Monday, March 14, 2011
Crain's Detroit: “'Music can be that bridge' – Sphinx seeks to expand global reach with diversity conference”
Sunday, February 1, 2009
The Birmingham News: 'Harlem Quartet: At the Heart of Diversity'
“Every year since 1996, the Michigan-based Sphinx Organization has held the competition with the goal of breaking cultural stereotypes. First violinist Ilmar Galivan won in 2001. 'Everyone in the quartet has won the competition, in separate years,' said Galivan. 'When we won this competition, the thought of being in a quartet wasn't remotely in anyone's mind.' Brought up in Cuba, Galivan studied violin at the Havana Conservatory until he was 14, then studied in Moscow, Spain and New York, picking up pointers from such luminaries as Yehudi Menuhin, Ruggiero Ricci, Isaac Stern and Glenn Dichterow. Other quartet members have equally impressive solo credentials.”
“But the quartet's diversity goes beyond ethnicity. Its repertoire draws from classic quartet composers such as Brahms, Haydn, Mozart and Ravel, but sprinkles in modernists such as Walter Piston and Judith Lang Zaimont. More telling are quartets by Guido Galivan (Ilmar's father) and a Duke Ellington arrangement of Billy Strayhorn's 'Take the A Train' (the title track of the quartet's first CD). Wynton Marsalis' 'Octoroon Balls,' a work that explores the social and cultural contradictions of Creole life in New Orleans. Composed in 1995 for the Orion Quartet, it was the first classical composition by the jazz great, and it has taken on special significance for the group." [Full Post] [The Founder/President of The Sphinx Organization is violinist Aaron P. Dworkin, who is profiled at AfriClassical.com]
Wednesday, January 28, 2009
Innovate2Uplift.net: 'Raisin' the Buzz: At the table with Aaron Dworkin'
"Q: Why did you start The Sphinx Organization?
Dworkin: As a young person, I often found myself to be the only one or one of less than a handful of musicians of color. As a student at the Interlochen Arts Academy, and later, the University of Michigan, in various orchestras and as an audience member, I began to question why this was the case. I decided to do something about it by launching a national competition for young black and Latino string players to address the under representation of these groups in classical music." [Full Post] [Aaron P. Dworkin (b. 1970), is profiled at AfriClassical.com]
Monday, December 8, 2008
Wilmer Wise on Black Performers: 'Why not celebrate the players who are in today's orchestras?'
[African American Trumpeter Wilmer Wise; Photo from website of The Jazz Museum in Harlem]
Earlier today AfriClassical posted “Comment On Baltimore Sun Article On Small Number of Black Musicians in U.S. Orchestras”. The comment came in response to our publication of Tim Smith's newspaper article. We are extremely grateful for a very informative second comment from Wilmer Wise, an African American trumpeter who was a pioneer when he joined the Baltimore Symphony: “I reminded Mr. Smith that 43 years ago when I joined the Baltimore Symphony it was front page news. I left the orchestra in 1970 and I haven't heard from them since then. Why not celebrate the players who are in today's orchestras? In 1965, the year in joined the BSO, there were NO black trumpet players in ANY American orchestra. Today, Billy Ray Hunter is the Co-Principal Trumpet of the Metropolitan Opera Orchestra. Tage Larsen is a member of the Chicago Symphony trumpet section. Langston Fitzgerald joined the Baltimore Symphony Trumpet Section in 1970. Let's celebrate what we have, not what we would like to see, I'm sure there will be positive results.
Wilmer Wise
Baltimore Symphony 1965-1970
Brooklyn Philharmonic 1971-2004
December 8, 2008 6:32 PM
Friday, July 18, 2008
“Goosepimples arrived as Aaron Dworkin of Sphinx began his talk” in London
A blogger tells of a presentation at Southbank Centre, a London cultural complex:
Highlights of The Week (Monday to Friday)
by lemn sissay on Fri 18 Jul 2008 09:07 PM BST
“On Wednesday I attended a talk at The Southbank centre. It was inspirational. It was about the power to make change. Goosepimples arrived as Aaron Dworkin of Sphinx began his talk 'I was brought up with white adoptive parents'. He was explaining about how to get minorities into classical music.” [Aaron P. Dworkin is an African American violinist as well as Founder/President of the Sphinx Organization. He is profiled at AfriClassical.com]





