George Walker: 'it is important to make distinctions between the careers of Philippa Schuyler and Natalie Hinderas.'

[TOP: Natalie Hinderas, back cover of liner notes, Piano Music of African American Composers; CRI 629 (1992) (86:35) BOTTOM: Philippa Duke Schuyler]

George Walker (b. 1922) has a website at: http://georgergetwalker.com/ and is featured at AfriClassical.com. He joins the recent discussion of Philippa Duke Schuyler:

“Hello Bill,

I think that it is important to make distinctions between the careers of Philippa Schuyler and Natalie Hinderas. The range of Natalie's performances and repertoire was far more extensive than that of Ms. Schuyler. Natalie's pianism was powerful when strength was required and technically secure. Although she was not a composer, she had an intuitive grasp of the elements found in contemporary music. Her recording of my Piano Concerto played with numerous orchestras remains a reference.”

Fred Onovwerosuoke: 'Thank you so very much, George. You are a blessing to us all budding composers.'

[Fred Onovwerosuoke]

Dr. Fred Onovwerosuoke is a prolific composer who is Founder and President of African Musical Arts, which has many CDs and printed publications to its credit. Dr. Onovwerosuoke commends George Walker on his comment on diversity of repertoire at Brevard Music Center:

“Hello Bill et al:

Rarely like this when one of our greatest musical grandfathers speaks, that we yearn for so much more wisdom on how to navigate these treacherous waters of advancing the artistry of African-descent composers, worldwide. Thank you so very much, George. You are a blessing to us all budding composers.

FredO”

Fredomusic, Inc.

http://fredomusic.com

George Walker: '...token representation is usually the norm for performance opportunities.'

[George Walker: Great American Orchestral Music, Vol. 2; Albany Records Troy 1178 (2010) ]

Earlier today AfriClassical posted: "I would like to respectfully urge the Brevard Music Center to program a significant number of works by Black composers." Composer George Walker (b. 1922) is an African American composer and pianist who is profiled at AfriClassical.com and at his own website, http://georgetwalker.com/ His creativity has continued to manifest itself in recent compositions and recordings, including the 2010 release pictured above, George Walker: Great American Orchestral Music. George Walker addresses the issue of diversity of repertoire at Brevard Music Center:

“Hello Bill,

Perhaps Bruce Murray should have waited to pen a 4th letter that would not appear to be so patently ludicrous. Orchestral programs are obviously not chosen by students and the same is true of chamber music. Piano students are most likely to bring what they know to their lessons at the Brevard Music Camp.

“On the other hand it is naive to expect that any music director, conductor or ensemble will program 'a significant number of works' by any one composer or a group of relatively unknown composers. One has to understand how programs are devised. This well-intentioned request should have been tempered with the realization that token representation is usually the norm for performance opportunities.

“You cannot convert or redesign an existent system. Thomas Wilkins will not spearhead this attempt nor will any of the other conductors and guest artists who have even played music by black composers in the past. They are no more than hired cogs for a few days in this rusty wheel. Brevard is a summer camp that will not do anything different from Tanglewood, Saratoga, the Blossom Music Festival or any other lesser known entities. Murray was awkwardly telling you that 'standard' repertoire sells and is the easiest for everyone to program.

“I am grateful for the fact that my Lyric for Strings is perhaps the most frequently played work by a living American composer. But this has impacted on the performance choices of many other works of mine that are more musically challenging.

Regards.

George”

Birmingham News: 'Ritz Chamber Players addresses classical disparity'

[Versatile and changeable, the Ritz Chamber Players mixes 20 musicians for repertoire ranging from new music by black composers to European romantics. Five from the Jacksonville, Fla., organization perform next Sunday in Birmingham. (Photo Credit: The Birmingham News)]

Birmingham News

by Michael Huebner

Sunday, September 26, 2010, 11:00 AM

"Recognizing the need to get more African-Americans involved with classical music, clarinetist Terrance Patterson set out in 2002 to bring together the best black musicians he could find. Patterson himself is an accomplished clarinetist whose career has led him from the Peabody Conservatory to European music capitals such as Paris, London, Belgrade and Moscow, as well as Washington, D.C., Baltimore, Philadelphia, Los Angeles, and New York. He returned to his native Jacksonville, Fla., to start the Ritz Chamber Players, in order to accomplish his mission of exposing young and old alike to the merits of classical music -- black composers and performers in particular.

"'We wanted to address the disparity of minorities in classical music, and to bring a new face to the 1.9 percent of African-American musicians that are represented in American orchestras, by being physically on stage and bringing in new audience members,' Patterson said last week from Jacksonville. The few that are in classical music show a united front in that regard. That's why we started the organization. The ensemble took its name from Ritz Theatre & LaVilla Museum, which was built on the site of the 1929 Ritz Theatre, a movie house in Jacksonville's LaVilla neighborhood, a historically black area once known as the 'Harlem of the South.' The chamber players are patterned roughly after the flexible-personnel model of the Chamber Music Society of Lincoln Center, and the organization has built its roster to 20 performers. It has also hosted a composer-in-residence every year since its inception.

“The names are impressive -- pianists Stewart Goodyear, Leon Bates and Terrence Wilson; violist Amadi Azikiwe; flutist DeMarre McGill; composers Adolphus Hailstork, David Baker and George Walker. Honorary board members include conductors Fabio Mechetti and Michael Morgan. Goodyear, Wilson, Mechetti and Morgan have appeared with the Alabama Symphony. A Hailstork composition has been commissioned by ASO and will be premiered in January. Morgan will conduct. Five musicians from its ranks, including Patterson, will perform in Birmingham next Sunday on a Birmingham Chamber Music Society event.” [Adolphus C. Hailstork (b. 1941) and George Walker (b. 1922) are profiled at AfriClassical.com]

Naxos Releases CD Version of 'George Walker: Chamber Music and Songs'

[George Walker: Chamber Music and Songs, Son Sonora String Quartet; Capitol Chamber Artists; Angelo Frascarelli, conductor; Videmus Ensemble; Cygnus Ensemble; Naxos 8.559659 (2010) (74:23)]

George Walker is an African American composer and pianist who was born in Washington, D.C. June 27, 1922. He is profiled at AfriClassical.com, and his personal website is http://georgetwalker.com/ George Walker: Chamber Music and Songs is one of two major recordings of his works to be released in 2010. As AfriClassical announced on Dec. 1, 2009, the content was first released via streaming and download. It was issued on CD this month.

The new Naxos disc is generously timed; at 74:23 it is one of the longer recordings we have reviewed recently. Track 1 is String Quartet No. 2 (1968) (22:01). It is performed by the Son Sonora String Quartet: Airi Yosioka, Violin I; Ashley Horne, Violin II; Liu-Wien Ting, Viola; and Arash Amini, Cello. The composer notes that he revised the composition after its premiere, and several performances of the revised work were given before the recording was made.

Track 2 is Poem (for soprano and chamber ensemble) (1987) (15:36), with text by T.S. Eliot (1888-1965). The ensemble is Capitol Chamber Artists, with sopranos Janet Stasio and Janet Rowe accompanied by 9 instrumentalists under the direction of Angelo Frascarelli, conductor. This work was supported by a grant from the National Endowment for the Arts, according to the liner notes by the composer, which also say: “The premiere by the Capitol Chamber Artists in Albany NY occurred in February 1987. B.A. Nilsson, writing in the Schenectady Gazette, pronounced it 'a masterpiece'.”

George Walker's famous Lyric for Strings (version for string quartet) (1946) (6:25) is performed on Track 3 by the Son Sonora String Quartet. The liner notes tell us: “The Lyric for Strings, one of the most frequently performed orchestral works by an American composer, is heard on this disc in its original version for a string quartet.” Five Fancies (1974) (9:30) is performed on Track 4 by Eric Thomas, clarinet; Vivian Taylor, piano, and John McDonald, piano. George Walker writes: “Five Fancies may be the only work composed for the combination of clarinet and piano four hands.” Track 5 features Modus (for chamber ensemble) (2001) (9:12) in a performance by the 6 members of the Cygnus Ensemble.

George Walker is the pianist on Tracks 6-10. He is joined on the first three songs by Patricia Green, mezzo-soprano, and on the last two by James Martin, baritone. The songs, with dates, times and authors of the texts, are: I Never Saw A Moor (1986) (Emily Dickinson) (2:01); Response (1940) (Paul Laurence Dunbar) (2:26); Mother Goose (Circa 2054) (1992) (Irene Sekula) 1:21); Take, O Take Those Lips Away (2004) (William Shakespeare) (2:39); And Wilt Thou Leave Me Thus (2002) Thomas Wyatt (3:10). The liner notes say: “The songs are considered to be among the finest by any contemporary composer.”

Jim Cotter Interviews Composer George Walker and Violinist Gregory Walker

[TOP: George Walker (Courtesy of the artist); BOTTOM: Gregory Walker; (Courtesy of the artist)]

The world premiere of the Violin Concerto of George Walker was performed by the Philadelphia Orchestra on Dec. 10, 2009. On the following day, AfriClassical posted: "NPR: Hear the last three minutes of the world premiere of George Walker's Violin Concerto.”

The composer has alerted us to an interview with himself and his son, violinist Gregory Walker, which is available online:
"You can find an interview that I had with Jim Cotter about the premiere of my Violin Concerto."

PublicBroadcasting.net/wrti/
"Creatively Speaking"
12 December 2009
"Walker Plays Walker With The Philadelphia Orchestra"
"Jim Cotter speaks with the celebrated American composer George Walker. The Philadelphia Orchestra premieres his violin concerto this week with Gregory Walker, the composer's son, as soloist." "The composer's almost 100 works have been performed by many major orchestras in the United States and throughout the world." [George Walker is profiled at AfriClassical.com]

Corrections Regarding Composer George Walker

[Black Composers Series; Detroit Symphony Orchestra; Dr. Paul Freeman, conductor; Natalie Hinderas, piano; Sanford Allen, violin; Hale Smith: Ritual and Incantations; George Walker: Piano Concerto; Adolphus Hailstork: Celebration!; Roque Cordero: Violin Concerto, Eight Miniatures; Sony DSO-1111 (2002). Prof. Dominique-René de Lerma worked closely with Dr. Paul Freeman on the CBS Black Composers Series on LP in the 1970s; parts of those recordings have been made available on this CD.]

On Nov. 7, 2009 AfriClassical posted: “Dominique-René de Lerma: Scholar of Black Classical Music for 40 Years.” Composer George Walker has brought some corrections to our attention:
“Hello Bill, The interview with Dominique was interesting. Some details about me are faulty. (This often happens in interviews.)”

George Walker tells us he began teaching at Peabody, in Baltimore, in 1975. He clarifies that his Lyric for Strings was not the first work of his which was known to Dr. Paul Freeman, and was “...called Lament for only the first performance on the radio...” Also, the work “...was composed more than 20 years before Paul Freeman performed it.” Maestro Freeman had previously conducted performances of Address for Orchestra and Variations for Orchestra, George notes, and had conducted a recording of the composer's Trombone Concerto. Finally, George Walker's place of residence in New Jersey has always been Montclair.

Comment by email
Thanks very much, Bill. George

Harlem Quartet & Sphinx Chamber Orchestra Perform at August Wilson Center Opening Tonight

[Harlem String Quartet]

Post-Gazette.com
August Wilson Center opens its doors
Music, dancing part of tonight's fanfare
Thursday, September 17, 2009
By Sally Kalson, Pittsburgh Post-Gazette

“Live music, star voices and heartfelt thanks, accompanied by the aroma of southern foods, will waft through the airy spaces of the August Wilson Center for African American Culture tonight as the new facility holds its grand opening celebration.” “Events will run from 5 p.m. to midnight, with three segments based on ticket level. Guests also will be able to tour the opening exhibitions, 'Pittsburgh: Reclaim, Renew, Remix' and 'In My Father's House.' Members of the public may visit the center for free on Saturday from noon to 5 p.m.”

“In addition to the southern buffets and cocktails, festivities will feature music by The Harlem Quartet and violinist Elena Urioste. They also will perform as part of the larger Sphinx Chamber Orchestra, comprising young African-American and Latino musicians performing Bach, Vivaldi and Mozart, as well as works by composers Coleridge-Taylor Perkinson, George Theophilus Walker and Michael Abels. Also performing will be Broadway singer/actor and Carnegie Mellon University graduate Billy Porter; the August Wilson World Chorus, 75 singers from local churches coming together just for tonight's event; and the August Wilson Dance Ensemble.” [Coleridge-Taylor Perkinson and George Walker are profiled at AfriClassical.com]

Part II of AfriClassical Interview With American Viola Society President Juliet White-Smith

["Fashionably Late: Juliet White-Smith Debuts!; Centaur 2982 (2009)]

On July 15, 2009, AfriClassical posted “AfriClassical Interviews American Viola Society President Juliet White-Smith.” As we present Part II of the interview, we want to again express our appreciation to Dr. Juliet White-Smith for making time for us between the two major Summer festivals at which she is performing this year:
Q. “I wonder if I could move to your CD? I wanted to first of all ask how you decided to call it 'Fashionably Late'”?
A. “I'm 47...”
Q. “Oh, by that standard?”
A. “Yes, and this is my first one.”
Q. “And then, how did you select repertoire for the CD?”
A. “Years ago, I had toyed with the idea of doing a CD of all African American music.” “ It wasn't feeling like it was something that was going to work and meet all the needs of me personally and something to put out there. So all of this, with the exception of the Colgrass, these are all first recordings. And I had performed the Walker several times at that point, and I really wanted to do that piece.” “Both the Gardner piece and the Walker, I felt passionate about and wanted to get their music heard. I know that George Walker has had a lot of things recorded. He's recorded a couple volumes of piano music and he's had some orchestral stuff done, but I thought people have got to hear this Viola Sonata! But I felt the same way about Maurice Gardner's music as well. So then at that point I felt well, that's not enough there, what else should I do? My husband and I had performed the Colgrass. So then I realized I've got two Pulitzer winners, between Walker and Colgrass, and that might make a nice bookend for the recording, so that's kind of how it went.”
Q. “How did you assemble the performers who are on the CD with you?”
A. “Well, my husband is the percussionist. The pianist lives in Denver now.”
Q. “That's Heidi Brende?”
A. “Yes.” “She had coordinated a Women Composers Concert a couple of years in a row, and we'd done a couple of other things, and realized that we clicked really well. The first time I performed the Walker, I asked her if she would be willing to learn it. So I think our first performance was actually at C.U. in Boulder on a guest recital I was doing there. Then we did it on a UNC concert of Black composers, and a couple of other times, I think at University of Denver since then and there might have been one other one in there.”

Q. “In addition to the recording I wanted to ask you about this piece that you're doing, 'Capricious...'?
A. “'Apparitions.'”
Q. “Apparitions,' okay, thank you.”
A. “Okay.”
Q. “That is by a fellow faculty member, is that right?”A. “It is, Paul Elwood. He just joined the UNC faculty this past academic year. The other violist that I'm playing with is a good friend and colleague who teaches at Penn State, Tim Deighton.” “Tim has a couple of pieces, the Michael Kimball pieces and this John Hawkins piece, and we were trying to figure out 'Do we know anybody who could compose something?' I said 'Well we've got a new faculty member.' So I asked Paul if he'd be willing to write something, and he was more than willing. I had heard some of his stuff when he first got here. He's very quick at composing, and it's really interesting stuff. He asked if we'd mind if he wrote a bowed banjo part for it, since that's his instrument, the banjo. And at first I thought 'Oh, no!' But I checked with Tim and he was fine with it, and I said 'Yeah, sure, go ahead.' Because Paul really – he wanted to see South Africa too.” “Tim and I have been talking for a couple of years, when we found out about this Congress that we wanted to possibly do a duo recital. And then in the meantime we kind of went our separate ways, but then we, I think toward the end of last Summer, started to think about doing this again. Then we did sort of a preview performance. We have an annual Viola Day here. I live in Fort Collins, Colorado.”

Q. “Is that the one that's called 'Viva-la-Viola'?
A. “Yes.”
Q. “So a reference to the Rocky Mountain Viola Society?”
A. “Right, and I founded that back in '95. That's how I got started in my involvement in the American Viola Society.”
Q. “Oh, interesting.”
A. “By starting that chapter, yeah. So anyway we performed it. We got snowed out the night before. We had to cancel the faculty performance. So we tacked on our performance to part of the students'.” “They loved it! Everybody really took to the piece.” “The bowed banjo has a little bit of a sitar-like effect. Paul said that he's written a really good piece.” “He loves old movies, and this piece gets its title from the Fellini film '8 ½.'”

'Piano Music by African American Composers', CRI 629, by Natalie Hinderas (1927-1987)

[Natalie Hinderas (1927-1987)]

Piano Music by African American Composers, CRI 629 (1992), was recorded by the African American pianist Natalie Hinderas. It is the subject of the ninth post on a new blog dealing with music of George Walker (b. 1922), the first African American composer to receive a Pulitzer Prize in Music. He is profiled at AfriClassical.com, as are Arthur Cunningham (1928-1997), R. Nathaniel Dett (1882-1943), Duke Ellington (1899-1974), Scott Joplin (1868-1917) and William Grant Still (1895-1978): 

Walker, George

“Greeted with shock and amazement upon its original release in 1970, this two-CD collection featuring virtuoso Natalie Hinderas on piano is one of the best collections of music by African American composers of the 20th century. Hinderas's catholic approach to the century's music allows her to delight the Chopin-Ravel-Joplin continuum (wide though it is) of listeners with R. Nathaniel Dett's impressionistic, ragtimey "In the Bottoms." The nuanced jumpiness, replete with dissonant shades, of William Grant Still's "Three Visions" recalls Ives here and Ellington there. What's most challenging here is the works from 1953 to 1969, featuring Pulitzer Prize winner George Walker's study of harmonic intervals in his Sonata No. 1 and Talib Rasul-Hakim's shimmering "Sound-Gone." There are tone-row studies (Arthur Cunningham) and Stockhausen-esque electronics (Olly Wilson), but what stands out most is Hinderas's unflappable perfection regardless of the musical elements. Whether razor-sharp or dancingly playful, Hinderas executes with a largely vibrato-free touch, forcing the ear to focus on her solid chordal touch. --Andrew Bartlett”

Harry Rolnick: 'This was my first hearing of George Walker’s Lilacs, and I frankly loved it'

[Photo Courtesy of George Walker]

We present a brief excerpt from Harry Rolnick's review of the March 17, 2009 concert of the Philadelphia Orchestra in Carnegie Hall:

ConcertoNet.com

Darius Milhaud: La Création du Monde, opus 81a

George Walker: Lilacs

Gustav Mahler: Lieder eines fahrenden Gesellen

Antonín Dvorák: Symphony No. 9, “From the New World”, opus 95

Russell Thomas (Tenor), Eric Owens (Bass-Baritone)

The Philadelphia Orchestra, Charles Dutoit (Chief Conductor and Artistic Adviser), Jessye Norman (Presenter)

“George Walker was the first Black composer to win the Pulitzer Prize for his Lilacs, while Mahler’s Songs of a Wayfarer was a favorite of Marian Anderson, who was celebrated by Ms. Norman in her speech. Finally, Dvorák’s symphony, while has more ersatz American Indian themes than Black, celebrated a composer whose friendship with Black pianist Harry Burleigh is worthy of a book in itself. This was my first hearing of George Walker’s Lilacs, and I frankly loved it. Walt Whitman has been set countless times, but Mr. Walker had a special take. For the poem When Lilacs Last In The Door-Yard Bloom’d is desolation, and Mr. Walker sensed that from the beginning. Over all four songs was one chord which was neither major nor minor, but this ambiguity gave the sense of unease over the entire work, ending only with a kind of mournful percussive effect.” 

“Tenor Russell Thomas did the honors, literally. So lovely is his voice that one almost wishes he was reciting the poems. But singing them, with the sudden leaps to near falsetto range, he retained all the emotional impact.” [George Walker (b. 1922) and Henry "Harry" Thacker Burleigh (1866-1949) are profiled at AfriClassical.com.  Dr. Dominique-René de Lerma has contributed Works Lists for both composers]

Philadelphia Orchestra Performs George Walker's 'Lilacs' March 12-14

[Photo Courtesy of George Walker]

BroadwayWorld.com

“Dutoit Leads Philly Orchestra For Three Concerts 3/12-14

Monday, March 2, 2009; Posted: 03:03 PM – by BWW News Desk

Philadelphia Orchestra Chief Conductor and Artistic Adviser Charles Dutoit leads the Orchestra in three concerts in Verizon Hall at the Kimmel Center celebrating the influence of African-American culture on classical music (March 12-14). The program features Milhaud's jazz-inspired The Creation of the World; George Walker's 1996 Pulitzer Prize-winning work Lilacs for voice and orchestra, with tenor Russell Thomas as soloist in its first Philadelphia Orchestra performances; Mahler's Songs of a Wayfarer, a work for which the late, great contralto Marian Anderson was known, with Philadelphia-native bass-baritone Eric Owens as soloist; and Dvořák's Symphony No. 9 in E minor ('From the New World'). Mr. Dutoit also leads the Orchestra in the same program at New York's Carnegie Hall (March 17) as part of Honor! A Celebration of the African American Cultural Legacy, a citywide festival presented by Carnegie Hall and curated by renowned soprano Jessye Norman.”

“George Walker's 1996 Pulitzer Prize-winning Lilacs for voice and orchestra consists of four songs set to verses 1, 2, 3, and 13 of Walt Whitman's 'When Lilacs Last in the Door-yard Bloom'd.' The poem, an elegy to fallen president Abraham Lincoln, is one of the most frequently set poems in the English language. Born in 1922 to parents of West Indian heritage, Mr. Walker has been a trailblazer throughout his illustrious career. He became the first black graduate of the Curtis Institute of Music in 1945, earning Artist Diplomas in piano and composition. With his debut performance with The Philadelphia Orchestra (also in 1945), he became one of the first black musicians to appear as soloist with the Orchestra. He was also the first black composer to be awarded a Pulitzer Prize. The composer's works, which number more than 90, have been performed by virtually every major orchestra in the United States and by many in England and other countries. More than sixty years into his career, Mr. Walker continues to compose. The Philadelphia Orchestra will give the world premiere performances of his Violin Concerto, with the composer's son Gregory Walker as soloist, in December 2009.” [Full Post]  [George Walker is profiled at AfriClassical.com, where a Works List by Dr. Dominique-René de Lerma can be found]

Esterhazy Quartet of U. of Missouri Plays Scott Joplin, William Grant Still & George Walker Feb. 16

[Photo Courtesy of George Walker]

Mizzou Wire

Anniversary of note

Esterhazy String Quartet marks 40th year with Black History Month concert

Story by Nancy Moen

Published: Feb. 13, 2009

“MU's Esterhazy String Quartet — Eva Szekely, Susan Jensen, Leslie Perna and Darry Dolezal — performs A Celebration of African-American Music Feb. 16. In a faraway palace long, long ago, a royal Esterhazy prince invited guests to experience the new music of composer Franz Josef Haydn (1732-1809). That 18th-century Austrian tradition continues in Mizzou’s School of Music with the Esterhazy String Quartet. The distinguished faculty ensemble in residence — named to honor the European aristocrats who were patrons of the arts — will mark its 40th anniversary with two public performances of new and seldom-heard music and a composer’s lecture. All three events will be held in the MU Fine Arts Building’s Whitmore Recital Hall. Members of the Esterhazy Quartet are Eva Szekely and Susan Jensen, violinists, Leslie Perna, violist, and Darry Dolezal, cello.

“Featuring African-American composers

In conjunction with Black History Month, the quartet's Feb. 16 concert A Celebration of African-American Music will highlight works of four black composers. ‘We hope to make this an ongoing project: researching, collecting and playing works from the incredibly rich yet woefully underplayed output of African-American composers.’ —Darry Dolezal The Esterhazy group’s interest in lesser-known composers led to the program of music by 20th-century composers William Grant Still — considered the dean of African-American composers — George Walker, David Baker and Scott Joplin. Still (1895-1978) is the first African-American to write a symphony performed by a leading orchestra. He was also a successful arranger of popular music and music for film. His blend of musical styles shows influences of European classical form and elements of his cultural heritage. Featured pieces will include Still’s 'Panamanian Dances,' Walker’s 'Lyric for Strings,' a selection of Joplin rags and 'Pastorale' from Baker's cantata 'Black America: To The Memory of Martin Luther King Jr.' A $5 donation is requested for the 8 p.m. Performance. [Scott Joplin, William Grant Still and George Walker are profiled at AfriClassical.com]

Revised Program of Ritz Chamber Players at Juilliard Friday, Feb. 13

On January 26, 2009 AfriClassical posted “At Juilliard, Ritz Chamber Players Play Alvin Singleton, Jonathan Bailey Holland & George Walker”. Today we present a poster for the revised program, which includes Alvin Singleton and George Walker.

The Juilliard School presents:

Ritz Chamber Players

Kelly Hall-Tompkins, Violin

Amadi Hummings, Viola

Kenneth Law, Cello

Terrence Wilson, Piano

Terrance Patterson, Clarinet

Friday, February 13 at 6 PM
Morse Hall, 155 West 65^th Street

"The nation's first chamber music ensemble series comprised solely of accomplished musicians spanning the African diaspora, brings a fresh, new energy to the classical music genre.

ALVIN SINGLETON Helga

PAQUITO D'RIVERA Habanera

BEETHOVEN String Trio in C Minor, Op. 9, No. 3

GEORGE WALKER Sonata for Cello

FREE, no tickets required"  [George Walker is profiled at AfriClassical.com]

Nyaho/Garcia Piano Duo Begins Tour With Works of Onovwerosuoke & Walker in Louisiana Feb. 4

[Dr. William Chapman Nyaho & Susanna Garcia of the Nyaho/Garcia Duo]

TheAdvertiser.com/

Nyaho and Garcia piano duo launch U.S. Tour

January 20, 2009

“Duo-pianists William Chapman Nyaho and Susanna Garcia will begin their four-state tour at 7:30 p.m. Feb. 4 in the Ducrest-Gilfrey Auditorium of Angelle Hall on the University of Louisiana Lafayette campus. The duo will perform a work written for them by Nigerian composer Fred Onovwerosuoke.  The program will also feature other works by composers of the African Diaspora and Latin American composers. Other composers whose works will be performed are New Orleans jazz artist Alvin Batitste and Lafayette’s Jonathan Kulp. Guest artist Eric Taylor will join them in a performance of George Walker’s 'Five Fancies for Clarinet and Piano.' Tickets are $10 for adults, $5 for students; and free for UL students, faculty and staff. Information: 482-6016.” 

The Nyaho/Garcia Duo is committed to performing music of composers of African or Hispanic heritage, as well works of contemporary, American and women composers. The Duo has a recording to its credit as well: Aaron Copland: Music for Two Pianos, Centaur 2405 (1998).  [William Chapman Nyaho and George Walker are profiled at AfriClassical.com]

New York Times: 'Rite of Strings, for Black and Latino Youth'

New York Times 

Music Review: 'Rite of Strings, for Black and Latino Youth'
By VIVIEN SCHWEITZER

Published: October 22, 2008
During a concert by the Sphinx Laureates on Tuesday evening, a girl sitting in a row of children behind me at Carnegie Hall wondered aloud why performers always exit the stage between bows. The formal traditions of classical concerts sometimes surprise newcomers. What may have surprised veterans, on the other hand, was seeing so many minority children and teenagers in the audience, and that kind of presence is something the Sphinx Organization — a nonprofit group dedicated to increasing the presence of blacks and Latinos in classical music as performers, composers and audience members — wants to encourage. Sphinx, founded in 1996, offers an annual competition for black and Latino string players, and laureates perform in the excellent Sphinx Chamber Orchestra, now midway through its inaugural national tour. Chelsea Tipton II, resident conductor of the Toledo Symphony Orchestra, led a diverse program of works for strings on Tuesday, opening with the Fugue from Villa-Lobos’s “Bachiana Brasileira” No. 9.

The violinist Elena Urioste, the 2007 winner of the Sphinx Competition senior division, offered a passionate, virtuosic rendition of the “Ballade” from Ysaÿe’s Sonata No. 3 for solo violin. She also performed the solo part in the Ponce-Heifetz “Estrellita,” played here in a languid arrangement for violin and string orchestra by Geoffrey McDonald. The concert, presented by the JPMorgan Chase Foundation, also included a lively rendition of the jazzy “Alla Burletta” from Coleridge-Taylor Perkinson’s “Generations” Sinfonietta and an elegant performance of George Walker’s romantic “Lyric for Strings.” The Harlem Quartet, consisting entirely of first-place laureates of the Sphinx Competition, was joined by the guest artist Paul Katz, the former cellist of the Cleveland Quartet, for the first movement of Schubert’s String Quintet in C.

In a video presentation about the organization’s goals, Melissa White — the second violinist of the Harlem Quartet, a Sphinx laureate and a graduate of the Curtis Institute of Music in Philadelphia — discussed the isolation she felt growing up and encountering so few black and Latino classical musicians. The violinist Aaron P. Dworkin, Sphinx’s founder and president, said from the stage that as a biracial classical musician he had also experienced isolation, and that classical music would benefit from the involvement of a wider section of society. The program also included the presentation of a new prize created in honor of the violinist Isaac Stern, which the organization hopes will be awarded annually to one particularly gifted Sphinx musician. The inaugural recipient was the violinist Clayton Penrose-Whitmore, 15, who demonstrated his skills during a buoyant performance of Vivaldi’s Concerto in B minor for Four Violins, which concluded the concert. [Sphinx President Aaron P. Dworkin (b. 1970) and Composer George Walker (b. 1922) are profiled at AfriClassical.com]