John Malveaux: Feb. 9, 2020, attended "Will the Circle Be Unbroken - The Sacred Music of the African Diaspora" California State University Dominguez Hills

Albert Mc Neil cake

Albert Mc Neil Uniforms

John Malveaux of MusicUNTOLD writes:

Feb 9, 2020  attended exhibit, celebrations, and performances at the CSUDH Gerth Archives and Special Collections and the Georgia and Nolan Payton Sacred Music Archive titled Will the Circle Be Unbroken -The Sacred Music of the African Diaspora-curated by Beth McDonald and Greg Williams at CSUDH Library Cultural Arts Center. The gospel music exhibit and archive is an invaluable resource. The program celebrated Sallyanne Payton founding sponsor of the African Diaspora Sacred Music and Musicians program and the Georgia and Nolan Payton Archive of Sacred Music), Dr. Hansonia Caldwell (professor emeritus of music at CSUDH, pianist, choral director, author) and100th birthday of Albert McNeil (choral conductor, ethnomusicologist, author, professor emeritus of Music at University of California, Davis, founder of Albert McNeil Jubilee Singers. 

Soprano Marlaina Owens opened the program with two songs and The Albert McNeil Jubilee Singers shared a mini concert. The exhibit will be open at least until August 2020 at California State University Dominguez Hills Library-Cultural Arts Center (CSUDH LIB). See pic 1 Dr. Albert McNeil and 100th birthday cake. pic 2 robe worn by Albert McNeil Jubilee Singers during 1970 International tour that included performance at Church of All Nations in Jerusalem, Israel.

Tom Quick: Black History Month Extended Broadcast and Streaming No. 378 for thegrand@101 at 10:00 PM on March 1/2020

Tom Quick: Black History Month Extended Broadcast and Streaming No. 378 for thegrand@101 at 10:00 PM on March 1/2020

 

Broadcast No. 378 for thegrand@101 on March 1/2020

Chineke! Orchestra:                    Finlandia.       Sibelius.    7.50

Conductor.  Kevin John Edusei.

Chineke!  Orchestra:               The Green Fuse.     James Wilson.   11.05

Conductor Wayne Marshall

Stewart Goodyear:                       Rhapsody in Blue.   Gershwin.  16.15

Chineke!  Orchestra:

Conductor. Wayne Marshall.

                                                           BREAK

Chineke! Orchestra:                       Symphony No. 9 in E minor. Op. 95.   Dvorak  41.05

Conductor.  Kevin John Edusei.

                                                             BREAK.

Chineke! Orchestra:                      The Spark Catchers.     Hannah Kendall     9.40

Conductor. Kevin John Edusei.

Edmonton Symphony Orchestra:     “Capriol Suite”.      Peter Warlock    Can/Con.

Conductor. Uri Meyer.                          Danse.                     2.05

                                                                   Pavane.                  1.35

                                                                   Tordion.                 1.10

                                                                   Bransles.                2.00

                                                                   Pieds-en-l’air.        1.55

                                                                   Mattachins.           1.00

                                                                  

                                                                                    

                                                

Chineke Orchestra:                             Elegy-In Memoriam.      Philip Herbert.    7.00

Conductor.  Kevin John Edusei   

The New London Orchestra:            Dusk.                             Armstrong Gibbs.   6.10

Conductor. Ronald Corp.          

John Malveaux: Visit Explore Classical Music and click on Langston Hughes for information article

Langston Hughes, photograph by Jack Delano, 1942. Library of Congress, Washington, D.C.

John Malveaux of MusicUNTOLD.com writes: 

Visit Explore Classical Music and click on Langston Hughes for information article  https://www.exploreclassicalmusic.com/#/langston-hughes/

Langston Hughes

by Terrance McKnight

As a poet, Langston Hughes wrote about people and situations that were familiar to him. The characters in his poems and short stories were the people from his neighborhood and in his family. In my own family, my sisters would often recite his poems as if they were their own. From his gospelized plays, blues poems, and advocacy for African American art forms, Langston Hughes has always been a part of my life.  

Tom Quick: Black History Month Broadcast and Streaming No. 377 for thegrand@101 at 10:00 PM on February 23/2020

Tom Quick is again broadcasting and streaming Black History Month programs of classical music from Wellington, Ontario, Canada aired on www.thegrand.com101 at 10:00 PM for two hours:

Broadcast No. 377 for thegrand@101 on February 23/2020

Black History Month.

Gary Hammond:  Piano.       Yamekraw, A Negro Rhapsody.   James Price Johnson.   15.35

Hot Springs Symphony Orchestra.

Conductor.  Richard Rosenburg.

Michael Adcock:  Piano         Bethena  (A Concert Waltz)     Scott Joplin.      5.45

Michael Adcock  Piano.         The Easy Winners.                      Scott Joplin.      4.10

Michael Adcock: Piano.         Palm Leaf Rag.                            Scott Joplin.      3.30

Virginia Symphony Orchestra:    Three Spirituals.                Hailstork.       8.20

Conductor.  JoAnn Falletta.

                                                           BREAK

Detroit Symphony Orchestra;    Negro Folk Symphony.  William L. Dawson.  28.30

Conductor. Neeme Jarvi.

Cameo  Humes: Baritone.      Scene 1 from “The Mask in the Mirror”  Richard Thompson  10.20

Angela L. Owens. M/sop:   

The Sanna Opera Project.

Conductor. Stephen Tucker.

Malcolm J. Merriweather. Baritone.   Finale  “Sanctuary Road”     Paul Moravec.   9.25

Liquita Mitchell:  Soprano.

Raenhann Bryce-Davis: M/Soprano

Oratorio Society of New York

Conductor. Kent Tritle.

                                                                          BREAK.

Alan Hobbins:  Piano.               Prelude in C-sharp minor, Op. 3 No. 2         Rachmaninov.  4.11  Can/Con

Alan Hobbins:  Piano.               Prelude in G-sharp Minor Op. 32 No. 12                   “            3.00   Can/Con

Alan Hobbins:  Piano.               Prelude in B-flat major. Op. 23 No.2                          “            3.40   Can/Con

Alan Hobbins:  Piano.               Prelude in D major.  Op. 23 No. 4.                              “            4.35    Can/Con

Alan Hobbins:   Piano.              Prelude in G Minor.   Op.23 No.  5                               “           4.10.   Can/Con.             

John Malveaux: Georgia Laster Association of Musicians & Knox Presbyterian Church A BLACK HISTORY PROGRAM-AFRICAN AMERICAN LEGACIES

Darryl Sims

John Malveaux of MusicUNTOLD.com writes:

2-15-2020 attended Georgia Laster Association of Musicians in collaboration with Knox Presbyterian Church presents A BLACK HISTORY PROGRAM-AFRICAN AMERICAN LEGACIES-Outstanding Moments in our History. The program included live performances and video clips with introduction by musicologist Dr. Hansonia Caldwell-Harriford. Legacy-1-Jimi Hendrix, Rock Guitarist (1942-1970); Legacy-2-Dr. Martin Luther King Jr., Civil Rights Activist (1929-1969); Legacy-3-Hall Johnson, Composer/Arranger (1888-19770); Legacy-4-Jessye Norman, Soprano (1945-2019); Legacy-5-William Warfield, Baritone (1920-2002); Legacy-6-Maya Angelou, Poet (1928-2014); Legacy-7-Kirk Franklin, Gospel Artist (born January 26, 1970). Darrel Sims was outstanding as a vocalist and violist. Darrell is an original member (violist) of MusicUNTOLD Orchestra and MusicUNTOLD String Quartet.  See pic of Darrell Sims

Dr. Brian Williams is world-class trauma surgeon who campaigns on resilience, gun violence and racial justice

Dr. Brian Wilson

Matthew Ruffner, Senior Minister at Preston Hollow Presbyterian Church in Dallas, writes in this excerpt from the weekly eBulletin of the church:

Dr. Brian Williams is not only a world-class trauma surgeon; he is a world-class leader. If I had to guess, my first introduction to Brian was like yours, through the television screen, as he took his place at the podium at Parkland Hospital for the press conference following the police shooting on the night of July 7, 2016. 

As Dr. Williams spoke, I was overwhelmed with gratitude that he was the surgeon on call that evening at Parkland. I was grateful that we have access to world-class surgeons of Brian’s caliber in Dallas. But, then, as he spoke, his remarks shifted from medicine to his experiences of that evening’s gun violence and then to race in America. I was deeply moved by his thoughtful, emotional, and honest reflections.  

Dr. Williams now serves as an Associate Professor of Surgery at the University of Chicago, Division of Trauma and Acute Care Surgery. In addition to his work as a trauma surgeon, Dr. Williams travels the country as a thought-provoking speaker sharing his unique insight on resilience, gun violence, and racial justice. He is also an opinion writer featured in the Dallas Morning News and hosts the podcast Race, Violence & Medicine. 

Several months ago, Brian invited me to be on his podcast. I was honored by his invitation, and our calendars finally aligned this past week. We were able to spend a bit of time talking about leadership and purpose. You can listen to our conversation by clicking the link below.

This will not be the last time you hear of Brian, as we are working to bring him to PHPC in some capacity in the future!

You can find more information and other episodes of his podcast at his website, www.brianwilliamsmd.com

With hope,

Matthew

Broadway World UK on Stanford Live premiering Scott Joplin's "Treemonisha" :

Broadway World
UK Regional
Feb. 13, 2020

This spring, Stanford Live presents the world premiere of Scott Joplin's Treemonisha, a 21st-century reimagining of the sole surviving opera by the "King of Ragtime" (April 23-26). Produced by Canada's Volcano Theatre, in association with Moveable Beast, and led by a predominantly Black, female creative team, the new work combines original source material from Treemonisha (c. 1911), Joplin's visionary tale of community and female leadership, with a new story and libretto by playwright and broadcaster Leah-Simone Bowen, working with co-librettist Cheryl L. Davis, and expanded musical arrangements and new orchestrations by composers Jessie Montgomery and Jannina Norpoth. In the title role, soprano Neema Bickersteth - "an incredible performer" (The Guardian) whose "galvanic voice outshines anything else onstage" (Vancouver Observer) - heads an all-Black cast, with an all-Black majority-female, nine-piece orchestra performing on Western and African instruments, under the award-winning stage direction of Weyni Mengesha, and conducted by Jeri Lynne Johnson.

The genius of Joplin's score lies in the fusion of his famed ragtime syncopations with classical, folk and gospel sounds. While retaining much of this original source material, the new arrangements also draw on some of the genres his work would later inspire, such as jazz, R&B and American song. 

Chris Lorway, Executive Director of Stanford Live, says: "We're thrilled to have this work as the centerpiece of our 2019-20 season. As the world changes around us, it is critically important to hear stories about women - and in particular women of color - who bring communities together and take the culture forward."

Joplin was posthumously awarded the 1976 Pulitzer Prize for Treemonisha, one of the few surviving performance pieces about post-slavery life by a Black artist from that era. Set in the 1880s, shortly after Reconstruction was abandoned by the U.S. government, it is the story of a young woman chosen by a Black community to be its leader. Written before women were granted the right to vote, the opera was feminist and progressive, introducing conversations about Black identity that were far ahead of its time. This proved too thematically subversive for the early-1900s New York opera scene, which was, in any case, unready to embrace a work written by a Black composer for an all-Black cast. As a result, Treemonisha remained largely unknown until its first complete performance in 1972. By this time only the piano and vocal score survived, the orchestral parts having been thrown out after Joplin's death in 1917. His forward-looking, prize-winning opera only narrowly escaped being lost altogether.

John Malveaux: The Black Swan Theatre & Opera Company presents TROUBLED ISLAND at UCL in London Sep. 9, 10, 11, 12, 14, 15, 16, 17, 18, 19

John Malveaux of MusicUNTOLD.com writes:

The Black Swan Theatre & Opera Company presents TROUBLED ISLAND at UCL in London Sep. 9, 10, 11, 12, 14, 15, 16, 17, 18, 19. TROUBLED ISLAND composed by William Grant Still with libretto by Langston Hughes.

John Malveaux: Gaspar Yanga - African American Heritage Month presentation at Long Beach City Council

City of Long Beach 4 February 2020

During the speaker portion of February 4, 2020 Long Beach City Council meeting, i briefly shared some African American history that occurred in Mexico. See   https://www.youtube.com/watch?v=b_5c9vRloIU&feature=emb_logo

Chamber Music America Classical Commissioning deadline – April 3, 2020

Classical Commissioning Program

Chamber Music America, the national network of ensemble music professionals provides grants through the Classical Commissioning Program to professional U.S.-based presenters and ensembles whose programming includes Western European and/or non-Western classical and contemporary music. 

 

Grants are provided for the commissioning and performance of new works by American composers.

 

The program supports works scored for 2–10 musicians performing one per part, composed in any of the musical styles associated with contemporary classical music.

 

Commission fees range from $5,000 to $20,000.  Applicants must be Chamber Music America members at the Organization level.  The new composition must be performed by the ensemble a minimum of three times in the U.S.

 

Composers Equity Project

Since 1983, only 80 of the 229 commissions made through CMA’s Classical Commissioning program have been composed by women or ALAANA (African, Latinx, Asian, Arab, and Native American) composers.

 

The Board of Directors of Chamber Music America has made diversity, inclusion, and equity a primary focus of the organization’s work. (Please read CMA’s Statement of Commitment.) CMA’s goal in this program is, through the panel review process, to award a majority of the grants to applicants who apply with women and ALAANA composers. 

 

In the 2019 cycle, 12 of the 13 grants were made to ensembles commissioning new works from women and ALAANA composers.  See the 2019 grants press release for the awardees.  

Composers George Lewis, Tyshawn Sorey, Jessie Montgomery and Trevor Weston received commissions in 2019 grant cycle.  Other commissioned composers from recent rounds include Alvin Singleton, Billy Childs, David Sanford, Valerie Coleman and Jeff Scott.

 

CMA has created the Composers Equity Project, a database of ALAANA, women and gender non-conforming composers that is accessible on CMA’s website.  Applicants are encouraged to use this resource and become familiar with potential composers for a commission. 

 

Composers will continue to be added to this list regularly. ALAANA, women, and gender non-conforming composers who wish to be included in future versions of this list may submit their information to CMA.

 

Classical Commissioning Deadline

The Classical Commissioning deadline is Friday, April 3, 2020 at 9:00 PM (Eastern).  Applications must be submitted online.

 

Click here for program information.

 

Please contact Susan Dadian, program director, CMA Classical/Contemporary for further information.

 

CMA’s Classical Commissioning Program grants are made possible by generous funding from The Andrew W. Mellon Foundation.