Thursday, January 31, 2013
98-year-old Janet Wolfe is the founder of the NYC Housing Symphony Orchestra and the inspiration behind the creation of The Harlem Chamber Players
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Kalamazoo Symphony Orchestra: As Pianist, Maestro Harvey to premiere Patterson's 'American Pierrot: A Langston Hughes Songbook' at WMU Feb. 7, 7:30 PM
Comment by email:
Hi William, Thanks so much for your post about our concert next week. We appreciate the extra attention it's received! Best, Meredith Meredith Bradford,
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Harmonia Mundi 907569
Ángel Sanzo, piano
Watch: Live on WGBH
Watch: TEDx Georgetown September 2012
Harmonia Mundi Recording on Amazon.com
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Wednesday, January 30, 2013
Festival Of Afro-Caribbean Composers: Celebrating the cultural history of music and performers of African and Afro-Caribbean descent Feb. 20-24, 2013
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2013 Bahamas International Symposium on composers of African & Afro-Caribbean descent February 21, 2013 11:00AM – 4:00PM
Moderator: Edward Bethel
Guest speakers: Cleophas Adderley, Audrey Dean-Wright, Christian Justilien, K. Quincy Parker
In this session, four prominent Bahamian composers will discuss their pieces, focusing on their compositional style and how/if cultural identity is a strong component of their works. Featured compositions will be demonstrated with audio/video-recorded examples.
Guest speakers: Cleophas Adderley, Carlos Carrillo-Cotto, Marlon Daniel, Dominique LeGendre, Paul Shaw
Special guest: Quatuor Mahogany (SAINT-GEORGES Quartet in G Minor, Op. 14, No. 6)
In this session, Caribbean art music will be examined from multiple angles. Perspective from composers, conductors, and activists as well as multiple international views will provide multiple perspectives on this topic.
Panel: Cleophas Adderley, Peter Ashbourne, Carlos Carrillo-Cotto, Marlon Daniel, Dominique LeGendre, Paul Shaw, Leo Koby Vero, Adam Walters
K. Quincy Parker leads an open discussion on classical and art music as filtered through the African and Afro-Caribbean perspective.
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Sergio Mims forwards this link:
Another White House snapshot from June 2011 captured Obama fist-pumping Make-A-Wish recipient Diego Diaz in the Oval Office, after reading a letter the young boy wrote to the president.
Khari Joyner - cello
2009 Junior Division first place Laureate - age 17
2007 Junior Division semi-finalist - age 15
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AZCentral.com: '1/31-2/2: Thomas Wilkins conducts Phoenix Symphony'; Is Interviewed On Career in Music
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Naxos 8.559722 (2012)
Sergio Mims provides a link to a very informative Fanfare Magazine interview with Adolphus C. Hailstork (b. 1941), who is featured at AfriClassical.com:
Defining Self: Adolphus Hailstork in Interview
|Departments - Feature Articles|
|Written by Colin Clarke|
Friday, 23 November 2012|
Back in Fanfare 33:1 (September/October 2009), I reviewed a disc of piano music by the memorably named composer Adolphus Cunningham Hailstork III. And a very positive review it was, so much so that it was suggested I interview the composer for this august journal. There is a certain sense of privilege associated with making contact with someone who has spent time studying with such luminaries as David Diamond and Nadia Boulanger, of course.
One can see immediately that Diamond is vital to the American composer lineage, whereas Boulanger was simply a truly great teacher. I asked Hailstork about what he learned from them. From Boulanger, it was “mental and physical discipline are two principles I observed while spending one summer as a student at Fontainebleau. Mme. Boulanger required us to memorize (almost instantly) and solfège through Bach preludes and fugues. Musical multitasking (with the Hindemith “Basic Training for Musicians” as the text) was used to train the mind and muscles to do several things simultaneously. At an afternoon open class I witnessed a remarkable demonstration: one of her year-round students was instructed to begin a Bach fugue, and while playing the theme of the first measure, he recited the notes of the second measure! On another occasion, in a class, while discussing a Schubert piano sonata, she exclaimed, “Listen to how Schubert orchestrated that chord!” Now, at that time, I had never linked orchestration with piano writing (though we know that orchestral coloring is commonly associated with Beethoven’s writing for the instrument). What I took away from that class was the notion that we composers should pay careful attention to the voicing, the distribution of sound in every chord, that a C-Major triad is a particularly voiced C-Major triad.
“I finished my master’s thesis in 1966 under the guidance of David Diamond at the Manhattan School of Music. What I most remember from my lessons with him was not a technique, but an attitude. I had picked up a tendency to pretty strictly follow what I considered the ‘rules and guidelines’ of composition laid down (or even suggested) by earlier teachers. But Mr. Diamond would counter my ‘this has to do such and such a thing’ with a short and snappy question ‘Who says?’ Wow.
“That was when I began to question musical ‘lawgivers’ and began judging for myself. I began to develop some mental toughness and self-reliance which would serve me well during the “mandatory modernism” and experimentalist push, which were part of the 1960s and 1970s. On a technical note, Diamond taught me to listen more carefully to the flow of the lines and chords to discover where they were leading, rather than to impose a particular arrival point upon them.”
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Lawrence D. "Butch" Morris
New World Records
Sergio Mims sends this link:
Published: January 29, 2013
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Tuesday, January 29, 2013
The Well-Tempered Ear by Jacob Stockinger, Jan. 21, 2013: 'Why aren’t there more African-American players in and audiences for classical music?'
Classical music: On Martin Luther King Jr. Day and President Barack Obama’s second Inauguration Day, The Ear wonders: Why aren’t there more African-American players in and audiences for classical music? January 21, 2013
That’s not to say that we won’t today see and hear a lot of blacks in music. But I suspect we will hear jazz, rhythm and blues, gospel, spirituals and pop.
And they are right in large part, and those are excellent forms of music.
But there is also a large number of blacks who have contributed to classical music. And more blacks – to say nothing of all whites and members of other ethnic groups – could stand to learn more about the contributions of African-Americans to classical music.
Now it just so happens that there are websites that offer visitors comprehensive histories and biographies of blacks in classical music – and even offers a quiz to see how much you know about who they were and the contributions they made.
So on this day when all of the U.S. and, one hopes, the world celebrate the achievements of African-Americans, maybe people can take time to visit this site, educate themselves and get a renewed and greater appreciation for the role that African-Americans have played in classical music.
Here is a link to one of those websites:
Do you have observations to offer in the COMMENTS section about causes of remedies of such a shortage?
Names of composers and performers to pass along?
Is it something we have to accept as a cultural given?
Are there other websites you can suggest where readers can learn about African Americans and classical music?
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Columbia College Chicago
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John Malveaux: MusicUNTOLD & City of Long Beach Plan 'Youth Recording Project' Directed by 'Homeland Cultural Center'
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Music Box Theatre, Chicago: 'Within Our Gates,' 'The earliest surviving African-American directed feature film' Saturday, Feb. 9, 12:00 PM
Sergio Mims sends another informative link related to the film Within Our Gates:
Music Box Theatre
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Monday, January 28, 2013
University of North Carolina Dept. of Music & Videmus: 'A Symposium of Celebration': Margaret Allison Bonds (1913-1972) March 2-3, 2013
is profiled atAfriClassical.com
,which features a comprehensive Works List and a Bibliography by
Prof. Dominique-René de Lerma,www.CasaMusicaledeLerma.com
Margaret Allison Bonds (1913-1972)
Saturday, March 2, 2013
7:30-9 A Concert of Celebration: Margaret Bonds and Florence Price
Johnson, tenor, Jeanne Fischer, soprano, Thomas Otten, piano,
Karen Walwyn, piano, Deborah Hollis, piano, Timothy Holley, cello
2-3 Lecture/demonstration Piano teaching pieces of Bonds and Price
3:30-4:30 Lecture: The Ballad of the Brown King
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