Chicago Sun-Times: 'New director Mei-Ann Chen a perfect fit for Sinfonietta'

[Mei-Ann Chen]

Chicago Sun-Times

By Andrew Patner August 15, 2011

Mei-Ann Chen

“In taking the reins of any group, it’s rarely easy to follow a founder. You might think things would be even more difficult for a young Asian woman in becoming only the second music director in the 25-year history of the Chicago Sinfonietta, a group started in part to advance African Americans in classical music. But Sunday evening at the Pritzker Pavilion, Taiwanese-born Mei-Ann Chen made the transition seem as natural as a beautiful summer day in Millennium Park.

“Chen, 38, has led the Sinfonietta before to strong positive responses, two years ago as a part of her audition, and last season as a part of the baton passing from founder Paul Freeman, whom Chen calls 'my wonderful musical hero.' But this was the her first real chance to say hello to Chicago from the podium.

“After seeing and hearing her talk to an audience, vamp, crack wise and move about the stage to greet soloists with genuine enthusiasm, it’s clear that, along with her strong musical abilities, Chen has real people skills, non-threatening self-confidence and a serious understanding of the Sinfonietta’s mission as 'a national model for inclusiveness and innovation.'”

Le Chevalier de Saint-Georges, Afro-French Composer, Conductor & Fencer, was born Dec. 25, 1745

[Le Chevalier de Saint-Georges (1745-1799)]

Joseph de Bologne, Le Chevalier de Saint-Georges was born on Dec. 25, 1745 on the island of Guadeloupe. Nanon, his mother, was a slave owned by Joseph's father. At age 8 Joseph was sent to school in France, arriving in August, 1753. Joseph's parents later joined him in France. In October, 1756 the 13-year-old entered the fencing academy of Nicolas Texier de La Böessière. During six years of rigorous instruction in fencing and academic subjects, Joseph gained a reputation as one of France's leading fencers.

At 17, biographer Pierre Bardin tells us, he purchased the Office of Controller Ordinary of Wars, which entitled him to use the title “Le Chevalier.” Saint-Georges was an exceptional athlete who excelled in numerous outdoor activities, including riding, skating and swimming. His musical ability and education allowed him to master the harpsichord and violin, winning dedications of works from prominent composers, including Antonio Lolli in 1764 and François-Joseph Gossec in 1766.

Gossec founded Le Concert des amateurs, a prestigious ensemble of which Saint-Georges was first a violinist, then a concert master by 1771. Two years later he had begun composing and was chosen to succeed Gossec as conductor. From 1773-1775, he produced 8 violin concertos and 2 symphonies concertantes, according to the Works List compiled by Gabriel Banat. In 1775, only two years after Saint-Georges became Conductor, L'Almanach Musical [The Musical Almanac] wrote that the ensemble was "the best orchestra for symphonies in Paris and perhaps in Europe".

Saint-Georges was appointed director of the fashionable private theater of the Marquise de Montesson and was thus able to present a number of works written by himself and others. He reached his peak as a composer by 1778, helping to pioneer the string quartet and the symphony concertante in France. Saint-Georges regularly played music with Queen Marie-Antoniette, a harpsichordist, at Versailles.

The first orchestra went out of business in 1781 for financial reasons. Masons quickly organized a replacement, Le Concert de la Loge Olympique. Saint-Georges was authorized to commission the six Paris Symphonies of Franz Joseph Haydn. He and the Concert de la Loge Olympique premiered the symphonies, Nos. 82-87, in a triumphant series of concerts in 1787. Queen Marie-Antoniette attended. Symphony No. 85 is called The Queen because it was Her Majesty's favorite.

Saint-Georges joined the National Guard during the French Revolution, but was soon appointed Colonel of the unit known as the “Saint-Georges Legion.” It was comprised of 1,000 volunteers of color. He and his troops fought with honor and distinction, but he was imprisoned on false charges. In spite of an acquittal, he was never reinstated to the French Army. In 1997 he took on his last musical ensemble, the Circle of Harmony. He died of an untreated bladder ailment on June 10, 1799. The newspapers of France paid tribute to him upon his death.

His music was no longer played often for nearly two centuries after his death. A major revival has occurred in the CD era, and many of his works are now available. Recent recordings include Sandrine Chatron's 2009 CD of music for harp Le salon de musique de Marie-Antoinette, including the Sonata for harp and flute of Saint-Georges on the Ambroisie label; and the 2009 release of an MP3 audio download at ClassicsOnline.com of Natalie Hinderas Plays Sensuous Piano Music by Berg, Ravel, Ginastera, Rachmaninov, Liszt and Saint-Georges, originally an Orion LP, which includes the Adagio in F Minor (6:25) of Saint-Georges. Le Chevalier de Saint-Georges has yet to receive full recognition of his achievements in either mainstream History or the standard concert repertoire. [Le Chevalier de Saint-Georges (1745-1799) is profiled at AfriClassical.com]

Willie Anthony Waters conducts Cleveland Orchestra's 31st Annual Martin Luther King, Jr. Concert Jan. 16

[Willie Anthony Waters]

Maestro Willie Anthony Waters is co-director of the University of Connecticut Opera Theater. He will conduct the Martin Luther King, Jr. Concert of the Cleveland Orchestra on January 16, 2011:

ClevelandOrchestra.com

Dec. 3, 2010

The Musical Arts Association and Mayor Frank G. Jackson today announced The Cleveland Orchestra’s 31st annual concert in celebration of the birthday of Martin Luther King Jr. The concert will take place at Severance Hall on Sunday, January 16, 2011, at 7:00 p.m., under the direction of Willie Anthony Waters.

PinnacleArts.com

“Willie Anthony Waters is a regular guest of the opera companies in North America, Europe, and Africa...” For twelve years, he served as General and Artistic Director of the Connecticut Opera, for whom he conducted more than thirty productions. He also served as Artistic Director and Principal Conductor of the Florida Grand Opera for seven seasons. During his tenure, he led a number of noteworthy productions, including Salome, Manon Lescaut, Die Walküre, Macbeth, Aida, Of Mice and Men, Falsfaff, Bianca e Falliero, Cristoforo Coolmbo, La Gioconda, Turandot, Tosca, Carmen, Trouble in Tahiti, and Lucia di Lammermoor. He will return to the company this season to conduct Carmen.

On the concert stage, he has conducted the Brucknerhaus Orchestra (Linz, Austria), Detroit Symphony, Essen (Germany) Philharmonic, Florida Philharmonic, Indianapolis Symphony, Norwegian Radio Orchestra, at the Spoleto Festival, Southwest German Radio Orchestra, and Tallahassee Symphony. He has conducted recordings for Philips Records for Simon Estes and for Shirley Verrett, and conducted concerts for many of opera's notable artists.

Comment by email:

Dear Bill - thanks you SO much for this. I'm very excited about this concert!

Happy holidays.

Best,

Willie

Orchestra Conductor at Detroit's Cass Tech: 'I am scheduled to be laid off as of Sunday, March 7, 2010'

Aja Burrell Wood is a PhD Candidate at The University of Michigan in the School of Music, Theatre & Dance. She writes about the scheduled layoff of Marc W. Haas, Orchestra Conductor and Music teacher at Detroit's Cass Technical High School, which she attended:

“More than 25 music and art teachers are threatened with Feb. 28 or March 7, 2010 layoffs. In my view, the arts programs in Detroit are one of the things that have been working for decades within the Detroit Public School system despite its troubles in other areas. Losing arts teachers and programs would only serve to put Detroit's youth in further peril.

“Quite simply, I believe the arts matter. The arts provide access to success in all areas. Our nation's arts programs not only produce talented and successful artists, but also talented and successful surgeons, lawyers, scientists, politicians, business executives, etc....leaders period. Let us not lose what has proven to contribute to greatness time and time again.” “The letter below comes from the Conductor of the Orchestra and Music teacher Mr. Marc Haas.”

[Excerpts] “Dear Orchestra Students and Parents
It is with profound regret that I have to inform all of you that I am scheduled to be laid off as of Sunday, March 7, 2010. My teaching assignment is 'not currently designated as a critical shortage area,' therefore, after history of some 90 years, the Cass Tech orchestra program finally comes to an end. It is of absolutely vital importance that the students continue to work hard--indeed, now, harder than ever--as these layoffs are sometimes rescinded at the last moment. Now, more than ever, the students have to 'show out'--if the excellence of our program counts for anything, NOW is
when we have to show that excellence.

“Over the 15 years that I have been at Cass Tech, and in the many decades before I got here, thousands of students have benefited enormously from participation in one of the best music programs in the country. It is a tragedy that that is now to be taken away from our students, and our society will be the poorer for the loss of program that produced artists like Diana Ross, Lily Tomlin, Regina Carter, Donald Byrd, and put members in every major orchestra in the country.” “If you have strong feelings on this matter, please make them known to any and all. Please forward this to anyone you know who might be interested, or be able to help avert this tragedy
With great sorrow, Marc Haas”

Kalamazoo Gazette: 'Black musicians face misconceptions, KSO Conductor Says'

[Raymond Harvey, Music Director and Conductor, Kalamazoo Symphony Orchestra]

Mlive.com

Kalamazoo Gazette

Black musicians face misconceptions, KSO conductor says

Sunday, February 15, 2009

Kalamazoo

BY WILLIAM R. WOOD KALAMAZOO -- “Kalamazoo Symphony Orchestra conductor Raymond Harvey felt ambivalent about discussing how race has affected his career in classical music. But, as a black man in a leadership field where black faces are scarce, he was willing to talk about the topic to help others who might glean useful advice or information. He longs for the day when such discussions won't be necessary and he focuses on living a life that exemplifies that hope, he said.

“'One would hope America has grown up,' he said during a recent interview in the symphony offices in downtown Kalamazoo. But racial stereotypes, assumptions and fears persist, and there are those who erroneously believe that if you have a black person as head of an orchestra, that suddenly your programming and audience will change, he said. Harvey, 54, who has been conductor and music director of the KSO for 10 years and is also conductor of the El Paso Opera in Texas, has sought variety in programming as well as diversity on the KSO board. But those moves had more to do with his personal tastes and approach than his race, he said. Some people believe a black conductor can automatically attract a larger black audience -- another erroneous assumption, he said.” [Full Post] Maestro Raymond Harvey's website is: http://www.raymondharvey.net/ 

A Young Nigerian's Homage To Herbert von Karajan in 1990

AfriClassical recently posted a link to the text of an interview with Herbert von Karajan in the magazine Stereo Review in 1963.  Dr. Fred Onovwerosuoke, Founder/Director of the St. LouisAfrican Chorus, tells us of his admiration for the conductor, who passed away on July 16, 1989,and whose life he commemorated in a poem:

Maestro Karajan was a unique persona, with very interesting views that perhaps were never fully expressed publicly.  I cherish one particular brief but enriching meeting with him back stage at London's Royal Albert Hall.  He had motioned for this young black man (certainly audacious moi) to come.  After he shook my hand, he murmured witha twinkle "I know you have a question..." I don't know if I asked about Beethoven's 4th on the program or something else, but I remember
referencing one of his recordings of the Third Symphony and citing the late Maestro Adrian Bolt's interpretation of the same passage - the haunting horn-trio in the Scherzo.  To which Karajan replied, "young man, you should be a conductor."  I did return from my London steal-away back to Nigeria to continue my engineering degree.  I had no inkling then that 23 years later I'd be fortunate to be a humble surrogate to the Creative Spirits!  Adieu Maestro Herbert von Karajan!  The attached notes were from the German Embassy and the Austrian Embassy in response to my Karajan homage.  F.
Austrian Embassy, Lagos 19 March 1990
Dear Mr. Onovwerosuoke, The Austrian Embassy has the pleasure to thank you, on account of Mrs. Eliette von Karajan, for your Homage to Herbert von Karajan, which has been duly transmitted and received, and to forward to you as a tribute a book on Vienna, the capital of Austria. Yours sincerely, Klaus Derkowitsch, Chargé d'Affaires a.i.

Dear Mr. Onovwerosuoke,
Please find enclosed a letter of appreciation from the Berlin Philharmonic Orchestra for your poem in memory of the former conductor Herbert von Karajan. Sincerely yours, (P. Mende)

Berlin Philharmonic Orchestra 13^th March 1990
Dear Mr. Onovwerosuoke, With great surprise and joy have we received your poem and picture. We have fastened it to the wall of our meetingroom on a very prominent place. The whole orchestra but also the audience is thus able to view it. Thank you very much for your effort, kindness and enthusiasm. If you should come to Berlin we would be happy to have you as our guest at one of our concerts. In the meantime we send you greetings and best wishes for your well being. Yours sincerely, Hellmut Stern, Rudolf Matzel (members of the board)