Saturday, November 17, 2018

John Malveaux: Annelle K. Gregory performs with New Jersey Symphony May 16-19


Henry Lewis

Annelle Kazumi Gregory

John Malveaux of 
writes:

Young gifted and mixed race violinist Annelle Kazumi Gregory may be closely watched by the Los Angeles Philharmonic and the Los Angeles Chamber Orchestra.  Annelle Kazumi Gregory will perform with the New Jersey Symphony May 16, 17, 18, and 19, 2019. Former Los Angeles Philharmonic musician and assistant conductor, Henry Lewis broke racial barriers on Feb. 15, 1968 when he was named director of the New Jersey Symphony, becoming the first African American conductor and music director of a major American orchestra. He also founded the predecessor organization of the current Los Angeles Chamber Orchestra.
Annelle Kazumi Gregory may be seen in FREE Cole Conservatory of Music solo recital with pianist James Lent 8:00 PM, February 5, 2019. Daniel Recital Hall, California State University Long Beach. Long Beach Branch NAACP is a sponsor. The recital is produced by MusicUNTOLD.  See pics of Henry Lewis and Annelle Kazumi Gregory.

John Malveaux: Boston Symphony Orchestra Commissions Julius P. Williams

Julius Penson Williams



John Malveaux of 
writes:

Congratulation to Julius P. Williams, Andrew List and Elena Roussanova who have been honored as the first composers artists, clinicians with the Boston Symphony Orchestra in Residence Composers’ Project. They are commissioned to write three new works for chamber orchestra for the 2020 Boston Symphony Orchestra Season.  Please see Award letter and pic of Julius P. Williams

Sergio Mims: Russell Thomas interview on WHPK-FM Chicago Mon. Nov. 19

Sergio Mims (L) and Russell Thomas (R)

Sergio A. Mims writes:

I'm very excited to announce that the famed international tenor Russell Thomas, who has sung to great acclaim at Salzburg Festival, The Los Angeles Opera, Royal Covent Garden and the Deutsche Oper Berlin and the Met Opera among other opera houses and concert halls will be interviewed on my classical music radio show on a special Monday edition of my show this coming Monday Nov. 19 from 12-2 PM (Central Time)

Mr. Thomas is currently singing the tenor lead role of Manrico in Verdi's Il Trovatore at the Lyric Opera in Chicago this month after just recently singing the same role last month in October at the Bayerische Staatoper in Munich.

Also on the show will be Mozart's Piano Poncerto No. 22, Berlioz's Herminie and Carl Nielsen's Symphony No. 4 and it can be heard locally on 88.5 PM and live stream on www.whpk.org

Sergio

Friday, November 16, 2018

Contemporary Art of the Caribbean Archipelago at Frost Art Museum FIU

Nadia Huggins, Selections from the series Circa No Future, 2014, Digital photographs, Courtesy of the artist

Marianela Orozco, Horizons, 2012, Digital print, Courtesy of the artist

Miguel Luciano, Amani Kites, SmART Power, KenyaCourtesy of the Artist

Camille Chedda, Wholesale Degradables (detail), 2014-2015, Acrylic paint on plastic bags, (photo by Jose Lima)

Camille Chedda, Wholesale Degradables, 2014-2015, Acrylic paint on plastic bags, (photo by Jose Lima)

Camille Chedda, Wholesale Degradables (detail), 2014-2015, Acrylic paint on plastic bags, (photo by Jose Lima)

Camille Chedda, Wholesale Degradables (detail), 2014-2015, Acrylic paint on plastic bags, (photo by Jose Lima)

Camille Chedda, Wholesale Degradables (detail), 2014-2015, Acrylic paint on plastic bags, (photo by Jose Lima)

Camille Chedda, Wholesale Degradables (detail), 2014-2015, Acrylic paint on plastic bags, (photo by Jose Lima)

Kishan Munroe, The Sinking of HMBS Flamingo, 2014, Oil and acrylic on canvas, Collection of Royal Bahamas Defence Force

Didier William, Dancing, Pouring, Crackling and Mourning, 2015

 The Sculpture Park at Florida International University

Elizabeth Turk in her studio

Frost Art Museum

Florida International University

Sixty-seven contemporary Caribbean artists
with roots in:
Haiti, the Dominican Republic, Cuba, 
Puerto Rico, Curacao, Aruba, Saint Maarten,
Martinique, Guadeloupe, Trinidad,
Jamaica, The Bahamas, Barbados and Saint
Vincent
.
Relational Undercurrents: 
Contemporary Art of the Caribbean 
Archipelago (Oct. 13 – Jan. 13)
headlines the powerful new season of
exhibitions and programming for
Art Basel 2018 at
Florida International
University’s Frost Art Museum
in Miami.

This is the first major survey of
this size and scope of 21st century
art by 67 contemporary
Caribbean artists
representing 14
Caribbean countries
, whose works
offer expansive perspectives that
transcend the boundaries imposed
upon Caribbean cultures.

“Because of Miami’s geographic
proximity to the Caribbean nations,
as well as our cultural mosaic
which Caribbean cultures have
shaped,
it was important for us to
bring this exhibition to Miami
during Art Basel season,
” said
Dr. Jordana Pomeroy, the Director of
the museum. “Our new season
opens
up a dialogue about global
commonalities rather than
differences, from ecological
changes to societal values around
the world
.”

Nearly seventy works by
Caribbean painters, installation
artists, sculptors, photographers,
video and performance artists
connect through ideas that go
beyond language barriers,
politics, and historic colonial
divides. Artists in
Relational Undercurrents
include: Allora & Calzadilla,
Edouard Duval-Carrie, Adler
Guerrier, Deborah Jack,
Glenda Leon, Beatriz
Santiago Munoz, Angel Otero,
Manuel Pina, Maria
Magdalena Campos-Pons,
Jimmy
Robert and Didier William
,
among others.

Features more than 67
contemporary 
artists with 
roots in Haiti, the 
Dominican Republic, Cuba,
Puerto Rico, Curacao,
Aruba, Saint Maarten,
Martinique, Guadeloupe,
Trinidad, Jamaica, The 
Bahamas, Barbados and
Saint Vincent.

Departing from the premise
that the concept of Latin
America favors mainland
countries, the exhibition
proposes a mapping of the
region that begins with
the islands. Arising from a
legacy of colonialism,
recurrent themes include
race and ethnicity, history,
identity, sovereignty,
migration and
sustainability
.

The works in this exhibition
speak for the Caribbean’s
indigenous peoples whose
homes were fractured and
divided by colonialism.
These are spaces that
were mercilessly exploited
for labor and goods by
distant European
monarchies.
This area also
marks the site of one of the
West’s first rebellions (the 
Haitian slave revolt which led
to the independence of the
island in 1804) and the Cuban
War of Independence in 1898,
a byproduct of the Spanish-
American War.

The Caribbean is inhabited by
many different indigenous
cultures whose languages
include Spanish, Dutch,
English, French and
Creole.
Although the Caribbean
has been fragmented by
centuries of tyranny
and 
 domination, the contemporary artists
in this 
exhibition draw
upon themes of 
connection that
often envision what 
lies beyond imposed
borderlines.
The exhibition is comprised of the
following 
four sections:
Conceptual Mappings
Artists in this section challenge the organization of
traditional maps. In contrast to colonial maps,
these artists create images that inspire a process
of decolonization, creating new spaces that suggest
a more diverse, just and complex concept of the
world.
Perpetual Horizons
Horizons are the prominent characteristic of island
geography, 
representing boundaries and possibilities. Whether the artists in this section
incorporate 
the horizon as a portal to the past or present, or as a representation of limit or
potential, each 
artist in this section contributes to
a common dialogue 
about this prominent feature
where they live - offering strength in 
the acceptance of infinity.
Landscape Ecologies
The Caribbean is a region of shared ecosystems
and inhabitants. Artists in this section depict
landscapes in relation with to history, ecological
issues, and current social and economic issues.
Perceptions of the Caribbean have shifted
throughout history from those of wonder, to
fears of disease and degeneration during the
height of colonialism.
Representational Acts
All Caribbean islands have seen their autonomy
challenged through colonialism and foreign 
occupations. Political agency is elusive and, in many cases, unattainable. Representation
takes on an urgency for 
artists in Relational
Undercurrents, who actively reconfigure the 
world they inhabit through social practice and
self-expression.

Thursday, November 15, 2018

Godwin Sadoh wins Award to Compose Commemorative Organ Work

Godwin Sadoh

Godwin Sadoh writes:

Godwin Sadoh has been awarded a grant by the Association Ephemere Classique/Project Myrelingues, France, to compose a major three-movement organ work, in honor of a 20th-century French organist-composer, Jean Louis Florentz (1947-2004).  The music would be premiered and professionally recorded on Compact Disc in France, in early 2019, while the score would be published in the United States.

To God Be the Glory.

GS.

Sergio Mims: NYTimes.com: A Rediscovered African-American Female Composer

The composer Florence B. Price, whose catalog has been acquired by the music publisher G. Schirmer.  
(Credit University of Arkansas Libraries Special Collections)


Sergio A. Mims writes:

In a  major announcement the international music publisher G. Schirmer has announced that it has acquired the worldwide publishing rights to all of Florence Price's music.


Michael Cooper

November 15, 2018

A Rediscovered African-American Female Composer Gets a Publisher

In 1933, the composer Florence Price became the first African-American woman to have a symphony performed by a major American orchestra. But her work faded from concert halls over the years.

Her music has been rediscovered recently, particularly after a trove her manuscripts was discovered in 2009, in her former summer home outside Chicago. And, on Thursday, the music publisher G. Schirmer announced that it had acquired the worldwide rights to her catalog.

“It’s my hope that Florence Price’s contribution to the canon of American music will finally be recognized and properly assessed,” Robert Thompson, the president of G. Schirmer, wrote in an email. “She has been neglected for too long.”

Price, who was born in 1887 to a middle-class family in Little Rock, Ark., became a prominent member of the African-American intelligentsia, corresponding with W.E.B. Dubois and setting poems by Langston Hughes and Paul Laurence Dunbar to music.

But she faced many obstacles getting her music played in a more sexist, segregated era, which she addressed in a 1943 letter that she wrote to Serge Koussevitzky, the music director of the Boston Symphony Orchestra, asking him to consider performing her music.

“Unfortunately the work of a woman composer is preconceived by many to be light, froth, lacking in depth, logic and virility,” she wrote. “Add to that the incident of race — I have Colored blood in my veins — and you will understand some of the difficulties that confront one in such a position.”


"I, of the Hurricane" by Maria Thompson Corley (YouTube 1:40)

I, of the Hurricane by Maria Thompson Corley


Published on Nov 13, 2018

Kristin Sims, soprano 

Maria Thompson Corley, piano

Wednesday, November 14, 2018

Seattle Symphony: Seth Parker Woods is first Artist in Residence of Octave 9

Renderings provided by LMN Architects featuring Octave 9’s first Artist in Residence, cellist Seth Parker Woods

Hannah Kendall, composer

Seattle Symphony Unveils Daring, Imaginative Programming for New Immersive Venue, Octave 9: Raisbeck Music Center 

VISIONARY PROGRAMMING INCLUDES FIVE COMMISSIONS AND FEATURES OVER 70 CONTEMPORARY COMPOSERS THROUGHOUT SPRING 2019

Nov. 14, 2018 

SEATTLE, WA – Today the Seattle Symphony announces the much-anticipated artistic programming for Octave 9: Raisbeck Music Center, a new innovative venue in Benaroya Hall opening in March 2019. An unprecedented milestone in Seattle Symphony’s history, the inaugural season of Octave 9 features daring excursions beyond the limits of convention, representing a bold commitment to the music of today. Through the nexus of technology, art and design, Octave 9’s versatile, immersive environment will see five world premieres, over 70 contemporary composers and 70 instrumentalists from the opening in March through June 2019.

Octave 9: Raisbeck Music Center’s novel first season includes a 24-hour nonstop Contemporary Music Marathon that features multi-sensory and interactive performances; creative chamber concerts; intimate performances alongside illuminating conversations with artists and composers; insightful lectures; events for families that spark curiosity; and a new performance venue for the community.

“Octave 9 is groundbreaking,” shared Krishna Thiagarajan, President & CEO of the Seattle Symphony. “In this space, we will live and breathe today’s art and support contemporary composers with a dedicated medium for their work. Arts are the way a society articulates itself, and Octave 9 signifies the importance of supporting the voices of today.”

Beginning in March 2019 the Seattle Symphony will invite composers, musicians and interdisciplinary artists to explore the venue as a creative tool. In addition to innovative Seattle Symphony projects, Octave 9 will serve as an artistic incubator, welcoming the community and local artists to take advantage of the venue’s unique capabilities as a small chamber music hall or experimental performance environment.
 

“At Octave 9, we will create spectacular multisensory performances that engage and delight many different types of audiences,” added Elena Dubinets, Seattle Symphony Vice President of Artistic Planning and Creative Projects. “With an immense variety of music, we can inspire, challenge, provoke and transform, always in a dialogue with the communities we serve. In our inaugural season we will have the opportunity to work with over 70 composers of all backgrounds, collaborating with them to create and share the music of the future.”

The launch of Octave 9 coincides with the 20th anniversary of Benaroya Hall, the Seattle Symphony’s home since 1998. Centrally located in downtown Seattle across the street from the Seattle Art Museum and blocks from the Harbor Steps, Pike Place Market, Seattle Theater District and the new Seattle Waterfront Octave 9 will add a third performance venue to Benaroya Hall. Designed in collaboration with LMN Architects as a space unlike any other, it will open new opportunities for cross-genre collaborations and allow the Symphony to continue to boldly push boundaries and engage new audiences. 
 

***

SETH PARKER WOODS Cellist and interdisciplinary artist Seth Parker Woods is Octave 9’s first Artist in Residence, from March 2019 through the 2019–2020 season. Parker Woods joined the orchestra in October 2018 for several free community performances. He will be a featured performer throughout the opening of this new venue including the March 10 program curated by Derek Bermel, and in an hour-long self-curated program during the Contemporary Music Marathon. His marathon performance will include interactive and electronic works by Ryan Carter, Nathalie Joachim, George Lewis and Annea Lockwood.

“Given my background of working with various types of music, multimedia and electronics, Octave 9 is the perfect playground,” shared Parker Woods. “Because of this space, I’m really able to dream big and develop something extremely dynamic. It’s a privilege to be able to usher in a new concert hall in a way and help configure things for not only my tenure, but for all artists that will utilize the space.”

IN THE SPOTLIGHT
Octave 9 will host performances and discussions that delve into the chamber music and creative process of contemporary composers. Surrounding the performance of their works on the mainstage, composers John Harbison, Heiner Goebbels and Hannah Kendall will each share and discuss their music and unveil the inspirations that go into their compositions.

Tuesday, November 13, 2018

John Malveaux: Annelle K. Gregory 8 PM Feb. 5, 2019, Cal. State U.-Long Beach

Annelle Gregory

John Malveaux of 
writes:

Violinist Annelle Kazumi Gregory with pianist James Lent is guest of Bob Cole Conservatory of Music 8:00 PM February 5, 2019, Daniel Recital Hall, California State University-Long Beach. NAACP Long Beach Branch is a sponsor. The program includes many favorites of Annelle.

N. Rimsky-Korsakov (arr. F. Kreisler): Concert Fantasy, Op. 33
S. Rachmaninoff: Preludes, Op. 23
            IV. D major (arr. M. Erdenko)
            V. G minor (arr. F. Kreisler)
V. Barkauskas: Partita for solo violin, Op. 12
            I. Prelude
            II. Scherzo
            III. Grave
            IV. Toccata
I. Stravinsky: Violin Concerto in D
            I. Toccata
            II. Aria I
            III. Aria II
            IV. Capriccio

 The recital is produced by MusicUNTOLD

Eric Conway: Morgan Opera in Amahl and the Night Visitors - Nov. 15-17 ONLY!





Dr. Eric Conway writes:

Hello Morgan Fine and Performing Arts Community,

I am excited to share with you our first holiday production of the year - Amahl and the Night Visitors by Gian Carlo Menotti presented by Morgan's Opera Workshop!  

The production is directed by Opera Director Marquita Lister.  Morgan music majors are renowned as having some of the best voices in the region.  This production is replete with talent in every role.  

This weekend will be the only set of performances on:  Thursday, November 15, 10:30 AM and 7PM; Friday, November 16, 7PM; and Saturday, November 17, 2PM and 7PM.  Tickets are $15 and $10.  You may purchase via the Murphy Fine Arts Center Box Office or TICKETMASTER.  

Get ready to begin your 2018 Christmas season!  See flyers attached!

Eric

Monday, November 12, 2018

National Youth Wind Orchestra in Langebaan, South Africa 6:30 PM Dec. 13

National Youth Wind Orchestra in Langebaan 

Thursday, December 13, 2018 at 6:30 PM – 8:00 PM

We'll be in Langebaan with the incredibly talented young musicians in the National Youth Wind Orchestra for a fantastically fun concert of music from around the world. Our conductor is Norwegian Bjørn Breistein. Come and celebrate beautiful music and the top talent our country has to offer!

Tickets are R100 for adults and R50 for concessions and are available at the door.

TheEpochTimes.com: Florence Price & Margaret Bonds on "Songs of Chicago" CD

Florence B. Price (1887-1953)

Margaret Bonds (1913-1972)


November 10, 2018

Thomas Hampson sheds light on forgotten black composers


The best of new albums recently released by classical singers is Thomas Hampson’s “Songs from Chicago,” on Cedille Records, an unusual label that records only Chicago composers.

Hampson is America’s leading baritone and is not only a star of opera but also a dedicated singer and scholar of art songs. Here, with Kuang-Hao Huang on piano, he performs songs by five composers of the early 20th century associated with the city of Chicago: Ernst Bacon, Florence Price, John Alden Carpenter, Margaret Bonds, and Louis Campbell-Tipton.

All the pieces are settings of poetry by Walt Whitman, the Nobel Prize winning Indian writer Rabindranath Tagore and nine from Langston Hughes, including his most famous poem, “The Negro Speaks of Rivers.”

***

Price and Bonds were, respectively, teacher and student. Bonds is from Chicago but later moved to New York where she became friends with Langston Hughes. Price was the first African-American woman to have an orchestral piece (Symphony in E Minor) played by a major orchestra (the Chicago Symphony Orchestra).  Bonds was soloist in Price’s Piano Concerto, making her the first African-American woman to perform as soloist with a major orchestra.

AaronAsk: Weekly mentoring for a creative life: Castle on the Hill-The Action! (2:59)


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, Castle on the Hill: The Action!  Enjoy, we wish you a creative day and see you for next week's session!

Comment by email:
Thanks so much!!!! [Aaron P. Dworkin]

Sunday, November 11, 2018

NOBLE Honors Military Veterans


November 11, 2018

[Alexandria, VA] In recognition of Veterans Day, The National Organization of Black Law Enforcement Executives (NOBLE) would like to thank our military veterans and their families for their service.


"Much like law enforcement, our soldiers put their lives on the line every day to defend the lives of American citizens," said NOBLE National President Vera Bumpers. "Today, and every day, our veterans deserve to be honored and remembered for the sacrifices they make protecting our freedoms at home and abroad."

    ###
 
About the National Organization of Black Law Enforcement Executives 
Since 1976, The National Organization of Black Law Enforcement Executives (NOBLE) has served as the conscience of law enforcement by being committed to justice by action. NOBLE represents over 3,000 members internationally, who are primarily African-American chief executive officers of law enforcement agencies at federal, state, county and municipal levels, other law enforcement administrators, and criminal justice practitioners. For more information, visit http://www.noblenational.org.

NewJerseyStage.com: Westminster Jubilee Singers Presents "Examine Me"

Vinroy D. Brown, Jr.


Nov. 9, 2018

(PRINCETON, NJ) -- Westminster Jubilee Singers will present a concert titled “Examine Me” on Sunday, November 18 at 7:30pm in Bristol Chapel on the campus of Westminster Choir College of Rider University in Princeton. Led by the ensemble’s conductor, Vinroy D. Brown, Jr., the program explores the Psalter (book of Psalms) and includes settings by African American composers.

The program features Psalm I by Nathan Carter, “The Lord is My Shepherd, Alleluia” from Adolphus Hailstork’s I Will Lift Up Mine Eyes, Margaret Douroux’s Day and Night Praise and works by Cedric Dent and M. Roger Holland.

Composed of students selected by audition, the Westminster Jubilee is modeled after the historically acclaimed Fisk Jubilee Singers.   Its repertoire, while specialized and select, is very diverse and focuses on solo and ensemble artistic expressions from its singers.  Part of Westminster Choir College’s Sacred Music Department, the ensemble performs literature that includes African-American spirituals and folk songs; classical music by African-American composers; African chants and dances; gospel music and secular songs by musical greats such as William Dawson, Duke Ellington, Patti LaBelle, Walter Hawkins, Quincy Jones, Andre Crouch, Richard Smallwood, Kirk Franklin, Dr. Nathan Carter, as well as Westminster graduates, Rosephanye Powell, Donald Dillard and Roger Holland.  Also explored and performed are works by non-African-American composers, including George Gershwin, Alice Parker, Robert Shaw, Robert Page, Gail Poch, Steve Pilkington and others who have composed and/or arranged music of the African-American experience.


John Malveaux: Annelle K. Gregory performed in program titled "Great War" Nov. 9

Annelle Kazumi Gregory and Dwayne Milburn

John Malveaux of 
writes:

11/9/18 Violinist Annelle Kazumi Gregory performed with the Chamber Orchestra of Saint Matthews Church, Pacific Palisades, Ca. The program titled 'GREAT WAR' Hundredth Anniversary Commemoration included RAVEL: Le Tombeau de Couperin; COPLAND: Letter from Home; and KORNGOLD: Violin Concerto. See pic of Annelle and Director of Music Dwayne Milburn

Saturday, November 10, 2018

MarshallNewsMessenger.com: "Victory Tide" by William Grant Still, 3 PM, Nov. 11

William Grant Still (1895-1978)

The Marshall Messenger

November 8, 2018

Veterans, veteran organizations, and members of the public are invited to the annual Community Veterans Day program at 3 p.m. on Sunday, Nov. 11, which will take place in a new location this year--at the Ornelas Spiritual Life Center on the East Texas Baptist University campus.

The program this year will not only include speakers and musical tributes to honor the service and sacrifice of all veterans, it will also include a special presentation to commemorate the 100th Anniversary of the Armistice which ended World War I and took place on Nov. 11, 1918. The day was remembered as Armistice day until being renamed Veterans Day in 1954.

***

The A Cappella Choir of Wiley College, under the direction of Choral Director Stephen L. Hays, will sing our National Anthem for the program. They will also perform a special presentation of “Victory Tide” by William Grant Still, with words by Al Stillman.

Oxford Student.com: Black, British, and a graduate at Oxford


Image Credit: Michael Gribben

The Oxford Student

Black History Month has just ended, and very few people can claim to know much about the contribution that black people have made to this country. Even fewer still, can claim to know that the black presence dates back centuries, and in fact thousands of years. Yet black people are still associated with newness, their presence questioned, and the need for a ‘black history month’ constantly challenged. Indeed, black history should be just history, just as white history is not named as such. So too should black history be every day, every month, and play a natural part in British history and memory.

 But how many of you know of John Blanke, who was a royal trumpeter at the courts of King Henry VII and VIII? Or John Edmonstone, a lecturer at Edinburgh University who taught Charles Darwin? Or Princess Sarah Bonetta Forbes, God daughter of Queen Victoria? These examples highlight the lack of knowledge we have of the black Britons of the past. But what about the black Britons of the present?


Presently, conversations with regards to black representation are being had as it pertains to the media, education, and the professions whereby the dearth of black people in prominent positions across society is shockingly low. In matters of education, Britain’s elite universities have been criticised for their under-representation of black students at these universities. Whilst things are slowly improving, the representation of black British students at the postgraduate level is dismally low. I’m currently reading for an MSc in Social Anthropology at Keble College, and can say that whilst I have encountered a few black postgraduate students, I have come into contact with only one who is British other than myself – so far, the rest have been international students. Not only are the fees high – I had to resort to crowdfunding to take up my place – there is also a lack of access to loans which would enable one to pursue a postgraduate education. In addition to this, many have certain ideas about who can attend places such as Oxford or Cambridge.