[John McLaughlin Williams with 2007 Grammy Award]
ChicagoTribune.com
May 18, 2010
John von Rhein
“The most prominent podium up for grabs in the area at the moment is the Chicago Sinfonietta's. A search for a new music director has been underway since last year when Paul Freeman, the orchestra's founder and chief conductor since 1987, announced he will step down for health reasons at the close of the 2010-11 season. The field has since been narrowed to eight candidates, five of whom have directed the ensemble this season. The latest contender, John McLaughlin Williams, made his Sinfonietta conducting debut at Orchestra Hall on Monday night, when he shared the program with Freeman. His strong showing suggested the board may have found Mr. Right Fit.
The 52-year-old North Carolina native, who lives in Ann Arbor with his wife and young daughter, has paid his professional dues. He is an accomplished violinist and pianist. Most crucially, he's a gifted conductor who shares the sinfonietta's commitment to advancing diversity. Although Williams has recorded 10 CDs (one of which, an Olivier Messiaen disc, won a Grammy in 2007) and has garnered widespread praise from musicians and critics, he has been repeatedly frustrated in his attempts to land an orchestra of his own. 'I've had a bit of difficulty gaining access to the higher-level auditions,' he said recently. 'It's really been a guerilla campaign.' Part of the problem, he explained, was that he got a late start on his career and missed out on professional contacts that could have helped him to the next level.”
“The deciding factor must be leadership ability. Certainly the fusion of Williams' abilities with those of the dynamic young Harlem Quartet at Monday's event lifted the music-making...” “His portion of the program focused on lighter Americana – Michael Abels' 'Delights and Dances' and George Frederick McKay's 'Variants on a Texas Tune.'"
SunTimes.com
REVIEW | States case with 'Renaissance'
May 19, 2010
BY Bryant Manning
“The Chicago Sinfonietta delivered more than just a memorable season finale in its 'Harlem Renaissance' concert Monday night. Was there also, perhaps, a sign of promising things to come?Since the announcement in early 2009 of music director Paul Freeman's decision to retire, the Sinfonietta has been on the march to find a successor to its venerable founder. The current season has featured five guest conductors in a sort of public audition role, and the last of these contenders, John McLaughlin Williams, might have the strongest case after an impressive showing Monday night at Orchestra Hall.
“For an orchestra that actively promotes diversity, it is hard to ignore the only African-American conductor to win a Grammy. Williams has been an enterprising recording artist, piling up several noteworthy American premieres on the Naxos label. He's a gifted violinist as well, and his musical interests extend beyond the European tradition into jazz and world music. He can conduct a live orchestra, too. He communicated a heartfelt spirit in George Frederick McKay's Coplandesque 'Variants on a Texas Tune' (1937), based on the folk song 'Mustang Gray.' Testing out a rapport with the audience, he spent a considerable -- if lengthy -- time breaking down the variations in a pre-performance 'CliffsNotes,' where he even burst into song to illustrate the tunes. 'I won't quit my day job,' he joked.
“In more familiar repertoire, he brought the Sinfonietta to maximum potential in Zoltan Kodaly's propulsive 'Dances of Galanta.' High-level solos abounded in this gypsy music feast, most notably from principal horn John Fairfield, and others were alertly responsive to Williams' command. Sinfonietta executive director Jim Hirsch urged concertgoers to return their surveys and weigh in on a new director; did the choice just get a little easier?
“The convivial Harlem Quartet joined Williams' company onstage. The quartet consists of four first place winners from the Sphinx Competition for young black and Latino string players. (Local cellist Russell Rolen filled in wonderfully for an ailing Desmond Neysmith.) Their chemistry in Michael Abel's 'Delights and Dances' was a sight and sound to behold: Violinists Melissa White, Ilmar Gavilan and violist Juan-Miguel fleshed out an absorbing, personal exchange through a bluesy prism. Even more moving was their encore of Billy Strayhorn's 'Take the “A” Train.' It is a real pleasure to see young classical artists whose musical instincts run deeper than the printed note. [Maestro Paul Freeman (b. 1936) is profiled at AfriClassical.com]
