Wednesday, July 9, 2008

“The Southeast Symphony Orchestra’s Message Is Simple: The Classical Music Experience is Our Experience Too”

[Le Chevalier de Saint-Georges, Sonata for Violin and Pianoforte in A Major, Op. 11; Stéphanie-Marie Degand, Violin; Aline Zylberajch, Pianoforte; Orchestre du Parlement de Music; Martin Gester, Conductor; Assai M10 (2004)]

The Hutchinson L.A. Report
Monday, July 7, 2008
Earl Ofari Hutchinson
“Despite what some mistakenly think, classical music is our experience too. That’s the black experience. For six decades, the Southeast Symphony Orchestra in Los Angeles has had this ambitious goal: to nourish the classical music experience among African-Americans, provide a venue for artists and musicians to play and for audiences to learn and enjoy classical music, as well as to train the next generation of young African-American classical musicians. The orchestra under the direction of nationally renowned musicologist, conductor and concert artist maestro Charles Dickerson will hold its 60th anniversary season closing concert on Sunday, July 20 at 3:00 PM at the Walt Disney Concert Hall with a powerhouse afternoon of American classical music gems. They include Gershwin’s American in Paris, Rhapsody in Blue and Porgy and Bess. The program will feature some of Los Angeles’s renowned black virtuoso performers.”

“African-American Heritage in Classical Music (AfriClassical.com) lists 52 composers, conductors and instrumental performers - Africans, African Americans and Afro-Europeans spanning five centuries. These artists are unknown to most of us, yet are so numerous the web site can present only a fraction of them. They have made enduring contributions to classical music. Several have composed, conducted and performed classical music. Le Chevalier de Saint-Georges (1745-1799) of Guadeloupe is one of those multi-talented musicians.”

“Dickerson, and the dedicated board members and core of loyal patrons of the Southeast Symphony, have labored in the shadows for years to fund and sustain the orchestra and its community outreach programs.” “The July 20th gala concert is the way to help them. But this is more than a concert. It’s a statement that African-Americans have been and will continue to be in the pantheon of the classical music world.” Full Post






at 7:28 PM 0 comments

“Duke Ellington: Four Symphonic Works” Reissued on Nimbus 2511 (2008)


[Duke Ellington: Four Symphonic Works (Black, Brown and Beige; Three Black Kings; New World a-Comin'; Harlem); American Composers Orchestra; Maurice Peress, conductor; Nimbus 2511 (2008)]

ArkivMusic.com:
Symphonic Ellington strides confidently.
Jonathan Woolf, MusicWeb International
“Nimbus has been picking up MusicMasters’ catalogue and restoring some highly diverting things to the catalogue. This one is a case in point. Maurice Peresss and the American Composers Orchestra are joined by some elite soloists to set down estimable recordings of four of Duke Ellington’s suites - two well known and two markedly less so.

“The best known of the quartet, Black, Brown and Beige, has been orchestrated by Peress. We can hear what has to be the baritone saxophone of Joe Temperley in this one, whose evocation of Harry Carney is appropriate yet manages to retain total tonal independence of the illustrious model. Temperley – and Eugene Moye, the cello principal of the orchestra and Walt Weiskopf, the alto player in the orchestra – are not mentioned on the jewel box credits but they are noted in the booklet. Richard Chamberlain cleaves closer to Tricky Sam Nanton in his role and altoist Frank Wess, very much his own man, takes the Johnny Hodges role. It’s true that the orchestral garb can somewhat blunt the pungency of the Ellington scoring but this alternative look at one of Ellington’s most impressive, albeit most contentious, scores is splendidly realised on its own terms.

“Three Black Kings was once written off by James Lincoln Collier – himself no stranger to controversy – as 'movie music.'” “New World A-Comin’ is like Black, Brown and Beige another wartime work, again heard here in Peress’ revision. Roland Hanna takes the Ellingtonian piano part, which has been transcribed from the 1943 concert performance; Hanna though improvises the final cadenza. There’s also an excellent solo from clarinettist Stephen Hart. Finally there is Harlem – for Jazz Band and Orchestra perhaps the most impressive, because the most sheerly integrated, of all.” “The recording quality back in 1989 was – and remains – first class and we also have the advantage of Peress’s own sleeve notes. Symphonic Ellington strides confidently in this re-release. Full Post [Duke Ellington (1899-1974) is profiled at AfriClassical.com






at 11:44 AM 1 comments

Tuesday, July 8, 2008

Papers of Coleridge-Taylor Perkinson (1975-1978) Open To Public at New York Public Library


[Coleridge-Taylor Perkinson Conducting the New Black Music Repertory Ensemble; Photo courtesy of the Center for Black Music Research, Columbia College, Chicago]

Guide to the Coleridge-Taylor Perkinson Papers, 1975-1978
Coleridge-Taylor Perkinson (1932-2004) was an African American composer and conductor. William F. Johnson of The Music Division of The New York Public Library for the Performing Arts completed a “Guide to the Coleridge-Taylor Perkinson Papers, 1975-1978” in October 2007. The collection was donated by Richard Gordon, and processed through a gift from Robert W. Wilson.

Scope & Content Note: “The Coleridge-Taylor Perkinson Papers document only a small part of Perkinson’s long and varied career, but they include the period with the highest public profile, his work as an arranger for Motown and Marvin Gaye. The collection consists almost entirely of finished full scores, and instrumental parts along with some sketches (mainly in the television music). There is no directly personal or biographical material to be found in the papers.”

Series I: “The scores and parts in this series cover work for the Blackbyrds (these arrangements are actually credited to Wade Marcus), Marvin Gaye, Diana Ross, and Leon Ware.” “Also included in this series is a folder of general personal papers containing a small number of items such as song lyrics, sheet music and correspondence.”

Series II: “This series includes material Perkinson composed for two short-lived television shows, Harris and Company and The Plant Family, as well as some finished cues and sketches with no identification that could belong to either or neither of the two.” [Dr. Dominique-René de Lerma is a specialist in African heritage in classical music, and has kindly made his research file on Perkinson available for the composer's page at AfriClassical.com]






at 9:21 AM 0 comments

William Grant Still's “In Memoriam: The Colored Soldiers Who Died for Democracy” at Grant Park

[William Grant Still: Afro-American Symphony; Fort Smith Symphony; John Jeter, Conductor;
Naxos 8.559174 (2005)]

Michigan Civil War Blog
July 7, 2008
“At a concert in Millenium Park's Pritzker Pavilion last week, part of a program on American music during the freedom holiday week, a work by William Grant Still entitled "In Memoriam: The Colored Soldiers Who Died For Democracy" was played by the Grant Park Orchestra. Composed in 1930, some seven decades after the Civil War, its title evokes the unfulfilled promise of the new birth of freedom. Still attended Oberlin College (among several post-secondary institutions) -- was he there when Bruce Catton was (1916-17)?”

William Grant Still's In Memoriam: The Colored Soldiers Who Died for Democracy (7:22) has been recorded by the Fort Smith Symphony; John Jeter, conductor; Naxos 8.559174 (2005). The work was commissioned by the League of Composers, and was premiered on Jan. 5, 1944 by the New York Philharmonic under Artur Rodzinski. David Ciucevich writes in the liner notes: “The New York Times critic Olin Downes remarked on its powerful 'simplicity and feeling, without affectation or attitudinizing'. The wording of the title does carry an ironic aspect, reflecting the fact that African-Americans were fighting for world freedom and civilization abroad while being denied those very freedoms at home.” The CD is readily available at music websites, including Amazon.com, where it can be purchased for as little as $4.19. [William Grant Still (1895-1978) is profiled at AfriClassical.com]






at 7:57 AM 0 comments

Monday, July 7, 2008

Spiritual “This Little Light of Mine” arranged by Margaret Bonds, African American Composer

An AfriClassical.com visitor from Iowa recently sent this E-mail: “Hello William, Thank you for maintaining such a wonderful site!! I have a question: I am specifically trying to find the sheet music and if it is available in any library, etc, of This Little Light of Mine by Margaret Bonds. It is so beautifully sung by Leontyne Price and I would very much like to learn this piece and sing it. Sincerely and with great appreciation, Eileen”

AfriClassical.com replied: “Hello Eileen, Many thanks for your kind words for AfriClassical.com! Please share the link with other interested persons. Unfortunately, I have not located the sheet music for Margaret Bonds' arrangement of the spiritual This Little Light of Mine. The Margaret Bonds page at AfriClassical.com contains a substantial Works list, but for this title it lists only recordings, not the sheet music. This reply is copied to fellow music researchers, in case one of them may know of the sheet music. Best wishes, Bill Zick” Eileen sent this response: “William,Thank you so very much for your reply. I am so very touched by your reply. I did find another arrangement that I will listen to Ms. Price very closely as she is just so wonderful pure and beautiful in her performance of it. Blessings to you! Eileen”






at 6:09 PM 0 comments

Guest Book Post from Brazil on Le Chevalier de Saint-Georges & José Mauricio Nunes Garcia

[José Mauricio Nunes Garcia (1767-1830)]

Yesterday a visitor from Sao Paulo, Brazil left this message in the Guest Book at AfriClassical.com:
Ralf Rickli Sunday, 7/6/08, 11:59 AM
“I'm extremely glad to have found your MOST WONDERFUL site, where I could find up-to-date information about Le Chevalier de Saint-Georges, a passion I cultivate since I discovered the pioneer recording by Jean-Jacques Kantorow and the Bernard Thomas Orchestra in the late 1970's. I must say, however, you are missing a very important personality of the africlassical heritage: the Brazilian priest Jose Mauricio Nunes Garcia (1767-1830), only slightly younger than the Chevalier, and who played an important role as music director in the court of the Portuguese King John VI when this latter lived in Rio de Janeiro. I would suggest you to go after...”

I replied by E-mail: “Many thanks for your post in the Guest Book at AfriClassical.com! Please share the link with your friends and associates. I wholeheartedly agree that José Mauricio Nunes Garcia is a major figure in classical music. His page at my website is:http://chevalierdesaintgeorges.homestead.com/Nunes.html” A short time later, Ralf sent another E-mail: “Thanks for your attention, Bill!! And now I wonder... did I fail to see José Maurício's name in the AfriClassical homepage? Or was it really not there, on the page I departed from? I'll take a new look later. Anyway, it is a really great great work you've been doing! Congratulations & many thanks for it! Ralf"






at 9:57 AM 0 comments

About.com: African-American History, “A Look Back at Minstrelsy”

Jessica McElrath earned a B.A. in History at the University of California Berkeley, and a Juris Doctor Degree at Santa Clara University School of Law. She has written about African-American History for About.com since 2000.

By Jessica McElrath
“During the 19th century, it became a popular pastime to spend an evening at a minstrel theater. Minstrel entertainment was widespread in the Northern cities among immigrants, the unskilled, and it appealed to some in the middle and upper class. The early blackface minstrels were white performers who mimicked blacks. They colored their faces and used makeup to give the impression of big lips and large eyes. While it was entertainment, the main attraction for white audiences was that it was a declaration of white superiority.

“Emergence of Minstrelsy
The popularity of minstrel shows emerged just as social changes in Northern cities were occurring. Up until the early 19th century, it had been common for whites and African Americans to participate in celebrations together. The Pinkster celebrations of New Jersey and New York provided a forum for black performers, and whites were often present at these gatherings. Laws began to discourage biracial celebrations and blacks were driven from festivities. By the 1830s, common celebrations had been eliminated. It was just as African American performers and celebrations disappeared that blackface became a prevalent pastime.

“The popularity of blackface minstrel performance was partly due to the emergence of a class system. Minstrel entertainment was able to provide a common thread for the lower, middle, and upper class. All whites could feel superior and unified, while at the same time stereotyping African Americans.” Full Post






at 8:37 AM 0 comments

Sunday, July 6, 2008

Southampton Recorded Music Society Event on Black Classical Music “was a great success”

[African Heritage Symphonic Series, Vol. 1; Danse Nègre From African Suite (6:14); Petite Suite de Concert (13:36); Chicago Sinfonietta; Paul Freeman, Conductor; Cedille 90000 055 (2000)]

AfriClassical recently posted “Southampton Recorded Music Society Presents Black Classical Music July 4”. It explained that the presentation would be made by Annamarie Ewing, who plays baroque and classical recorder music in the South of England and is webmaster of http://www.BlackClassics.co.uk Today we heard from Annamarie by E-mail:

“The presentation I gave on Friday 4th July for the Southampton Recorded Music Society was a great success and generated much interest. The evening was well attended, and the audience was treated to a feast of music punctuated with fascinating as well as entertaining composer histories. Music by Le Chevalier de Saint-Georges was heard, in most cases for the first time, and greeted with enthusiasm. Revelations about George Bridgetower and the ‘Kreutzer’ Sonata were received with great interest. Anticipating Samuel Coleridge-Taylor’s most well-known work, the audience was also offered a selection of other less familiar music for them to explore and enjoy. Many questions followed, as did the feeling that everyone had experienced a very special evening.” [George Bridgetower, Samuel Coleridge-Taylor and Le Chevalier de Saint-Georges are profiled at AfriClassical.com]






at 8:19 PM 0 comments

Saturday, July 5, 2008

Suki Guerrier: “Dreams of Haiti, a review” from the Myrtle Hart Society

We present an excerpt from a review in the July 2008 edition of the eNewsletter of MyrtleHart.org, whose Founder/Executive Director is Rashida Black, an African American harpist:
by Martina Green
Haitian-American pianist, Suki Guerrier, graced the stage of Purchase Conservatory of Music's recital hall, in an elegant, yet simple beige pleated dress, her hair swept back in a beautiful side bun. The concert began with a heartfelt rendition of Amazing Grace, in commemoration of her beloved and renowned friend, Kip Collins.

The theme "Dreams of Haiti" was inspired by Suki's exposure as a young girl to the music of the famous Haitian composers Ludovic Lamothe, Henrie Etienne, Frank Lassegue (amongst others), and the sounds of traditional folklore music, which was infused with strong drum beats, dance, and soulful singing. While visiting Haiti in the summer of 2007, she had the fortune to meet pianist extraordinaire Micheline Laudun Denis, who encouraged and assisted in the orchestration of Ms. Guerrier's first performance in Haiti. The performance was a "passing of the torch," a rite of passage for the young musician, leaving the pianist to realize that she had indeed come full circle.

Ms. Guerrier's Haitian music selection was that of Ludovic Lamothe (1882-1953, born in Port-au-Prince), one of Haiti's most celebrated composers. The pieces Tango, La Dangereuse in E Major, Danse Espagnol in A minor, Habanera Danza No.1, & Souvenir were as you may have guessed, dance pieces, capturing an essence of Haitian tradition, in a classical form. The music entranced the audience from beginning to end, ranging from playful soft music, to dark and sinister, forte/piano, passionate, light hearted, with spins on various dance moves such as a Viennese waltz, to a vivacious and sensual Latin dance. The music transposed one's soul and transported the audience to different worlds, time, and characters. [The Haitian composer Ludovic Lamothe (1882-1953) is profiled at AfriClassical.com, along with Justin Elie (1883-1931), Occide Jeanty (1860-1936) and Solon Verret.]






at 9:03 AM 0 comments

Comment at PalmBeachPost.com on William Grant Still


[Afro-American Symphony; William Grant Still; The Royal Philharmonic Orchestra; Karl Kruger, conductor; Bridge 9086 (1999)]

We have made this comment at the website PalmBeachPost.com on "For The Fourth, William Grant Still", a column by Greg Stepanich in yesterday's paper:
Congratulations on your column "For The Fourth, William Grant Still"! Still is an all-American composer who wrote the Theme for the 1939 New York World's Fair, along with a considerable amount of music for radio, and at least two television themes, including "Gunsmoke". I very much appreciate your kind words for the William Grant Still page at www.africlassical.com The composer's daughter Judith Anne Still has been of great help to me, and has helped make his music widely available through William Grant Still Music, www.WilliamGrantStill.com Many thanks for bringing Still's music to the attention of your readers on the 4th of July. Posted by William J. Zick at July 5, 2008 7:10 AM

at 8:23 AM 1 comments

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