Ritz Chamber Players Perform Coleridge-Taylor Perkinson at Spring Concert, April 8

Ritz Chamber Players
Wednesday 04.08.09 7:30 p.m.
Times-Union Center for the Performing Arts, in the Jacoby Symphony Hall
“Please join us for a captivating concert featuring the works of Crusell, Perkinson, Piazzolla and Mendelssohn. Single Ticket Price - $30. Tickets To 2 Concerts - $50 per person. Spring Concert and Season Finale (May 27, 7:30 p.m.) Purchase tickets by phone (904) 354-5547 or online http://www.ritzchamberplayers.org

Kelly Hall-Tompkins and Kyle Lombard - Violins
Chauncey Patterson and Amadi Hummings – Violas
Kenneth Law -Cello
Terrance Patterson – Clarinet

VIP reception in the Davis Gallery, during intermission and following each concert, is open to season ticket holders and to people who purchase tickets to both the Spring Concert and Season Finale. Founded in 2002 by Artistic Director and clarinetist Terrance Patterson, the Ritz Chamber Players perform chamber works from the traditional European repertoire, as well as highlight works by contemporary African American composers. [Coleridge-Taylor Perkinson (1932-2004) was an African American composer and conductor who is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma may be found]

Nyaho's CD 'Asa: Piano Music by Composers of African Descent' at All Music Guide

[William Chapman Nyaho - Asa: Piano Music by Composers of African Descent]

Dr. William Chapman Nyaho is a pianist, music editor and music professor who was born in Washington, D.C. to Ghanaian parents in 1958, and raised in Ghana from the age of 10 months. He is profiled at AfriClassical.com, and sends us word of this review of his new CD, MSR Classics MS1242, by James Manheim of All Music Guide: “Hi Bill check this out.. love the way this reviewer ties it all together.”

Swapacd.com

William Chapman Nyaho - Asa: Piano Music by Composers of African Descent CD Review

"This release by American pianist William Chapman Nyaho, who is of Ghanaian background, collects music by black composers in a way that has rarely if ever been done before, and it's highly recommended to anyone interested in the intersection of African music with European concert forms. The program is unusual and instructive in two ways. First, it's cross-generational. Much of the music is by contemporary composers, but there are also a few classics of the genre like Florence Price's Dances in the Canebrakes. Nyaho brings out the continuities between the generations, with the basic impulse toward drawing on African-based rhythmic materials intact even as the younger composers add contemporary techniques. The program also includes more non-American than American pieces, and here, too, Nyaho makes a powerful case for the African diaspora as a musical unity. The older pieces are especially interesting in this regard. 'Pomme Cannelle' (Cinnamon Apple) from Guadeloupean composer Alan Pierre Pradel's Sept Pièces Créoles, could have passed for a piece of American ragtime. Much of the music has never been recorded before, and several of the African pieces are real finds. Sample especially South African composer Bongani Ndodana's Flowers in Sand, with its delicate impressionist portraiture superimposed on rhythms on the Venda culture."  [Full Post] [William Chapman Nyaho, Florence B. Price and Alain Pierre Pradel are profiled at AfriClassical.com]

The Allmusic Blog: Brouwer & Roldán Among Cubans Who 'have made lasting contributions'

[Leo Brouwer & Amadeo Roldán] 
Blog.AllMusic.com

Cubanisimo! Happy 70^th Birthday Leo Brouwer

March 27th, 2009 | 8:15 am est | Uncle Dave Lewis

“Multi-talented Cuban composer, guitarist and conductor Leo Brouwer turned 70 on March 1; Brouwer is perhaps the most renowned of living Cuban composers, and this inspired us to take a look back at some of the Cuban composers throughout history who have made lasting contributions to the world of concert music. Leo Brouwer began to compose in 1955 at age 16, and even in those early years produced works of high quality such as his Danza Caracteristica (1957), regarded today as a classical guitar standard.” “From 1976 he entered into his mature vein, which Brouwer calls 'New Simplicity;' it encompasses input from popular and classical music, Afro-Cuban music and the avant-garde. A hand injury interrupted Brouwer’s career as guitar soloist, and while he has recovered, Brouwer has moved into conducting.”

Amadeo Roldán (1900-1939) was the father of Cuban modernism; when his ballet La Rebambaramba (1928) was conducted by Ernest Ansermet in Paris, Roldán became the first Cuban composer of serious music to be heard in the concert halls of Europe. Roldán was greatly interested in percussion, and his Ritmicás Nos. 5 and 6 (1930) appear to be the first Western musical works for predominantly non-pitched percussion, and without piano; Roldán is also credited with adding the claves and guiro to the concert percussionist’s arsenal of instruments. Roldán was from 1927 conductor and later music director of the Havana Philharmonic and taught composition at the Havana Municipal Conservatory; after the revolution, it was renamed the Amadeo Roldán Conservatory in his honor. Amadeo Roldán died of cancer at the age of 38.” [Amadeo Roldán and Leo Brouwer are profiled at AfriClassical.com]

Violinist Samuel Thompson, Featured Member at FracturedAtlas.org

FracturedAtlas.org

Featured Member: Samuel Thompson

EmilyB | Mar 26, 2009 10:48 am 

A native of Charleston, South Carolina, Fractured Atlas member Samuel Thompson began playing violin at a young age and made his debut at the age of eighteen with the Carolina Amadeus Players Chamber Orchestra. He studied at both the University of South Carolina and Oklahoma State University, earning the Master of Music degree from the Shepherd School of Music at Rice University where he studied with Kenneth Goldsmith and Raphael Fliegel. Currently living in New York, Samuel recently took time out from his busy schedule of performing, editing recordings and writing about music and the arts to answer a few of my questions…

What’s next on your professional horizon?

At this moment I am continuing my fund raising efforts, with one goal being to participate in competitions in both the United States and Europe during the next three years. I am also continuing my associations with Carpetbag Theatre and Alternate ROOTS, and am working on what will be my first recording. With all of this, however, I have to say that “life can happen while you’re making plans”, so while my projects are dear to me — and some of them time-sensitive — I am also open to what the universe brings if I can bring the best of myself to it.

How can we learn more about you, hear your music, and learn about your tour schedule?

I have a blog/website (http://samuelathompson.blogspot.com) that contains a lot of information about my career and history as well as my performance schedule and my thoughts on many things. Both my concert schedule and audio samples can be found at ReverbNation (http://reverbnation.com/samuelthompson), a tremendous global online service for musicians.

The Telegraph: 'Pianist spotlights black composers' at Georgia Military College March 31

[Gershwin: 3 Preludes, 6 Songs; Corea: 20 Children's Songs; Leon Bates, Piano; Naxos 8.550341 (1989)]

Macon.com
By Kenneth Rollins - Special to The Telegraph

"For Leon Bates, pivotal moments have defined his career.  He points to his solo debut at Carnegie Hall in 2000. There was his appearance in the 1990s with the Duke Ellington Orchestra directed by Mercer Ellington in Rome, Italy. Much earlier, as a junior at Temple University, he performed with the Philadelphia Orchestra. And his upcoming concert at Georgia Military College in Milledgeville carries similar potential. But it is not built upon his music alone. Although he is considered a leading American pianist and composer, Bates will perform classical music by other black composers. Bates noted that his Milledgeville program will feature black composers 'who have been a part of the musical tradition in this country going back to the 1800s.  That part of black culture is lost on the American society.'

"He said that his performance program highlights two living composers, George Walker and Leslie Adams. Walker earned a Pulitzer Prize for his composition 'Lilacs' in 1996. Bates deems both 'prolific composers' who are composing music for a variety of formats, which include full orchestra, chamber orchestra, small ensembles, vocal and choral groups. Bates said that he knows both musicians. And whenever he performs their music, he routinely sends them programs from the concerts. The second part of Bates’ program focuses upon a critical early phase in the development of jazz music. He plans to perform selected work from Eubie Blake, James P. Johnson and Duke Ellington.

"This phase 'deals with the legacy of ragtime (music) and East Coast stride piano, which set the tone of the traditional jazz genre.' Furthermore, he wants to make sure that R. Nathaniel Dett, a classically trained pianist from Oberlin Conservatory of Music, is heard, too. A 1908 Oberlin graduate, Dett composed 'Juba Dance,' a personal favorite of Bates. Bates encourages a broader appreciation of what he calls 'intellectual music.'  [Full Post]  [H. Leslie Adams, R. Nathaniel Dett, Duke Ellington (1899-1974), James P. Johnson and George Walker are profiled at AfriClassical.com]

Naxos 8.550341
Leon Bates
Piano Music of Black Composers
Georgia Military College
H. Leslie Adams
George Walker

Mzilikazi Khumalo's Opera 'Princess Magogo' Opens in Pretoria on Saturday

Tonight.co.za

“'Princess' finds her way home 

March 26, 2009

By Diane de Beer

Opera is flying at the moment and one of the most exciting productions is the return of Opera Africa's Princess Magogo, which tells the story of the princess who distinguished herself as the Zulu nation's first female composer. Opening in Pretoria at the State Theatre on Saturday, it first premiered in Durban in 2002. Sandra de Villiers, Opera Africa founder and chief executive, initiated Princess Magogo as an attempt to add an African opera to the traditional European repertoire featured in this country. It is based on the life of Mangosuthu Buthelezi's mother, Princess Constance Magogo ka-Dinuzulu (1900-1984), who was widely recognised as a singer, composer, musician, teacher and political activist. It is a blend of Zulu traditional music featuring the composer's work as well as traditional operatic conventions. Historian Professor Themba Msimang wrote the libretto, while composer Mzilikazi Khumalo was the obvious choice for the score, as he had researched Zulu music for more than 50 years. 'Many of the songs I used in the opera I learnt at my mother's knee,' he says.

Director Themi Venturas teams up with artist Andrew Verster as set and costume designer, Declan Randall is the lighting designer, and they are joined by Dutch star conductor Vincent de Kort and the Johannesburg Philharmonic Orchestra. Venturas says the concept and piece have come a long way. 'It has had two rewrites, new songs and music have been added with some new scenes introduced and others omitted,' he notes. Every time they've reworked the opera, they've developed it further. 'There have been several incarnations,' he adds, with one of its strongest features the fact that Sibongile Khumalo first created the role of the Princess. In this latest version, the lead role will be shared. 'Two impressive new singers will split the role,' he explains. 'Amsterdam loved it, Chicago loved it, Oslo loved it, Soweto loved it … Pretoria is in for a treat.'" [Full Post] [J. S. Mzilikazi Khumalo (b. 1932), South African Composer, Arranger & Choral Director, is profiled at AfriClassical.com] 

LandMammal.blogspot on 'Sonata Mullatica': 'Rita Dove's reading tonight was very good'

[Sonata Mulattica; Rita Dove; W.W. Norton Co. (2009)]

Anne Haines writes about hearing former U.S. Poet Laureate Rita Dove read from Sonata Mullatica, the book of poems which tells the story of George Bridgetower, a Black violin virtuoso.  He is profiled at AfriClassical.com by Dr. Dominique-René de Lerma, who writes that  the Beethoven work now known as the Kreutzer Sonata was originally dedicated to George Bridgetower:

LandMammal.blogspot.com

Wednesday, March 25, 2009

Rita Dove and other stuff 

“Rita Dove's reading tonight was very good. She read from her forthcoming book, Sonata Mullatica, which I am now seriously looking forward to -- it's good stuff, yes, but also it is sort of a biography-in-verse about this mixed-race violinist, George Bridgetower, who hung out with (Rebecca Loudon take note) Beethoven, until they had a falling-out and Beethoven took the sonata he'd written for Bridgetower and renamed it after someone else. 

“Narrative/lyric hybrid: check! Biographical story: check! Musicians having stupid interpersonal drama: check! I think I may learn a few things about how to deal with my own current project from this book.”
[Full Post] 

International Trumpet Guild Journal: 'Wilmer Wise: A Remarkable Life of Diversity'

[African American Trumpeter Wilmer Wise; Photo from website of The Jazz Museum in Harlem]

On March 12, 2009 AfriClassical posted “Wilmer Wise Performs at Baltimore's Morgan State University Sunday, March 22, 2009”. We received a comment from John McLaughlin Williams (JMW), an African American conductor and violinist who has made 10 recordings and won a 2007 Grammy Award: “After seeing today's post on Wilmer Wise, I thought to ask you if you might get him to give you a detailed exposition of his life in music. Probably most of the younger crew have not heard of him. I certainly had not till I saw him on your site. (One more great thing you do with AfriClassical!) I'm sure many of us would love to hear about his studies and his life in the Baltimore SO. What do you think? Best, JMW”

Wilmer Wise kindly sent us some articles. He also wrote: “Here is part of The Making of West Side Story - http://www.youtube.com/watch?v=Ra3zyMcTKX4&feature=related” In four and a half minutes, we see and hear Leonard Bernstein conducting a rehearsal of a dance scene with characteristic emotion and verve, with Wilmer Wise performing on trumpet.
 
Another link leads to a transcript of a telephone interview on a website of Johns Hopkins University:

Sounds & Stories: The Musical Life of Maryland's African American Communities

Oral History: Transcript. Interview No. SAS4.00.02 Wilmer Wise (telephone interview) Interviewer: Glenn Quader. Location: Baltimore, Maryland. Date: April 2002.

“I’m speaking with Wilmer Wise. He’s now a resident of New York, and was an instrumental person here, no pun intended, in Baltimore. [What] I’d like to do is ask you first what was your first real involvement in here in Baltimore? Wise: I joined the Baltimore Symphony in 1965. I was the first black musician to occupy a chair in the Baltimore Symphony. I also at the same time became an adjunct professor at Morgan State College – University now. Q: And that was teaching the trumpet? Wise: Teaching the trumpet. Q: And how long were you with the Baltimore Symphony? Wise: From the years of 1965 to 1970, through the five seasons.”

International Trumpet Guild Journal

Wilmer Wise: A Remarkable Life of Diversity

By Laurie Frink

October 2005 – Page 39

“Wilmer Wise, born and raised in Philadelphia, has had a magnificent career. From the beginning he was involved in all kinds of music, some of his fellow Philadelphians being Lee Morgan, Vince Penzarella, Ted Curson, Bobby Timmons, Tony Marchione (teacher of Randy Brecker), and Reggie Workman, to name a few. He has played with the Dick Clark Youth Band, The Intruders, the Club Harlem Band of Atlantic City, performed the Haydn Concerto (at age 23) with the Philadelphia Orchestra, played principal trumpet in the first Music from Marlboro tour of Europe, recorded with Pablo Casals, played lead trumpet in the only recording of West Side Story conducted by Leonard Bernstein, played five seasons with the Baltimore Symphony as assistant principal, served on the faculties of Morgan State and the Peabody Conservatory, performed with the New York Philharmonic, the American Symphony, and the Brooklyn Philharmonic, (35 years as principal) recorded most of the Philip Glass movie soundtracks, and played lead trumpet in more than 30 Broadway Shows, including five Stephen Sondheim hits.”

“Frink: Was the climate in the orchestra relaxed about you being there? Wise: No. A fellow came up to me and showed me a picture of an Aunt Jemima kind of woman with a bandana. I looked at him and in my best South-Philadelphian demeanor, and said 'You better get the f*** outta my face before I kick your a**' and he said, 'Oh, excuse me.' (laughing) He left me alone after that. It was about establishing territory. I went to the bar across the street from the Lyric Theatre and they told the musicians I was with 'tell the black guy we don't serve his kind here.' Frink: This is in 1965? Wise: Uh huh, so the guys that were drinkers boycotted the bar and the owner realized he was losing serious money so he welcomed me with open arms. He sent a personal invitation, 'Please come back.' This was Baltimore in the 1960s. Frink: So there were some people in the orchestra who were friendly and... Wise: And there were some who were not. If they could have burned a cross on stage, there are some that would have done it.”

Wilmer Wise
A Remarkable Life of Diversity
International Trumpet Guild Journal
African American Trumpeter
Baltimore Symphony
West Side Story

Schomburg Center: William Grant Still's 'Troubled Island' Mar. 31

[Canvas rendering of the Troubled Island mural created by Noni Olabisi on the William Grant Still Art Center in Los Angeles.  All rights reserved by the artist.]

William Grant Still's Troubled Island recounts the 1791 rebellion by Haitian slaves which ultimately led to creation of the first Black republic of the Western Hemisphere. This is the last in a series of three Black History presentations by Lincoln Center:

NYOpera.com

At The Schomburg Center For Research In Black Culture

Opera Matters: Black History At City Opera

March 31, 2009

“In honor of Black History Month we celebrate the important African American works and artists who have graced City Opera's stage in three commemorative programs featuring discussion, live performance, special guests and historic audio and video clips.  SOLD OUT”

Telecharge.com

“Troubled Island: 60th Anniversary Celebration - Musical 

We celebrate the 60th Anniversary of the first world premiere in City Opera history: Troubled Island by William Grant Still and Langston Hughes. First performed on March 31st 1949, it was the first world premiere of any African-American composer's work presented by a major American Opera Company. Venue: Langston Hughes Auditorium at the Schomburg Center, 515 Malcolm X Boulevard, New York NY” [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

Composer Chris Becker Seeks Score Or Recording Of 'Levee Land' By William Grant Still

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

This post first appeared on the blog of Chris Becker, a New York composer, producer and recording artist whose website is http://www.beckermusic.com:

Chris Becker

Monday, March 23, 2009

William Grant Still

“Sunday, March 22, I was able to attend the American Symphony Orchestra's concert of William Grant Still's music. I'd been looking forward to this program for awhile. Performances of Still's music in the U.S. are rare. And the more I've researched Still's biography and music, it is clear that many of his works haven't been performed in the U.S. or at all. For instance, the ASO program mentions that Still wrote eight operas. That really took me by surprise - and I came to the ASO concert with some knowledge already of Still's music and his biography. You would think I would have already been aware of this fact, but nope. And something about the number just hit me. He wrote eight operas and how many of them have been performed here in New York?

“Who is William Grant Still? You can read about him at AfriClassical, Wikipedia, and here. I am particularly interested in hearing or seeing the score to an early work of Still's called Levee Land for soprano and orchestra which was premiered in New York in 1926 with Florence Mills. If anyone out there knows of a recording that's available for purchase, please give me a shout in the comments. I am not clear yet as to who owns the publishing of his music, and this may be an issue when it comes to buying his scores. But I've only just begun my research.” [Full Post]

NYDailyNews.com: William Grant Still's 'Second Symphony is a lush, romantic piece'

[William Grant Still (1895-1978)] ]

NYDailyNews.com

Howard Kissell

The Cultural Tourist

William Grant still

March 22, 2009

“This afternoon Leon Botstein led the American Symphony Orchestra in several pieces by William Grant Still (1895-1978), whose name is often followed by the phrase 'the Dean of African-American composers.' As is often the case words are a much easier way to honor a man than performing his music -- he appears in concert halls and on disc far less than he should. In his program notes Botstein mentions that one of Still's champions was Leopold Stokowski, who was in fact the founder of the American Symphony and who corresponded with Still about a piece that might be played at its debut in 1963.

“In the concert at Avery Fisher Hall Botstein did a wonderful job of 'framing' Still, of putting him in context. The program began with a 'Rip van Winkle Overture' by George Whitefield Chadwick, a 19th century American composer, a pleasant enough composition. He followed it with Still's 'Darker America,' which made Chadwick really sound like 'white bread.' In some ways 'Darker America' was the most interesting piece on the program -- it had an arresting, somber quality, using the brass and winds to particularly mournful effect. Written in 1924, it seemed inescapably an attempt to convey the African-American experience, which it did -- powerfully."

“The first half concluded with an evocative three-movement Still work called 'Africa.' It was composed in 1928, when American symphonic music, by white and black composers, was still searching for an American sound. Music from this period often has an impressionistic rather than a formal structure.” “Still followed his own muse. His Second Symphony, which closed the program, is a lush, romantic piece, which the ASO played beautifully.”

Roy Eaton Celebrates 60 Years of Kosciuszko Foundation Chopin Award April 5 at Carnegie Hall

[Roy F. Eaton]

AfriClassical has received news from pianist Roy F. Eaton of an anniversary recital at Carnegie Hall: “Roy Eaton, winner of the first Kosciuszko Foundation Chopin Award will perform on April 5th at 8PM at Weill Recital Hall at Carnegie Hall in a special program commemorating the 60th anniversary of the establishment of this award in 1949. For Ticket information call 212 734 2130.”

Pianist Roy F. Eaton, RoyEaton.net, is well known for performing and recording the works of the African American ragtime and classical composer Scott Joplin, and for interpreting the piano works of other composers, including Frédéric Chopin and the African American composer William Grant Still. Scott Joplin (1868-1917) and William Grant Still (1895-1978) are profiled at AfriClassical.com

Marian Anderson Collection at U. of Penn. Holds Rare Songs of Florence Price

[Florence B. Price (1887-1953)]

Visitors to AfriClassical.com frequently ask for help obtaining sheet music of composers of African descent. Many requests involve the works of Florence B. Price. We routinely recommend contacting Suzane Flandreau, Head Librarian and Archivist at the Center for Black Music Research (CBMR), Columbia College Chicago. Her E-mail address is: sflandreau@colum.edu The CBMER's website is: http://www.colum.edu/cbmr

Today we present Suzanne Flandreau's advice to a singer who was seeking the sheet music of two Florence Price songs, “Hold Fast to Dreams” and “Sympathy”: “[T]he songs you are looking for are unpublished. We do not have copies here, and there are not copies in Florence Price’s papers at the University of Arkansas. However, a check of OCLC’s WorldCat, an online library catalog that includes most major libraries, locates copies in the Marian Anderson collection in the Rare Book and Manuscript Library at the University of Pennsylvania. The telephone number is (215) 898-7088 and the e-mail is rbml@pobox.upenn.edu. I don’t know what their copying policies are. I hope this information is what you need. Suzanne Flandreau” [Dr. Dominique-René de Lerma, Professor of Music at Lawrence University in Appleton, Wisconsin, has compiled a Works List of the compositions of Florence B. Price. It appears on the Florence Price page at AfriClassical.com]

Center for Black Music Research
Marian Anderson Collection
Florence B. Price
Rare Book and Manuscript Library
University f Pennsylvania
Dr. Dominique-René de Lerma

New York Times: 'Still (1895-1978) was a prolific composer'...'His works turn up too rarely'

[Symphony No. 2 (Song of a New Race), William Grant Still; Negro Folk Symphony, William Levi Dawson; Harlem, Duke Ellington; Detroit Symphony Orchestra; Neeme Järvi, Conductor; Chandos 9226 (1993)]

NYTimes.com

The Week Ahead: Mar. 22-28 
Classical Music

Allan Kozinn

Concertgoers have different opinions about LEON BOTSTEIN'S conducting technique. But one thing he does well is assemble programs of works from beyond the mainstream, often leaving listeners with the sense of having discovered something. He will lead his AMERICAN SYMPHONY ORCHESTRA in a program on Sunday in a program whose core is music by William Grant Still. His blues-inspired “Afro-American Symphony” was the first symphony by a black composer to be performed by a major American orchestra (the Rochester Philharmonic, in 1931). Still (1895-1978) was a prolific composer whose catalog includes four more symphonies, eight operas and many tone poems, suites, chamber works and vocal pieces. His works turn up too rarely, and when one of his symphonies is played, it’s generally the “Afro-American.” Mr. Botstein has passed that one by in favor of Symphony No. 2 (“Song of a New Race”), as well as two of Still’s orchestral suites, “Darker America” (1924) and “Africa” (1928).

The program also includes works by some of Still’s older contemporaries: George Whitefield Chadwick, represented by his “Rip Van Winkle” Overture (1879), and the modernist Edgard Varèse, whose “Offrandes” (1922) will be heard. Lecture by Mr. Botstein at 1:45 p.m., concert at 3, Avery Fisher Hall, Lincoln Center, (212) 721-6500, http://www.lincolncenter.org; $28 to $57.  [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

Sentinel-Tribune: 'Musical voice - Kostraba, radio host & pianist, performs BG recital'

[Africa: Piano Music of William Grant Still; Denver Oldham, piano; Koch 3 7084 2H1 (1991)]

Sentinel-Tribune

Bowling Green, Ohio

Musical voice - Kostraba, radio host & pianist, performs BG recital

Written by By DAVID DUPONT Sentinel Arts & Entertainment Editor 

Thursday, 19 March 2009

“For many years Greg Kostraba was the voice of classical music on WGTE-FM. As classical music programming director and senior radio host at the PBS affiliate in Toledo, he introduced the music in clear, dulcet tones, adding bits of commentary along the way. Sometimes, though, he lets his fingers do the talking. A classical performer, who was a semifinalist in the Van Cliburn International Piano Competition for Outstanding Amateurs in 2004, he has performed solo and chamber recitals as well as with orchestras around the region. Kostraba, who now is program director for WBAA in West Lafayette, Ind., said his dual careers as radio personality and performer are 'symbiotic.' He realized shortly after getting his doctorate in piano performance from the University of Cincinnati, that the two would work well together. People who heard him on the radio may want to see him perform and those who saw him perform would be more interested in tuning in to his radio programs.

“That’s proved to be the case, Kostraba said in a recent telephone interview. Kostraba will present a lecture-recital Sunday at 2 p.m. in the atrium of the Wood County Library. His program will showcase works by African-American composers. Violinist Rico McNeela, from the University of Toledo, will join him for some pieces. The program includes pieces by William Grant Still, considered the dean of African-American composers and the composer the pianist has an abiding interest in that dates back to his studies in Cincinnati. Still was a trailblazer in bringing African-American sounds into the classical realm. His first symphony the 'Afro-American Symphony' was the first work by an African-American composer to be played by a major American orchestra. Howard Hanson conducted its debut with the Rochester (New York) Symphony in 1931. Still was also the first African-American to conduct a major symphony.

“But breaking down racial barriers is only part of Still’s story. 'His music to me is as good as any American composer,' Kostraba said. His music is imbued 'with a great sense of lyricism,' the pianist said. And the composer loved the sound of trains and he incorporates “motor rhythms” in his pieces. 'There’s always a sense of forward motion in his pieces.' His music is evocative, often trying to project a visual image through the music. 'Summerland,' one of the 'Three Visions' Kostraba will play Sunday, is 'a musical depiction of heaven,' and one of the most beautiful pieces in the literature, Kostraba said. The blues element is also deeply felt throughout his work. 'What’s nice about it ... is it’s authentic. It’s rooted in his life in Harlem, his experience with Eubie Blake, his experience with W.C. Handy.' Kostraba will conclude the program with a blues that Still wrote for his 1936 ballet 'Lenox Avenue.' The program will begin with works by two of Still’s predecessors, the Afro-Anglo composer Samuel Coleridge-Taylor and R. Nathaniel Dett, who like Still studied at Oberlin College. Listeners, Kostraba said, may be struck by the similarities between the tonalities in Dett’s work and those of French impressionist composer Claude Debussy. [Full Post] [William Grant Still (1895-1978), Samuel Coleridge-Taylor (1875-1912) and R. Nathaniel Dett (1882-1943) are profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

NJ.com: 'Students and professional musicians celebrate Harlem Renaissance composer'

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

NJ.com

Students and professional musicians celebrate Harlem Renaissance composer

by Bradley Bambarger/For The Star-Ledger 

Thursday March 19, 2009, 2:21 PM

“American Symphony Orchestra. When and where: 3 p.m. Sunday, Lincoln Center's Avery Fisher Hall, 65th Street and Broadway, New York; 7:30 p.m. Thursday, Conlin Auditorium, St. Benedict's Preparatory School Auditorium, 520 Martin Luther King Blvd., Newark. How much: $28-$57 in New York; visit http://www.lincolncenter.org or call (212) 721-6500.   Free in Newark; visit http://www.sbp.org or call (973) 792-5800.

“A 'crescendo of effort' is how teachers at St. Benedict's Preparatory School describe this week's culmination of the Newark institution's yearlong exploration of the Harlem Renaissance. The New York-based American Symphony Orchestra has been working closely with St. Benedict's teachers and students in a humanities program that links music, literature, visual arts and journalism. Some 100 students will attend the ASO's Lincoln Center performance this Sunday for free, with the concert revolving around African-American composer William Grant Still. On Thursday, ASO players will perform alongside student musicians in a concert at the school.”

“Clifford Brooks, the ASO's New Jersey-based education adviser for Music Notes, says 'the orchestra's musicians love really sharing their knowledge and passion with teachers and students, rather than just coming in to perform and leave.' Sunday's Lincoln Center concert, conducted by ASO music director Leon Botstein (also president of Bard College), will include the tone poems 'Darker America' and 'Africa' by the [Mississippi-born] Still (1895-1978). Also featured will be Still's 'Symphony No. 2' debuted by Leopold Stokowski and the Philadelphia Orchestra in 1937). Works by Still's teachers George Chadwick and Edgard Varese share the bill. The St. Benedict's program will include choral works by Still set to poems by fellow Harlem Renaissance artist Langston Hughes.” [Full Post] [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

Black in Alberta: 'Black Mozart – Le Chevalier de Saint-Georges'

[Le Chevalier de Saint-Georges Violin Concertos, Op. 5, Nos. 1 & 2; Op. 3, No. 1; Op. 8, No. 9; Bernard Thomas Chamber Orchestra; Jean-Jacques Kantorow, Violin; Arion 68093 (1990)] 

Black in Alberta
Tuesday, March 17, 2009

Black Mozart – Le Chevalier de Saint-Georges

“Joseph Bologne, Le Chevalier (Le Chevalier means knight) de Saint Georges was born on Christmas Day, 1745 in Guadeloupe to a slave and a French colonialist. His father took Le Chevalier de Saint Georges and the boy's mother to France at a young age and invested in his education and musical training, with aspirations of having his son enter into the aristocracy. Le Chevalier de Saint Georges became the best fencer in France and had an affinity for music from early on. He ascended to be the first black man to conduct France's finest orchestras and his musical compositions inspired well known composers like Mozart, Haydn and Beethoven.

He was the general of a legion of 1000 black soldiers that fought heroically during the French revolution. He was a famed lover, though never fully accepted because of his black blood. Here is a clip of a pianist performing one of Le Chevalier de Saint George's works. From YouTube.com: “Richard Alston, pianist performs 'Adagio in f minor' by Chevalier de Saint Georges composer of African descent. Please visit my web site http://www.richardcalston.com” The post also links to the Saint-Georges page at AfriClassical.com, saying: “A good website to read more about him.”

Harry Rolnick: 'This was my first hearing of George Walker’s Lilacs, and I frankly loved it'

[Photo Courtesy of George Walker]

We present a brief excerpt from Harry Rolnick's review of the March 17, 2009 concert of the Philadelphia Orchestra in Carnegie Hall:

ConcertoNet.com

Darius Milhaud: La Création du Monde, opus 81a

George Walker: Lilacs

Gustav Mahler: Lieder eines fahrenden Gesellen

Antonín Dvorák: Symphony No. 9, “From the New World”, opus 95

Russell Thomas (Tenor), Eric Owens (Bass-Baritone)

The Philadelphia Orchestra, Charles Dutoit (Chief Conductor and Artistic Adviser), Jessye Norman (Presenter)

“George Walker was the first Black composer to win the Pulitzer Prize for his Lilacs, while Mahler’s Songs of a Wayfarer was a favorite of Marian Anderson, who was celebrated by Ms. Norman in her speech. Finally, Dvorák’s symphony, while has more ersatz American Indian themes than Black, celebrated a composer whose friendship with Black pianist Harry Burleigh is worthy of a book in itself. This was my first hearing of George Walker’s Lilacs, and I frankly loved it. Walt Whitman has been set countless times, but Mr. Walker had a special take. For the poem When Lilacs Last In The Door-Yard Bloom’d is desolation, and Mr. Walker sensed that from the beginning. Over all four songs was one chord which was neither major nor minor, but this ambiguity gave the sense of unease over the entire work, ending only with a kind of mournful percussive effect.” 

“Tenor Russell Thomas did the honors, literally. So lovely is his voice that one almost wishes he was reciting the poems. But singing them, with the sudden leaps to near falsetto range, he retained all the emotional impact.” [George Walker (b. 1922) and Henry "Harry" Thacker Burleigh (1866-1949) are profiled at AfriClassical.com.  Dr. Dominique-René de Lerma has contributed Works Lists for both composers]

Arts & Answers: 'Tania León, Tuesday March 17, 9:30-10 PM'; WKCR-FM 89.9 & WKCR.org

On Feb. 27, 2009 AfriClassical posted: “Tania León's 'Inura' Performed by DanceBrazil at NYU's Skirball Center March 19-22”. The piece began: “DanceBrazil presents a program including Inura, composed by Tania León, on four consecutive days, from Thursday, March 19 through Sunday, March 22”. Today we were happy to read this on the blog “Lit Between the Ears”: “Arts & Answers: Tania León, Tuesday March 17, 9:30-10 PM. Posted by William Spear in >> Dramatic Radio, >> News. Host Anne Cammon interviews acclaimed composer Tania León as she prepares for the premiere of Inura, her dance score to be performed by DanceBrazil.

Details: Arts & Answers; Anne Cammon, Host; WKCR-FM 89.9 FM, http://www.WKCR.org” The station, whose motto is “Columbia University Radio in New York”, gives this description of the format of the program: “Arts and Answers: Tuesday and Thursday, 9:30-10pm. A thirty minute conversation with one or more artists that discusses a single work of art.” [Tania Justina León (b. 1943) is profiled at AfriClassical.com Her website is: http://www.TaniaLeon.com/]

African American Grandfather of Fencers Discovers Le Chevalier de Saint-Georges

[Le Mozart Noir; CBC Home Video ETART00100 (2005)]

Alfred H. Smith recently sent us an E-mail on the AfriClassical.com biography of Le Chevalier de Saint-Georges (1745-1799), and has agreed to allow AfriClassical to post his remarks: “I am an African-American Grandfather who just enrolled two of my grandchildren in fencing. While searching the Internet looking for fencing related information, I stumbled upon your site and was amazed to find out about this Afro-French fencer, composer, and violinist who existed in the 1700's. France's best fencer and a Colonel in the French Revolution who commanded a legion of Black volunteers. As we celebrate Black History, those of us of African Heritage take great pride to find that this Great Man was privileged at such an early date to be able to fence. In the African American community many perceive the sport of fencing as the other man's sport, it's wimpy and Black Folks don't Fence. Now we can historically show them the truth thanks to your website.

I also thought of the idea of using your image of Le chevalier de Saint-Georges on our Imani Fencers Foundation T-Shirts for a fundraiser, with of course your permission. Our Fencers Foundation – IMANI - is located in Oak Park (Sacramento), Ca. Our founder and instructors are volunteering their time to teach inner-city youth of diverse ethnic backgrounds the art of fencing free. There are however, other costs involved that most of the parents cannot afford.” We replied that the fencers of IMANI would no doubt benefit considerably from seeing the CBC Home Video DVD Le Mozart Noir, which sells for as little as $12 online. Excerpts are also available at: http://www.youtube.com/watch?v=Sy9EBjKgN10

Mississippi Columnist Recalls Call From William Grant Still's Daughter, Judith Anne Still

[Africa: Piano Music of William Grant Still; Denver Oldham, piano; Koch 3 7084 2H1 (1991)]

Northeast Mississippi Daily Journal, Tupelo, Miss.,
Leslie Criss column: Traveling exhibit offers enlightenment on native son

Sun. March 15, 2009; Posted: 02:16 PM

There's a traveling exhibit at the Lee County Library right now until Friday, March 27. It's called "William Grant Still: Inspired to Inspiring." If you're like I was a decade ago, you might be saying, "Who is William Grant Still?" As Mississippians, we all should become familiar with the man and his music. Back in 1999, I sat at my desk at The Vicksburg Post and answered a call. The voice on the end of the line asked if I knew anything about William Grant Still. I was embarrassed to have to admit to Judith Anne Still that I'd never heard of her father. She was kind and told me I was certainly not alone. Then she told me about her dad. She's sort of made it her life's work to educate people about her father and his music.

William Grant Still was born in Woodville, Miss., in Wilkinson County. That he was drawn to music should have come as no surprise to anyone. His father was bandmaster to an all-black band; his mother was an English teacher and musician. When his father died, Still's mother moved with her young son to Little Rock, Ark. Even as a youngster, Still loved all things music -- he even made toy violins. But his mother discouraged him. "His mother told him not to bother studying music because colored musicians had no place to go in those days," Judith Still told me in that '99 phone call. "She thought he'd end up playing in a brothel like Scott Joplin, so she sent him to Wilberforce University (in Ohio) to become a doctor."

Born to compose

Despite his mother's protests, Still formed a string quartet at Wilberforce and began writing his own music, later attending Oberlin Conservatory in Ohio. "His mother was able to watch my father conduct a major orchestra before her death, so I think she was able to make peace with the fact he was a composer," Judith Still said. In 1938, Still composed the opera "Troubled Island" about Haiti. It was staged at the City Center of Music and Drama in New York City and opened to packed houses. "The critics thought that, as a black man, my father had gone too far, was becoming too successful," Judith Still said. "They panned his opera." And opera house owners shut down production of Still's work. To support his family, Still went west to Los Angeles, where he cranked out compositions for such TV shows as "Perry Mason," Have Gun Will Travel," "The Three Stooges" and "Gunsmoke." Still's story is rich, wonderful, full of courage and certainly not without conflict. To tell it all would require much more than this space. That's why you should make your way to the library and check out the exhibit. And at 6:30 Tuesday, there'll be a free program on Still. If you love music, it's a great opportunity. More importantly, it's part of our history. Learn more about it.  [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma of Lawrence University can be found]

Leslie Criss
Tupelo, Mississippi
Judith Anne Still
William Grant Still
Inspired to Inspiring
Lee County Public Library

American Symphony Orchestra's Leon Botstein on William Grant Still on WNYC.org, March 16

[Symphony No. 2 (Song of a New Race), William Grant Still; Negro Folk Symphony, William Levi Dawson; Harlem, Duke Ellington; Detroit Symphony Orchestra; Neeme Järvi, Conductor; Chandos 9226 (1993)]

WNYC.org

The Leonard Lopate Show

Monday, March 16, 2009

Key Change(s)

“On today’s show: Richard Dowden talks about the challenges facing development in modern day Africa. We’ll also hear the story of how the only World War Two women’s orchestra avoided the gas chambers at Birkenau. Then, the American Symphony Orchestra’s Leon Botstein on the often overlooked composer William Grant Still.” “The pioneering African-American composer William Grant Still (1895-1978) ranks among the greatest composers born and educated in the United States, rivaled only by Leonard Bernstein in the variety of his output. American Symphony Orchestra Music Director Leonard Botstein joins us to discuss this under-appreciated genius and the upcoming concert “Revisiting William Grant Still” at Lincoln Center. 

Event - REVISITING WILLIAM GRANT STILL; Leon Botstein conducts the American Symphony Orchestra At Avery Fisher Hall, 132 W 65th St, Sunday, March 22nd at 3 pm

"AmericanSymphony.org

Revisiting William Grant Still

George Whitefield Chadwick - Rip Van Winkle (1879)

William Grant Still - Darker America (1924)

Edgard Varèse - Offrandes (1921) ( Jennifer Rivera, Mezzo-Soprano)

William Grant Still – Africa (1928)

William Grant Still – Symphony No. 2 (1937)

Operas, symphonies, concerti, chamber music, art songs, film scores, popular music— William Grant Still embraced all of America's music, and ranks among the greatest American composers. Rivaled only by Leonard Bernstein in the variety of his output, Still trained and worked with the best of the best in creating the sound of the 'American Experience.' Hear three of Still's momentous and varied works in a single program—Darker America, Symphony No. 2, and Africa. Featuring Jennifer Rivera, Mezzo-Soprano. Enjoy a pre-concert discussion 75 minutes prior to performance in Avery Fisher Hall."

Flutist Jessica Valiente is Dominican, Peruvian, African-American and Native American

On March 5, 2009 David Burnett's online newsletter “The Collective” brought Jessica Valiente to the attention of AfriClassical. David wrote, in part: “Flutist, Jessica Valiente, has a loose association of performer & scholar colleagues who have an interest in turn-of-the-century music of the African Diaspora. Early this year they made a submission to give a concert/lecture at the William Grant Still conference in Natchez, Mississippi and they were accepted. They'll be doing some smaller works of Still and some American jazz works that he was associated with as either an arranger or performer.” The article adds: “Also, [Ms.] Valiente has an organization called El Salon Negro (The Ebony Salon), which began with her dissertation in Cuban music at the turn of the century.”

MySpace.com/jessicavaliente

“Jessica holds a BA in music from Barnard College in conjunction with Manhattan School of Music, an MA in music performance from Queens College and is currently a candidate for the Doctor of Musical Arts degree at the CUNY Graduate Center.” “Ms. Valiente has also distinguished herself as a leader, both past and present; she has led various classical chamber groups and jazz combos, and continues to lead her flute, violin and cello trio, Non Sequitur, with which she has performed for over 25 years. She is currently the musical director of Los Más Valientes’, in existence since 1995, http://www.myspace.com/losmasvalientes2”

We have since corresponded with Jessica Valiente, who says her heritage is Dominican, Peruvian, African-American and Native American. She tells us: “I am so thrilled that you share our research interests. At the moment I don't have an email list for El Salon Negro/The Ebony Salon. We have a discussion group located at Yahoo Groups; I believe the category is culture and the arts, and we are listed as theebonysalon, all one word. There you and your group's members can sign up and feel free to post news of their activities, as long as it includes the work of black composers or Afrocentric music from the period roughly between 1875 and 1925.” Jessica Valiente's E-mail address is: jessicavalientenyc@hotmail.com

Jessica Valiente, Flutist
Dominican, Peruvian, African American & Native American
The Ebony Salon
Non Sequitur
Los Más Valientes’
Black Composers

Duke Ellington, R. Nathaniel Dett & Scott Joplin in Trivia Quiz at TerraVerdeMusic.org

[The Definitive Duke Ellington; Sony 61444 (2000)]

AfriClassical has excerpted the introduction and the final two questions from a trivia quiz which includes the names of three composers profiled at AfriClassical.com:

TerraVerdeMusic.org

Home > Musicians

Jazz Giants

Friday, March 13, 2009

“Great names in the jazz world must always be remembered. Here are some trivia information on the classic musicians of jazz and blues courtesy of http://www.funtrivia.com.”

1. “What was Duke Ellington's real name?

a. Thomas Fats

b. Glenn

c. Benjamin

d. Edward Kennedy”

2. “Who is considered the “Father of the Blues”?

a. W. C. Handy

b. R. Nathaniel Dett

c. Scott Joplin

d. Charlie Patton”

AfriClassical's answers are: 1. Edward Kennedy 2. W. C. Handy

[Edward Kennedy “Duke” Ellington (1899-1974), R. Nathaniel Dett (1882-1943) and Scott Joplin (1868-1917) are profiled at AfriClassical.com]

Southcoast Symphony Performs William Grant Still's 'Danzas de Panama' March 15

[William Grant Still: La Guiablesse, Danzas de Panama, Quit Dat Fool'nish, Summerland; Alexa Still, flute; Berliner Symphoniker; Isaiah Jackson, conductor; Koch 3 7154 2H1 (1993)]

The Post and Courier

Happenings

Thursday, March 12, 2009

“Symphony sets concert Sunday

The Southcoast Symphony will present 'Viva Espana!' on March 15. Dr. Manny Alvarez will conduct the 4 p.m. concert at the Cathedral of St. Luke and St. Paul, 126 Coming St., downtown Charleston. The performance is dedicated to the memory of Dr. and Mrs. George Durst. Classical guitarist Christopher Teves will return to the Cathedral of St. Luke and St. Paul with a performance of Rodrigo's 'Fantasia para un gentilhombre.' The Spanish theme continues with orchestral performances of Rimsky-Korsakoff's exotic 'Capriccio Espagnol' and Villa-Lobos' 'Aria (Cantilena).' William Grant Still's 'Danzas de Panama' and Hector Berlioz's 'Ungarischer Marsch' completes the program. Southcoast Symphony concerts are free and open to the public, but tax-deductible donations are accepted and help ensure future programming. Visit http://www.southcoastsymphony.com.  [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

Southcoast Symphony
Charleston Post and Courier
Viva Espana!
Christopher Teves, Guitar
Danzas de Panama

Wilmer Wise Performs at Baltimore's Morgan State University Sunday, March 22, 2009

[African American Trumpeter Wilmer Wise; Photo from website of The Jazz Museum in Harlem]

AfriClassical wrote about the African American trumpeter Wilmer Wise on Jan. 24, 2009: “Trumpeter Wilmer Wise Performs Works of Hale Smith & Ulysses Kay at Black History Concert”. Today we received word from him of an upcoming performance at Morgan State University: "I left the Baltimore Orchestra in 1970. This is my first time back in Baltimore since then. I am participating in an orchestra conducted by Theodore Thorpe, a very exciting conductor. I am looking forward to the concert that will performed at Morgan State University on March 22. I was a member of that school's faculty in 1965. Wilmer Wise” 

www.jazzmuseuminharlem.org

“He also studied formally, at the Philadelphia Conservatory of Music and the Manhattan School of Music. In 1965, he became the first Black trumpeter to join the Philadelphia Orchestra, who showcased him on the Haydn Trumpet Concerto in 1965, the same year he met fellow Philadelphia trumpet legend, Joe Wilder, also a former Harlem Speaks guest of honor. Wilder is respected in the music industry for his jazz and classical chops. He always encouraged the younger Wise. He also performed with the Baltimore Symphony for many years, while also teaching at Morgan State College in Baltimore.”

Wilmer Wise
African American Trumpeter
Morgan State University
Theodore Thorpe
Baltimore Symphony
Morgan State Faculty

Singer of William Grant Still's 'The Breath of a Rose' is Second in Georgia Competition

[William Grant Still (1895-1978)]

Georgia Perimeter College

GPC Voice Student Wins Second Place in State

03/10/2009

Author: Rebecca Rakoczy

“A Georgia Perimeter music student achieved second place voice honors and eight GPC students got their chance to hone their audition skills during a recent state conference hosted by the Georgia chapter of the National Association of Teachers of Singing. The event at Kennesaw State University attracted more than 400 student singers from across Georgia. They sang pieces in English, French, German and Spanish ranging from 17th century baroque pieces to a contemporary art song. The students competed in various divisions, based on years spent studying voice.

“Georgia Perimeter student Issiah Haynes placed second in the state among first year singers.” “Each student had to prepare and sing an 'art' song in the original language it was written and a contemporary art song, among other choices. Haynes sang the spiritual, 'He’s Got the Whole World in His Hands,' arranged by Moses Hogan, and the operatic piece, 'Come Away Fellow Sailors,' by Henry Purcell. He also sang African-American composer William Grant Still’s 'The Breath of a Rose,' a setting of a poem by Langston Hughes.”   [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

Charleston City Paper: A 'touching performance' of Still's 'Suite for Violin and Piano'

[Africa: Piano Music of William Grant Still; Denver Oldham, piano; Koch 3 7084 2H1 (1991)]

Charleston City Paper

by Lindsay Koob

“Enter our other co-hostess: violinist Lee-Chin Siow – along with the College’s Artist-in-Residence, pianist Enrique Graf – for an inspired and touching performance of pioneering American black composer William Grant Still’s Suite for Violin and Piano. 

“Still’s great gift was his ability to effectively express the African-American musical idiom in classical form. And I was amazed at how beautifully a violinist from Singapore and a pianist from Uruguay captured his inimitably American spirit. The bluesy, but busy opening passage was vaguely dance-like – and the laid-back slow movement reflected its alleged inspiration (a mother singing to her child) with devastating tenderness. The high-spirited, jazzy final movement left me with a big smile on my face.” [William Grant Still is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

AmericanTowns.com: 'Former Music Director James DePreist Returns to the Schnitz'

[James DePreist Bust, by Rip Caswell, Sculptor]

AmericanTowns.com

“Saturday-Monday, Apr. 18-20:

Former Music Director James DePreist Returns To The Schnitz 

When and Where: Three performances, at 7:30 p.m. Saturday and Sunday, Apr. 18 and 19, and 8 p.m. Monday, Apr. 20; Arlene Schnitzer Concert Hall. 

The Performers: The Oregon Symphony, with guest conductor (and its former music director) James DePreist on the podium, joined by pianist Garrick Ohlsson.   

The Program: 

- Christopher Theofanidis: Rainbow Body 

- Ludwig van Beethoven: Piano Concerto No. 4 

- Jean Sibelius: Symphony No. 1 

Tickets: (503) 228-1353 or (800) 228-7343 or online from the orchestra’s web site, http://www.orsymphony.org.” 

“- Conductor James DePreist stepped down as music director of the Oregon Symphony in 2003 after 23 seasons as the orchestra’s artistic leader. He then held the title of laureate music director for five seasons, from 2003 to 2008. Since 2004 he has been director of conducting and orchestral studies at The Juilliard School in New York.” The African American conductor James DePreist is the nephew of the great singer Marian Anderson. His biography is found at http://www.JamesDePreist.com and AfriClassical.com

Maestro James DePreist
Guest Conductor
Former Music Director
Oregon Symphony
Garrick Ohlsson, Pianist
Rip Caswell, Sculptor

Oh My Godot: Alvin Ailey's 'The River used the music of Duke Ellington'

[The Definitive Duke Ellington; Sony 61444 (2000)] 

Oh My Godot

Sunday, March 8, 2009

“Out Spotlight LXV

Alvin Ailey, Jr was an African-American choreographer and activist who founded the Alvin Ailey American Dance Theater in New York Theater. Ailey is largely credited with popularizing modern dance and revolutionizing African-American participation in 20th century concert dance. It is theorized that Ailey's choreographic masterpiece Revelations is the most well-known and frequently seen modern dance performance.” “In 1970, Ailey was honored by being commissioned to create The River for American Ballet Theatre. The River used the music of Duke Ellington.”

The Detroit Symphony Orchestra, led by Neeme Järvi, Conductor, has recorded three of Ellington's works for symphony orchestra. Suite from “The River” is found on Chandos 9909 (2001) and on an earlier disc, Chandos 9154 (1993). Michael Fleming provides some background for Ellington's writing of Suite from “The River” in the liner notes of Chandos 9154: “His son, Mercer Ellington, recalls that 'the idea for The River had been kicking around for several years, ever since Stanley Dance had suggested an extended work depicting the natural course of a river'. The elder Ellington composed the music for The River in 1970, during the same period of time when The New Orleans Suite was taking shape. At the premier of The River in 1971, with choreography by Alvin Ailey, the piece was announced as 'Seven Dances from a Work in Progress Entitled The River'. Ten movements were finished by then, but only seven of these were ever staged, in spite of Clive Barnes' praise of the score in 'The New York Times' as the most considerable piece from Mr. Ellington since his 'Black, Brown and Beige Suite'”. [Edward Kennedy “Duke” Ellington (1899-1974) composed classical music as well as jazz and is profiled at AfriClassical.com]

Oh My Godot
Alvin Ailey
The River
Duke Ellington
Detroit Symphony Orchestra
Classical Music

AfriClassical.com Guest Book: 'one of the most amazing web sites I have ever seen'

[John Blanke, Trumpeter in the Court of King Henry VIII; Westminster Tournament, 1511;

(National Archives, United Kingdom)] 

Deeann D. Mathews made a post in the Guest Book at AfriClassical.com on Saturday, 2/21/09. AfriClassical reprints it with her permission: “This is one of the most amazing web sites I have ever seen. I knew that there were many, many classical composers of African descent; I had no idea there were this many. As an African American composer of concert music, and an author on the subject of the music business (where the remnants of 'sharecropping' continue to this day, particularly against Black people), this site cheered me greatly, for credit is being given where credit is due, and African American composers through the centuries are getting the recognition and exposure they have so long been denied. Keep up the good work; I shall return to this page in the future with joy.”   From: San Francisco   Web Site: The Freedom Guide for Music Creators

Washington Post: 'New Orchestra Seeks A Diverse Audience'

[John Baltimore, Denyce Graves & Harolyn Blackwell]

WashingtonPost.com
By Anne Midgette

Washington Post Staff Writer 

Thursday, March 5, 2009; Page C04

“As arts organizations across the country cut costs and trim their schedules, Washington is getting a new orchestra. The D.C. Philharmonic held a news conference yesterday to announce its maiden concerts April 9-10 at the Music Center at Strathmore -- an ambitious program of Michael Torke's 'Bright Blue Music,' Samuel Barber's 'Knoxville: Summer of 1915' and Gustav Mahler's towering Second, or 'Resurrection,' Symphony. Denyce Graves and Harolyn Blackwell are the featured soloists.

“And according to John Baltimore -- the 30-year-old conductor who in a mere few months has brought this fledgling organization to life -- the ensemble will represent a new model for orchestras, funding itself by turning to a market he describes as 'untapped.' 'You just don't find this level of educated upper-middle-class African American income anywhere else in the United States,' he said yesterday in an interview. Added Baltimore: 'I am an African American myself. I believe wholeheartedly that Washington in particular has this unique demographic of educated, upper-class, recession-proof government wage-earners that, if this music was marketed to them and they could see that this music is for them, they would be supportive of it.'" [Full Post]

Philharmonic Orchestra of the Americas Honors Tania León in Concert March 8

Latin American Herald Tribune

Orchestra Pays Tribute to Cuban-American Composer

By Victor Martin

"NEW YORK – The Philharmonic Orchestra of the Americas is paying tribute this week in New York to several outstanding U.S. composers, including Cuban-born Tania Leon. 'I’m very happy,' she told Efe during an interview. Leon’s musical talent, as well as her educational work, has been recognized both within and outside the United States. The POA, founded five years ago by Mexican conductor Alondra de la Parra and comprised of young soloists from New York, has prepared a concert with works composed by women which it will give on the March 8 observance of International Woman’s Day.

"Leon, who has taught at Harvard and Yale and in the 1990s was advisor to New York Philharmonic director Kurt Masur, is the composer of 'Kabiosile,' a vibrant, energy-laden piece included in the program and which shows the influence of Cuban rhythms. She said that she was 'very happy' to see that new orchestras were springing up with broad participation by talented young people willing to invest a lot of time and effort in the interpretation of works and 'who show great mental breadth' in their ways of perceiving society. The celebrated musician participated on Tuesday in a presentation ceremony for the concert held at the Society of the Americas in New York. Also on hand at the event was Jade Simmons, who performs the piano portion of 'Kabiosile.'

"Both Simmons and De la Parra, the POA’s artistic director, made very clear their admiration for the work of Leon, an ex-student of Leonard Bernstein, and they emphasized the challenge 'Kabiosile' poses for a pianist or a conductor. De la Parra also recalled that Leon was the co-founder of the American Composers Orchestra Sonidos de las Americas Festivals, and she was the inspiration for her to create her own orchestra and dedicate herself to spreading the music of composers from the Americas. The Mexican conductor said in an interview with Efe that this is the first occasion on which the POA is offering a program where all the pieces are composed by women, although she added that that did not mean there was any underlying demand regarding the presence of women in classical music."  [Full Post] [Tania Justina León (b. 1943) is profiled at AfriClassical.com Her website is: http://www.TaniaLeon.com/]

Guitarist Anton Machleder Says of Leo Brouwer: 'He uses a lot of Afro-Cuban elements'

[Leo Brouwer (b. 1939)]

Renowned guitarist combines different music styles for performance

Hannah Tomlin, Daily Vidette Senior Staff

Illinois State University

Issue date: 3/4/09 Section: Features

Renowned guitarist Anton Machleder, along with his violinist An-Chi "Angel" OuYang, stunned the audience with their extraordinary and colorful performance on the evening of March 2 in Kemp Recital Hall. Machleder has performed solo recitals and chamber music concerts across the United States. Under the instruction of Nicholas Goluses, he completed the DMA in guitar and music literature at the Eastman School of Music. In 1992, he performed at Carnegie Hall's Weill Recital Hall as winner of the Artists International Competition. His articles have been published in numerous journals, including the American String Teacher, Extempore and Soundboard. He is currently teaching at the Greatbatch School of Music as an assistant professor and directs Red Creek Recording Studios in Rochester, New York.

The first piece he performed was "Estudios Sencillos" by Leo Brouwer, a composer, guitarist and music director from Havana, Cuba. Machleder said, "He uses a lot of Afro-Cuban elements. You can hear a lot of that rhythmic interplay in his music." The movements in this piece included "Movido," "Coral," "Rapido," "Comodo," "Allegretto" and "Arpegiando." Machleder's second piece, "Canticum," is also by Leo Brouwer. "It's a bit atonal. The rhythm is very free, as there are no bar lines," he said. "Eclosion," the first movement in "Canticum," can be defined as the emergence of an adult insect from a pupal case or an insect larva from an egg. The sounds throughout the movement depicted the struggle of the insect. The second movement was entitled "Ditirambo." Machleder described it as "sort of a Latin version of a Greek drinking dance." [Full Post] [Leo Brouwer (b. 1939) is profiled at AfriClassical.com]

Detroit Metro Times: 'Classical Roots Lecture & DSO Open Rehearsal' March 5, 6 P.M.

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

On Feb. 21, 2009 AfriClassical posted: “The Detroiter.com: '31^st Annual Classical Roots Honors Composer William Grant Still' Mar. 6-8”. 

Detroit Metro Times

Music >> Classical

Classical Roots Lecture & DSO Open Rehearsal

Thursday, March 5 at 6 p.m.

Critic's Pick

CLASSIC CONTRIBUTORS

by Megan O'Neil

The Detroit Symphony Orchestra's annual Classical Roots series pays tribute to the contribution of African-Americans to classical music. This year's performances honor the composer William Grant Still, who wrote more than 150 pieces and was the first African-American to conduct and have one of his works performed by a major symphony orchestra. Thursday, Still's granddaughter Judith Anne Still will give a free lecture on his life and work, after which guests are invited to attend the DSO rehearsal. Saturday features the ninth annual Classical Roots celebration, a black-tie affair which includes a cocktail reception, dinner, performance and afterglow, with $275-$500 tickets raising funds for DSO educational programs. At the Max M. Fisher Music Center, 3711 Woodward Ave., Detroit; 313-576-5111; detroitsymphony.com. [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

DSO Classical Roots
Detroit Symphony Orchestra
Thomas Wilkins
Judith Anne Still
DSO Open Rehearsal
Black Classical Composer

CD HotList: 'composers from the worldwide African diaspora' on Nyaho's CD 'ASA'

 [ASA: Piano Music by Composers of African Descent; William Chapman Nyaho, piano; MSR Classics MS1242 (2008)]

CDHotlist.btol.com
“Asa: Piano Music by Composers of African Descent; Label: MSR Classics (dist. Albany);
Composer: Various Composers; Performer: William Chapman Nyaho;
Cat.#: MS 1242; Period: Contemporary; Genre: Classical; Release type: New; Comments:
This is a fascinating and mostly impressive collection of brief pieces for piano by a variety of composers from the worldwide African diaspora; six of the eleven selections are world-
premiere recordings. Nyaho is an excellent pianist and gives each piece a bright and
enthusiastic reading. Not every composition is top-notch, but many are excellent, and taken
together as a survey they provide a very interesting picture of Africa's influence on
contemporary art music around the world. (RA)”

William Chapman Nyaho was born in Washington, D.C. on Dec. 28, 1958. He was to become a virtuoso pianist, gifted professor of music and dedicated collector and editor of piano music of the African Diaspora. Dr. Nyaho's website is http://www.nyaho.com/   His credits include a remarkable 5-volume anthology of sheet music published by Oxford University Press, Piano Music of Africa and the African Diaspora.  His first solo piano CD of works of composers of African descent is Senku: Piano Music by Composers of African Descent, Musicians Showcase 1091 (2003).

Richmond Punch: Mozart & Saint-Georges 'are more alike than people think'

[Richmond Punch, Violist/Violinist]

Et Cetera

Eastfield College

Mesquite, Texas

African-American Read-In informs all

Erica corbin-Reed

Issue date: 3/2/09 Section: The News

“To celebrate Black History Month, SPAR held an African-American Read-In February 25 in S100, and attended by approximately 50 people. This year's theme was 'A Celebration of Firsts' and college staff and students were invited to present a work of literature, be it a poem, book excerpt, or speech by an African-American writer.” “Elsa Hernandez of the DCCCD District Service Center was one of the speakers. She presented two poems; The Blues by Langston Hughes, and America.” “Another presenter was soloist Richmond Punch, a graduate of Yale's School of Music. Rather than present a literary work, he performed violin pieces. He compared the works of Mozart and le Chevalier de Saint-Georges, the former of Caucasian background, the latter of French-African descent. 'I wanted to show people that these two different composers are more alike than people think,' he said.” [Full Post]  

RichmondPunch.com

“Richmond Punch is a graduate of Yale University School of Music with a Master of Music degree in Viola in 2005 and Bachelor of Music degree from Juilliard in May 2003. He was the 2004-2005 recipient of the Moses Scholarship at Yale University and was the 2002-2003 recipient of the Juilliard Scholarship and the Dallas Juilliard Scholarship at The Juilliard School. At Yale, he served as Principal of Yale Philharmonia and studied viola with Jesse Levine. Richmond has performed with artists such as pianist and composer Marvin Hamlisch.” “Currently Richmond teaches privately in Plano ISD, is a teacher, performer, and he performs with the Las Colinas Symphony. In his spare time he enjoys Salsa Dancing and Foreign Films.” [Le Chevalier de Saint-Georges (1745-1799) is profiled at AfriClassical.com]

Pianist Leon Bates Performs 'African-American Originals' at Haverford College

[Leon Bates]

BiCoNews.com

Bryn Mawr & Haverford Colleges

Monday, March 2nd, 2009

Section: Arts

“Guest Artist Series Presents 'African-American Originals'

By Kelly Ka Wai Lam

This Friday night, while the battle of 12 bands commenced in Lunt, the crowd at Haverford’s Marshall Auditorium was treated to a no less lively performance by Leon Bates. The Philadelphia-born concert pianist has won honors and awards locally since his student days at Temple University and has toured internationally, including in Europe and Africa. Looking around, there was a good turnout by both students as well as community members, ready to embrace some great music belonging to a genre called ragtime that was a precursor of jazz. Entitled 'African-American Originals' the concert was part of the American Roots concert series, running in conjunction with Professor Curt Cacioppo’s piano class of the same name.

“The first half was comprised of unfamiliar, mid- and late-20th century works by George Walker and Leslie Adams, whom Bates described in his extensive introduction as 'two living African-American composers writing in the classical tradition.'” “Both ‘The Baltimore Todolo' and 'The Charleston Rag' by Eubie Blake were immediate hits with positive responses from the audience, many of whom were animatedly tapping their feet to Bates’ rhythmic playing. The atmosphere continued to heat up with 'Juba Dance' from the suite 'In The Bottoms' by R. Nathaniel Dett, which Bates ended with a slow spread chord and a wry smile, inducing laughter from his listeners.” “Next came a bold and enthralling rendition of James P. Johnson’s 'Carolina Shout.' Cacioppo was highly impressed, saying that he thought it ‘the highlight of the program.' To the audience’s satisfaction, four Duke Ellington tunes that were arranged by Bates himself followed, all of which were keenly played and caused some enthusiasts to stand up and rock to the beat. The nearly two-hour program ended with a tune called 'Things Ain’t What They Used to Be' by Mercer Ellington, the son of Duke Ellington."  [H. Leslie Adams (b. 1932), R. Nathaniel Dett (1882-1943), Duke Ellington (1899-1974), James P. Johnson (1894-1955) and George Walker (b. 1922) are profiled at AfriClassical.com]

African-American Originals
Pianist Leon Bates
H. Leslie Adams
George Walker
James P. Johnson
Classical Music

Philadelphia Orchestra Performs George Walker's 'Lilacs' March 12-14

[Photo Courtesy of George Walker]

BroadwayWorld.com

“Dutoit Leads Philly Orchestra For Three Concerts 3/12-14

Monday, March 2, 2009; Posted: 03:03 PM – by BWW News Desk

Philadelphia Orchestra Chief Conductor and Artistic Adviser Charles Dutoit leads the Orchestra in three concerts in Verizon Hall at the Kimmel Center celebrating the influence of African-American culture on classical music (March 12-14). The program features Milhaud's jazz-inspired The Creation of the World; George Walker's 1996 Pulitzer Prize-winning work Lilacs for voice and orchestra, with tenor Russell Thomas as soloist in its first Philadelphia Orchestra performances; Mahler's Songs of a Wayfarer, a work for which the late, great contralto Marian Anderson was known, with Philadelphia-native bass-baritone Eric Owens as soloist; and Dvořák's Symphony No. 9 in E minor ('From the New World'). Mr. Dutoit also leads the Orchestra in the same program at New York's Carnegie Hall (March 17) as part of Honor! A Celebration of the African American Cultural Legacy, a citywide festival presented by Carnegie Hall and curated by renowned soprano Jessye Norman.”

“George Walker's 1996 Pulitzer Prize-winning Lilacs for voice and orchestra consists of four songs set to verses 1, 2, 3, and 13 of Walt Whitman's 'When Lilacs Last in the Door-yard Bloom'd.' The poem, an elegy to fallen president Abraham Lincoln, is one of the most frequently set poems in the English language. Born in 1922 to parents of West Indian heritage, Mr. Walker has been a trailblazer throughout his illustrious career. He became the first black graduate of the Curtis Institute of Music in 1945, earning Artist Diplomas in piano and composition. With his debut performance with The Philadelphia Orchestra (also in 1945), he became one of the first black musicians to appear as soloist with the Orchestra. He was also the first black composer to be awarded a Pulitzer Prize. The composer's works, which number more than 90, have been performed by virtually every major orchestra in the United States and by many in England and other countries. More than sixty years into his career, Mr. Walker continues to compose. The Philadelphia Orchestra will give the world premiere performances of his Violin Concerto, with the composer's son Gregory Walker as soloist, in December 2009.” [Full Post]  [George Walker is profiled at AfriClassical.com, where a Works List by Dr. Dominique-René de Lerma can be found]

CincinnatiSymphony.org: 'Celebrating the CSO’s world premiere by...Jeffrey Mumford'

[Jeffrey Mumford; Photo: Al Fuchs, courtesy Oberlin Conservatory of Music]

Friday, March 27, 2009

CincinnatiSymphony.org

“Jeffrey Mumford Composer Residency

Celebrating the CSO’s world premiere by award-winning composer Jeffrey Mumford

Born in Washington, D.C., composer Jeffrey Mumford has received numerous awards, grants and commissions. He was also the winner of the inaugural National Black Arts Festival and Atlanta Symphony Orchestra Composition Competition. Mumford’s works have been performed extensively in the United States and abroad including Vienna, Paris, London, Helsinki, Mexico, as well as at the Library of Congress, the Cleveland Orchestra, and the National, Chicago, Detroit and Atlanta Symphony Orchestras. '…this music…has a deeply thoughtful, even soulful integrity…Mumford is a composer to watch.' —Robert Carl, Fanfare

“Fri March 27 at 8 PM, Sat March 28 at 8 PM Music Hall

James Gaffigan conductor 

Colin Currie percussion

J. Mumford …and symphonies of deepening light…expanding …ever cavernous 

(World premiere commissioned for the CSO by Ann and Harry Santen in honor of their 50th wedding anniversary)

J. Higdon Percussion Concerto

Beethoven Symphony No. 5

Jeffrey Mumford creates a rich orchestration and a sophisticated rhythmic interplay in this new work commissioned for the CSO. Jennifer Higdon wrote her Percussion Concerto in 2005 as a thrilling showcase for Scottish percussionist Colin Currie. The concert is capped off with perhaps the most famous symphony of all time. Join us in Corbett Tower after the Saturday performance for a free post-concert reception with the composer.”

Washington Post: 'The IBIS provided a glimpse of Still's wide spectrum of styles...'

[William Grant Still (1895-1978); (Photo is the sole property of William Grant Still Music, and is used with permission.)]

WashingtonPost.com

“Music Review: IBIS Chamber Music Society at Lyon Park Community Center

Cecelia Porter

Monday, March 2, 2009; 11:22 AM

Every seat was filled for Friday's splendid concert by the IBIS Chamber Music Society at Lyon Park Community Center in Clarendon. IBIS is a group formed by musicians from the Kennedy Center Opera House Orchestra, the National Symphony Orchestra and the Boston Pops Esplanade Orchestra. Friday's performance gave listeners a chance to hear these players up close in a chamber group with frequent chances for solos. Far off the beaten path, the program drew music from two relatively obscure composers -- American William Grant Still and William Alwyn of Britain.

“A pioneer in many ways, Still (who died in 1978) was the first African American to write a symphony played by an major orchestra and one of the first to compose for film, radio and television. The IBIS provided a glimpse of Still's wide spectrum of styles, ranging from neoclassicism, French impressionism, jazz and gospel in unusual juxtapositions overlaid with unmistakable individualism. Most evocative was his dark-toned 'Incantation and Dance,' played with molten phrasing by flutist Adria Sternstein Foster and harpist Susan Robinson. Violinist Joel Fuller and Robinson underlined the gospel-infused mood of 'Here's One,' while Fuller joined with violinist Joseph Scheer, violist Jennifer Ries and cellist Amy Ward Butler in capturing the coloristic exoticism and enticing Latin rhythms of 'Danzas de Panama.'" [Full Post]  [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

Margaret A. Bonds, African American Composer & Pianist Born March 3, 1913

Margaret Allison Richardson Bonds was an African American composer, pianist and musical director who was born in Chicago, Illinois on March 3, 1913. Dr. Dominique-René de Lerma, Professor of Music at Lawrence University has kindly made his research entry on Margaret Bonds available to AfriClassical.com: “She was born in Chicago as Margaret Jeanette Allison Majors to Dr. Monroe Majors and Estella C. Bonds...”. “Her parents separated in 1915 and, when her parents divorced in 1917, her mother resumed her birth name, assigning this also to her daughter.” “By the time she had begun the study of composition in 1926 with Chicago newcomers William Dawson and Florence Price (with whom she also studied piano), she was a charter member of the Junior Music Division of the National Association of Negro Musicians, and had been a student at the Coleridge-Taylor Music School, where her mother and Tom Theodore Taylor served on the faculty.” Bonds entered Northwestern University at 16, in 1929, and studied piano and composition. Dr. De Lerma continues: “A Rosenwald Scholarship was awarded for graduate study at Northwestern in 1933, when she had been awarded the B.M. degree.”

Prof. Rae Linda Brown wrote the liner notes for the CD Black Diamonds: Althea Waites Plays Music By African-American Composers, Cambria 1097 (1993): “Margaret Bonds (1913-1972) achieved national recognition when she won the Wanamaker Prize in 1932 for the song Sea Ghost, the same contest in which her teacher, Florence Price, received her coveted awards.” Dr. De Lerma relates: “She gave her debut in Town Hall on 7 February 1932...”. “She was pianist with the Chicago Women’s Orchestra the next year in the D minor concerto of Florence Price, conducted by Ebba Sundstrom and broadcast on CBS. She now had her M.M. degree from Northwestern (1934) and had already performed John Alden Carpenter’s concertino with the Chicago Symphony Orchestra in 1933, with Frederick Stock as conductor.”

A look at AfriClassical posts on Margaret Bonds in the past year shows her music is very much a part of contemporary performances and recordings. On June 8, 2008 we wrote of Gerald Blanchard's new CD With A Song In My Heart, which includes The Negro Speaks of Rivers by Bonds, Blue Griffin Records BGR 117. An Aug. 21, 2008 post announced “Art Song: 56^th Annual Noon Concert Series” at U.C. Berkeley, at which music of Margaret Bonds was among the works performed by Angela Arnold, soprano; and Jeffrey Sykes, piano. Others who performed the composer's works last year included Lesa Terry and the Women's Jazz Orchestra, and the Berklee College of Music. We also posted a review of Vol. 4 of Piano Music of Africa and the African Diaspora, edited by Dr. William Chapman Nyaho and including music of Margaret Bonds.

Ritz Chamber Players Play Perkinson's String Quartet No.1 “Based on Calvary!” April 8

[Coleridge-Taylor Perkinson (1932-2004): A Celebration; Chicago Sinfonietta et al.; Paul Freeman, Conductor; Cedille 90000 087 (2005)] 

AfriClassical has received this news from Terrance Patterson of the Ritz Chamber Players: “Greetings Bill – As always, I thank you so very much for always including the Ritz Chamber Players programs on your fantastic AfricClassical Blogspot. I wanted to let you know of our upcoming concert that will feature the Coleridge-Taylor Perkinson String Quartet No.1 'Based on Calvary!' who was the first Composer-In-Residence for the Ritz Chamber Players."

Here is the complete program:

Ritz Chamber Players Spring Concert

Wednesday, April 8, 2009 7:30 p.m.

Jacoby Symphony Hall |Times-Union Center for the Performing Arts, Jacksonville, Florida

Crusell (1775 – 1838) Clarinet Quartet No. 3 in D major, Op. 7

Perkinson (1932-2004) String Quartet No.1 “Based on Calvary!”

Piazzolla (1921 – 1992) Four for Tango

Mendelssohn (1809 – 1847) String Quintet No. 2 in B-Flat Major, Op.87

Ritz Chamber Players: Kelly Hall-Tompkins and Kyle Lombard – Violins; Chauncey Patterson and Amadi Hummings – Violas; Kenneth Law – Cello; and Terrance Patterson – Clarinet. [Coleridge-Taylor Perkinson is profiled at AfriClassical.com, where a Works List and Bibliography by Dr. Dominique-René de Lerma are found]

Ritz Chamber Players
Spring Concert April 8
Coleridge-Taylor Perkinson
String Quartet No. 1
Based on Calvary
Cedille 90000 087 (2005)

InterchangingIdioms: 'American Symphony Orchestra Plays Works by Composer William Grant Still'

[Africa: Piano Music of William Grant Still; Denver Oldham, piano; Koch 3 7084 2H1 (1991)]

InterchangingIdioms.blogspot.com/ 

Friday, 27 February 2009

“March 22 Concert at Lincoln Center Conducted by Leon Botstein: 'RevisitingWilliam Grant Still' Presents Still’s Remarkable Darker America, Africa, and Symphony No. 2

Complemented by Edgard Varèse’s Offrandes and George Whitefield Chadwick’s Rip Van Winkle Overture

"The pioneering African-American composer William Grant Still (1895-1978) ranks among the greatest composers born and educated in the United States, rivaled only by Leonard Bernstein in the variety of his output. On March 22 the American Symphony Orchestra celebrates his under-appreciated genius with its Lincoln Center concert 'Revisiting William Grant Still'. Performing three of Still’s landmark compositions – Darker America, Africa, and Symphony No. 2 – along with works by two of his great influences, George Whitefield Chadwick (the concert overture Rip Van Winkle) and Edgard Varèse (Offrandes), the ASO acknowledges Still’s important position in musical and African-American history.

"Often referred to as the dean of African-American composers, Still was the first African-American to conduct a major symphony orchestra, the first to have a symphony of his own performed by a leading orchestra and the first to have an opera performed by a major opera company. Yet despite these achievements, concertgoers today know little about him and rarely encounter his works. True to its mission, the ASO seeks to redress that injustice with this program, which also poses questions about how race has impacted Still’s musical legacy."   [William Grant Still is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

American Symphony Orchestra
William Grant Still
Darker America
Still's Africa
Still's Symphony No. 2
Song of a New Race

Leo Brouwer, Afro-Cuban Composer & Classical Guitarist Born March 1, 1939

Leo Brouwer is an Afro-Cuban composer, conductor and classical guitarist who was born March 1, 1939 in Havana, Cuba. Young Leo's father, Juan Brouwer, was a doctor and an amateur guitarist. Leo first learned music from his father and his aunt, Caridad Mezquida. His great-uncle was the well-known composer and pianist Ernesto Lecuona. Leo began playing the guitar himself at age 13. His first significant teacher was Isaac Nicola, a virtuoso guitarist who also composed for his instrument and arranged the music of others for guitar. Leo was only 17 when he made his own professional debut. Early compositions include Prelude (1956) and Fugue (1959), both influenced by Bela Bartok and Igor Stravinsky. His academic training took place in the U.S., at the Julliard School of Music and the Hartt College of Music, where his major subject of study was composition.

After completing his music education, Brouwer returned to Cuba. There he immediately became a major figure in his country's music establishment. From 1960 to 1961 he was the Music Advisor to the National Radio and Television Company in Havana. In 1960, Brouwer became Director of the Instituto Cubano de Arte e Industria Cinematograficos [Cuban Institute of Film Arts and Industry]. That position is one of the reasons that the composer has written more than 30 film scores, some of which were box-office hits around the world. An example is the award-winning 1993 film of Alfonso Arau, Like Water for Chocolate.

Brouwer was also a Professor of Composition at the Conservatorio Nacional [National Conservatory] from 1961-67. He is the Founder and Director of Spain's Orquesta Cordoba. Brouwer is profiled at AfriClassical.com, where six audio samples of his recordings can be heard. His enormous influence on guitar music in particular and classical music in general is demonstrated by more than a hundred recordings on which he has played, composed or conducted. Brouwer's compositions reflect classical, Afro-Cuban, jazz and avant-garde influences. Brouwer enjoys arranging the classical and popular music of other composers for classical guitar. He has arranged Scott Joplin's The Entertainer and Elite Syncopations for solo guitar. His recorded Beatles arrangements include an album entitled From Yesterday to Penny Lane: Seven Songs After The Beatles, Arc Music 1247 (1994).

Leo Brouwer
Afro-Cuban Composer
Afro-Cuban Guitarist
Orquesta Cordoba
Like Water for Chocolate
Born March 1, 1939