William Grant Still Symphonies 2 & 3, and 'Wood Notes,' on WHPK-FM Dec. 19, 1:30-3:00 PM

[TOP: William Grant Still Symphonies Nos. 2 & 3, 'Wood Notes' on Naxos 8.559676   BOTTOM: William Grant Still (Photo is the sole property of William Grant Still Music, and is used with permission]

Sergio Mims announces a special Monday edition of his classical music program on WHPK-FM in Chicago:

“I'm sure you and your many readers would be interested that I will be playing that new Naxos recording of William Grant Still's Symphonies Nos. 2 and 3 along with his orchestral work Wood Notes on a special edition of my show on Monday Dec. 19 1:30-3PM Central Times on WHPK-FM in Chicago (88.5 locally and www.whpk.org online livestream). [William Grant Still (1895-1978) is profiled at AfriClassical.com, which features a comprehensive Works List by Prof. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com]

Tweet from @Numinousmusic (Joe Phillips):

@AfriClassical with a great balance between his bluesy Americanism & Ravel-like impressionism Sym No. 2 is a work that should be heard more

University of Alaska Wind Ensemble Plays 'Tomb of the Unknown Soldier' of William Grant Still Nov. 4, 9 & 11

[William Grant Still (Photo is the sole property of William Grant Still Music, and is used with permission]

AfriClassical learned from The Peninsula Clarion on Nov. 3, 2011 that a work of William Grant Still (1895-1978) will be performed tomorrow by the University Wind Ensemble of the University of Alaska Anchorage. We were able to have a phone conversation today with Prof. Mark Wolbers of the Music Department. He will conduct the Ensemble, and told us that the work of William Grant Still which is on the program is Tomb of the Unknown Soldier, the first movement from The American scene: 5 suites for young Americans, which Still composed in 1959. The free performance at Noon on Friday, Nov. 4 will take place at Kenai Central High School Auditorium. It will be repeated Nov. 9 and 11 at other locations:

Green and Gold News

University of Alaska Anchorage

"University Wind Ensemble Fall Tour 2011, Nov. 4, 9 and 11

Wednesday, 19 October 2011

Friday, Nov. 4, 12 p.m., Kenai Central High School Auditorium

Wednesday, Nov. 9, 7 p.m., Service High School Cafeteria

Friday, Nov. 11, 9:30 a.m., South High School Auditorium

The University Wind Ensemble has three upcoming performances. Come hear as they play music by John Ireland, Bernhard Heiden, William Grant Still and Peter Mennin. Mark Wolbers to conduct, with saxophone soloist Richard Zelinsky. Admission is free."

Here is the article in the Peninsula Clarion:

"Wind ensemble to perform on Friday in Kenai

November 3, 2011

UAA Wind Ensemble Saxophone artist Rick Zelinsky, a professor at the University of Alaska Anchorage, performs

By Staff Report

Peninsula Clarion

The University of Alaska Wind Ensemble will play a free concert at noon Friday at Kenai Central High School's Renee C. Henderson Auditorium.

The program will feature historic masterworks from 1943-1956 for wind band by John Ireland, Bernard Heiden, William Grant Still, and Peter Mennin. Featured soloist will be UAA Saxophone Instructor Rick Zelinsky in Diversion for Alto Saxophone and Wind Ensemble by Heiden. This concert is presented as part of the UAA Wind Ensemble's Fall Tour 2011. Zelinsky is a saxophone artist and teaches saxophone at UAA and also sixth-grade band in the Anchorage School District. He performs regularly at Anchorage's SubZero, Sullivan's and the Tap Root and is the founder and director of the state's popular summer band program.

“Wolbers is Professor of Music at UAA where he serves as Division Head for Wind and Percussion Studies, Conductor of the University Wind Ensemble and professor of clarinet. Wolbers participates annually in the Kenai Peninsula Orchestra Music Festival, and is a founding member of the UAA faculty trio Alaska Pro Musica. The UAA Wind Ensemble is dedicated to presenting outstanding public performances of the most significant repertoire written for wind band.”

William Grant Still (1895-1978) is profiled at AfriClassical.com, which features a comprehensive Works List by Prof. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com, which includes this entry:

“The American scene: 5 suites for young Americans, for orchestra (1959). Mission Viejo CA: WGS Music. Duration: 50:00.

----- selections, arr. for band. 1. Tomb of the unknown soldier; 2. A New Orleans night; 3. Berkshire night; 4. Tribal dance; 5. Grand Teton.

CD: Northern Arizona Wind Symphony; Patricia Hoy, conductor. NAUWS-003 (1995).”

Ann Hobson Pilot & Chicago Sinfonietta in 'Ennanga' of William Grant Still Sept. 24, North Central College

[Ann Hobson Pilot; Boston Records BR1002CD (1991)]

Ann Hobson Pilot's first solo harp CD is Boston Records BR1002CD; it may be ordered at her website, http://www.AnnHobsonPilot.com. She will make a guest appearance with the Chicago Sinfonietta at North Central College in Naperville, Illinois at 8 p.m. Saturday, September 24, 2011:

Chicago Sinfonietta plays on NCC stage

By Annie Alleman For Sun-Times Media

September 22, 2011 10:04AM

“A world-renown musician is performing a string of post-retirement dates, including one at North Central College. When the Chicago Sinfonietta opens its 2011-2012 season at North Central College with 'As Fate Would Have It,' a concert blending eastern and western musical traditions, it will be joined by acclaimed guest harpist Ann Hobson Pilot.

“The performance begins at 8 p.m. Sept. 24 in the Wentz Concert Hall and marks the first subscription concert by new music director Mei-Ann Chen. The professional orchestra is in residence at Wentz Concert Hall this year, which will be the regular west suburban venue. 'Mei-Ann Chen is an absolute burgeoning superstar in the classical music world. She is an absolutely riveting and exciting performer on the podium,' said the orchestra’s executive director, Jim Hirsch.”

“The piece, written by famed composer John Williams, is called 'On Willows and Birches,' and was written expressly for Pilot in 2009. She will also perform on William Grant Still’s 'Ennanga' — the only work he composed for harp.

“We selected that because of the orchestra’s commitment to diversity and inclusion,” he said. “It was fate that brought her to becoming a harpist in a field where basically African Americans had no opportunities whatsoever.” [William Grant Still (1895-1978) is profiled at AfriClassical.com, which features a comprehensive Works List by Prof. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com]

John McLaughlin Williams: 'Bill, the post on Still and the World's Fair was fantastic.'

[ABOVE: William Grant Still shows his score to Grover Whalen and another Fair official. (Photo courtesy Judith Anne Still.) BELOW: William Grant Still was billed second, under designer Henry Dreyfuss, on credits. (Photo courtesy Judith Anne Still.)]

On September 4, 2011 AfriClassical posted: “Bruce D. McClung: 'The selection of a black composer...ran contrary to the Fair’s discriminatory hiring practices.'”

The conductor John McLaughlin Williams, an expert on neglected classical repertoire and a staunch supporter of AfriClassical, replies to the post on the Theme William Grant Still composed for the 1939 New York World's Fair, which counted over 5.7 million visitors in the exhibit in which his 6-minute composition was played continuously:

“Bill, the post on Still and the World's Fair was fantastic. Stuff like that really helps forward discourse about the music. Thanks. J”

Bruce D. McClung: 'The selection of a black composer...ran contrary to the Fair’s discriminatory hiring practices'

[ABOVE: William Grant Still shows his score to Grover Whalen and another Fair official. (Photo courtesy Judith Anne Still.) BELOW: William Grant Still was billed second, under designer Henry Dreyfuss, on credits. Photo courtesy Judith Anne Still.]

New York Public Library

Biblion – the boundless library

Professor Bruce D. McClung

“Professor McClung is writing a history of music at the Fair titled The World of Tomorrow: Music and the New York World’s Fair, 1939/1940. His first book, Lady in the Dark: Biography of a Musical, won an ASCAP/Deems Taylor prize.”

AfriClassical presents excerpts from an Essay by Prof. Bruce D. McClung on music at the 1939 World's Fair, where over 5.7 million visitors heard William Grant Still's Theme:

“Essay
Music, Race, and the Theme Center
bruce d. mcclung
“On July 28, 1938, the Department of Press for the 1939 New York World’s Fair issued a carefully worded release about how the composer for the Theme Center had been chosen: 'Published and unpublished works of numerous composers were played in record form, without the jury knowing the names of the composers. It was finally agreed unanimously that the composer of “Lenox Avenue” and “From a Deserted Plantation” seemed to be most capable of giving musical expression to the mood and color of the exhibit. This composer proved to be Mr. Still.' The next day, New York’s dailies ran with the story under such attention-grabbing headlines as 'Negro Composes Music for Fair' and 'Fair Picks Negro’s Composition for Music in Perisphere Show.'

“The selection of a black composer for the white Theme Center ran contrary to the Fair’s discriminatory hiring practices, segregated lunchrooms, and strained race relations. Despite the Administration’s denial of discrimination, fewer than 700 African Americans would be employed in the Fair’s 6,335-member work force. Similarly, William Grant Still was still one of only two African American artists to receive a commission from the Fair Corporation, thus explaining why the Department of Press promulgated a color-blind audition to explain his selection. Through a close reading of primary source documents, I aim to reveal the fallacy of this myth and to demonstrate how the politics regarding this decision evinced fault lines within the Fair’s own administrative structure.

“The Theme Center for which Still had been hired consisted of a 180-foot diameter sphere (the 'Perisphere') and 610-foot high, three-sided tower (the 'Trylon'). The interior of the Perisphere featured a distillation of the Fair’s theme, 'Building the World of Tomorrow.' A vast diorama titled 'Democracity' by industrial designer Henry Dreyfuss depicted a model city of the year 2039.”

“Kohn subsequently involved Kay Swift, a popular song and theater composer, then working in the Fair’s Entertainment Department. On November 28, Swift arrived at Dreyfuss’s apartment, armed with recordings. They sampled the music not only of Harris and Copland but also, on Swift’s initiative, that of Morton Gould, Harl McDonald, and William Grant Still. Dreyfuss typed out his reactions to each. After Still’s name, he parenthetically added 'negro,' thus dispelling the myth of a color-blind audition before an impartial jury.”

“The Executive Committee deferred the matter to Grover Whalen, who in the following week convinced the Advisory Committee on Music’s Executive Board to at least approve of Still’s qualifications. The Executive Committee subsequently appointed the composer at its January 31 meeting. For a six-minute score, the Fair offered Still $1,800, roughly the average annual income for a family of four in 1938. After Still came to New York on July 22 to adjust the timings of his score, the Fair’s Department of Press made the long-awaited announcement. A little over a week later, Still wrote a letter to a friend about the commission, which in his opinion transcended race: 'It seems to me that this is the first time, musically speaking, that a colored man has ever been asked to write something extremely important that does not necessarily have to be Negroid, and I must admit that I can’t help being proud of the distinction.'

“Despite the Fair’s discomfort at announcing an African American composer for the Fair’s Theme Center and the fabrication of a color-blind audition to paper over the corporation’s internal struggles, Still’s music outlasted his detractors and their music festival, which emphasized music of the 'highest class.' Less than a month after the Fair opened, the management canceled the music festival because of waning interest, whereas the 1939 gate figures for 'Democracity' and Still’s score reached 5,723,926. The importance of the Theme Center commission for Still’s career cannot be overstated: his score for 'Democracity' ran continuously during the Fair, making it not only the composer’s most popular work during his lifetime but probably the most frequently played composition by an American composer during the first half of the twentieth century.”

Morningside College Reunion Group in William Grant Still's 'All That I Am' 3 PM Sunday, Sept. 4

[Africa: Piano Music of William Grant Still; Denver Oldham, piano; Koch 3 7084 2H1 (1991)]

SiouxCityJournal.com

“Morningside College to present Labor Day concert”

Friday, September 2, 2011

“Alumni and friends will perform at Morningside College during the Labor Day Choral Reunion concert at 3 p.m. Sept. 4 in Eppley Auditorium, 3625 Garretson Ave.”

“During the concert, the reunion group will perform songs such as 'Gloria' from 'Missa Kenya' by Paul Basler; 'In Remembrance' by Eleanor Daley; and 'All That I Am' by William Grant Still. The student-led barbershop quartet, 'The Portly Gentlemen,' will perform at intermission.

William Grant Still (1895-1978) is profiled at AfriClassical.com, which features a comprehensive Works List by Prof. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com].

Alan Shnay, 'My Life, My Words' Winner, 'performed in Woodville, MS,' home of 'Jefferson Davis and William Grant Still.'

[ABOVE: My Life, My Words: The Autobiography of William Grant Still, American Master Composer; With additional material by Judith Anne Still; The Master-Player Library, Flagstaff, Arizona (2011) BELOW: In One Lifetime, Verna Arvey]

Cellist Alan Shnay of Park Forest, Illinois correctly identified the work joining William Grant Still's Symphonies 2 & 3 on the forthcoming Naxos CD as Wood Notes. Alan has won a copy of My Life, My Words: The Autobiography of William Grant Still, American Master Composer. He will also receive In One Lifetime by the composer's wife Verna Arvey. The books were provided by William Grant Still Music, which sells My Life, My Words for $19.95. Alan Shnay writes:

“Bill,

Thanks for having the contest; I look forward to reading the books.

“Growing up, I read The Lives of the Great Composers by Harold Schonberg and enjoyed listening to my Walt Disney Presents the Great Composers LP many times. During college, studying cello performance, I found myself often distracted by my desire to understand a composer's personality as much as his compositional technique. Imagining a reclusive, angry Shostakovich, a crazy Schumann, or an opium-addled Berlioz enhanced my experience of performing their music.

“Recently reading Alex Ross' The Rest is Noise has reminded me of several composers whose music and lives I have neglected, one of whom is William Grant Still. I seem to recall his music having a Dvorak-like feeling with more overt folk and blues elements. As Dvorak has to be near the top of any cellist's list of favorites, I feel there must be numerous undiscovered (to me) treasures within WGS' oeuvre. In addition, I once performed in Woodville, MS and I remember the interesting juxtaposition of that town's connection to both Jefferson Davis and William Grant Still.

I look forward to receiving the books and discovering the life and music of a pioneer of American music.” [William Grant Still (1895-1978) is profiled at AfriClassical.com, which features a complete Works Lists by Prof. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com]

Day 1 of contest to win a copy of 'My Life, My Words: The Autobiography of William Grant Still, American Master Composer'

[My Life, My Words: The Autobiography of William Grant Still, American Master Composer; With additional material by Judith Anne Still; The Master-Player Library, Flagstaff, Arizona (2011)]

Yesterday AfriClassical posted: “Win 'My Life, My Words: The Autobiography of William Grant Still, American Master Composer' July 3-6, 2011.” Today is Day 1 of the contest. Two of the works of William Grant Still which were rehearsed for a Naxos recording by the Fort Smith Symphony on April 16, 2011 were Symphony No. 2 (Song of a New Race) and Symphony No. 3 (The Sunday Symphony). Music Director John Jeter conducted.

To enter to win a copy of My Life, My Words: The Autobiography of William Grant Still, American Master Composer, and a copy of IN ONE LIFETIME by the composer's wife, Verna Arvey, answer this question:

What is the name of the third work?

A winner will be chosen randomly from the correct entries. The winner will be contacted by email and AfriClassical.com will send the prize to the winner. To enter, send an email to wzick@ameritech.net with “My Life, My Words” in the subject line. Entries must be received by midnight Eastern Daylight Time on Wednesday, July 6, 2011. One entry per person please. [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works Lists by Prof. Dominique-René de Lerma is featured.]

Violinist Samuel Thompson Performs Bach, Brahms & Still at Ebenezer Baptist Church in Austin, Texas June 12 in BAM Festival

[Samuel Thompson]

AfriClassical is delighted to find an article in The Statesman, about the Black Arts Movement Festival in Austin, which gives voice to Samuel Thompson's philosophy about the value of studying and performing works of Composers of African Descent:

Austin360.com

Black arts festival features standout performers

By Jeanne Claire van Ryzin

American Statesman Arts writer

Sunday, June 5, 2011

“Samuel Thompson, violin. The Baltimore-based musician plays, among other works, Bach's Sonata in A minor for Unaccompanied Violin and three short works by William Grant Still. 3 p.m. June 12. Ebenezer Baptist Church, 1010 E. 10th St.” (Tickets for individual events of the Festival cost $22.)

“Musician Samuel Thompson also will participate in the Black Arts Movement Festival. He unexpectedly captured the world's attention during the darkest hours of Hurricane Katrina. He had been staying in New Orleans, using the break from his home in Baltimore to rehearse for a major international violin competition, when he got caught in the storm. Along with thousands of others, he was evacuated to the New Orleans Superdome. And after hours of living through the squalor and chaos, he pulled out his violin and played. The moment later caught the attention of international media.

"I don't remember thinking, this is crazy here and if I play, it will make people feel calmer," said Thompson by phone from his home in Baltimore. Instead, he remembers someone nearby casually suggesting he play. And he remembers that he played a piece by Bach for solo violin, but he doesn't recall which one. And he also recalls that he didn't play for very long because he put down his violin to help move elderly evacuees so they could be airlifted to safety. Still, he says, 'It's interesting how a little moment like that got so much attention.' For his concert at BAM, Thompson, who earned his master's degree from Rice University in Houston and concertizes regularly as both a soloist and ensemble player, will play a Bach solo violin piece, the Sonata in A Minor. Thompson will also play Brahms' Sonata No. 3, a work he's been wanting to 'dig in and tackle for a while now.'

“Thompson also did some archival digging recently and found music for solo violin by African American composer William Grant Still. Though recognized by musicologists for his significant contribution to 20th-century American classical music (Still was the first black composer to write a major orchestral work that was performed by a major American orchestra), Still's works aren't performed often.

"'Musically, Still was what I would call “multilingual,”\u2009' Thompson says. 'He was so well-versed in so many musical styles, and as I've been rehearsing these pieces, I'm struck by how much there is to discover in them.' By including Still's music on his program, Thompson hopes that it will encourage the audience to dig into often under-recognized repertoire of African American classical composers. 'We're all a part of this huge continuum,' he says. 'Maybe it would be better to pay attention to that, and that it has existed for a while, as we look at it and really study connections, we wouldn't pay attention to what we see on the surface.'" [William Grant Still (1895-1978) is profiled at AfriClassical.com, which features a comprehensive Works List by Prof. Dominique-René de Lerma of Lawrence University Conservatory]

Comment by email:
THANK YOU, William! It's been a real joy playing the Still pieces and there's actually a second performance of them "in the works"! Sam

Claire Detels in 'Great Arkansas Composers: William Grant Still and Florence B. Price' Fayetteville Public Library 2 PM, May 29

[William Grant Still (Photo is the sole property of William Grant Still Music, and is used with permission; Florence B. Price]

Fayetteville Public Library

Fayetteville, Arkansas

“Piano Concert Highlights Arkansas Composers

The Fayetteville Public Library will host a piano concert celebrating great Arkansas composers on Sunday, May 29, from 2 to 4 p.m., in the library’s Walker Community Room. Claire Detels, University of Arkansas Professor Emerita, will present a piano concert 'Great Arkansas Composers: Florence Price and William Grant Still.'

“Both Price and Still achieved international acclaim as composers of original symphonic music, popular music and chamber music. Price’s arrangement, 'My Soul’s Been Anchored in the Lord,' was performed by Marian Anderson on the steps of the Lincoln Memorial in 1939 – an event recognized as a key moment in civil rights history.

The event is free and open to the public. For more information, call 856.7250.

When: Sunday, May 29, 2011, 2 pm

Where: Walker Community Room

Who: Claire Detels, pianist and UA Professor Emeritus

Program

Prelude: William Grant Still

Three Visions: William Grant Still

Dark Horsemen

Summerland

Radiant Pinnacle

Seven Traceries: William Grant Still

Cloud Cradles

Mystic Pool

Muted Laughter

Out of the Silence

Woven Silver

Wailing Dawn

A Bit of Wit

INTERMISSION

Sonata in E Minor: Florence Price

Andante-Allegro

Andante

Scherzo-Allegro

Program made possible through support of the Arkansas Arts Council

[William Grant Still (1895-1978) and Florence Beatrice Smith Price (1887-1953) are profiled at AfriClassical.com, which features comprehensive Works Lists by Prof. Dominique-René de Lerma of Lawrence University Conservatory]

Comment by email:

What a lovely programme! Something like that would go down really well in UK! Regards Mike [Michael S. Wright]

4th Movement of William Grant Still's Symphony No. 5 Is Posted on YouTube

[“William Grant Still (1895 – 1978); Symphony No. 5 Western Hemisphere (1945, rev. 1970) [19:37]; Poem for Orchestra (1944) [10:27]; Symphony No. 4 Autochthonous (1947) [26:15]; Fort Smith Symphony/John Jeter”; World Première Recordings; Naxos American Classics 8.559603 [56:24]]

A YouTube video of a performance of the 4th Movement (6:48) of William Grant Still's Symphony No. 5 (Western Hemisphere) was posted on May 15, 2011. This symphony has always deserved to be heard, and Naxos has made that possible with its 2009 release.

On Nov. 26, 2009 AfriClassical posted: “MusicWeb-International Lauds William Grant Still's 'Symphonies 4 & 5' and 'Poem for Orchestra.'” The CD contains the world recording premieres of William Grant Still's Symphony No. 4 (Autochthonous) (26:15), Symphony No. 5 (Western Hemisphere) (19:37) and Poem for Orchestra (10:27). Here are some excerpts from the post:

“Rob Barnett of MusicWeb-International.com gives very positive critiques of the three works of William Grant Still, all world premieres, which are performed by the Fort Smith Symphony of Arkansas under John Jeter, conductor, on Naxos American Classics 8.559603 (56:24).” Rob Barnett writes of the Symphony No. 5:

“The four movement Fifth Symphony has a convoluted history but its premiere was given by the Oberlin College Orchestra under Robert Baustian on 9 November 1970. It’s a compact work with the movements dovetailing most naturally. Those with a predilection for folk romantic writing will find this work irresistible. Moments here and there are reminiscent of Hanson, Harris and Gershwin but nothing to suggest a tired imaginative resource – quite the contrary. It has the lovely flowing innocence of the Fourth yet is not without creative tension.” [William Grant Still (1895-1978) is profiled at AfriClassical.com, which features a comprehensive Works List by Prof. Dominique-René de Lerma of Lawrence University Conservatory]

Is William Grant Still 'All-American Composer'? Celeste Headlee: 'So true! I try to stress this point to people all the time!'

[Celeste Headlee (Marco Antonio)]

Earlier today AfriClassical posted: “Comment at LIFE.com: 'William Grant Still was also an All-American Composer.'” That was a response to a statement at LIFE.com which said he was “Known as the 'Dean of American Negro Composers.'”

We have received a comment from Celeste Headlee, granddaughter of William Grant Still. She is a soprano who has performed songs of William Grant Still. Celeste is also co-host of the national morning radio news program “The Takeaway”: “So true! I try to stress this point to people all the time! Do we call Copland a great Jewish-American composer? Or the same for Bernstein?”

Pianist Janet Bass Smith, D.M.A., Has Given Four Lecture-Recitals of Music of William Grant Still

[In One Lifetime; Verna Arvey Still]

On March 6, 2011 AfriClassical posted: “BGDaily News: 'In One Lifetime' is 'research for three lecture/performances of Still’s music' by Janet Bass Smith.” The newspaper article stated that pianist Janet Bass Smith was reading Verna Arvey's biography of her husband William Grant Still, In One Lifetime, as research for three lecture-performances of the music of the composer, to be presented this month. Janet Bass Smith promptly informed us that the interview had become outdated. Here are excerpts from her email:

“Actually, the article you posted was not quite accurate. When I was interviewed for the article, it was early February, so the article states that my programs are in the future. They were actually presented the last week of February, and programs were sent to Judith Anne Still on Friday, March 4. The program consisted of a 20-minute lecture on William Grant Still’s life, then the playing of the CD And They Lynched Him On A Tree, and finally my 20-minute performance of several piano works.

“This program was presented October 24, 2010 for the Kentucky Music Teachers Association State Conference in Louisville, Kentucky; February 20 for the Glasgow Musicale in Glasgow, Kentucky; February 22 at Campbellsville University in Campbellsville, Kentucky; and February 24 at Kentucky State University in Frankfort, Kentucky. All programs were well-attended and the music was well-received.”

Janet Bass Smith Bio (Excerpts)

“Janet Bass Smith holds the Doctor of Musical Arts in piano performance from the University of Missouri Kansas City, Conservatory of Music, and has master’s and bachelor’s degrees in piano performance from the University of North Carolina Greensboro and the University of Wyoming (summa cum laude), respectively. She has done advanced study at the Juilliard School of Music and the Eastman School of Music. She has been on the faculty of four different universities, and currently maintains an independent piano studio in Bowling Green, Kentucky.”

“Dr. Smith helped establish the Orchestra Kentucky (formerly the Bowling Green Chamber Orchestra) and was marketing director from 2002 until July 1, 2007. She currently chairs the Orchestra Kentucky marketing committee, is a past president of the board of directors and was principal keyboardist for that orchestra from 2000 to 2006. In 2007 she was given the Conductor’s Award for Extraordinary Service to the BGCO. She also helped establish the Bowling Green String Academy and was the Administrative Director for the first two and one-half years. She is a past president of the Kentucky Music Teachers Association, and was co-editor with her husband of the KMTA Journal, Kentucky Music Teacher. She is currently the president of the Independent Music Teachers Association of Bowling Green.

“Dr. Smith has published articles in several pedagogical journals, holds master teacher certification from MTNA, and in 2000, she received the Teacher of the Year award from the Kentucky Music Teachers Association. Along with Charles, she was awarded the KMTA 2000 Distinguished Service award. She is a church organist, an amateur cellist, an avid caver, and a prize-winning oil painter and poet. In addition, she has been a seasonal park ranger at Mammoth Cave National Park since 1993, and guides all of the cave tours. She is a member of Phi Kappa Phi and Pi Kappa Lambda, Rotary International, and has received numerous awards for scholarship and performance.

“In 2003 Dr. Smith performed a Mozart concerto with an orchestra in St. Petersburg, Russia, and in October, 2008, she and a cellist from Germany presented a very unique concert inside Mammoth Cave. She has performed as a solo pianist and with her husband, Charles, a flutist, throughout the United States and Europe.”

BGDaily News: 'In One Lifetime' is 'research for three lecture/performances of Still’s music' by Janet Bass Smith

[In One Lifetime; Verna Arvey; The University of Arkansas Press, Fayetteville 1984]

Correction: Pianist Janet Bass Smith has kindly provided this correction on March 7, 2011: "When I was interviewed for the article, it was early February, so the article states that my programs are in the future. They were actually presented the last week of February..."

On the Bookshelf: What pianist Janet Bass Smith is reading

Sunday, March 6, 2011

Bowling Green Daily News
Kentucky

Libby Davies

Barnes and Noble Booksellers

“Pianist Janet Bass Smith and her husband of 53 years, Charles Smith, moved to Bowling Green in 1989. She teaches piano in her home studio to 30 students and has lectured and performed widely throughout the United States and Europe, from an orchestra hall in St. Petersburg, Russia, to a cavern in Mammoth Cave, where she has been a seasonal guide since 1993. The Smiths have performed together as a flute and piano duo for more than 55 years. Ten years ago, the Smiths were co-founders, with Jeff Reed, of Orchestra Kentucky.”

“Smith usually reads several books at one time, choosing titles as research for lectures, to learn more about music-related topics or just for enjoyment. Last year she read 'The Long Steel Rail: The Railroad in American Folk Song,' by Norm Cohen, the definitive book about railroad songs and the stories behind them, in preparation for a lecture on railroad songs at the L&N Depot. She also studied the two-volume autobiography of American composer Aaron Copland because she loves his music. This year she is continuing her quest to know more about him with 'Selected Correspondence of Aaron Copland,' edited by E. Christ and W. Shirley.

“Smith is currently in the midst of three other reading projects: 'In One Lifetime,' a biography of William Grant Still written by his wife, Verna Arvey, as research for three lecture/performances of Still’s music, which she is presenting this month; 'The Year’s Best Science Fiction,' a Christmas gift from one of her sons; and Mark Twain’s classic, 'Huckleberry Finn,' because she is curious about why some think it should be re-edited to be politically correct.” [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Prof. Dominique-René de Lerma is found. In One Lifetime by Verna Arvey is available from booksellers and from William Grant Still Music.]

'Fort Smith Symphony Presents The Music of William Grant Still' April 15 & 16; Judith Anne Still is Host

[William Grant Still (Photo is the sole property of William Grant Still Music, and is used with permission.]

Judith Anne Still, daughter of William Grant Still (1895-1978), is a full-time ambassador for his legacy. She is manager of William Grant Still Music, http://www.WilliamGrantStill.com, of Flagstaff, Arizona, an extraordinary source of sheet music, recordings and publications related to her father and other Composers of African Descent. Her work has contributed greatly to the availability and performance of her father's large body of works, which are listed in their entirety, by Prof. Dominique-René de Lerma of Lawrence University Conservatory, at AfriClassical.com.

LincolnEcho.com

March 2, 2011

“The Fort Smith Symphony is pleased to offer an exciting series of musical and educational activities for the entire community and region April 15 and 16. These opportunities are designed to celebrate the legacy of William Grant Still (1895-1978), Arkansas’s most significant orchestra composer, and America’s foremost African-American composer. Members of the African American community are cordially invited to be the guests of the Symphony for all activities.

“William Grant Still’s career included many 'firsts' for an African-American composer: first to have a symphony performed by a major American orchestra; first to have an opera performed and broadcast by a major opera company; and first to conduct in the Deep South. Still’s music is an outstanding mix of traditional symphonic style and the Blues. His music is genuinely American in flavor, along the lines of Aaron Copeland and George Gershwin.

“Ms. Judith Anne Still, daughter of William Grant Still, will be in Fort Smith to serve as the host for the Fort Smith Symphony’s Saturday evening concert and to lead several events. On Friday, April 15 at 12:00 at the Windsor Branch of the Fort Smith Public Library, Ms. Still will lead a public forum on Equality Achieved Through Music.”

“Saturday, April 16, 96 musicians and 1,300 concert ticket holders will convene for the concert to celebrate the legacy of the 'Dean of African-American composers.' The Symphony Concert will be held in the Arkansas Best Corporation Performing Arts Center.”

'William Grant Still (1895-1978) represents a captivating blend of African-American, Latin American and European music.'

[ABOVE: William Grant Still (Photo is the sole property of William Grant Still Music, and is used with permission. BELOW: Reverse side of CD cover, Allégresse: Fresh Ink; Copyright 2010 Allégresse]

William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Prof. Dominique-René de Lerma is found. William Grant Still Music and The Master-Player Library is “The original source for the music of American composer William Grant Still.” The firm's website is: http://www.WilliamGrantStill.com

On February 15, 2011 AfriClassical posted: “'Miniatures' of William Grant Still Recorded by Trio Allégresse on CD 'Fresh Ink.'” We noted that “Allégresse Trio is comprised of Ellen Bottorff, piano; Annie Gnojek, flute; and Margaret Marco, oboe. Now that we have a copy of the CD, we will present excerpts from the liner notes:

“Allégresse, the French word for 'joy', aptly depicts the graceful artistry of this inspiring trio. Friends and collaborators for nearly a decade, Annie, Margaret, and Ellen formed this exciting ensemble to explore the rich and varied repertoire for flute, oboe, and piano.” The website of the Trio is: http://www.allegresse.org/music. The CD is available at: http://www.cdbaby.com/cd/allegresse2.

“Miniatures seemed the obvious addition to a program of American chamber music masterpieces for flute, oboe and piano. Each of the work's five movements pays homage to folk music of the Americas. I Ride An Old Paint is a cowboy song from the U.S. and tells of a cowboy's love for his horse. Adolorido, a well-known tune from Mexico, depicts the tale of betrayal and sadness. A spiritual from the U.S., Jesus Is A Rock In The Weary Land highlights the bluesy piano. Yaravi is a poignant lament from Peru and A Frog Went A-Courtin' is a 400-year old favorite fom the U.S.

“The music of William Grant Still (1895-1978) represents a captivating blend of African-American, Latin American and European music. The composer's eclectic training included studies with W.C. Handy, Edgar Varese and George Chadwick. At the age of 14, he taught himself to play the oboe among other instruments. He went on to play oboe professionally including stints with the National Guard Band and in a New York pit band. Still's long and productive career included several significant firsts, including being the first African-American composer to have his works performed by major symphony orchestras. He was awarded honorary doctorates from Harvard, Oberlin and Bates College and a Guggenheim fellowship.”

Comment by email:
Hello Bill! Thanks so much for the post! We really appreciate it. Take care, Annie

Government Book Talk: 'The Remarkable Story of Black Swan Records,' where William Grant Still directed classical division

[Humanities, publication of the National Endowment of the Humanities]

Government Book Talk

Feb. 7, 2011

“Government publications go beyond books and pamphlets – there are some great magazines out there, like Humanities, published by the National Endowment for the Humanities. Every time I pick up an issue, I mentally kick myself for not doing so more often.

“Take the November - December 2010 issue, for example. It’s just coincidence that I looked at this issue at the beginning of Black History Month, but I’m glad I did. The cover article, 'Black Swan Rising,' tells the remarkable story of Black Swan Records, which from 1921 to 1924 was the first major black-owned record label, and one that recorded black classical music and spirituals as well as jazz and blues. It was conceived by Harry Pace, a protégé of W.E.B. Du Bois, who also sat on Black Swan’s board of directors. William Grant Still, later an important composer, was the label’s in-house arranger and the great Fletcher Henderson, who contributed so much to jazz in the 1920s and 1930s, was the recording manager.

“Named after Elizabeth Taylor Greenfield, also known as 'the Black Swan,' the 19th century’s most accomplished African American concert singer, Black Swan Records was established to display the broad scope of contemporary black music of all kinds while demonstrating the entrepreneurial skills of African American businessmen. In its brief history, the label issued recordings of spirituals, arias, Christmas carols, and the first recorded performance of 'Lift Every Voice and Sing.' Black Swan also had hit blues records by Ethel Waters, Alberta Hunter, and Trixie Smith.”

William Grant Still (1895-1978) is profiled at AfriClassical.com, where biographical research and a complete Works List by Prof. Dominique-René de Lerma is found. Section 11 of the page on William Grant Still notes: “Still became a classical composer while working in the record business. Black Swan Records was a label owned by African Americans. Prof. De Lerma tells us that Still was the director of Black Swan's classical division from 1921-1922, and was the label's music director from 1922-1924.”

Washington Post: “IBIS opened with 'Summerland,' a luminous piece by the African American composer William Grant Still”

[William Grant Still (Photo is the sole property of William Grant Still Music, and is used with permission.)]

Washington Post

“Chamber ensemble IBIS refines Dar Williams's folk sound

By Stephen Brookes

Monday, January 31, 2011; 6:23 PM

Dar Williams is a guitar-strumming pop-folk singer, known for her coffeehouse style and intensely personal songs. The IBIS Chamber Music Society is a sophisticated, highly-polished classical ensemble. Doomed to live on separate planets, or can the two find musical happiness together?"

“Did it work? It was clear at Sunday's performance that this was a labor of love, with affection and mutual respect on all sides. IBIS opened with 'Summerland,' a luminous piece by the African American composer William Grant Still, before Williams came out with her guitar for 'Calling the Moon.'" [William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Prof. Dominique-René de Lerma is found.]

Pianist Fredericka King & Trumpeter Charles Lewis in Music of William Grant Still, Weston MA Dec. 12

[TOP: Charles Lewis (Photo Bill Gallery) MIDDLE: Big Classics; Fredericka King, piano (2005) CDBaby.com BOTTOM: Fredericka King (Photo Susan Wilson)]

AfriClassical contacted pianist Fredericka King, whose website is http://www.fkpianist.cjb.net/ after reading that she was to perform works of William Grant Still (1895-1978) and Margaret Bonds (1913-1972) along with Charles Lewis on trumpet, on Dec. 12 in Weston, Massachusetts, a suburb of Boston. The works of both composers have been compiled by Prof. Dominique-René de Lerma and are featured at AfriClassical.com.

TheDailyWeston.com

Sunday, Dec. 12

“3 p.m.: Concert -- Fredericka King (Piano) & Charles Lewis (Trumpet) at the Weston Library. The program ranges from the classical works by composers such as Bach, Mendelssohn, Chopin and Schubert to more modern compositions by Herbert L. Clarke, Joseph Lamb, William Grant Still and Margaret Bonds.”

Fredericka King promptly replied to our inquiry and explained that music of Margaret Bonds will not be heard on the program, but William Grant Still's Dark Horsemen and Summerland will be performed:

“Hello Mr.Zick -

Thank you for contacting me! I have been an admirer of the site for a number of years and regularly steer people to it to get information and to see the depth of the involvement of people of color in the Classical art

“The program will include 2 of the Three Visions by Mr.Still (Dark Horsemen and Summerland). Since I am performing with someone else*, their selection did not quite fit with the Bonds, so I will not be doing it on this program (which I had communicated to the organizers) - I had originally planned to play Troubled Water. I may do one of Florence Price's Dances in the Canebrakes as an encore but that's up in the air.

*the person on the program with me is the outstanding trumpet player CHARLES LEWIS (charlielewis.com), one of the founders of the brass quintet Empire Brass, winner of a Grammy with the New England Conservatory Ragtime Ensemble for the Red Back Book, and currently full time faculty at Berklee College of Music.”

Excerpt from Fredericka King Bio

Her discography includes "A Born Pianist", a recording of solo repertoire by Classical and American composers, a three disc set titled "Piano Classics for Young Listeners" which she designed and produced, "Chamber music of Samuel Coleridge-Taylor" with the Coleridge Ensemble, and one of solo and vocal works by American women, "Hooray for the Ladies!", recorded live, in concert, with the group American Classics.

Fredericka has received degrees from Boston Conservatory of Music, New England Conservatory of Music, and studied in the Doctoral program at Boston University. She was awarded a Teaching Diploma by the Royal College of Music in London, England and also studied at the Mozarteum in Salzburg, Austria.

Miss King is a member of the piano faculty at New England Conservatory of Music Preparatory School, teaching young students and adult piano classes. In addition, she maintains a busy private teaching studio. She has taught Music History at Emerson College for a number of years and was recently appointed Music-Historian in Residence.

primegirl: "How kind of you to find my blog posting on 'artistry' about William Grant Still's work worthy of sharing on your blog!"

[Africa: Piano Music of William Grant Still; Denver Oldham, piano; Koch 3 7084 2H1 (1991)]

On Dec. 4, 2010 AfriClassical posted: “primegirl rediscovered the amazing african american composer william grant still.” We have received a comment on the post from primegirl:

“Dear Mr. Zick-

How kind of you to find my blog posting on 'artistry' about William Grant Still's work worthy of sharing on your blog! I am new to africlassical.com, which seems unfathomable to me given my love of music and history, but I want to thank you so much for your work, and for your introducing me (and countless others, I'm sure) to contemporary artists of African descent who are engaged in high quality classical music.”

“Best regards, and continued thanks for all of your work bringing this wonderful and rich material to light--

Warmly,

primegirl