Saturday, July 31, 2021

Bill Doggett: A beautiful Art Song in a beautiful performance

Bill Doggett writes:

Hello from Bill

I wanted to share this brand new performance of a lovely Art Song from Richard Thompson's Song Cycle, The Shadow of Dawn set to text by
Paul Laurence Dunbar.  From a cycle of 5 Songs, this is Love's Apotheosis.      The tenor is Martin Bakari, the pianist is Joe Williams.
I hope you like it as much as I do.   Please feel free to share.
Bill Doggett

Arts Engines: Aaron Dworkin Interviews Melissa Ngan, CEO of American Composers Orchestra!

Welcome to this week's episode of Arts Engines which now reaches over 100,000 weekly viewers in partnership with Detroit Public Television, Ovation TV, The Violin Channel and American Public Media including Performance Today and YourClassical. Arts Engines seeks to share the most valuable advice and input from arts administrators who tell their stories of creative problem-solving, policy, economic impact, crisis management and empowering the future of our field.

This week's guest is Melissa Ngan, President and CEO of American Composers Orchestra as she discusses the importance of collaborative leadership in a diverse world.  Enjoy... and have a creative week!

Patrick D. McCoy: August 6 at 11 a.m. EDT "Across the Arts" will welcome legendary soprano Roberta Alexander to THE OPERA DIVA SERIES

Patrick D. McCoy writes:

Dear Mr. Zick,

Please share with your readers that on Friday, August 6 at 11 a.m. EDT "Across the Arts" will welcome legendary soprano Roberta Alexander to THE OPERA DIVA SERIES.

It will be streamed on Facebook at:

And on YouTube (Please subscribe to get notifications)

John Malveaux: Michael Cooper shared this New Virtual Performance of Margaret Bonds's gorgeous SATB/piano arrangement of "The Negro Speaks of Rivers"

John Malveaux of writes:

Michael Cooper shared this NEW VIRTUAL PERFORMANCE of Margaret Bonds's gorgeous SATB/piano arrangement of THE NEGRO SPEAKS OF RIVERS sung by the USC Thornton Chamber Singers, conducted by Jo-Michael Scheibe, with Sky Lee, collaborative pianist.

John Malveaux

Friday, July 30, 2021

Bill Doggett: NEW Adolphus Hailstork Interview PREVIEWS George Floyd Requiem Cantata

Adolphus Hailstork
(Photo by Anne Peterson, 
Courtesy of Old Dominion University)

Hello from Bill Doggett.

I am sharing the first of two important Media pieces on composer Adolphus Hailstork.   

This interview gives new perspectives about The George Floyd Requiem Cantata "A Knee on The Neck" which world premieres March 26-28th 2022 with The National Philharmonic.

Alvin Singleton: On Apple Podcasts: Darmstadt On Air

Alvin Singleton

Alvin Singleton writes:

Darmstadt On Air

Internationales Musikinstitut Darmstadt (IMD) & the episode authors

Listen on Apple Podcasts:

Marlon Daniel featured in Tafel Magazine

Marlon Daniel 
(Photo by Bob Estremara)

Maestro Marlon Daniel writes:

I am so humbled to be featured in this summer’s edition of Tafel Magazine. Thank you so much to Tafelmusik and to everyone who made this possible.

Thursday, July 29, 2021

Colour of Music Festival in "Residency" University of South Carolina Sept 9-11

 Mahogany Music Festival

2021 Colour of Music Festival ‘UofSC-Columbia Residency’ Sept. 9-11

Black Professional Classical Musicians • University of South Carolina

Vanessa Williams
(Rod Spicer)

July 28, 2021 Charleston SC—The Colour of Music Festival (COMF) announces its return to Columbia, South Carolina, in “Residency” at the University of South Carolina School of Music (UofSC), Sept. 9-11, presenting performances and a masterclass at the UofSC Koger Center for the Performing Arts, the UofSC School of Music Recital Hall and Hootie Johnson Hall at the Darla Moore School of Business.

Since 2013, the Colour of Music Festival has brought classically trained black musicians together to offer the public an opportunity to experience the talent of prodigiously gifted classical principals, composers and performers of African descent share their musical talents, knowledge, and inspiration and showcase the impact and significance of black classical composers and performers on America and world culture.

Presented by the UofSC School of Music in collaboration with the Auntie Karen Foundation whose mission is to empower, enlighten and educate through the arts, the Mahogany Music Festival will present three days of diverse classical performances.

Mahogany Music Festival highlights include:

  • Colour of Music Festival Octet and UofSC Alumni will perform a special chamber presentation of the Mendelssohn Octet and chamber works by Joseph Haydn, Coleridge-Taylor Perkinson and William Grant Still at 7:30 p.m. Sept. 9.
  • The Festival’s Masterworks program Friday, September 10 opens at 8 p.m. with the Auntie Karen Foundation All-Star Band, then Maestro Julius P. Williams, conductor, will lead the Festival Orchestra in an evening with international vocal sensation Vanessa Williams performing an array of her international hits featuring orchestral arrangements by Ms. Williams’ long-time music director, Rob Mathis. A special cello solo Mr. Mathis arranged for YoYo Ma will also be performed by Ms. Williams and Kenneth Laws, cellist and Columbia, SC native.
  • On Sept. 11, the Colour of Music Orchestra will perform a FREE Masterworks concert featuring music that honors the 20th anniversary of September 11. This performance is conducted by Julius P. Williams at 7:30 p.m.
  • The Festival will also engage UofSC students in Masterclass settings and the area’s K-12 schoolchildren with educational and engagement activities throughout Richland County.    

“I am delighted the University of South Carolina is partnering with the Colour of Music Festival to recognize contributions of classical artists of African descent,” said Tayloe Harding, dean, UofSC School of Music. “This event is in line with the School of Music ‘practicing what we preach’ regarding diversity at UofSC while allowing students and classical music fans to experience new voices and perspectives showcasing successful black artists in traditional classical settings, many of whom have walked the halls of UofSC’s School of Music.” 

“The Mahogany Music Festival supports the vision of UofSC University’s Board in leveraging music and the arts to make higher education accessible and relevant to the widest possible cross-section of our diverse Columbia community with music and artists of the highest caliber in an event unlike any we have seen to date,” said Harris Pastides, former president of UofSC and current Interim president.

“Columbia is anchored by its state university (UofSC) and two historically black colleges. This community bridge is the perfect way to showcase many black artists whose ancestors did not even have the opportunity to partake in higher education’s music offerings at UofSC for many decades, now accessible to a younger black generation. We look forward to our return to Columbia with black talent from around the globe showcasing their contributions to the classical genre,” said Lee Pringle, COMF founder and artistic director.   

Colour of Music Festival | UofSC Residency Schedule: Mahogany Music Festival

Thursday, Sept. 9 | 7:30 p.m.

Chamber Music Presentation | UofSC School of Music Recital Hall

UofSC Alumni Chamber Players and Colour of Music Festival Octet | Free                                                                                                   

Friday, Sept. 10 | 8 p.m.

Opening Night Masterworks Series I | Koger Center for the Arts

Auntie Karen Foundation Legends of…featuring the All-Star Band at 8 p.m. and Colour of Music Festival Orchestra with guest artist Vanessa Williams conducted by Julius P. Williams, 9 p.m. | Tickets: $55-$77

Saturday Sept. 11 | 7:30 p.m.

Masterwork Series II | Koger Center for the Arts

September 11 20th Anniversary Memorial Performance

Colour of Music Festival Orchestra, guest conductor Julius P. Williams, and Lori C. Hicks, soprano | Free; ticket required

In person
: Koger Center for the Arts, 1051 Greene Street, Columbia SC

By phone: 803-251-2222


About the Colour of Music Festival

The Colour of Music Festival, Inc. presents a diverse classical repertoire of baroque, classical and 20th-century music at the highest of musical standards to diverse audiences nationally. The festival has presented in Atlanta; Charleston and Columbia, South Carolina; Nashville, Tennessee; Houston; Pittsburgh; Richmond, Virginia; and Washington, D.C.

Wednesday, July 28, 2021

Sergio A. Mims: The Philadelphia Orchestra performing Florence Price's Symphony No. 1 this week from July 29 to August 5

Bronfman Plays Beethoven

Florence B. Price (1887-1953)

The Philadelphia Orchestra -Yannick - J. Griffin - VP

Sergio A. Mims writes:


Your readers will be interested to know that this week at the Bravo! Vail Music Festival  the Philadelphia Orchestra under its music director Yannick Nezet-Seguin will perform Florence Price's Symphony No. 1 along with Beethoven's Piano Concerto with soloist Yefim Bronfman.

This is following the news from a few months ago that Deutsche Grammophon (DGG)  will be recording the entire Price Symphonies with the orchestra and conductor Nezet-Seguin for release later this year or early next year.

The entire concert will be available to be seen on the orchestra's Digital Stage Concerts from July 29 to August 5. To purchase a digital ticket for the concert go here  Bronfman Plays Beethoven

Tuesday, July 27, 2021

MICKEY THOMAS TERRY-Virtual Organ Recital on YouTube-Featuring Bach, Mozart, Liszt, Thomas Kerr, and Mark Fax

Dear Epiphany Tuesday Concert Series supporters,

I would like to share this week's Epiphany TCS performance with you. Organist Mickey Thomas Terry will perform music by Bach, Mozart, Liszt, and two African-American composers.  It will premiere on Tuesday July 27, 2021 at 12:15 pm (EST) and remain at the following YouTube link:

For more information about the program and the performer:

Program note for today's concert:

Thank you for your support and being a great part of the mission of the Epiphany's music ministry.  We will try our best making great music to serve this church and the community. 


Claire J. Cho  l Violinist
Program Manager, Tuesday Concert Series

African Diaspora Music Project is Helping Singers & Orchestras Diversify Their Repertoire With New Database of Works By African Diaspora Composers



Currently housing nearly 4,000 songs and more than 1,200 symphonic works, the database will continue to grow through new submissions and continued research


Monday, July 26, 2021– Ann Arbor, MI: In September 2019, after decades of researching and consolidating vocal works by African Diaspora composers, Dr. Louise Toppin launched the African Diaspora Music Project (ADMP) database, which currently offers nearly 4,000 songs by composers of African descent.

Toppin, a professor at the University of Michigan’s School of Music, Theatre & Dance explains:

“As artists increasingly look to diversify their programming, they are faced with unexpected challenges. While living composers often update their websites, many pieces by previous generations of African Diaspora composers are not published, and it takes hours of research to find publisher information for others. This is compounded by a lack of performance history for many pieces, which have been historically underperformed, have been neglected for decades, or were never premiered.”

“My father's passion for history as a public historian--not someone who spent his time just writing works for an academic audience, but hosting television and radio shows, writing for newspapers, finding ways to reach a wide audience—has deeply informed my approach and scope for this project. It has shaped me,” Toppin stated about the legacy of her father, Edgar Allan Toppin, Sr. A public historian and an African-American professor of history specializing in Civil War, Reconstruction, and African-American history, one of his many accomplishments was becoming Board President of the Association for the Study of Afro-American Life and History, where he was instrumental in turning Black History Week into Black History Month in 1976.


Trained as an archivist, first by her father and later as a doctoral student at the University of Michigan, Toppin learned the difficulty of locating and bringing together repertoire. Her project began informally while at the University of Michigan while working as a research assistant to music scholars George Shirley and Willis Patterson, and later while organizing the works of Florence Price owned by scholar Ray Linda Brown. As she traveled to the National Association of Negro musicians, the country's oldest Association of Black professional musicians, she had the opportunity to meet and perform with Black composers who freely shared their works with her. Overtime, she amassed one of the largest personal collections of composers of African descent.


Designed as a living and growing database that will strengthen as more works are submitted and discovered, African Diaspora Music Project supports Toppin’s ongoing mission to help bring this music to concert halls around the world. The database is designed with conductors and artistic administrators in mind, making it extremely user-friendly. Users can search by ensemble size and length of work, allowing them to find many pieces for their programming needs, and with perusal PDFs of scores and recordings provided whenever possible. ADMP is a free resource created as a repository for music, providing access to scores, and encouraging research, exploration and performance of new works.


Lee Koonce, President and Artistic Director, of Gateways Music Festival shares: “African Diaspora Music Project provides a transformational resource at a time when individual artists and performing arts organizations are making a more serious effort to reflect the broadest communities and constituencies possible.” 


“ADMP has introduced me to a host of composers and works unknown to me beforehand and I have already begun a journey with this wonderful music that will not only help in providing material for future recording projects, but will also inspire interesting and creative programming ideas,” American operatic tenor Lawrence Brownlee shares. “I’ve only just scratched the surface of this extremely impressive website, but I look forward to the new discoveries I’ll find in this ever-expanding database.”

ADMP includes access to works in various languages and from across the globe, such as Pende from the Republic of Congo, French Creole, Portuguese from Brazil, and more. Works span from H.T. Burleigh, the first prominent Black composer in America born at the end of the Civil War to millennial composer Brandon J. Spencer, and from well-known artists to compositions waiting to be fully appreciated and performed.  It’s not hyperbolic to note that ADMP may change the very voice of American music as the works of Black composers can now be accessed easily in one user-friendly database.


Susie Park, Chair of the Minnesota Orchestra Artistic Advisory Committee, has used the database’s searchable composer, length, and instrumentation features while selecting composers for season programming: “African Diaspora Music Project Database is an invaluable tool in finding works by Black composers, not only for our season programming, but for our upcoming Anti-Racist Learning Project. As the database grows as a repository, I can only imagine how it will serve to be even more indispensable to musicians and administrators searching for music by Black composers, and effectively expand the canon and face of classical music as we know it."


American Baritone Thomas Hampson concurs: "One of the most exciting and important resource databases to appear in a long time is the African Diaspora Music  Project. With the heightened and enlightened curiosity for all things African American, especially in the myriad and fascinating canon of classical music, this resource is indispensable. Let us all move forward together.” The latest Hampsong Foundation project “Song of America: A Celebration of Black music” at the Elbphilharmonie Hamburg was brilliantly formed with the guidance of Dr. Louise Toppin and her African Diaspora Project.


In 2020, when Conductor James Blachly approached Toppin with the possibility of adding an orchestral component to the site, she jumped at the opportunity:


“When James reached out to me I realized that this was the right moment and the right collaborative partner to move the database into phase II.  We hope that this iteration provides an even better user experience for those researching both vocal and orchestral repertoire.  Together James and I hope that we can help transform the experience of musicians interested in incorporating the work of African Diaspora composers."


“With 1,200 entries so far, we expect this resource to help people program with far greater breadth than they would doing their own research with limited time,” said Associate Editor James Blachly. “But we want this to be a resource that represents our ongoing efforts as a field, and for musicians, historians, orchestras, conductors, artistic administrators, and others to continually update it with new recordings and listings as our collective knowledge and research continues to expand.”



"Louise Toppin has been a leading and guiding force in the promotion and documentation of living and past composers of African descent.  Her tireless advocacy is a beacon for this important work. She not only leads as an innovative entrepreneur, educator, scholar but as well as a leading proponent of contemporary performance practice and concertizing. In my 30 + years as a composer and author, there would simply not be the current information and celebrations of our works as Black concert artists without the dedicated work of Louise Toppin." said Dr. Bill Banfield, composer, author


Artistic director/Conductor Berklee Contemporary Symphony Orchestra

President of the International Conductors Guild
Boston Symphony Orchestra Composer-in-Residence

Julius P. Williams said “Louise Toppin has been on the forefront championing African American composers for many years with her work with Videmus and the new database. I have collaborated on many of these projects and recorded with her two CDs that emphasizes the music of black composers i.e, “Heart on the Wall” and our newest release songs of ‘Love and Justice’ which will be out later this year on the Albany record label.  She is one of the few people that I see to have true credibility on this subject and has spent years curating the Black Music repertoire, existence and excellence in concert music.”


“I spent a lot of time at ADMP listening and learning. A couple hours in fact. And a big chunk of time with Bill Banfield’s music. This literally wouldn’t have been possible even a month ago. Such an amazing accomplishment. Thank you both so much. This resource is going to make real impact in the industry.” explained James Barry.


Dr. Louise Toppin has received critical acclaim for her operatic, orchestral, and oratorio performances in the United States, Europe, South America, Asia, New Zealand, Cuba, Puerto Rico and the Caribbean. She has appeared in recital on many concert series including Carnegie Hall, Kennedy Center, Broadway’s Hudson Theater, and Lincoln Center.


Represented by Joanne Rile Artist Management, she toured in "Gershwin on Broadway" with pianist Leon Bates and currently tours in that show with Joseph Joubert, piano and Robert Sims, baritone.  She has recorded eighteen compact disks of primarily American Music including solo CDs Songs of Illumination, (Centaur Records), and on Albany Records Ah love, but a day, He’ll Bring it to Pass, (Joseph Joubert, piano), Witness with the Czech National Symphony, Heart on the Wall with the Prague Radio Symphony and La Saison des fleurs,  CDs with three publications including A Hall Johnson collection from Carl Fisher publisher.   Her newest releases due out in 2021 are Songs of Love and Justice and Summer.Life.Songs (two CDs of songs for soprano by Adolphus Hailstork); Duos (with countertenor Darryl Taylor on African American vocal chamber music) and The Soprano Songs of T. J. Anderson with pianist John McDonald. 


Most recently she has edited scores for publication. Her recent publications Rediscovering Margaret Bonds: Spiritual Suite and four volumes of Songs by Adolphus Hailstork (Deux Chansons, Sacred Songs, Songs with harp and Chamber works) were released in the summer of 2020 by the publisher Classical Vocal Reprints.  Her anthology of Rediscovering Margaret Bonds: Art Songs was released March 1, 2021  from Classical Vocal Reprints and her Margaret Bonds choral work “St. Francis’ Prayer” for SATB with Hildegard Press will all be released later in March.


Her recent performances include the 150th celebration of the ratification of the 13th amendment for Congress and President Obama at the U.S. Capitol; a performance in Havana, Cuba with the women’s orchestra Camerata Romeu and the opening of the Smithsonian’s African American Heritage Museum.


As a scholar, she has lectured on the music of African American composers and has appeared on NPR’s All Things Considered (Margaret Bonds); for many national conventions and on many college campuses including Harvard, Tufts, and Duke.  As the co-founder and director of the George Shirley Vocal Competition that focuses exclusively on repertoire by African American art song, and Videmus (a non-profit organization that promotes the concert repertoire of African American and women composers), she encourages the performance and scholarship of African American compositions by students and scholars. She is also the founder of the that is a research tool to locate the repertoire of composers of the African Diaspora from the 1600s to the present.


Previously, Dr. Toppin was the Distinguished University Professor of Music and Chair of the Department of Music at the University of North Carolina, Chapel Hill.  She is currently Professor of Music (Voice) at The University of Michigan.


James Blachly is a Grammy®-winning conductor dedicated to enriching the concert experience by connecting with audiences in memorable and meaningful ways. His world premiere recording of English composer Dame Ethel Smyth’s 1930 masterpiece The Prison, released on Chandos Records, won a 2021 Grammy Award and was widely acclaimed by The New York Times, The New Yorker, Gramophone, San Francisco Chronicle, Financial Times, The Guardian, and many others.


James Blachly serves as Music Director of the Johnstown Symphony Orchestra and of the Experiential Orchestra, and is in increasing demand as a versatile guest conductor in diverse repertoire, including his debut with the New York Philharmonic in March 2022.  Since 2020, Blachly has served as Associate Editor and Orchestral Liaison for the African Diaspora Music Project, directed by Dr. Louise Toppin. 

Monday, July 26, 2021

Sphinx Organization, Inc.: Announcing Recipients of the 2022 Sphinx Medals of Excellence!

Sphinx Organization is proud to announce the three recipients of the 2022 Sphinx Medals of Excellence: pianist Michelle Cann, violinist Randall Goosby, and soprano Karen Slack. 

The Sphinx Medal of Excellence is the highest honor bestowed by the Sphinx Organization, the social justice organization dedicated to transforming lives through the power of diversity in the arts, and comes with a $50,000 career grant. The medal recognizes extraordinary classical musicians of color. Recipients are artists who early in their career demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities.

Meet the 2022 Recipients

Michelle Cann

"I'm extremely honored to receive the Sphinx Medal of Excellence, and to become part of this esteemed family of change-makers. I've always admired Sphinx's efforts to change the face of classical music, and I'm committed to furthering this mission especially for young pianists of color. With this award, I hope to inspire and motivate new generations of musicians by celebrating and advancing works by great Black composers."

Pianist Michelle Cann made her orchestral debut at age 14 and has since performed as a solo recitalist, chamber musician, and orchestral soloist around the world. She has appeared at venues including the Barbican and Kennedy Center, and with ensembles including The Cleveland and Philadelphia Orchestras. Among her specialties is the music of Florence Price, with performance highlights including the New York City and Philadelphia premieres of the composer’s Concerto in One Movement. Ms. Cann studied at the Cleveland Institute of Music and the Curtis Institute of Music, where she holds the inaugural Eleanor Sokoloff Chair in Piano Studies.

Randall Goosby

"I am truly grateful for this award and opportunity from the Sphinx Organization, whose indelible influence on my musicianship has brought me to this point in my career. Participating in the Sphinx Competition over a decade ago opened my eyes to the potential for myself and other musicians of color to make our mark on the world of classical music. I hope to continue making classical music ever more accessible to young musicians, especially those of color, and amplifying the work of marginalized creators within this field.”

Violinist Randall Goosby is acclaimed for the sensitivity and intensity of his musicianship, as well as for his determination to make classical music more inclusive and accessible. He made his debut with the Jacksonville Symphony at age nine and, at age 13, performed with the New York Philharmonic in a Young People’s Concert. He is one of the youngest winners of the Sphinx Competition and a recipient of Sphinx’s Isaac Stern Award. His debut album, Roots—a celebration of African American music—was released by Decca Classics in June 2021. A graduate of the Juilliard School, he continues to pursuing an Artist Diploma there under Itzhak Perlman and Catherine Cho. 

Karen Slack

"What an honor to receive the illustrious Medal of Excellence. To have my work acknowledged by this amazing organization and now to be a part of the Sphinx family is tremendous. In an industry where it can be incredibly difficult to build and then sustain a career, to be recognized by an organization whose mission it is to foster, support, and empower Black and Latinx artists and arts administrators is humbling. I am extremely proud to now have my name aligned with artists, leaders, and advocates that I greatly admire and respect. Thank you to Afa and Aaron Dworkin for your tireless advocacy and commitment to our art form.”

Soprano Karen Slack is hailed for possessing a voice of extraordinary beauty and a seamless legato, garnering critical acclaim in leading operatic roles and on the concert stage. She has starred in productions at the Metropolitan, Lyric (Chicago), Washington National, and San Francisco Operas, among others, and has created roles in new operatic works by Black composers Terence Blanchard and Hannibal Lokumbe. She is Artistic Advisor for Portland Opera and Co-Director of the Banff Centre for the Performing Arts, focusing on diversity, equality, and inclusion initiatives in both roles. A former San Francisco Opera Adler Fellow, she is also a graduate of the Curtis Institute of Music.

The 2022 Sphinx Medals of Excellence are generously underwritten by Fund II Foundation and William H. Carson, M.D. 

Sunday, July 25, 2021

Challenge the Stats Team: Sounds of the New Normal Concert noontime Wednesday, July 28, First Presbyterian Church of Atlanta & Live Streamed

Harpist Angelica Hairston, founder of Challenge the Stats, is joined by cellist Khari Joyner and harpist Brandee Younger in an afternoon of unforgettable music in a noontime concert on Wednesday, July 28. 

These three internationally acclaimed Black artists will perform works by BIPOC (Black Indigenous, and People of Color) composers and discuss ways to celebrate communities of color as we navigate a “new normal” in our nation.

Challenge the Stats (CTS) exists to empower BIPOC by creating communities devoted to equity in the classical performing arts. CTS seeks to equip audiences and artists with the tools needed to advocate for justice both inside and outside of the concert hall. 

This free event will admit a limited reserved in-person audience at First Presbyterian Church of Atlanta, 1328 Peachtree St NW, Atlanta, GA 30309.  It will also be live streamed.

For more information:

The Harlem Chamber Players: This Monday and Tuesday - 4 Free Summer Pop-Up Concerts

 We hope you can join us for any of our 4 FREE Pop-up concerts this week!

Ashley Horne, Claire Chan, William Frampton, Leo Grinhauz

Ashley Horne, Violin
Claire Chan, Violin
William Frampton, Viola
Leo Grinhauz, Cello

Jackie Robinson Park Bandshell, Bradhurst Avenue & 147th Street, New York, NY 10039
Monday, July 26 at 5 PM

Beethoven String Quartet Op. 18 No. 3 in D Major
Paquito D'Rivera Wapango
Carlos Simon An Elegy: A Cry from the Grave
Nkeiru Okoye Movements


Hope Garden, 475 West 152nd Street, New York, NY 10031
Monday, July 26 at 7 PM

Florence Price String Quartet in G Major
Trevor Weston Fudo 
George Walker String Quartet No. 1

Thomas Paine Park in Foley Square, Lafayette and Worth Streets, New York, NY 10013
Tuesday, July 27 at 5 PM

Florence Price String Quartet in G Major
Trevor Weston Fudo Myoo
George Walker String Quartet No. 1


Hope Garden, 475 West 152nd Street, New York, NY 10031
Tuesday, July 27 at 7 PM

Beethoven String Quartet Op. 18 No. 3 in D Major
Paquito D'Rivera Wapango
Carlos Simon An Elegy: A Cry from the Grave
Nkeiru Okoye Movements


These concerts are sponsored by the Musicians Performance Trust Fund.
These concerts are sponsored by the Musicians Performance Trust Fund

Listen to WQXR, New York City's only classical music radio station live now at 105.9 FM and, and sign up for the WQXR e-newsletter for weekly highlights, links to web streams, on-demand concerts, videos, events from The Greene Space and more.

The Harlem Chamber Players 2020-21 Season is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; in part by a grant from Columbia Community Service; in part by West Harlem Development Corporation via the Tides Foundation; in part with funding from the Turrell Fund; in part with funding from the Upper Manhattan Empowerment Zone Development Corporation and administered by LMCC; in part by the Manhattan Community Award Program via Manhattan Borough President Gale A. Brewer; in part by a grant from the New York Community Trust/Charles E. Culpeper Fund; in part by a grant from the Charles Stewart Mott Foundation; in part by a grant from J.P. Morgan Securities Charitable Giving Fund; in part by a grant from The M&T Charitable Foundation; in part by a grant from the Howard Gilman Foundation; in part by a grant from the Baisley Powell Elebash Fund; in part by a grant from the Castellano Family Foundation; in part by a grant from the Reba Judith Sandler Foundation; in part from a grant from the Richenthal Foundation; and through the generous donations of our supporters and donors.