Saturday, November 27, 2021

TwinCities.com: St. Paul Chamber Orchestra in "Red Clay & Mississippi Delta" of Valerie Coleman & Coleridge-Taylor Perkinson's Blue/s Forms for Solo Violin

Coleridge-Taylor Perkinson (1932-2004)

Valerie Coleman

***

Violinist Eunice Kim played the second solo of the evening — Blue/s Forms for Solo Violin, without accompaniment. Named after the Black British composer Samuel Coleridge-Taylor, composer Coleridge-Taylor Perkinson wrote orchestral, choral, instrumental and solo works that brought together classical forms with jazz and popular music. The piece Kim performed on Friday veered toward a jazzy Avant-garde.

Kim produced a bright sound with her instrument, even as she kept up with the furious speed of Perkinson’s composition. Filled with slides and fast-paced progressions, a hint of jazz could be heard in the frenzied notes. You could barely take a breath just watching Kim play, yet she managed to breeze through the intensely complicated rhythms with ferocious agility.

After the Perkinson solo, a quintet of wind and brass instruments performed “Red Clay & Mississippi Delta” by Valerie Coleman. Coleman’s piece referenced the blues, and somehow transformed the Ordway Concert Hall into a humid night in a dimly lit bar, filled with music and camaraderie. Its employment of call and response made a nod to African-American musical traditions. Clarinetist Sang Yoon Kim drew particular attention. His rhythmic movement as he played propelled the piece forward in its easy going jive.

Francis B. "Frank" Johnson [1792-1844]: "Black Virtuoso, Composer, Bandleader Born Free in Philadelphia" is Honored on Poster at Philadelphia's Ridgway Building

Francis Johnson: Influenced Generations
The Library Company of Philadelphia
The Ridgway Building

AfriClassical.com also pays tribute to Francis B. "Frank" Johnson (1792-1844) as a Musician of African Descent.  An African American Bugler, Band Leader & Composer, Francis Johnson led the first African American band to visit Europe.

Francis Johnson played the bugle, keyed bugle, cornet, violin and other instruments.  He also composed music for band. Among the recordings of his works is The Music of Francis Johnson and His Contemporaries: Early 19th-Century Black Composers,  Music Masters 7029-2-C (1990). The music is performed on original instruments by The Chestnut Brass Company and Friends, accompanied on violin by Diane Monroe and led by Tamara Brooks, Conductor. The CD includes marches and dances of the period by Johnson's four African American contemporaries in Philadelphia who also wrote band music:  James Hemmenway, Isaac Hazzard, A.J.R. Conner and Edward Roland.

The liner notes for the recording begin by emphasizing the unusual nature of Francis Johnson's professional activities:

The career and musical legacy of Francis "Frank" Johnson (1792-1844) represent one of the most singular achievements in the history of American music.  In an era when full-time musicians were a rarity in the United States, Johnson fashioned a career of such variety and importance that it would be the envy of many a modern musician. Even more remarkable is that Johnson, an African-American, was able to achieve such success against a background of racial strife which worsened even as his work progressed.



Friday, November 26, 2021

TheStar.com: Toronto pianist Stewart Goodyear finds a special homecoming at the Royal Conservatory of Music



Stewart Goodyear



Fri., Nov. 26, 2021

With any luck, I’ll be spending a cold Feb. 9 in the warmth of Koerner Hall, listening to a concert by Stewart Goodyear that should have taken place in 2020.

Had the concert taken place as originally scheduled — without the intervention of COVID-19 — I would have been listening to a Toronto pianist with an international career. As it is, unless something else happens, I’ll be listening to the same pianist, but this time also as the first artist in residence in the history of Toronto’s Royal Conservatory of Music.

It was the decision of Peter Simon, president and CEO of the conservatory, to offer the new appointment to a native Torontonian who began studying piano at the conservatory at the age of eight, with the man who is now dean of its Glenn Gould School, James Anagnoson.

Simon acknowledges that Goodyear isn’t the first active performing artist to have forged a partnership with the conservatory, citing more than 30 years during which the distinguished American pianist Leon Fleisher paid regular visits.

“Jim asked Leon to hear Stewart when he was 12,” Simon recalls. “Leon said that he didn’t usually teach students that young. Then he heard Stewart.”

CumbriaCrack.com: At 7:30 PM, December 4, The City of Carlisle Orchestra presents Samuel Coleridge-Taylor's Christmas Overture at St. John's Church

 Samuel Coleridge-Taylor (1875-1912)


November 26, 2021

The City of Carlisle Orchestra is preparing for its first concert since December 2019.

Taking place at St John’s Church on London Road on December 4, the first part of the programme comprises a selection of Dvorak’s Slavonic Dances and Scherzo Fantastique by Josef Suk then, following a brief interval, the audience can enjoy Holst’s Cotswold Symphony, a delightful pastoral work that the orchestra had been due to play at its March 2020 concert, cancelled at the last minute because of the national lockdown.

The final piece of the concert will be Samuel Coleridge Taylor’s Christmas Overture, adding a seasonal note to the concert and guaranteed to send the audience home with a smile. 



Thursday, November 25, 2021

The1A.org: Lost & Found: America’s Black Classical Music: The centerpiece this time is William Levi Dawson’s “Negro Folk Symphony.”

William Levi Dawson (1899-1990)

A special program for holidays is our latest collaboration with Washington, D.C.’s PostClassical Ensemble.

It includes highlights of a recent concert hosted by 1A host Jenn White at All Souls Church in the district.

It was the curtain-raiser for a season-long project that explores the roots of America’s Black classical music. You are invited on a journey of rediscovery — from the sorrow songs to the spiritual arrangements of composer Harry Burleigh and the musical prophecies of Antonin Dvorak.

PCE Executive Director Joseph Horowitz has previously acted as our guide as we explored the relevance of composers Antonin Dvorak and Aaron Copland to America’s cultural story.

The centerpiece this time is William Levi Dawson’s “Negro Folk Symphony.” Horowitz says “it is one of the most formidable, most stirring and uplifting symphonies in the American symphonic repertoire.” So why after its 1934 premiere did it sink into oblivion?

Wednesday, November 24, 2021

uDiscoverMusic: Classical News ‘Florence Price: Symphonies Nos. 1 & 3’ Nominated For Grammy Award

Florence Price
SYMPHONIES NOS. 1 & 3
Yannick Nézet-Séguin & The Philadelphia Orchestra
Deutsche Grammophon

Published on

Cedille Records: Grammy Nomination: Best Classical Solo Vocal Album - Will Liverman is nominated for his performance on "Dreams of a New Day"



Cedille Records

Join us in congratulating the many Cedille artists and creative collaborators represented in this year's Grammy Award nominations!                         

 

Tuesday, November 23, 2021

John Malveaux: Saturday Nov 20, 2021 attended REEL CHANGE: KRIS BOWERS concert presented by Los Angeles Philharmonic Orchestra

Kris Bowers
(LA Phil)

John Malveaux of MusicUNTOLD.com writes:

Saturday Nov 20, 2021 attended unprecedented and historically significant REEL CHANGE: KRIS BOWERS concert presented by Los Angeles Philharmonic Orchestra at Walt Disney Concert Hall conducted by Anthony Parnther. The program, curated by young KRIS BOWERS, included the world premiere of his CONCERTO FOR HORN featuring Andrew Bain. The pre concert talk hosted by Renae Williams Niles, LA Phil Chief Content & Engagement Officer  included composer/pianist KRIS BOWERS, and composer/violinist/historian Sultana Isham. I chatted with Sultana Isham following the pre concert talk. See pic KRIS BOWERS (LA Phil) and concert program (attachment)

































Monday, November 22, 2021

TheViolinChannel.com: Sphinx Venture Fund Announces 2022 Recipients: The organization awarded almost $300,000 worth of grants to the three chosen organizations


The Violin Channel

November 22, 2021

The money will be used to fund two new competitions: the inaugural Nina Simone Piano Competition for Black pianists, the inaugural New York City Opera Duncan-Williams Voice Competition for emerging, Black and Latinx singers. The third grant went to "Composing Inclusion," a commissioning project for Black and Latinx composers to create works with “flexible” orchestration.

The inaugural Nina Simone Piano Competition for young African American pianists will be held in summer 2023 in Cincinnati, Ohio. The competition was created by pianist and conductor Awadagin Pratt and will be presented by his Art of the Piano Festival & Foundation in partnership with the Cincinnati Symphony Orchestra and the College-Conservatory of Music (CCM) at the University of Cincinnati. To be held every two years, it will take place before the annual two-week Art of the Piano Festival on the CCM campus.

The new New York City Opera Duncan-Williams Voice Competition competition for emerging Black and Latinx singers will be launched in 2023 by the New York City Opera (NYCO) in partnership with the Manhattan School of Music (MSM). It will have no entry fee and offer monetary audition support to successful applicants. The competition will offer cash prizes, performance contracts with NYCO, and mentorship.

"Composing Inclusion," a partnership between the Juilliard School, the New York Philharmonic, and the American Composers Forum. This project will connect young composers at Juilliard's pre-college program with players from the New York Philharmonic, with the goal of commissioning new works. 

Sergio A. Mims: Lawrence Brownlee in Rossini's opera L'Italiana in Algeri on WHPK FM November 30


 
Lawrence Brownlee

W

I will be broadcasting on Tuesday Nov. 30 on my weekly classical music program on WHPK.FM in Chicago the excellent Naxos recording of Rossini's comic opera L'Italiana in Algeri (The Italian Girl in Algiers) with tenor Lawrence Brownlee in the tenor  lead role of Lindoro in the recording.

Other cast members include Lorenzo Regazzo, Ruth Gonzalez, Marianna Pizzolato, Giulio Mastrototaro and Elsa Ginnoulidou with the Viirtuosi Brunensis conducted by Alberto Zedda.

As always my show is broadcast every Tuesday from 12 noon to 3pM (Central Time) locally on 88.5FM and livestreamed worldwide on www.whpk.org

Sunday, November 21, 2021

TheCable.ng: INTERVIEW: Echezonachukwu Nduka reflects on burden of representation as pianist

Echezonachukwu Nduka

By Stephen Kenechukwu

November 21, 2021

If he’s not writing fiction or crafting words into riveting poetry lines, Echezonachukwu Nduka can almost always be seen showing an engrossed audience the magic he does with the grand piano. The pace at which his fingers maneuver piano keys to evoke surreal melody evidences his virtuosity.

The classical pianist has worked with musicians and performed at major concert halls from Europe to America.

His bowtie knot at its tightest sometimes around the collar of his suit shirt; his body draped in traditional Nigerian fabric other times, he treats concertgoers to masterpieces of western composers like Piotr Tchaikovsky and Giacino Rossini just as easily as he percussively pounds the keys to perform the works of many West African composers.

Now hailed as one of the most listened to classical pianists of Nigerian origin, Eche’, as he is fondly called, attended several mission schools as a result of his parents’ vocation as ministers who were transferred to various stations.

An alumnus of the Bishop Crowther Seminary, Awka, he gained admission into the University of Nigeria (UNN) in 2006 to study Music and graduated magna cum laude in 2010. Thereafter, he proceeded to Kingston University London, United Kingdom, where he studied as a postgraduate student in the same field. He has since performed across venues in New Jersey, Missouri, and New York — poised to record solo piano music by African composers.

In this interview with ThaCable Lifestyle, Eche discusses his role in knocking the African tradition into mainstream classical pianism.

Many would ask if there’s really any need to conceptually distinguish between the African approach to pianism and what is obtainable in the global west. In the end, isn’t pianism just pianism?

Of course, it is, if you look at it from a generic perspective. But a closer look would reveal some distinguishing factors which are mostly influenced by diverse cultures. Even in the global west, European classical piano music has the Russian school, German school, Polish school, French school, and the list goes on.

African pianism is the conceptual approach to the ‘School of African Art Music’ just like you have it in the global west, characterized by cultural influences. Of course, the language of music is universal, but this universality does not erase the distinctions which also include diverse performance practices.

One of the reasons why the distinctions are to understand the cultural influences and how it affects performances. It suggests to performers how best to approach pieces. For pieces by African composers, the idea for performers is to make the piano and music to be very percussive like you’re playing drums. For instance, I can’t play works by Christian Anyaeji the same way I would play a Chopin piece. The Chopin piece has its own distinct way of performance to reflect its own tradition. Even the music by Debussy and Ravel.

They have this light touch on the piano; impressionistic compositions that paint a picture. That’s not the same with much African music where you literally have to make the piano sound like drums. It has to be hammered so hard. Understanding these differences will help not just performers but analysts who study and teach it.

Your specialty is Nigerian classical pianism. Why African, given your broader skillset & repertoire?

It speaks to me culturally and I can understand it better. I can study it; I know exactly where it’s coming from. I have more connection to those compositions compared to those of the global west. That is not to say that I don’t play the classical canon. I still play western piano works, even in recitals. My specialization is also to highlight the works of African composers because they’re not mainstream. Classical music is not considered mainstream but, even within that tradition, music by African composers is nowhere near what is considered the classical canon. In other words, they’re almost non-existent.

I feel like, being from this same culture, I would like to give it more attention. I can study western composition and try to follow them the way I was taught but it might not be as convincing because I’m not native to the culture that influenced that music. Also, being a Nigerian and an Igbo man, I feel I should be the one playing this music before it gets the global attention we hope it would. Imagine I’m playing Mozart and, one day, a Chinese pianist pulls up and starts giving workshops about music by Nigerian composers. It would be a shame. We’re on the fringes. I should be at the forefront of those championing this music. The idea is to play African compositions so much so that it encourages them to write more.

Saturday, November 20, 2021

OperaCréole: Google Doodle Honors New Orleans's own Edmond Dédé on his 194th Birthday


Google Doodle Honors Edmond Dédé

You have heard me speak of him often, read of him in my recent press, and heard his music in our concerts and in our 2018 production, "Le Lions de la Reconstruction!"

But, I am inspired by this to once again ask for your help in bringing his (never performed) opera to the stage. "Morgiane ou Le Sultan d'Ispahan" is 550 pages fully orchestrated, but still in his original handwriting. It needs to be transcribed into orchestral scores, translated from French, and then produced. We need around $20K. $12K of which is just for transcription.
Only the overture has been performed- thanks to Richard Rosenberg.

If you can help, please donate at https://operacreole.com/donate

I am truly Thankful, and I wish you all a wonderful Holiday Season,
Givonna
OperaCréole
Givonna Joseph
Founder, Artistic Director
Aria Mason
Co-Founder, Production Director

 *Special Recognition 
for Creative Achievement in Opera
For our original opera 
2019 Gambit's Tribute to the 
Classical Arts Awards

Friday, November 19, 2021

100 Black Men of Louisville Selected for Grant from AT&T and Connected Nation


 

LOCAL TECHNOLOGY EXECUTIVE HELPS OBTAIN FREE WIRELESS HOTSPOTS, ACCESS FOR LOUISVILLE CHILDREN


LOUISVILLE, Ky. - (Nov. 19, 2021) – The nonprofit 100 Black Men of Louisville is proud to announce it has been selected to receive a grant from Connected Nation, which will provide wireless internet access service, hotspot devices, and content filtering from AT&T to 387 mentees for 14 months. Reggie Gresham, a member of 100 Black Men of Louisville and vice president of enterprise sales for Matrix Integration, an IT solutions and managed service provider for more than 1,000 businesses in Kentucky, Indiana and beyond, led the effort. Connected Nation is a nonprofit working with AT&T to distribute more than $10 million worth of mobile Wi-Fi hotspots, AT&T wireless internet access and content filtering services for children in adverse circumstances.

         

   “The pandemic revealed some stark inequalities when it came to technology and internet access,” said Gresham. “100 Black Men of Louisville has been working for more than 10 years to provide better educational opportunities and resources for African American youth. And although many children are back in classrooms, digital learning is here to stay. With this grant we’re able to get Wi-Fi hotspots and free AT&T internet into homes and schools so whole families will be able to connect to the internet for education or for work.”


            “Closing the digital divide has been a focus of my administration, and as the pandemic has highlighted, connectivity is vital to educational outcomes for our Louisville students,” said Mayor Greg Fisher. “That is why I will continue to champion digital inclusion opportunities like the program provided by AT&T, Connected Nation and Matrix Integration. Their support of 100 Black Men of Louisville directly benefits students, families and educators, and lifts up the entire community.”

According to a study,1 nearly 17 million children have been unable to take part in digital learning because their families don’t have an internet connection or devices to support digital learning. The gift from AT&T and Connected Nation will help close this educational gap. The hotspots will be shipped in November, and Matrix Integration will reconfigure the devices to be used in the mentees homes and select schools. 

“What makes this program so critical is that it seeks to help vulnerable students who have been disproportionately disconnected from formal learning opportunities due to COVID-19,” said Tom Ferree, chairman & CEO, Connected Nation. “The investment being made through the AT&T Connected Learning program will not only allow these kids to fully participate in remote learning, but also to catch up on learning loss they may have experienced due to the pandemic. On a personal note, I would like to add that I grew up in Louisville and work and raise my family here. The 100 Black Men of Louisville organization has done good work for others in our city for years, and I’m excited that we can partner together in this way to help close digital equity gaps for students in our community.”


Details will be announced soon on a special event being held with 100 Black Men of Louisville, Matrix Integration, and Connected Nation to distribute the configured devices to the mentees. More information on 100 Black Men of Louisville can be found at ww.100bmol.org.

#  #  #

About Matrix Integration

Matrix Integration is a strategic IT solutions and managed services provider that has been in business for more than 40 years.  With clients regionally and offices in Indiana and Kentucky, Matrix Integration works closely with businesses and institutions to provide personalized consulting and managed services along with networking, data center, security, collaboration, telephony, and computing solutions. Strategic partners include Hewlett Packard Enterprise, Aruba, Cisco Systems, Meraki, VMware, Microsoft, and Veeam. Matrix Integration is a Women-Owned Small Business (WOSB) and Women Business Enterprise (WBE), that has consistently been recognized on industry lists including CRN Solution Provider 500, CRN Managed Service Provider (MSP) 500, CRN Women of the Channel, and CRN Tech Elite 250.

 

About 100 Black Men of Louisville

The mission of 100 Black Men of Louisville, Inc. is to improve the quality of life within Louisville communities and enhance educational and economic opportunities for all African Americans. The overall concept of the “100” began in New York in 1963 when a group of concerned African American men began to meet to explore ways they could improve conditions in their community. The group eventually adopted the name, the “100 Black Men” as a sign of solidarity. Subsequently, this idea was duplicated in other cities and to date there are 118 chapters worldwide. Today, the 100 Black Men of Louisville envision a future where the strength of its youth development programs and its collective partnerships with communities and schools positively impact the mental, physical, moral, and spiritual development of young people.

 

About Connected Nation and the AT&T  Hotspot Initiative

One year ago, AT&T announced an initiative to provide $10 million to support the most vulnerable U.S. students who did not have adequate internet access and were disconnected from learning. Together with Connected Nation, a leading non-profit helping communities solve their broadband and digital technology challenges, AT&T has worked towards closing the homework gap for struggling students by providing Wi-Fi hotspots and free AT&T internet service. Altogether, nearly 40,000 hotspots will be distributed across the U.S., to 139 nonprofits nationwide.

 

 Homework Gap | Future Ready

Sphinx Organization: Announcing the Sphinx Competition Semi-Finalists!


 


The 25th Annual Sphinx Competition, presented by DTE Energy Foundation, takes place in Detroit, MI, from January 26-29, 2022.

Nineteen of the nation's top young string musicians will compete in the Junior Division (ages 17 and under) and Senior Division (ages 18-30). 

Read More

The Junior and Senior Divisions culminate in a Finals Concert at the Max M. and Marjorie S. Fisher Music Center in Detroit.

Saturday, January 29th, 2022 at 7:30pm. 

Senior Division finalists compete for the $50,000 Robert Frederick Smith Prize and solo appearances with major orchestras. This must-see event also includes:

  • Audience choice awards are an exciting highlight, as those in attendance cast their votes by text and select a winner in each division!

  • Guest Conductor Kalena Bovel with the all-Black and Latinx Sphinx Symphony Orchestra!

Kalena Bovell


The 25th Annual Sphinx Competition is presented by DTE Energy Foundation with underwriting support for the Senior Division first-place prize generously provided by Robert F. Smith.


Transforming lives through the Power of Diversity in the Arts.


Sphinx Organization

Thursday, November 18, 2021

The 2022 African Concert Series: "No-one has done more than the prize-winning pianist Rebeca Omordia to promote African classical music"

 

 THE 2022 AFRICAN CONCERT SERIES 

Press Release from Antony Barlow

 

No-one has done more than the prize-winning pianist Rebeca Omordia to promote African classical music and it is, therefore, with some justifiable pride that she is able to announce that her pioneering African Concert Series, now supported by Arts Council England's National Lottery Grants, has joined Wigmore Hall’s Family of Partners with a day of concerts on February 5 2022 at the famous concert venue. Hall Director John Gilhooly “welcomed Rebeca’s inspiration and initiative.”

With her mixed heritage from Nigeria and Romania she is ideally qualified to bridge the gap between Western classical music and traditional African music. In 2019 she curated the widely acclaimed first series, since when it has now become an essential part of the London musical calendar. As Patron Julian Lloyd Webber puts it: “I was honoured to be asked by Rebeca to be Patron of her wonderful initiative The African Concert Series. Since its pioneering early days, it has gone from strength to strength and I look forward to hearing more fantastic music and performances during this new season.”

The 2022 AFRICAN CONCERT SERIES with cultural partner The Africa Centre and media partners Fourchiefs Media and Colourful Radio, kicks off on 25 January 2022, 7.30pm at the October Gallery, London based on music from Omordia’s new CD African Pianism on the SOMM label.

This first concert features Rebeca Omordia herself together with Abdelkader Saadoun on percussion, with music by familiar names from earlier series such as Ayo Bankole and Christian Onyeji from Nigeria, Kwabena Nketia from Ghana, David Earl from South Africa and Nabil Benabdeljalil from Morocco, which feature on the new CD which will be available at the Concert.

The Series continues with events taking place at the October Gallery and The Africa Centre:

3 February 2022, 6.30pm, The Africa Centre London - In Conversation

A panelled discussion featuring distinguished host Kenneth Tharp and African Art Music Pioneers, Rebeca Omordia, Glen Inanga, Leon Bosch and a special appearance by composer Fred Onovwerosuoke, ahead of the special day at Wigmore Hall on February 5.

February 5 African Concert Series special day at Wigmore Hall

12 March, 7.30pm, October Gallery, London - An Evening of Women Composers

A programme featuring songs and piano music by Women Composers of African descent including Errollyn Wallen, Shirley Thompson, Betty Jackson King, Nkeiru Okoye and Kamilla Arku performed by female musicians Francesca Chiejina, soprano, Simone Ibbett-Brown, mezzo-soprano and Kamilla Arku, piano 

April 21-23 IKLECTIK Art Centre, London

Festival by Nonclassical in collaboration with The African Concert Series will also partner Gabriel Prokofiev’s new independent British record label ‘Nonclassical’ for a two/three day festival in April next year (details to follow).

Other dates include May 12 with String Quartets; a Family concert on June 4 at 11.0am at The Africa Centre; July 7 Chamber Music at the October Gallery. Further concerts to be announced in September and October.

For further information please contact Antony Barlow

artspublicity@hotmail.com 

Wednesday, November 17, 2021

Patch.com: 21st Century Music for Strings Thursday, Nov. 18, 7 PM, 4000 Woodland Ave., Philadelphia includes music of Carlos Simon & Adolphus Hailstork

Carlos Simon

Adolphus Hailstork

Patch

Music at the Mansion

Public · Hosted by The Woodlands

21st Century Music for Strings
November 18, 2021 at 7:00 p.m.
Tickets: $40 ($30 members of The Woodlands)
While our first concert in this series explores music current in William Hamilton’s time, this evening showcases American works by five diverse living composers – Caroline Shaw, Carlos Simon, Mark Mellits, Adolphus Hailstork, and Philadelphia’s own Melissa Dunphy. Experiencing this contemporary music in the Hamilton Mansion is a reflection of the society in which we live and a reminder that music from “the past” was itself once new!

Ticket sales will end at 12pm the day of each concert.

These concerts are supported by Doris Dabrowski and by a generous grant from The Paul M. Angell Family Foundation.

Tuesday, November 16, 2021

Broadway World: Julius P. Williams Conducts Oakland Symphony in Graham Lustig's THE NUTCRACKER at The Paramount Theatre Dec. 18-19

Julius P. Williams

Broadway World:

Oakland Ballet Presents Graham Lustig's THE NUTCRACKER At The Paramount Theatre

Set in Vienna in the posh Edwardian era, Lustig's version of The Nutcracker is based on the original story by E.T.A. Hoffmann.

The Harlem Chamber Players Present Trios by Undine Smith Moore, David Baker & Maurice Ravel November 19 & 20 at 7 PM



Left to right, top to bottom are Kyle Walker, Tia Roper, Claire Chan, Ashley Horne, Wayne Smith, and Eric K. Washingto
Please note that you must show proof of vaccination in order to attend any indoor concerts. Masks and social distancing are also required. Temperatures will be taken at the door.

PROGRAM
Undine Smith Moore Afro-American Suite for Flute, Cello, and Piano
David Baker “Roots II” Piano Trio
Maurice Ravel Piano Trio in A Minor

FEATURING
Kyle Walker, Piano
Tia Roper, Flute
Wayne Smith, Cello
Ashley Horne, Violin
Claire Chan, Violin
Eric K. Washington, Host

TICKETS
$20 General Admission
$15 Student/Senior Discount only available if you purchase in advance online.
Click here to purchase your ticket(s).

Limited tickets may be available at the door on the evening of the concert. All tickets are $20 at the door, and you must have exact change.

LOCATION
Broadway Presbyterian Church
601 West 114th Street (on Broadway)
New York, NY 10025
Click here for directions.


The Harlem Chamber Players 2021-22 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 Kathy Hochul and the New York State Legislature; in part by a grant from New York Community Trust; in part by a grant from the Emma A. Scheafer Charitable Trust; 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; in part by a grant from the Charles Stewart Mott Foundation; 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 Richenthal Foundation; in part from a grant from New Music USA; and through the generous donations of our supporters and donors.