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Wednesday, February 28, 2018
Chicago Sinfonietta: "Hear Me Roar" Concert Includes "Dances in the Canebrakes" by Chicago-based Composer Florence B. Price, March 11 and 12
Art of Élan presents Branford Marsalis in "Highways & Byways" with Kontras Quartet at 7PM on April 8, 2018 at the Music Box in Downtown San Diego
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Charleston Gospel Choir Spring Performance 5 PM Saturday, March 24 Honors Civil Rights Icon James Weldon Johnson
Charleston Gospel Choir Spring 2018 Performance
James Weldon Johnson HIStory & Words Saturday, March 24
Charleston SC—The
Charleston Gospel Choir is pleased to present its 2018 spring performance entitled
James Weldon Johnson HIStory & Words Saturday, March
24, 5 p.m. at Charity Missionary Baptist Church, 1544 East Montague
Avenue, North Charleston, under the musical direction of Dr. Lester S.
Green, Jr., guest conductor.
Through song and narration, the performance showcases and honors the remarkable life and work of Renaissance man
James Weldon Johnson
(1871-1938), an African-American author, educator, lawyer, diplomat,
songwriter, and civil rights activist best remembered for his early
leadership of the National Association for the Advancement of Colored
People (NAACP)
and his musical works including his poetic lyrics
of Lift Ev'ry Voice and Sing, now considered the "Negro National Anthem.”
The internationally acclaimed Choir will perform moving gospel and spiritual standards including
Lift Ev’ry Voice and Sing along with gospel greats including All We Ask by Donnie McClurkin, Aretha Franklin’s arrangement of
How I Got Over, Charleston Gospel Choir’s arrangement of Amazing Grace, Edwin Hawkins’ Grammy award-winning
Oh Happy Day, and many others.
“I have always been fascinated by James Walden Johnson’s story and felt many do not know his legacy beyond his poem
Lift Ev’ry Voice. HIStory chronicles his path that paved the way
for many civil rights successes, including the landmark 1954 Supreme
Court case Brown vs. Board of Education,” said Lee Pringle, Choir
President and event producer.
“I am delighted to
help tell this musical story of such an iconic contributor to black
history with this amazing group of community singers and Associate
Director Jennifer Ancrum,” added Dr. Lester S. Green
Jr., guest conductor.
Charleston Gospel Choir |
James Weldon Johnson HIStory & Words
Saturday, March 24, 2018 • 5 p.m.
Charity Missionary Baptist Church, 1544 East Montague Avenue, North Charleston, SC
General Admission Tickets
$21 adults; $11 children/students with ID
www.charlestongospelchoir.org;
(866) 811-4111
or at door (cash or check only) up to one half hour before event
About the Charleston Gospel Choir
Now in its eighteen
year, the Charleston Gospel Choir celebrates and performs gospel,
spirituals and sacred music for annual concert events including a Palm
Saturday weekend performance, Charleston Gospel
Christmas, Piccolo Spoleto, and regional events throughout the
southeast with numerous international engagements including Paris, London, Rome, Prague and Ghana, West Africa.
www.charlestongospelchoir.org
Tuesday, February 27, 2018
The Musical Society of Nigeria: Pianist Rebeca Omordia Performs Sunday, March 4th, 2018 at Agip Recital Hall of the MUSON Centre, 6:00 PM
MUSON @MUSONng
Some say she's daring, others say she is fluid. What would you say about a female virtuoso concert pianist who has Nigerian roots? Come see for yourself, could you be thrilled by her musical prowess? This Sunday, Agip Recital Hall of the #MUSONCentre -www.muson.org
The Harlem Chamber Players & Opus 118 Harlem School of Music Present A Spring Concert Saturday, March 24, 2018 at 4 PM, St. Mary's Episcopal Church
Spring Concert with the String Students of
Opus 118 Harlem School of Music
Saturday, March 24, 2018 at 4 PM
St. Mary's Episcopal Church
521 West 126th Street
New York, NY 10027
Between Broadway and Amsterdam.
Hear
the highly acclaimed students from Opus 118 and meet the legendary
founder and master teacher Roberta Guaspari, the inspiration behind the
award-winning documentary "Small Wonders" and Miramax's film, "Music of
the Heart," starring Meryl Streep.
Tickets
$15 General Admission and $10 for Students/Seniors when you buy online in advance.
$20 General Admission and $15 for Students/Seniors at the door.
Program
Music by Chevalier de Saint-George, Mozart, and more!
Featuring
Amadi Azikiwe, Violin
Amadi Azikiwe, Violin
Charlene Bishop, Violin
Tia Allen, ViolaClay Ruede, Cello
AND...
The sensational violin students of Opus 118 Harlem School of Music
Also Coming Soon
Monday, February 26, 2018
CHICAGO Welcomes Valerie Simpson ('Mama Morton') & Chaz Lamar Shepherd ('Billy Flynn') on Monday, March 12
Valerie Simpson
Now Celebrating 21 Years
Broadway’s Tony Award-Winning,
Record-Breaking Hit Musical
Welcomes Legendary Singer-Songwriter
VALERIE SIMPSON
Making Her Broadway Debut as
“Matron “Mama” Morton”
Beginning Monday, March 12, 2018
CHAZ LAMAR SHEPHERD
Joins Simpson as “Billy Flynn”
Broadway’s Longest Running American Musical
Playing at the Ambassador Theatre
The Broadway company of the Tony Award-winning, record-breaking hit musical Chicago, which recently celebrated its 21st anniversary, will welcome legendary singer-songwriter Valerie Simpson making her Broadway debut in the role of “Matron “Mama” Morton” starting Monday, March 12, 2018 at the Ambassador Theatre (219 W. 49th St.). Joining Ms. Simpson is Chaz Lamar Shepherd (original Broadway production of The Color Purple; Dreamgirls national tour) as “Billy Flynn.”
A
songwriter and performer, Valerie Simpson, along with Nick Ashford, has
penned such classics as “Ain't No Mountain High Enough,” “Reach Out and
Touch Somebody's Hand,” “I'm Every Woman,” and “Solid.” Four of her
songs are features in Motown the Musical on tour. A Board member of the ASCAP Foundation, Valerie recently guest toured with Dave Koz and Paul Shaffer.
Chicago currently stars Bianca Marroquín as Roxie Hart, Amra-Faye Wright as Velma Kelly, Tom Hewitt as Billy Flynn, Evan Harrington as Amos Hart, Grammy Award-winning singer-songwriter, actress & TV sensation Kandi Burruss as Matron “Mama” Morton (final performance is Sunday, March 11) and R. Lowe as Mary Sunshine.
With a legendary book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb, Chicago is now the #1 longest-running American musical in Broadway history.
Produced by Barry and Fran Weissler, Chicago is the winner of six 1997 Tony Awards including Best Musical Revival and the Grammy Award for Best Musical Cast Recording.
Directed by Tony Award winner Walter Bobbie and choreographed by Tony Award winner Ann Reinking, Chicago features set design by John Lee Beatty, costume design by Tony Award winner William Ivey Long, lighting design by Tony Award winner Ken Billington, sound design by Scott Lehrer and casting by Stewart/Whitley.
Set amidst the razzle-dazzle decadence of the 1920s, Chicago is the story of Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today's tabloids.
TICKET INFORMATION
Tickets for Chicago are available through Telecharge.com, by calling 212-239-6200, and in-person at the Ambassador Theatre (219 W. 49th St.; New York, NY) box office. Regular box office hours are 10 am to 8 pm Monday through Saturday, and Noon to 7:00 pm Sunday.
PERFORMANCE SCHEDULE
· Monday at 8 PM
· Tuesday at 8 PM
· (no performances on Wednesday)
· Thursday at 8 PM
· Friday at 8 PM
· Saturday at 2:30 PM matinee and 8 PM
· Sunday at 2:30 PM matinee and 7 PM early evening
# # #
Visit www.ChicagoTheMusical.com for more information.
Follow Chicago on Twitter: @ChicagoMusical, Facebook & Instagram.
John Malveaux: Soprano Angel Blue will debut in TURANDOT with San Diego Opera beginning February 27, 2018
Angel Blue
John Malveaux of
writes:
Soprano Angel Blue will debut in TURANDOT with San Diego Opera beginning February 27, 2018. TURANDOT is the first opera Angel Blue experienced as a 4 yrs old. Her father taught her the aria/song "Signore Ascolta" when she was 16 years old and her mother❤ recorded the piano accompaniment so she could practice the song.
AaronAsk: Weekly mentoring for a creative life: In Pursuit of Happiness? (3:40)
Aaron P. Dworkin writes:
Greetings and welcome to this week's episode of AaronAsk, your weekly mentoring session to live a fulfilling creative life! This week's episode is titled, In Pursuit of Happiness? Enjoy, we wish you a creative day and see you for next week's session!
Comment by email:
Thanks so much Bill! [Aaron P. Dworkin]
Comment by email:
Thanks so much Bill! [Aaron P. Dworkin]
Sunday, February 25, 2018
CentralMaine.com: Portland Piano Trio Performs Work of Samuel Coleridge-Taylor in Jewett Auditorium in Augusta, Maine at 7:30 PM on March 2
Samuel Coleridge-Taylor (1875-1912)
[University of Maine at Augusta's] Professor of Music Richard Nelson talks about March 2 concert in Jewett Auditorium.
Lucky Clark on Music
February 22, 2018
If classical music is your cup of tea, then you should head over to
Jewett Auditorium for a performance at 7:30 p.m. Friday, March 2. The
Portland Piano Trio will be the featured performers and their program
will consist of four pieces that span centuries of classical music with
works by Beethoven, Samuel Coleridge-Taylor, Amy Beach and UMA’s own
Richard Nelson.
In a recent telephone interview, the professor of music talked about
the concert’s musical selections, the group performing them and the
intent of the program titled “Classical Constellations.”
***
Q: Looking at the program for the performance and seeing Beethoven,
Samuel Coleridge-Taylor, Amy Beach, and yourself represented by works
composed from the early 1800s through to 2017, this concert certainly
spans the centuries of this genre.
Nelson: Yeah, I think that one
of the really distinctive things about this concert, particularly for
the Augusta region, is that it is an opportunity, with this common
element of the piano-trio format, to see the way classical music has
manifested over time. From the solid work of Beethoven grounding things,
Amy Beach is a terrific American composer who I don’t think we hear
enough about. Her music sort of merges late romanticism and
impressionism in a very beautiful way. Coleridge-Taylor’s work
represents the late 19th-century/early 20th-century style and, in this
case, manifesting his fascination engagement with the African-American
spiritual tradition. And then my piece really landing us in the 21st
century. As you said, quite a span with a fascinating chain of
continuity to get us from Beethoven to the present. Each piece will
engage the audience distinctly even as they combine to kind of create
this sense of continuity over the centuries — a journey through a
musical time and space.
AtlasObscura.com: The Africans Who Called Tudor England Home [John Blanke, Royal Trumpeter]
Atlas Obscura
Hundreds of Africans lived freely during the reign of Henrys VII and VIII.
John Malveaux: Before Quincy Jones studied composition with Nadia Boulanger, he baby sat for Robert "Bumps" Blackwell of the "Bumps Big Band"
Bumps Blackwell
John Malveaux of
writes:
Standing
on the shoulders of Giants is a phrase often repeated during African American
Heritage Month. In an AfriClassical.com blog of February 23, 2018, I asserted
that Quincy Jones is the GREATEST of ALL TIMES producer in multiple genres and
he studied classical composition with Nadia Boulanger in France. Quincy’s foundation
began much earlier as a teen. “Q” baby sat for Robert “Bumps” Blackwell in
exchange for the opportunity to study “Bumps” Big Band charts. “Bumps” Big Band
backed Billie Holiday and other notable jazz artists. “Bumps” later became the
architect of Little Richard’s career. Thereafter, he produced, perhaps, the
most significant record in Pop music history during the period of segregated
radio air play called “Race Music”. Seeking
to transition Sam Cooke from gospel to poplar music, “Bumps” was fired by the
head of Specialty Records for using strings and “White” background singers
during a recording session of “YOU SEND ME”. His idea/concept was antithetical to existing practices and accepted logic. “Bumps” committed belief in integrating
or blending separate and unequal music concepts led him to purchase the master
recording from Art Rupe by assigning future royalty income from Little Richard record
sales to Rupe. “Bumps” recording of Sam Cooke ‘YOU SEND ME” eventually became
the first recording in music history to cross over from segregated (Black)
radio stations to achieve No. 1 POP radio (White).
American
composer Roy Harris also studied with Nadia Boulanger in France. “Bumps”
temporarily lived in the home of Roy Harris as a guest and provided some music services
while Roy Harris was composing his 10th Symphony. Approximately two
years ago or less, I contacted “Q” and asked if he remembered when I introduced
him to Johana Harris (wife of Roy Harris) at “Bumps” funeral in
Los Angeles. “Q” said he did not attend “Bumps” funeral. Although I was certain
of his attendance and the introduction to Johana, I later contacted “Bumps” daughter,
Kelly, in New Orleans and she confirmed that “Q” attended “Bumps” funeral. Apparently
“Q” memory has understandably declined but his achievements are recorded for posterity. “Q” is
standing on the shoulders of "Bumps", Nadia Boulanger, Frank Sinatra, and others. I am also
standing on the shoulders of “Bumps” Roy Harris and others and share with you “Bumps” important message “Blacks in All Music” instead
of the limited misconception of “Black Music”.
Saturday, February 24, 2018
TacomaWeekly.com: TCC [Tacoma Community College] Orchestra to feature works by African American composers, Friday, March 2 at 7:30 PM
Tacoma Weekly
By Dave Davison
February 23, 2018
The Tacoma Community College
Orchestra, conducted by Dr. John Falskow and Dr. Nse Ekpo, is slated to
perform a concert March 2 at 7:30 p.m. The program, featuring music by
African-American composers, is called “American Expressions.”
On the schedule for the evening are three of Scott Joplin’s ragtime
compositions, from “The Red Back Book;” George Walker’s “Lyric for
Strings” and Florence Price’s “Symphony No. 1.”
Price is especially interesting. She was an African American composer
who was based in Chicago. Born in Little Rock, Ark. in 1887, she died
in 1953 and her music was largely neglected during her lifetime, though
she did receive some national attention and some of her works were
performed by the Chicago Symphony.
***
Joplin (1868-1917), the “King of Ragtime,” wrote 44 ragtime pieces, one
ragtime ballet and two operas over the span of his career. Joplin
refined the ragtime music of honky-tonk piano players and combined
Afro-American music’s syncopation with 19th-century European romanticism
to elevate the form.
***
Walker, who is still with us, is the first African American composer to
win the Pulitzer Prize for Music, which was awarded for “Lilacs” in
1996. “Lyric for Strings,” the piece to be played by the TCC Orchestra,
was written in 1946 after the death of Walker’s grandmother. It was
composed while Walker was a graduate student at the Curtis Institute of
Music. After a brief introduction, the principal theme is stated by the
first violins with imitations appearing in the other instruments. The
linear nature of the material alternates with static moments of
harmony. After the second of two climaxes, the work concludes with
reposeful cadences that were presented earlier.
Chicago Tribune: Rare are the classical singers who use their celebrity cachet to help generate new repertory. One shining example is Lawrence Brownlee
Chicago Tribune
February 23, 2018
Rare are the classical singers who use their celebrity
cachet to help generate new repertory. One shining example is Lawrence
Brownlee, who regards the commissioning of music by living composers and
sharing it with audiences around the world an essential part of who he
is as a performing artist.
Even so, his involvement with
“Cycles of My Being,” the new song cycle he included in his recital
Thursday night at the DuSable Museum of African American History, was
motivated by something much deeper, something much more personal:
Brownlee and his collaborators, composer Tyshawn Sorey and poet Terrance
Hayes, wanted to express their feelings, and, crucially, how they are
perceived, as African-American men living in a racially divided America.
There can be no denying the worth or pertinence of such an
undertaking at a time when black men face acts of violence,
incarceration and death on a seemingly day-to-day basis. Classical music
has been remiss in addressing themes associated with the Black Lives
Matter movement, certainly to the extent that artists working in film,
theater, literature and visual art are doing.
And there
was no denying the palpable commitment that Brownlee, and his finely
supportive accompanist, pianist Myra Huang, brought to this Chicago
premiere of “Cycles of My Being.” The duo had taken part in the world
premiere Tuesday in Philadelphia, where it was presented with a slightly
larger instrumental accompaniment. Opera Philadelphia, where the singer
is artistic adviser, co-commissioned the work along with Carnegie Hall
and Lyric Unlimited, which sponsored Thursday’s performance.
The cycle of six songs, some to rewritten sonnets by Hayes, a 2014
MacArthur Fellow, and poems by Brownlee himself, steers clear of
politics, touching instead on matters of hate, religious faith, black
consciousness and, ultimately, hope and unity. Song and speech mingle in
songs like the fourth, in which the singer declares, “You don’t know
me. Still you hate me.” The overall tone is more of questioning that
anger. As Brownlee has said in interviews, there are no raised fists
here.
John Malveaux: Los Angeles Times: Julius Eastman — African American, militantly gay and alienated by the musical world at the time — wrote the provocatively titled "Evil Nigger"
Pianists Michelle Cahn, left, Joanne Pearce Martin, Vicky Ray and
Dynasty Battles perform Julius Eastman's piece during the Green Umbrella
concert Tuesday at Walt Disney Concert Hall.
(Brian van der Brug / Los Angeles Times)
John Malveaux of
writes:
KUSC Radio "OPEN EAR" (
a
series of stories about composers, musicians, and conductors who
deserve more recognition) profiled composer Julius Eastman January 11,
2018. Julius Eastman’s provocatively titled Evil Nigger was performed during LA Phil Green Umbrella concert on February 20th. See Mark Swed-LA Times critic's review specific to Eastman's piece:
"Julius
Eastman — African American, militantly gay and alienated by the musical
world at the time — wrote the provocatively titled "Evil Nigger" nine
years earlier than "L's G.A.," and it is a shocking reminder of the
roots of racial issues. Eastman had a meteoric rise as baritone, pianist
and visionary composer and a tragic fall. He died in obscure poverty at
age 49 in 1990, much of his work lost. But in the last couple of years,
he has undergone so remarkable a revival that he seems about to turn
into an outsider icon.
The
performance was introduced with an archival recording of Eastman
eloquently explaining his title at the 1979 premiere. He said he felt
there was, for him, an elegant fundamentalism to a term that had become
disabused. Of course, he knew full well that he was asking for, and
wanting, trouble.
The
work in question indeed asks for trouble, and it is amazing. Written
for four or more melody instruments (Eastman used pianos because that's
what he had), it is a nearly indecipherable and somewhat Minimalist
score with melodic lines of repeated notes and tremolos presented
without instruction. The result is a work that shares many repetitious
and harmonic aspects of the phase and pulse music that Philip Glass and
Steve Reich were writing at the time, but Eastman adds an element of
unpredictable ecstatic liberation.
It
is almost as though the notes themselves are packed with helium. For an
unrelenting 22 minutes, Dynasty Battles, Michelle Cann, Joanne Pearce
Martin and Vicki Ray produced great piano waves that grew, crested and
broke, each more exhilarating than the last. When it all ended, I had
the sensation of a fundamental cause that could not be stopped."
Compliments to KUSC Radio "Open Ear" and LA Phil Green Umbrella concert series. YES WE CAN. See https://www.youtube.com/watch?v=QxtLoItArrc
OperaCréole: New Orleans Opera Presents "Champion, an Opera in Jazz" by Terence Blanchard, March 9 and 11 at Mahalia Jackson Theater
Terence Blanchard
OperaCréole founders were guest artists on New Orleans Opera's Podcast:
"At Large" Host, Joe McKesson
https://soundcloud.com/user-396024186/special-guest-operacreole
OperaCréole founders were guest artists on New Orleans Opera's Podcast:
"At Large" Host, Joe McKesson
https://soundcloud.com/user-396024186/special-guest-operacreole
OperaCréole is a partner organization in celebration of New Orleans Opera's 75th Anniversary Season.
Their production of
Champion, an Opera in Jazz written by Grammy Award winning
Terence Blanchard
is 2 WEEKS Away!
March 9, and 11 at Mahalia Jackson Theater.
This is the first opera they have presented by a composer of African descent.
As a partner organization, OperaCréole has a code that would allow you to get a discount. BUT HURRY, it is SELLING OUT!
On opening night, I will be speaking at the Nuts and Bolts
presentation 30 minutes before curtain, and I have submitted an
article on the history of composers of African descent for their
program.
I have also joined the ensemble in
support of the principal cast that has come in from the Washington
National Opera production of Champion. Now that I have been in staging,
I can tell you that this is a genius level work, and I am having a
blast!
Also in the ensemble/chorus, that have been on OperaCréole 's roster, are:
Mark Anthony Thomas,
Kentrell Roberts,
Christian Patterson, and
Pamela Nions!
The discount code I was given for community partners is:
10% discount code (enter at check out, and doesn't have to be all caps): NOOPARTNERZ
Tickets on neworleansopera.org website, or follow this link: https://neworleansopera.secure.force.com/ticket#detail
See you all soon!
Givonna Joseph,
http://www.operacreole.com/
Friday, February 23, 2018
Transcultural Visions: Harmonies From Classical Melodies, Journey Through African Classical Music in London, England March 3rd and 18th
Harmonies from classical melodies
Journey Through African Classical Music
Transculturalvisions (www.transculturalvisions.com) presents Harmonies from Classical Melodies, inspired by the rich heritage of African classical music, featuring the Singing Cultures Choir accompanied by dynamic pianist Kevin Satizabal, acclaimed soprano Victoria Oruwari, and renowned flautist Rowland Sutherland.
There are two London dates for Harmonies from Classical Melodies. Saturday 3rd March 2018, 6.45pm, St. George’s Church, Bloomsbury Way, WC1A 2HR http://www.stgeorgesbloomsbury.org.uk/find.htm; and Sunday 18th March 2018, 6.45pm, Carmelite Church, 41 Kensington Church St, W8 4BB https://carmelitechurch.org/contact/. Tickets £10.00 adults; £5.00 children http://transculturalvisions.com/tickets/
Established in 2014, Transculturalvisions delivers creative projects inspired by the cultural experiences and heritage of Britain’s diverse communities.
Harmonies from Classical Melodies is inspired by the music of African composers featuring the Singing Cultures Choir performing notable works by Fela Sowande and Ayo Bankole, African folksongs and new works created by the choristers, led by British-Nigerian soprano and choral director, Victoria Oruwari. There will be a narrative performance capturing the journey of the choir. The programme also features celebrated flautist Rowland Sutherland performing solo flute pieces by contemporary African composers Justinian Tamusuza (Uganda) and Bongani Ndodana-Breen (South Africa).
Bilkis Malek, founding Director of Transculturalvisions says, “Harmonies from Classical Melodies is the culmination of the second chapter of the Singing Cultures journey. Last time choristers were inspired by African Classical Music to feel ‘anything is possible’. This time they have delved deeper into the challenges for building that ‘better world’ imagined by African composers. The result is thought provoking melodies honest about the challenges for ‘humankind’ but which also leave you with a real sense of ‘hope’.”
Harmonies from Classical Melodies will be at two prestigious London venues, St. George’s Church, Bloomsbury Way, WC1A 2HR; and Carmelite Church, 41 Kensington Church St, W8 4BB.
Full details, including ticket information can be found at: http://transculturalvisions.com/tickets/
See the event promo video https://youtu.be/KHPBS9M and Book Tickets at https://www.eventbrite.co.uk/o/transculturalvisions-12244455380 "