South Florida Classical Review: “James Lee III's 'Sukkot: Through Orion's Nebula,'” New World Symphony Oct. 15 & 16

[James Lee III]

James Lee III has another premiere coming up next week, this time in a performance by the New World Symphony, under Michael Tilson Thomas, conductor. We present an excerpt from a thoughtful and informative article by Caitlin McKechney in the South Florida Classical Review:

South Florida Classical Review

Thu Oct. 6

Premiere to open New World Symphony season with a dual blast of diversity

By Caitlin McKechney

"James Lee III's "Sukkot: Through Orion's Nebula" will be heard on the New World Symphony's opening program Oct. 15 and 16.

Diversity may not have been planned as the official theme of the New World Symphony’s 24th season opener, but it is certainly the palpable result. When Michael Tilson Thomas gives the downbeat Oct. 15 for the orchestra’s season-opening concert, the program will be framed by music of two Czech composers, feature a Spanish pianist playing a cornerstone German concerto, and offer the world premiere of a new work by a young African-American composer on a Jewish religious theme.

“'Our opening program presents a musical picture of Miami cultures,' says Tilson Thomas. 'Czech folklore, German Romanticism, an African American visionary, a Spanish pianist and our orchestra composed of musicians from around the world. We hope the audience will have a personal, enriching and inspiring experience.'

"James Lee III’s Sukkot: Through Orion’s Nebula will receive its debut performance at next weekend’s concerts in Miami Beach. This new work by the composer follows the performance last year of Lee’s Chuphshah! Harriet’s Drive to Canaan by the Baltimore Symphony Orchestra, which the Washington Post described as 'generat[ing] some potent atmosphere, with a hint of dissonance to flavor an otherwise warmly tonal writing style.'

"The 35-year-old composer describes his music as 'basically a tonal musical style that is not based on functional harmony,' preferring a more overtly approachable idiom that speaks directly to audiences. The inspiration for Sukkot, says Lee, came from two elements: the practical request for a work of ten minutes’ duration and his intense interest in the Book of Revelation.

“'I like to compose a lot of works on the biblical book of Revelation,' said Lee. 'I planned to incorporate various aspects of those books throughout my work. In particular there are certain feast days that are mentioned in the Old Testament in relationship to the sanctuary and those are also seen on a larger scale through the Book of Revelation,' he adds. 'So this particular work fits in to one of those feast days.'”

Comment by email:

Hello Bill, Thanks for doing this. You also helped alert me to the Miami Classical Review. I was interviewed by Caitlin last week, but I thought that the article would appear in the Miami Herald. Thanks again, James

John Malveaux: “Soprano Denyce Graves interpretation of 'Grace'...on March 14, 2011 was truly high art”

[Denyce Graves]

On March 12, 2011 AfriClassical posted: “Denyce Graves Performs at Honorary Degree Ceremony for Michael M. Kaiser, Pres. J.F.K. Center for the Performing Arts.” John Malveaux relates his experience of the performance:

“Leonard Bernstein inspired Michael Tilson Thomas to compose 'Grace' for high voice. Mezzo Soprano Denyce Graves interpretation of 'Grace' during Michael Kaiser honorary degree ceremony live webcast at Georgetown University on March 14, 2011 was truly high art for those of us who shared the treat. If you missed the tasty treat, you can still experience the sacred joy of music http://webcast.georgetown.edu/live/”

John Malveaux

http://www.musicuntold.com

Kazem Abdullah, African American Conductor, Makes Debut at Metropolitan Opera

The Chicago classical music radio host Sergio Mims alerted us to the Metropolitan Opera debut of Kazem Abdullah. An interview with PlaybillArts.com is followed by a review from The New York Times:

PlaybillArts.com

A Chat with Conductor Kazem Abdullah

By Robert Hilferty

27 Jan 2009 

“Kazem Abdullah makes his Met Opera debut conducting Orfeo ed Euridice Jan. 28 and 31. The young maestro discusses his approach to the job, the scarcity of African-American conductors, and how his speech impediment has factored into his work. 'There’s no set course if you want to be a conductor,' says Kazem Abdullah, 29, who makes his Met debut this week in Orfeo ed Euridice. An assistant conductor there the past four seasons, he now emerges from that shady underworld, taking center pit on Wednesday and Saturday. 'I’m not nervous,' said the Indiana-born, Dayton-raised musician, whose exotic name was bestowed by his Sierra Leonean father. 'It’s going to be lots of fun.'”

“Abdullah started on clarinet, excelling to the point where he could play in the New World Symphony under Michael Tilson Thomas. He had already flirted with conducting in classes at Aspen and Verbier, but decided to go the whole hog in Miami.” “'Kazem’s this calm, sunny, constructive personality in the service of rather difficult music,' said an impressed Tilson Thomas.” “Black conductors are rare— the last one in a similar position to his was Calvin Simmons, who died tragically at age 32 in 1982. And there are of course other fine conductors out there like James DePriest. But Abdullah envisions more African American interest in classical music during the hopeful Age of Obama, in a 'globalized world where more and more people have access to this art form.' He himself was ignited as a kid catching great black singers like Price, Norman and Battle on radio broadcasts and 'Live from Lincoln Center.' Abdullah is slated to conduct Scott Joplin’s Treemonisha in 2010 at the Chatelet in Paris. 'Joplin was trying to find legitimacy as a black classical composer,' he said. 'So I feel simpatico. To think this son of slaves created such a great opera about the African American experience!'”  [Full Post]  [James DePreist (b. 1936) and Scott Joplin (1868-1917) are profiled at AfriClassical.com]

NYTimes.com

Music

The Heart of Opera: More Than a Pretty Voice or Face 

By Anthony Tommasini

Published: January 30, 2009

“For Wednesday’s performance Ms. Blythe also seemed to inspire the conductor Kazem Abdullah, in his Met debut, who took over for James Levine. The Indiana-born Mr. Abdullah, 29, is an assistant conductor on the Met staff. Mr. Abdullah conducted a confident performance, especially during the lively dances, and was impressively responsive to the singers during their long stretches of orchestra-accompanied recitative, which must flow with a combination of urgency and flexibility.  [Full Post]