Showing posts with label African American violinist. Show all posts
Showing posts with label African American violinist. Show all posts

Monday, December 13, 2010

Violinist Phyllis Fleming: 'A lesson with Emily Mutter Austin was more than worth waiting for.'

Phyllis Fleming is an African American violinist who has written a tribute to the late Emily Austin, who died Nov. 28, 2010 and who helped her and many others learn the violin:

MEMORIES OF MY BELOVED TEACHER

by Phyllis Fleming

Emily Mutter (Adams) Austin was a dedicated and highly acclaimed private violin instructor in Detroit for many decades. Her students were often concertmasters of their local school orchestras, graduates of prestigious conservatories and universities and winners of national and international festivals and competitions. Many have joined the ranks of symphony and opera orchestras around the world. Others are renowned soloists, recording artists or chamber musicians. Certainly there are those in other professions who carry a part of her wherever they are engaged.

My introduction to the violin was with Mildred Bachellor, a longtime friend of Mrs. Austin who was a devoted teacher in her own right. She taught group string classes in the Ferndale Public Schools. As a fourth grader, I was very enthusiastic about the violin and quickly completed the required material. Mrs. Bachellor gave me individual sessions during her lunch hour and urged my parents to send me to Emily Mutter "Adams", a Detroit Symphony Orchestra violinist, for private instruction.

My Dad was a factory worker and my Mom a homemaker. We lived in a very economically depressed community between the boundaries of Detroit and Ferndale, Michigan. It was the mid 1950s and my sister and I were already taking private piano lessons (at $2.50 each per week). Adding private violin lessons was not a possibility. Mrs. Bachellor helped me apply for a scholarship from the Ferndale Kiwanis Club. That award paid for my initial lessons with Mrs. Adams. After that, my mother informed Mrs. Adams that I would no longer be able to study.

Mrs. Adams insisted that I must continue. I'm not sure how the arrangement was made, but my mother agreed to alter and repair her clothing, including elegant performance gowns, in exchange for my lessons. Each week, I would return a finished garment and bring another one home. Years later, I realized what a challenge it must have been for my dear teacher to "find" tasks for my mother to complete. I'm not even certain that she ever wore all the items. It was a labor of love from two of the most important women in my life.

Students of my generation can remember when we first saw Emily Mutter Adams in the company of a very polite and distinguished gentleman, Carl Austin. We secretly whispered about the two of them and were delighted when they announced that they were getting married. It was a rare and perfect match. He was an accomplished, professional violinist-- a well respected recording studio musician and theater orchestra leader. My memory seems to recall that he studied at one time with the legendary Leopold Auer.

Mrs. Austin maintained a large studio and never seemed to be able to turn away a capable student who was eager to learn. All were fortunate to have had the opportunity to partake of her infinite knowledge and expertise. Although she was not formally a pianist, she was able to play the accompaniment to any violin concerto or concert piece, using only the violin part as the score. What a gift! On any day of the week, there was a constant flow of students in and out of her home. There was rarely time for her to eat, so she kept a bowl of dry cereal on top of the piano. She was very thorough and never watched the clock. Somewhat like a physician's waiting room, there was always a backlog. Everyone brought homework or a book to read, because we knew she was always running against time.

Even so, when you finally started your lesson, it was as though you were the only other human in the universe with her. When the old grandfather clock struck 8:00pm, reality would set in. Sometimes she would sing out in a sweet, pleading voice, "C-a-r-l, d-e-a-r...would you please work with (_____). It's getting late and I'm afraid..." Although unexpected, a lesson with Carl Austin was a lasting and meaningful learning experience. Even so, there might still be two or three students "on the couch" in the living room. Very apologetically, Mrs. Austin would appear with her appointment book in hand. Nearly every line was already filled for consecutive days on end. She would flip through the pages and try desperately to find an opening to take care of the remaining students. If you were among those few, you didn't really mind. A lesson with Emily Mutter Austin was more than worth waiting for.

She was very supportive of school music programs. All of the teachers knew her and referred their most promising students. In the 1950s, she was one of three women in the Detroit Symphony Orchestra, quite an achievement in that era. She was also concertmaster of the Detroit Womens' Symphony Orchestra, of which I became a member--along with several other young ladies who looked up to her with the deepest admiration. She saw to it that we were exposed to unique musical ventures during the summer, such as Interlochen (MI), Meadowmount (NY) or the Congress of Strings, sponsored by the American Federation of Musicians.

As an undergraduate at Wayne State University, I received a four-year scholarship from the Higgins (Pontiac) Foundation and continued private instruction with Mrs. Austin. She continued to encourage me in my career goals and assisted me in the selection of my first "serious" violin from William Moenning & Son in Philadelphia. She counseled me about each shipment. It wasn't until my adult years that I was finally able to fully understand the role that she played in my formative years and to appropriately thank her for her care and concern. It's been 22 years since I left Detroit and relocated to Washington, DC. I kept in touch by phone and greeting cards.

Last night, when a dear friend and fellow student called to tell me that our beloved teacher had passed away, I was reminded of how fortunate I am to have been touched by a great, kind and generous soul, who will live forever, not only in my heart, but in the hearts of more people than can ever be identified.

Requiescat in pace.
Affectionately,
Phyllis

Wednesday, December 1, 2010

Violinist Quinton I. Morris in Recital 7:30 PM December 2 at Seattle University

[Dr. Quinton I. Morris]

Jeffrey James Arts Consulting has issued a press release on violinist Quinton I. Morris on Dec. 1, 2010, from which we present excerpts:

“Violinist Quinton I. Morris will be in recital on Thursday, December 2 – 7:30 PM at Pigott Auditorium on the campus of Seattle University, 901 12th Ave in Seattle, Washington.
“Dr. Morris will be joined by soprano Indra Thomas and pianist Dr. Maimy Fong to perform works by Korngold, Mozart, Massenet, Saint-Saens, Rachmaninoff, and others. This is a pre-New York City event, with the three artists’ recital debut scheduled for January 15, 2011 at Weill Recital Hall at Carnegie Hall.” “Tickets are $20 general admission, $5 students, $8 University Faculty/Staff, and are available at 206-398-4900 or http://www.seattleu.edu/artsci/finearts

Dr. Quinton I. Morris is Director of Chamber and Instrumental Music, and Assistant Professor of Music at Seattle University. He has been on the faculty of the College of Arts and Sciences since 2007. He enjoys a multifaceted career as a concert violinist, chamber musician, teacher, director and founder of The Young Eight String Octet. Dr. Morris has given solo and chamber music performances in the United States, Europe and the Middle East. Notable concert appearances include a recital with Indra Thomas and Byron Schenkman at Seattle’s Benaroya Hall, concerto performances at the Champs-Elyseé Theatre in Paris, the Guildhall School in London, the Roman Catholic Theatre in Bonn, Germany and the Austin Chamber Music Center Chamber Orchestra in Austin, Texas. He is the recipient of numerous competition awards including The Boston Conservatory Chamber Music Honors Competition, the Louisiana Junior Philharmonic Orchestra Young Artist’s Concerto Competition, Seattle Philharmonic Concerto Competition, the NAACP ACT-SO Competition, the North Carolina Federation of Music Clubs String Competition and the Ebony Showcase Music Award. More about him at

Saturday, February 20, 2010

'Violin Hero: The Music and Life of Le Chevalier de Saint-Georges,' Duke University Feb. 21


[Reginald Dewight Patterson]

“Violin Hero: The Music and Life of Le Chevalier de Saint-Georges” is the title of a 3-part series at Duke University. It began with a fencing demonstration by Jonathan Parker and Tristan Jones on Feb. 16, and continued with a “Rare Music Lecture-Demonstration” at 4 PM Feb. 19. It will conclude with a “Solo Violin/Viola Recital” from 3:30-5:00 PM on Sunday, Feb. 21, 2010 in the Nelson Music Room, East Duke Building, East Campus.

“Reginald Dewight Patterson (Violinist and Violist) is a 4th year Candidate for Ph.D. In the Romance Studies Department at Duke University studying Francophone and Creolophone Literature and holds a Master of Arts in Romance Studies.” [The life, fencing and music of Le Chevalier de Saint-Georges (1745-1799) are presented at AfriClassical.com]

Wednesday, August 19, 2009

Sanford Allen is First Violinist on CBMR/Albany CD of Olly Wilson's 'Of Visions & Truth'


[Sanford Allen]

The African American conductor and violinist John McLaughlin Williams (JMW) has made a comment on an AfriClassical post, “Leslie Dunner & Kirk Edward Smith Conduct Works of Mary Watkins & Olly Wilson for CBMR/Albany CD.” JMW writes: “I should add that the First Violinist for the recording of Olly Wilson's Of Visions & Truth was Sanford Allen. Allen is notable for his effortless violin virtuosity and for his being the first African-American musician to be made a member of the New York Philharmonic in 1962. He is also the soloist on the classic Columbia recording of Roque Cordero's Violin Concerto, released decades ago as part of that label's pioneering and visionary Black Composers Series.” His Biography as Sphinx Competition Jury Chair of 2004 reads:

“Sanford Allen - Jury ChairViolinist Sanford Allen was appointed Director of the Clarion Concerts in Columbia County's Leaf Peeper Series after the death of its founder Newell Jenkins. Mr. Allen started his study of the violin at the age of seven and entered the Juilliard School of Music at age ten, continuing at the Mannes College of Music under Mme. Vera Fonaroff. In 1962 he became the first black musician ever to become a regular member of the New York Philharmonic. Regarding his recording of Cordero's violin concerto with the Detroit Symphony Orchestra, the Strad magazine said: 'Its virtuoso challenges are thrillingly met by Sanford Allen - a fabulous player who was, incidentally, the first African-American to gain a regular place with the New York Philharmonic in 1962. Despite the challenging nature of the writing, the listener's attention is held effortlessly throughout due largely to the extraordinary commitment and finesse of Allen's playing. Indeed the intensity generated by this impassioned performance is nothing short of overwhelming. Well worth seeking out'. His solo appearances with orchestra have included the Quebec, Baltimore, and Detroit Symphonies and the New York Philharmonic. He served on the advisory panel of the New York State Arts Council and was also a member of the Executive Board of the Kennedy Center National Black Music Colloquium and Competition. In 1998, Mr. Allen gave a premiere performance of Sir Roland Hanna's Sonata for Violin and Piano at the Kennedy Center in Washington, joined by the composer.

Friday, June 19, 2009

Video: CommunityMusicWorks.org Rehearses 'Anthem' of Violinist Jessie Montgomery



[Jessie Montgomery]

CommunityMusicWorks.org
“CMW is pleased to present ANTHEM: A Community MusicWorks Story, a short film about an original composition, a 'new piece of music for the nation,' commissioned by CMW to commemorate the election of the first African-American president of the United States. ANTHEM was composed by CMW resident musician Jessie Montgomery with lyrics by 16-year-old CMW student Kirby Vasquez. We hope that you will enjoy viewing ANTHEM: A Community MusicWorks Story online at YouTube or Vimeo. Please share ANTHEM with family and friends. If enough people watch the film and share it, CMW students may get their wish: to perform ANTHEM for President Obama at the White House!”

“Violinist Jessie Montgomery is a member of the Providence String Quartet, which forms the core of the Community MusicWorks Players based in Providence, Rhode Island.” “As the quartet-in-residence for Community MusicWorks, the Providence String Quartet provides free after-school music education and performance programming to youth in Providence's most underserved neighborhoods.” “Jessie Montgomery, violinist, joined the Providence String Quartet in 2004. She is a graduate of The Juilliard School where she studied with Sally Thomas. Jessie won second prize in the 2001 Sphinx Competition and was previously a member of The Young Eight, an all-African American string ensemble.”

Friday, March 27, 2009

Violinist Samuel Thompson, Featured Member at FracturedAtlas.org

FracturedAtlas.org
EmilyB | Mar 26, 2009 10:48 am 
A native of Charleston, South Carolina, Fractured Atlas member Samuel Thompson began playing violin at a young age and made his debut at the age of eighteen with the Carolina Amadeus Players Chamber Orchestra. He studied at both the University of South Carolina and Oklahoma State University, earning the Master of Music degree from the Shepherd School of Music at Rice University where he studied with Kenneth Goldsmith and Raphael Fliegel. Currently living in New York, Samuel recently took time out from his busy schedule of performing, editing recordings and writing about music and the arts to answer a few of my questions…

What’s next on your professional horizon?
At this moment I am continuing my fund raising efforts, with one goal being to participate in competitions in both the United States and Europe during the next three years. I am also continuing my associations with Carpetbag Theatre and Alternate ROOTS, and am working on what will be my first recording. With all of this, however, I have to say that “life can happen while you’re making plans”, so while my projects are dear to me — and some of them time-sensitive — I am also open to what the universe brings if I can bring the best of myself to it.

How can we learn more about you, hear your music, and learn about your tour schedule?
I have a blog/website (http://samuelathompson.blogspot.com) that contains a lot of information about my career and history as well as my performance schedule and my thoughts on many things. Both my concert schedule and audio samples can be found at ReverbNation (http://reverbnation.com/samuelthompson), a tremendous global online service for musicians.

Tuesday, February 17, 2009

Violinist Tai Murray in First Year as 'BBC Radio 3 New Generation Artist'

While her former colleagues in the Ritz Chamber Players have presented concerts observing Black History Month in the U.S., violinist Tai Murray has been performing frequently in a variety of venues in the United Kingdom. On Feb. 18, Tai will be performing in Manchester, England. Then on Feb. 25 she will be in concert in Cardiff with the BBC National Orchestra of Wales:
About Tai Murray 
“Violinist Tai Murray, currently in her first year as a BBC Radio 3 New Generation Artist, much in demand as both a concert soloist and chamber musician, has been heard on such concerto stages as Berlin’s Konzerthaus, Copenhagen’s Tivoli Gardens, New York’s Stern Auditorium at Carnegie Hall, and Shanghai’s Concert Hall. She has collaborated with a wide range of conductors including James Judd, Daniel Hege, Alan Gilbert, James Depreist, Giordano Bellincampi, and Marin Alsop. A debut in Atlanta, re-engagements in Chicago and St. Louis among many others, critical acclaim, and a burgeoning fan base, paint Tai a rising star on the concerto stage. In the 08/09 season, Tai returns to Cincinnati, and makes her debut with the Stamford, and Stockton Symphonies. Along with the BBC Symphony, BBC Scottish Symphony, and BBC National Orchestra of Wales, among others. Recent past engagements include the National Youth Orchestra of Venezuela, Santa Barbara, and Syracuse Symphonies. Tai is also an avid recitalist having presented programs in Boston, Chicago, Los Angeles, New Orleans, and New York along with pianist Gilles Vonsattel. She returns this season to Philadelphia in collaboration with pianist Lambert Orkis. In addition, she will make her debut with City of London Festival, and appear at Bridgewater Hall in Manchester. A dedicated chamber musician, Tai is a former member of the Ritz Chamber Players, and works with the conductor-less string orchestra ECCO. She has been on tour numerous times with Musicians from Marlboro, and was a member of Lincoln Center’s Chamber Music Society II during the 2004-06 seasons. Winner of an Avery Fisher Career Grant in 2004, Tai performs on a violin dated 2007, made for her by distinguished and extraordinary luthier, Mario Miralles.”  [Maestro James DePreist (b. 1936) is profiled at AfriClassical.com]

Violinist Jessie Montgomery Performs String Quartet No. 8 of Shostakovich Feb. 19

[Jessie Montgomery]

“Jessie Montgomery, violinist, joined the Providence String Quartet in 2004. She is a graduate of The Juilliard School where she studied with Sally Thomas. Jessie won second prize in the 2001 Sphinx Competition and was previously a member of The Young Eight, an all-African American string ensemble. During her summers, Jessie has participated in the Spoleto Festival, the National Orchestra Institute, and Meadowmount School of Music. Also a composer, Jessie was the recipient of the Composer's Apprentice Award, given by the Chamber Music Society of Lincoln Center. She has been a guest faculty member at the Apple Hill Center for Chamber Music.”

Thursday, February 19, 7:00-9:00 pm
Providence String Quartet
Dmitri Shostakovich’s String Quartet No. 8
The Providence Athenaeum, 251 Benefit Street, Providence, Rhode Island 
$30 members, $35 non-members
“Based on the permanent residency of the Providence String Quartet, Community MusicWorks is a 'revolutionary organization' (The New Yorker) that builds long-term learning and mentoring relationships between children and professional musicians in the West End and South Side neighborhoods of Providence, Rhode Island. As the quartet-in-residence for Community MusicWorks, the Providence String Quartet provides free after-school music education and performance programming to youth in Providence's most underserved neighborhoods. In tandem with these activities, the Providence String Quartet fills the role of the City's resident professional string quartet by performing throughout Providence and across the state.” 

Sunday, February 1, 2009

Violinist David Burnett Publishes 'The Collective – Newsletter for & about Musicians of Color'

David Burnett is an accomplished violinist who is Orchestra Director at Harlem School of the Arts, and teaches Violin and Viola there. Through ArtsConnection.org, he also teaches at two public schools in Brooklyn. In 1987 he founded The West Village Quartet, an African American ensemble which has a residency with the Baltimore Symphony. David also publishes “The Collective – Newsletter for & about Musicians of Color”. The Jan. 29 issue has articles and photos on a variety of performers, including the Harlem Quartet, Kelly Hall-Tompkins, the Ritz Chamber Players and Maestro Paul Freeman of the Chicago Sinfonietta. His E-mail address is DavidBviolin@aol.com

David Burnett (Violin, Viola, Orchestra Director) has been on the violin faculty of HSA for 16 years. He is head of the string department, conducts the string orchestra and has 52 private students. Mr. Burnett also teaches at the Langston Hughes Middle School and P.S. 6 in Brooklyn through Artsconnection. He began studying the violin with Galina Heifetz while a student at Music and Art High School and subsequently was self taught. Mr. Burnett completed his undergraduate studies at Oberlin Conservatory with Marilyn McDonald, followed by studies with Lynn Chang at the Boston Conservatory, and then private studies with Daniel Phillips in New York. Mr. Burnett’s string quartet, The West Village Quartet, has performed together for over 18 years and currently has a residency with the Baltimore Symphony.

West Village Quartet
The West Village Quartet is an African-American string quartet, performing works from the classical repertoire. The Quartet was founded in 1987 by David Burnett, who is the second violinist and manager of the group. The quartet has made noteworthy appearances on Entertainment Tonight, 20/20, Queens Access Public Television and PBS's Children's Express, and have also performed in the West Indies, Florida, Georgia, San Francisco, and Oregon. The Quartet has performed for the Essence Awards; the NAACP; Dance Theatre of Harlem; the Ford Foundation; former Mayors of New York City, Ed Koch and David Dinkins at Gracie Mansion; Paul Newman; and Patti LaBelle, among others.

Friday, October 10, 2008

Chicago Defender: 'Local teen continues to be standout violinist'

The young African American violinist Clayton Penrose-Whitmore is making quite a name for himself! This year alone, he has been featured in AfriClassical four times: (1) February 21 as first-place Laureate of the 2008 Sphinx Competition junior division. (2) April 10 as the violinist who played Here's One by William Grant Still on a new Cedille Records CD. (3) October 3 in a Chicago Tribune story on three years of success with the Sphinx Organization. (4) October 7 as soloist in the Sphinx Chamber Orchestra's Chicago debut at the Harris Theater. On October 8, 2008 Clayton Penrose-Whitmore was profiled in a feature article by Earl Calloway in the Chicago Defender, “Local teen continues to be standout violinist.” It begins: “Clayton Penrose-Whitmore began studying the violin at 4 years old, and by the time he was 9, he had made his orchestral solo debut.”

Sunday, March 16, 2008

Violinist Samuel Thompson Again Performs With Cortlandt Chamber Orchestra

Violinist Samuel Thompson will perform both Mozart’s Concerto in D Major, KV 218 and Camille Saint-Saëns’ Introduction and Rondo Capriccioso with the Cortlandt Chamber Orchestra on Saturday, April 5, 2008 at 7:30pm. This concert takes place at Holy Name of Mary Catholic Church, 110 Grand Street, Croton-on-Hudson, New York. The performance, Thompson’s second appearance with the Cortlandt Chamber Orchestra, comes after his highly successful performance of Mendelssohn’s Violin Concerto during a 2007 concert to benefit the Greater New Orleans Youth Orchestra that became the subject of an article in the September 2007 International Musician.

A native of Charleston, South Carolina, Samuel first performed as soloist in 1989 with the Carolina Amadeus Players Chamber Orchestra, and made his national debut with the National Repertory Orchestra in 1998. He was a semifinalist in the 2000 New World Symphony Concerto Competition and has been presented in concert with the Marian Anderson String Quartet.

2005 was a year of significance for Samuel, as he became the subject of international media attention during Hurricane Katrina. Maintaining a sense of loyalty to the New Orleans arts community, Samuel was recognized by National Public Radio in 2006 as one of ten artists whose work shows “their spirit, their spunk, and their commitment to Crescent City”. Information is available at CortlandtMusic.org/

Saturday, November 24, 2007

Corrected CD Description, “Electric Vivaldi, The Four Seasons” by Gregory Walker


African American composer and violinist Gregory T.S. Walker has provided us with corrected information on the CD Electric Vivaldi, The Four Seasons, which was discussed in the AfriClassical post Gregory T.S. Walker, African American Composer and Violinist With CD “Electric Vivaldi”. He points out that his father George T. Walker is not included in the personnel for the recording. In addition, Marcelo Sanches plays cello, the synthesizer is played only by Lori Walker, and the catalog number is Newport Classic 85569 (2006). We appreciate these corrections from Gregory T.S. Walker.

Saturday, September 15, 2007

Voices In Color: Diversity in Classical Music


(Photo of Aaron P. Dworkin by Bruce Giffin, Detroit Public Television)

Voices In Color is a blog which published a post entitled "Diversity in Classical Music" on Aaron P. Dworkin and the Sphinx Organization on Sept. 11, 2007. I added a comment which is reprinted below. Voices In Color wrote:

Yesterday I had a chance to catch an NPR News & Notes interview with Aaron Dworkin an accomplished violinist who created the Sphinx Organization, which helps introduce classical music to more artists of color.

The Sphinx Organization envisions a world in which classical music reflects cultural diversity and plays a role in the everyday lives of youth. The organization’s mission is to increase the participation of Blacks and Latinos in music schools, as professional musicians, as classical music audiences and to administer youth development initiatives in underserved communities through music education.

Sounds like a wonderful organization that's offering our kids opportunities they wouldn't otherwise know about.

I expressed my agreement with the post:

I am delighted by this post on the "News & Notes" broadcast on Sept. 10, 2007. For several years, Aaron Dworkin has been featured as a "Musician of African descent" at my website, www.AfriClassical.com His work is more effective than any other effort known to me. Another barrier to diversity in classical music is the neglect of Black classical composers and musicians in most textbooks on History and Music. My website deals with that issue by profiling 52 composers, conductors and instrumentalists of African descent, and by providing over 100 audio samples of their recordings.