol. 2. Cedille 90000 061 (2001):
Ulysses Kay (1917-1995), Overture to Theater Set (4:28)
George Walker (b. 1922), Lyric for Strings (5:17)
Roque Cordero (b. 1917), Eight Miniatures for Small Orchestra (11:47) Adolphus Hailstork (b. 1941), An American Port of Call (8:32), Epitaph for a Man who Dreamed (7:37), Hale Smith (b. 1925) Ritual and Incantations (12:45)

Vol. 3. Cedille 90000 066 (2003):
Michael Abels (b. 1962), Global Warming (8:18)
David Baker (b. 1931), Cello Concerto (19:56)
William Banfield (b. 1961), Essay for Orchestra (10:33);
Coleridge-Taylor Perkinson (1932-2004) Generations: Sinfonietta No. 2 for Strings (19:20).

David Nathaniel Baker
Paul Freeman Introduces David Baker is Albany Records Troy 843 (2006). The soloists are Jiri Novotny, trombone, and Thomas Walsh, saxophone. Maestro Freeman conducts the Czech National Symphony Orchestra. The CD is Volume 12 of a Paul Freeman series devoted to new orchestral music. The Albany Records Website says:

“Throughout this series he has presented several works by the outstanding African-American composer David Nathaniel Baker (a previous all-Baker disc is on TROY 377). A native of Indianapolis, Baker holds the position of Distinguished Professor of Music and Chairman of the Jazz Department at the Indiana University School of Music.”

ClassicsToday.com has published a review by David Hurwitz which rates both the performance and the sound of the disc as 9 of a possible 10. It opens with favorable comments on Kosbro (Keep on steppin' brothers!) and Fantasy on Themes from Masque of the Red Death Ballet. The review then discusses Concert Piece for Trombone and String Orchestra and Concerto for Alto Saxophone and Orchestra:

The best pieces, though, are the two concertos, both of which deserve to be in the repertoire of every self-respecting trombonist or sax player.
...
Paul Freeman has the Czech National Symphony playing with the necessary panache and rhythmic snap, and the engineering also is very good: warm and well-balanced.”

Other Recordings
A stereophile could spend hours browsing through the hundreds of interesting classical recordings made under the direction of Maestro Freeman. The range is staggering, taking in Broadway hits, new American music, a CD titled
Wind Concertos by Cimarosa, Molique, and Moscheles; Czech National Symphony Orchestra; Paul Freeman, conductor; Cedille (2004); Prairie: Tone Poems by Leo Sowerby; Czech National Symphony Orchestra; Paul Freeman, conductor; Cedille (2000); and the rich collection of CDs in the series Paul Freeman Introduces.



Paul+Freeman" rel="tag">Paul Freeman
Chicago+Sinfonietta" rel="tag">Chicago Sinfonietta
classical+music" rel="tag">classical music
Black+Composers" rel="tag">Black Composers
Black+Conductor" rel="tag">Black Conductor
African+Heritage" rel="tag">African Heritage

H. Leslie Adams & Darryl Taylor Thank AfriClassical

H. Leslie Adams, a composer profiled at AfriClassical.com, and Darryl Taylor, countertenor,
have both expressed appreciation for the recent post on the composer's career.

H. Leslie Adams wrote: “What a wonderful post of my career on your site. Yes, will
forward
it to all my list of contacts, as it's a great link. Many, many thanks."

Darryl Taylor said: “You continue to impress me! Thank you so much for your devotion to the subject
matter and the excellence of your presentation.”



+Adams" rel="tag">Leslie Adams
+Taylor" rel="tag">Darryl Taylor
+music" rel="tag">classical music
+Composer" rel="tag">Black Composer
+countertenor" rel="tag">Black countertenor
+Heritage" rel="tag">Racial Heritage

Sunday, November 4, 2007

Althea Ifeka, Nigerian Oboist of 18th & 20th Century Works



[From Leipzig To London: Duo Sonatas from the 18th and 20th Centuries; Bach, Dodgson, Head, Jacob, Maconchy; Althea Ifeka, oboe, oboe d'amore, cor anglais; Katharine May, harpsichord; Oboe Classics CC2013 (2006)]


Althea Ifeka is an oboe soloist who was born in Nigeria and specializes in works from the Baroque period and the 20th century. Based in London, England, she performs actively as a concerto soloist, duo recitalist and chamber ensemble player. Her career is in a state of flux, she explains. She and pianist Dominic Saunders are presently working as a duo. Her partnership with harpsichordist Katherine May is inactive at the moment, as is the Blake Ensemble.

Althea's CD From Leipzig To London is given this introduction at her website, AltheaIfeka.com:

This CD explores the innovative role of J.S. Bach in creating the earliest duo sonatas, by presenting three sonatas now known to date from his Leipzig period performed on the oboe, oboe d'amore and cor anglais and harpsichord. The demise of the oboe as a solo instrument and the complete demise of the harpsichord during the nineteenth century were overturned in the twentieth as both instruments made impressive comebacks.”

Ivan March reviews the CD in the September 2006 issue of Gramophone:

"A cleverly designed programme with three Bach sonata arrangements, one each for oboe, oboe d'amore and cor anglais, interwoven with contemporary works. Althea Ifeka is a superb oboist with a slightly plangent tone which fits well with the harpsichord, as the engaging Gordon Jacob Sonatina shows with its variety of invention, splicing melancholy, wit and geniality. Here the balance seems ideal but in the Bach, beautifully played by both parties, I would prefer the oboe d'amore and cor anglais (both of which have a slightly more robust timbre) to be just a little less forward. But the Andante of BWV 1028 is so beautifully played that I really must not grumble."

Althea Ifeka's website chronicles her heritage, countries of residence and music education:

“Born in Nigeria of Nigerian and English parentage, Althea grew up in Canberra, Australia, read Social Anthropology at Girton College, Cambridge, where she was also a University Choral and Instrumental Scholar, and completed her education at the Royal Academy of Music in London and the Banff Centre for the Arts in Canada. After winning prizes at the RAM for the interpretation of eighteenth-century chamber music, and for orchestral playing, she reached the class finals of the 1992 Tunbridge Wells International Young Concert Artists Competition. Scholarships awarded during her studies include those from the Countess of Munster Musical Trust, the Ian Fleming Awards, and the U.S. Government Fulbright-Hays programme.

Althea was asked to mention her recent career activities. She highlighted two important events which took place earlier in the year:

“In March I won Third Prize at the Paris International Oboe Competition at Ville d'Avray near Versailles. Later that month I was privileged to perform in the service at Westminster Abbey to mark the 200th anniversary of the parliamentary abolition of slavery, in the presence of HM The Queen and the Prime Minister.”

We asked if Althea wished to make any other comment; she replied:

“I am deeply committed to encouraging the involvement of people of African descent in classical music. For many years, young African musicians have been a major force in my private teaching practice in London. As far as my performing career is concerned, I am currently looking for composers of African descent who would be interested in writing for the oboe, oboe d'amore or english horn. I have an exciting project in mind that requires some new music."

Althea added that she can be contacted at althea@altheaifeka.com







James DePreist (b. 1936), African American Conductor of Many American Works



[The Firebird Suite; The Rite of Spring; Igor Stravinsky; Oregon Symphony; James DePreist, Conductor; Delos DE 3278 (2001)]


The American conductor James DePreist is the nephew of the great African American singer Marian Anderson. He is profiled at AfriClassical.com and his biography can be found at the Web site JamesDePreist.com:

“James DePreist, newly appointed Permanent Conductor of the Tokyo Metropolitan Symphony Orchestra is Director of Conducting and Orchestral Studies at the Julliard School and Laureate Music Director of the Oregon Symphony. Widely esteemed as one of America's finest conductors, James DePreist, during the past three decades has served as Music Director of L'Orchestre Symphonique de Québec, Sweden's Malmö Symphony, L'Orchestre Philharmonique de Monte Carlo and the Oregon Symphony.”

Maestro DePreist's Web site continues its account of his life and professional career:

“Born in Philadelphia in 1936, he studied composition with Vincent Persichetti at the Philadelphia Conservatory of Music and earned bachelor's and master's degrees from the University of Pennsylvania. In 1962, while on a State Department tour in Bangkok, he contracted polio but recovered sufficiently to win a first prize in the Dimitri Mitropoulous International Conducting Competition. He was selected by Leonard Bernstein to be an assistant conductor of the New York Philharmonic for the 1965-66 season. DePreist made his highly acclaimed European debut with the Rotterdam Philharmonic in 1969. In 1971 Antal Dorati chose him to become his Associate Conductor with the National Symphony in Washington, D.C.”

In 1969 James DePreist made his European conducting debut and won a Martha Baird Rockefeller grant. His Web site continues:

“In 1976 DePreist became Music Director of the Quebec Symphony, Canada's oldest orchestra, where he remained until 1983. In 1980 he was named Music Director and Conductor of the Oregon Symphony, which two years later he guided into the ranks of the major United States orchestras.”

To celebrate DePreist's 20th anniversary with the Oregon Symphony, a supporter contributed one million dollars for a five-year recording project from 2000- 2005. DePreist has over 50 recordings to his credit. Among his discs is Delos 3278, which features two important works by Igor Stravinsky, The Rite of Spring and The Firebird Suite.

Music Critic James Reel wrote a cover article on the conductor's career for
Fanfare Magazine, Nov.-Dec., 1995. He quoted DePreist on the subject of recording:

“Recording for me is absolutely essential. What we do as musicians normally evaporates as soon as it's created. That's the nature of concerts.”

Maestro DePreist was awarded the 2000 Ditson Conductor's Award:

In addition to inspired performances of standard works, you are especially admired for your consistent, effective, and passionate advocacy of music by American composers. In your tenure with the Oregon Symphony, you have conducted more than 80 different American works, by more than 50 different composers; many of these performances were premieres, and many have subsequently been recorded under your direction.

For this devotion to the cause of American music, often by younger or less well-known composers, Columbia University is honored to present you with the Ditson Conductor's Award for 2000.”

Among Maestro DePreist's many recordings which explore American compositions is:
American Trombone Concertos; Paul Creston, Gunther Schuller, George Walker, Ellen Taaffe Zwilich ; Christian Lindberg, trombone; Malmö Symphony Orchestra; James DePreist, conductor; BIS CD-628 (1993).

In 2005 James DePreist was notified by the National Endowment for the Arts that he was to be honored with the National Medal of Arts for his contribution to American musical life as a distinguished conductor. He received the medal in an Oval Office ceremony at the White House in November, 2005.


James+DePreist" rel="tag">James DePreist
Black+Conductor" rel="tag">Black Conductor
classical+music" rel="tag">classical music
African+American" rel="tag">African American
American+Compositions" rel="tag">American Compositions
Racial+Heritage" rel="tag">Racial Heritage

Saturday, November 3, 2007

The Rambler Seal of Approval Awarded to AfriClassical

Tim Rutherford-Johnson, author of The Rambler, writes:


I’m a PhD candidate in musicology, an occasional writer and teacher on music, and in the gaps I work as a freelance editor.”


The Rambler is among the Favorite Blogs at AfriClassical, so we were pleased to see “the official Rambler Seal of Approval” awarded this week to AfriClassical, in the Writers category.


The+Rambler" rel="tag">The Rambler
classical+music" rel="tag">classical music
AfriClassical+Blog" rel="tag">AfriClassical Blog
Racial+Issues" rel="tag">Racial Issues
African+American" rel="tag">African American
Race+History" rel="tag">Race History

Zimbio Race Relations: “Francis Johnson (1792-1844): African American Bugler”

We added Zimbio Race Relations to our Favorite Blogs after it linked to the AfriClassical post on Francis Johnson, who is profiled at AfriClassical.com:

Zimbio.com/Race+Relations - The People's Guide to: Race Relations. A look at racial reconciliation in America.

Francis Johnson (1792-1844): African American Bugler, Band Leader ...

"Frank" Johnson was an African American bugler, bandleader and composer born in 1792. He is profiled in AfriClassical.com Prof. Dominique-René de Lerma of Lawrence University has made his research on Johnson available to this Website. ... Read Story


Zimbio+Race" rel="tag">Zimbio Race
Race+Relations" rel="tag">Race Relations
Racial+Reconciliation" rel="tag">Racial Reconciliation
classical+music" rel="tag">classical music
Black+Heritage" rel="tag">Black Heritage
African+Descent" rel="tag">African Descent

The Well Tempered Blog's web pick of the day: AfriClassical

Bart Collins writes The Well Tempered Blog, which is on our Favorite Blogs list, on “the piano, classical music, and more”. He recently made this post about AfriClassical:

African Heritage in Classical Music

I want to point the way to Bill Zick's excellent blog "AfriClassical" and its companion site "AfriClassical - African Heritage in Classical Music". It's today's web pick, so get clicking.

You'll find it all here.

Posted by Bart Collins

Well+Tempered" rel="tag">Well Tempered
Web+Pick" rel="tag">Web Pick
classical+music" rel="tag">classical music
racial+heritage" rel="tag">racial heritage
Black+Composers" rel="tag">Black Composers
Black+History" rel="tag">Black History

Friday, November 2, 2007

H. Leslie Adams (b. 1932), African American Composer




Audio Samples:
1
Albany Records Troy 639 (2004); Twelve Etudes; Dr. Maria Corley, piano I. G Minor
2
Albany Records Troy 428 (2000); Love Rejoices: Songs of H. Leslie Adams; Dr. Darryl Taylor, countertenor; Robin Guy, piano

a For you there is no song
b Amazing Grace
c Sence You Went Away
d Creole Girl
e Homesick Blues


Six Audio Samples Illustrate Compositions of the Composer

Dr. H. (Harrison) Leslie Adams is an African American composer, pianist and professor who was born in Cleveland, Ohio in 1932. His website is: hleslieadams.com

Dr. Dominique-René de Lerma is Professor of Music at Lawrence University in Appleton, Wisconsin, and former Director of the Center for Black Music Research at Columbia College Chicago. He has specialized in African heritage in classical music for four decades, and has kindly made his research file on the composer available to this website.

We learn from Prof. De Lerma that H. Leslie Adams was a student of both piano and voice before finishing high school:

A native of Cleveland, Harrison Leslie Adams began private piano study with Dorothy Smith and Mina Eichenbaum and voice with John Howard Tucker.”

Adams went directly from high school to Oberlin Conservatory, Prof. De Lerma writes, eventually earning Bachelor's and Masters degrees in Music and a Ph.D. in Music Education:

“Following graduation from Glenville High School he enrolled at the Oberlin Conservatory of Music (B.M, 1955), studying composition with Herbert Elwell and Joseph Wood, voice with Robert Fountain, and piano with Emil Dannenberg. He studied composition privately with Robert Starer (1950) and Vittorio Giannini (1960) before attending California State University-Long Beach (M.M., composition and choral music, 1967) where his composition teachers were Leon Dallin and Robert Tyndall. He entered Ohio State University in 1968 and secured his Ph.D. in music education in 1973, a student of Marshall Barnes. Subsequent study of orchestration was guided by Edward Mattilla, Eugene O’Brien, and Marcel Dick (1978-1983).”

Prof. De Lerma explains that Dr. Adams was a choral director at Stillman College in Alabama, and went on to hold a variety of positions as a pianist, music director and composer:

“n Alabama he was choral director at Stillman College. He was pianist for various dance companies from 1957 to 1962, and worked with the Karamu House in Cleveland, as Associate Musical Director (1964-1965), but returned as Composer-in-residence for 1979-1980, having already taught in the school system of New Jersey (Soehl Junior High School, in Linden, 1962-1963) and at the New Mexico School for Performing Arts in Raton (1966-1967). Prior to his study in California, he served one year on the faculty of Florida A&M University (1968). From 1970 to 1978, he was choral director and at the University of Kansas, leaving that post essentially to dedicate his time to composition back in his hometown, although he was guest composer at Cuyahoga Community College in 1980 and composer-in-residence for 1981-1982 at the Cleveland Music School Settlement. In 1980 he founded Accord Associates and served as president to 1986, when, until 1992 he was Executive vice-president and composer-in-residence of Accord Associates, and president and artist-in-residence from 1997 of Creative Arts.”

H. Leslie Adams has received a number of prizes, grants and fellowships, we learn from Prof. De Lerma, has been a scholar in residence, and has been selected for the Meet the Composer program of the Cleveland Public Schools three times:

“In 1963 he was winner of a composition competition held by the National Association of Negro Women, and had the 1969-1970 Fellowship of the National Education Defense Act. He received the national award for original composition from Choral Arts (1974). The National Endowment for the Arts in 1979 provided him with a grant. He has been scholar-in-residence at The Rockefeller Conference Center in Bellagio that same year, and is a Fellow of the Cleveland Foundation (1980) and the Jennings Foundation (1981). Under a Meet the Composer program he was featured in the Cleveland public schools in 1981, 1984, and 1991.”

Dr. Adams has had numerous commissions, and has performed with European and North American orchestras including the Prague Radio Symphony, Detroit Symphony Orchestra, Cleveland Orchestra and the Buffalo Philharmonic. One recent recording of his music is
Twelve Etudes, from Albany Records Troy 639 (2004), recorded by the Jamaica-born pianist Maria Corley.

One recent recording of his music is Twelve Etudes, from Albany Records Troy 639 (2004), recorded by the Jamaica-born pianist Dr. Maria Corley. She earned Master's and Doctoral degrees in piano performance at the Juilliard School. She comments on the composer and the composition in the liner notes:

“He was, and is, extremely gracious and generous, and it was a delight to be coached by this marvelous musician and gentle spirit in how to best bring his works to life.

At the time of this writing, Dr. Adams has completed nineteen of a proposed twenty-four etudes. They are highly representative of his compositional language, including jazz-inflected syncopations, neo-romantic harmonies, and the strong melodic sense one would expect of such a brilliant composer of songs.”

The liner notes also include remarks by H. Leslie Adams on the character of the Twelve Etudes:

These are essentially studies of varying styles, moods, tonalities, and thematic natures - each providing different technical challenges, while expressing my personal sense of beauty.”

H. Leslie Adams is a Legacy Award Winner of the National Opera Association for 2006. He is also the recipient of the Distinguished Alumnus Award of California State University Long Beach, 2006. In addition, the composer's opera Blake has been excerpted by the New York City Opera Company, May 6, 2006. Dr. Adams was one of 12 composers selected for the event at Skirball Center, New York University, Washington Square Park South. A press release announced:

“Adams' opera Blake will feature singers from the roster of The New York City Opera Association who will perform the selected excerpt of the opera in the first of two days of new works being performed and featured.”

The press release quoted the response of H. Leslie Adams to the recognition for Blake:

I have always held in my heart the hope and chance of this labor of love and commitment to reach the world’s greatest stages and with this profound opportunity and honor of The New York City Opera Association inviting me to be a part of this year’s symposium, perhaps all of my years of work will now be shared with the world,” Adams said. “I have always received encouragement regarding the work and promoting the meaning of the work. I firmly believe, even in a world of difference and adversity; this work will join the many elements of unity amongst us all.”

A synopsis of Blake can be found at the composer's Website. The portion of the website devoted to Archives, Works and Bibliography can be read at the H. Leslie Adams page of AfriClassical.com


Leslie+Adams" rel="tag">Leslie Adams
Blake+opera" rel="tag">Blake opera
classical+music" rel="tag">classical music
African+American" rel="tag">African American
Black+Composer" rel="tag">Black Composer
Black+Music" rel="tag">Black Music

Thursday, November 1, 2007

Harlem Quartet Releases CD “Take the 'A' Train”


[Take the 'A' Train; The Harlem Quartet; White Pine Music (2007). Available from WhitePineMusic.com]

The Harlem Quartet, a Sphinx ensemble, has just released its debut professional CD, Take the ‘A’ Train, on the White Pine Music label. The new CD release features the Quartet performing the music of Wynton Marsalis, Billy Strayhorn and more. The cornerstone of the disc is Marsalis’ colorful and evocative string quartet At The Octoroon Balls, a work commissioned by The Chamber Music Society of Lincoln Center and premiered by the Orion Quartet. The CD also offers a new arrangement of the title tune, Joacquin Turina’s celebrated La Oracion del Torero, and Guido Gavilan’s festive Mi Menor Conga. The disc is among the entries for the 50th annual Grammy® Awards in the Chamber Music Performance category.

The new CD adds to an already impressive string of accomplishments. Comprised of all First Place Laureates of the Sphinx Competition presented by JPMorgan Chase, the mission of the Harlem Quartet is to engage young and new audiences and to advance diversity in classical music. The ensemble made its successful debut at Carnegie Hall in October 2006, as part of the annual series made possible through the lead support of JPMorgan Chase, earning rave reviews from The New York Times. They appeared at the legendary Apollo Theater in New York in November 2006, and since then have had two return performances at Carnegie Hall and numerous other performances in New York, Michigan and Boston among other communities. During their most recent return performance at Carnegie Hall, Vivien Schweitzer of The New York Times remarked “The Harlem Quartet played with panache.” In addition, the ensemble was featured on NBC’s Today Show and most recently in the November 2007 issue of Strings Magazine.



Harlem+Quartet" rel="tag">Harlem Quartet
Sphinx+Organization" rel="tag">Sphinx Organization
'A'+Train" rel="tag">'A' Train
classical+music" rel="tag">classical music
chamber+music" rel="tag">chamber music
minority+performers" rel="tag">minority performers

Samuel Coleridge-Taylor: Piano Quintet & Clarinet Quintet on Hyperion


We welcome a new release: Samuel Coleridge-Taylor: Piano Quintet, Ballade for violin and piano; Clarinet Quintet; Nash Ensemble; Hyperion CDA67590 (2007) (69:20). John France of MusicWeb-International reviews the CD, beginning with a list of the works and the composition of the Nash Ensemble:

Piano Quintet in G minor Op.1 (1893) [26:23]
Ballade in C minor for violin and piano Op.73 (1907) [13:00]
Clarinet Quintet in F sharp minor Op.10 (1896) [29:56]

Nash Ensemble (Richard Hosford (clarinet); Ian Brown (piano); Marianne Thorsen (violin); Malin Broman (violin) (Piano Quintet); Benjamin Nabarro (violin) (Clarinet Quintet); Lawrence Power (viola); Paul Watkins (cello)).

“The present release simply confirms what I have come to believe – that Samuel Coleridge-Taylor may not be the brightest star in the firmament of British Music - but ‘by gum’ he is seriously underrated and well deserves to be better known and represented in the concert hall and the recording industry.

There are three works given here: one is quite a late piece, written just a few years before Coleridge-Taylor’s untimely death. The other two are effectively student works. All three are minor masterpieces – at least to this listener.

The sleeve-notes explain that the
Piano Quintet in G minor received its first performance in Croydon on 9 October 1893. It was a concert that consisted entirely of works by Coleridge-Taylor. Lionel Harrison notes that the piece was probably not heard again for more than a century.

The influences here are Brahms, Dvořák and Schubert, yet elements of Coleridge-Taylor’s mature style are already evident. This is a big-boned work that is full of romantic gestures and passionate outbursts.”

“The critical thing is that this multi-faceted work is the creation of an eighteen year old student: seen in this light it is an absolute masterpiece.

The
Clarinet Quintet in F# minor has an unusual history. Apparently Charles Villiers Stanford commented that ‘after Brahms produced his Clarinet Quintet, no one would be able to compose another that did not show Brahms’s influence.’ The young Coleridge-Taylor took this as a personal challenge and wrote the present number. Stanford is reputed to have said, on perusing the score, 'You’ve done it, me bhoy.’ However, what is not owed to the German is most probably due to Dvořák. Yet this is not a pastiche – there are elements of melody and design that defy classification and belong solely to the creative mind of this composer.

Interestingly, I detect a few passages that would seem to be imbued with an ‘Englishness’ more often associated with the so called ‘Pastoral’ school of composition. This is altogether the most important work of Coleridge-Taylor’s student days.

The latest work on this disc is the
Ballade in C minor for violin and piano. It was composed in 1907 and dedicated to the Russian-born violinist Michael Zacherewitsch. The title of Ballade was in the air at this time with works by Grieg and Debussy for violin and piano being possible exemplars; however the tone of Coleridge-Taylor’s work nods more to Tchaikovsky. This is a great work that is full of melancholy and passion. Yet it is not without its less dark moments – with the work finally ending in C major. The virtuosity of the solo part is never in doubt.”

“The bottom line is that this is an excellent recording of some stunning repertoire that is little known – even amongst enthusiasts of British music. Let us hope that there is plenty more by Coleridge-Taylor in the ‘in-boxes’ of the record companies.”

John France



Samuel+Coleridge-Taylor" rel="tag">Samuel Coleridge-Taylor
Piano+Quintet" rel="tag">Piano Quintet
classical+music" rel="tag">classical music
Black+Composer" rel="tag">Black Composer
Nash+Ensemble" rel="tag">Nash Ensemble
Hyperion+Records" rel="tag">Hyperion Records

Classic in Black Airs Profile of Paul Konye, Nigerian Conductor, Nov. 3

Classic in Black announces a live broadcast on Saturday, Nov. 3, 2007 at 9pm Berlin time:

Classic in Black presents the Portrait of Paul Konye, the Nigerian conductor and teacher at Siena College in New York City; a radio show accompanied with the presentation on his Cds, the "Popular Broadway Choruses" and Frederik Chopin's Work "Piano Concerto N° 1 in E minor" with the Muson Symphony Orchestra & Choir.

On the Cable at Offener Kanal Berlin 92,6 Mhz or Antenna 97,2 Mhz

Live monthly streaming available at the website: www.okb.de, look under the section Radio live stream

Offener Kanal Berlin
Voltastrasse 5
D-13355 Berlin-Wedding
Tel. : 0049 30 46 40 05 0
Website:

Offener Kanal Berlin Website

Harry Louiserre/Producer and Moderator CIB Radio Show
E-mail address: classicinblack@yahoo.de


Classic+Black" rel="tag">Classic Black
Paul+Konye" rel="tag">Paul Konye
Nigerian+Conductor" rel="tag">Nigerian Conductor
classical+music" rel="tag">classical music
African+Conductor" rel="tag">African Conductor

Maria Corley, African American Pianist


[Soulscapes: Piano Music by African American Women; Maria Corley, piano; Troy 857 (2006)] [Twelve Etudes; Maria Corley, piano; Albany Records Troy 639 (2004)]


African American Pianist Maria Corley has been known to us for years because she recorded works of H. Leslie Adams, who is profiled at AfriClassical.com, on the CD Twelve Etudes (1994). Her latest CD is Soulscapes and features works of Viola Kinney, Valerie Capers, Dorothy Rudd Moore, Undine Smith Moore, Florence Price, Zenobia Powell Perry and Margaret Bonds.

Maria's radio and television appearances in Canada and the U.S. have been numerous. For example, she was a guest castaway on NPR’s “Desert Island Discs” hosted by Ellen Hughes. She has also been on radio in Bridgetown, Barbados and on television in El Salvador. We are happy to present her bio, followed by a summary of her teaching experience:

Jamaican-born Canadian pianist Maria Thompson Corley gave her first public performance at the age of eight. Since then, she has appeared on radio, television, and concert stages in Canada, the United States, Central America, the Caribbean, Bermuda and Europe, both as a solo and collaborative artist, including performances in Budapest at the Liszt Academy, and in Carnegie Recital Hall, Aaron Davis Hall and Alice Tully Hall, all in New York City. She has collaborated with such artists as Metropolitan Opera soprano Priscilla Baskerville, and internationally renowned clarinetist James Campbell. Her performances as soloist with orchestra include engagements with the Tallahassee Symphony Orchestra under the baton of Gunther Schuller, the Lancaster Symphony Orchestra, conducted by Stephen Gunzenhauser, and the Allegro Chamber Orchestra, with Brian Norcross.

Her first CD, Dreamer, a collaboration with tenor Darryl Taylor, was released internationally on the Naxos label. Her subsequent discs, on Albany, include a recording of the first twelve of African American composer Leslie Adams' etudes for solo piano and Soulscapes, consisting of music for solo piano by African American women.

Her undergraduate work was completed at the University of Alberta in Edmonton, where she studied with Alexandra Munn, whose teachers include Irwin Freundlich. Maria Corley received both Masters and Doctorate degrees in piano performance from the Juilliard School, where she was a student of renowned Hungarian pianist Gyorgy Sandor and the only pianist admitted into the doctoral program for the period of two years. She was also chosen to represent her alma mater in a tour of Central America, where she gave performances and master classes.

Aside from being an accomplished pianist, Maria Corley is an author, whose first novel, Choices, was published by Kensington. She is also a composer and arranger of music for both solo voice and chorus, with pieces commissioned and recorded by the Florida A&M University Concert Choir, the Tallahassee Boys Choir, and soprano Randye Jones.

She currently serves as staff accompanist at Millersville University in Lancaster, Pennsylvania. Maria Corley is a member of Sigma Alpha Iota and a Rotary Club Paul Harris fellow.


Teaching Experience

1999-present Part time Assistant Professor and Staff Accompanist,

Millersville University, Lancaster, PA

Duties include accompanying for recitals given by advanced students and faculty members and teaching private piano lessons to non-majors.

1994-1999 Assistant Professor, Florida A & M University, Tallahassee

Duties included teaching class piano and applied piano, advising students, serving on committees, recruiting, and collaborating with students and colleagues, and accompanying the concert choir.

1991 Master Classes, Costa Rica, El Salvador, and Guatemala

Repertoire covered ranged from the famous Minuet in G from the Anna Magdalena Book to Faschingsswank aus Wien by Schumann and Chopin’s E Minor Piano Concerto. Costa Rican students were music majors from the University of San Jose, while in Guatemala I instructed pupils attending the National Institute (a music conservatory). El Salvador’s students were much younger and less advanced.

1989-1992 Teaching fellow, The Juilliard School, music history and secondary piano

Materials used included Bartok’s Mikrokosmos and For Children, the Anna Magdalena Book, Hanon, Pischna, the Smith progressive sight reading books, Bach inventions, Schumann’s Album for the Young, easy pieces by Milhaud, Kabalevsky, Stravinsky, and Diamond, etudes by Czerny, Cramer, and Lemoine, sonatinas by Kuhlau, Clementi, and Diabelli, as well as other pieces found in the Music for Millions and Classics to Moderns collections and various other works or movements of works.

1979-present Private piano instructor of beginners through advanced pupils, children and adults



Maria+Corley" rel="tag">Maria Corley
Jamaican+Pianist" rel="tag">Jamaican Pianist
classical+music" rel="tag">classical music
Black+Pianist" rel="tag">Black Pianist
African+American" rel="tag">African American
Black+Musician" rel="tag">Black Musician