Black Pearl Chamber Orchestra: Start of Inaugural Season Celebrates Hispanic Heritage Month

[Jeri Lynne Johnson, Founder and Conductor, The Black Pearl Chamber Orchestra]

Julia Rubio, Executive Director of The Black Pearl Chamber Orchestra, has issued a Press Release:
Philadelphia, PA – September 10, 2009. The Black Pearl Chamber Orchestra led by Music Director and Founder Jeri Lynne Johnson will commence its inaugural season with a musical celebration of Hispanic Heritage Month. This world-class ensemble will perform works by famed Latin American composers beautifully contrasted by Beethoven’s unforgettable 5th Symphony. The first of a three-concert season, the September 19th 7:30pm concert at the Kimmel Center’s Perelman Theater is FREE and open to the public.

Tickets, although free, are limited and must be reserved through Ticket Philadelphia (215) 893-1999, online http://www.ticketphiladelphia.org, or in person at the Ticket Philadelphia Box Office. The concert stage will be shared by a diverse selection of masterworks to illustrate that classical music has been a part of the musical heritage of every color and race.

William Grant Still – Danzas de Panama
Javier Alvarez – Metro Chabacano (Mexico) – Performed by the all-Latino Dalí String Quartet
Aldemaro Romero – Fuga con Pajarillo (Venezuela)
Astor Piazzolla – Contemplación y Danza (Argentina) – Clarinet Soloist Doris Hall-Guilati
Ludwig van Beethoven – Symphony No. 5

The concert will open with William Grant Still’s Danzas de Panama. Still was an African-American classical composer who wrote more than 150 compositions and was the first African-American to conduct a major American symphony orchestra. First performed in 1948, Danzas de Panama is based on Panamanian folk themes and evokes vignettes of indigenous dances performed by candlelight, intricate and percussive sounds of zapatas, or shoe-tapping, and even prayer. [William Grant Still (1895-1978) is profiled at AfriClassical.com]

Jeri Lynne Johnson
Black Pearl Chamber Orchestra
Hispanic Heritage Month
William Grant Still
Danzas de Panama
Doris Hall-Guilati

Bridgewater College Hosts Sphinx Chamber Orchestra On 2009 Tour At 8 PM, September 22

[Melissa White & Elena Urioste perform their rendition of the National Anthem; Photo from: http://www.sphinxmusic.org/blog/sco.php]

NewsLeader.com
Bridgewater to host Sphinx Chamber Orchestra
Staff Report • September 9, 2009
BRIDGEWATER — The Carter Center for Worship and Music at Bridgewater College will play host to the Sphinx Chamber Orchestra for a concert at 8 p.m. Sept. 22. Tickets for Lyceums are $13 for adults and $10 for seniors, children and non-Bridgewater College students. Tickets are only available at the door one hour before the start of the performance.

The concert, the first program in the 2009 – 10 Bridgewater College Lyceum Series, features the Sphinx Chamber Orchestra, an ensemble comprising the top alumni of the national Sphinx Competition for young black and Latino string players. The group, which has performed four times at Carnegie Hall, performs works by Bach, Vivaldi and Mozart, besides more seldom presented works by Coleridge-Taylor Perkinson, George Walker, Michael Abels and Astor Piazzolla. The Harlem String Quartet will also appear as well as select solo performances by the top Laureates of the Sphinx Competition.

2009 Sphinx Chamber Orchestra Tour Program

Mozart, Divertimento in F Major

Piazzolla, Fall in Buenos Aires (Otoño porteño), with Elena Urioste, solo violin

Guido Gavilán, Mi Menor Conga

Tchaikovsky, Serenade for Strings, I. Pezzo in Forma di Sonatina

Marsalis, Hellbound Highball, from "At the Octoroon Balls" (Harlem Quartet)

**Intermission**

Bach, Concerto for 2 Violins and string orchestra

Michael Abels, Delights and Dances for String Quartet and Orchestra
[The African American Composers Coleridge-Taylor Perkinson (1932-2004) and George Walker (b. 1922) are profiled at AfriClassical.com]

Bridgewater College
Sphinx Chambeer Orchestra
2009 Tour
George Walker
Coleridge-Taylor Perkinson
Michael Abels

White Pine Music Thrives on Diversity in Classical Music, Gives CDs to Radio Hosts

[Take the 'A' Train; Harlem String Quartet; White Pine Music (2007)]

AfriClassical interviewed Scott Burgess on Sept. 1, 2009 about two Copland Fund grants in 2009. We wrote about 'From the Diary of Sally Heming' on Sept. 1, 2009 and 'Songs of William Grant Still' Sept. 4, 2009. We also asked Scott how White Pine Music sells its recordings.

A. “We're on Amazon and CDBaby, we have our own website and frankly where we do the best sales is when the artists take the discs and sell them outside their concerts. We worked with the Harlem Quartet, we did their debut disc. They move a lot of little silver platters when they're out playing, because if you've ever seen them perform, they really engage the audience! So their CD's done well for us.”

Q. “So that is still very much something that's drawing attention?”

A. “Definitely!” Q. “Do you envision doing any of the orchestral or large-form music, or are you oriented towards the smaller style?”

A. “We have one orchestral project in the works, its a disc of piano and orchestral music by Francisco Mignone, the Brazilian composer.”

Q. “What are the label's financial terms?”

A. “We don't pay anything up front, but we split things. Once our costs are recovered we're able to share the love at that point.”

Q. "What is your system of distribution to Public Radio music hosts?"

A. “What we've done is we just send out copies whenever we get a new one. We've got a list of about 190 stations.”

Q. “How do stations get on the list?”

A. “We've dug them up. We looked at several different listings of classical radio stations, public radio stations.”

Q. “What else you would like to point out to our readers?”

A. “I'm particularly proud of and happy to have this ongoing relationship with the Sphinx Organization and we look to have some more recordings out there in the fairly near future.

Q. Do you have any CDs to highlight?

A. “Well certainly the three that we've done with the Sphinx – the first Harlem Quartet disc, Elena's project, and the very first one we did, which was with the 2006 Laureate, Gabriel Cabezas and Ron-Miguel Hernandez.”

Q. “Is there anything else that you think you'd like to bring up today?”

A. “I guess the only other thing I'd say is that I am interested in ideas that you or any of your readers might have about other projects – things that ought to be out there but nobody has done.”

Q. “Oh, you'll get some if you say that!”

A. “I bet I will! Of course we can't do them all. We do probably four, five, six releases a year, because I do have a day job, if you will, keeping things going here at the Department.”

White Pine Music Sphinx Organization Harlem String Quartet Public Radio Classical Music Hosts Black & Latino Musicians

Mokale Koapeng: 'Blacks have been a big part of classical music for centuries'

[Truly Gifted: Mokale Koapeng; Photo: Victor Mecoamere]

Mokale Koapeng, our South African contact, tells us: “The Sowetan newspaper published my article in today’s edition":
”Sowetan
Our musical masters shine
07 September 2009
Mokale Koapeng
“Blacks have been a big part of classical music for centuries
South Africa has one of the greatest nation-building gifts in the Mass Choir Festival. This hugely popular festival features African and Western traditional and African music, presented through singing and TRULY instruments. Forming one of the many bridge-building youth and community development projects, it was established in 1988 by Sowetan’s former editor in chief Aggrey Klaaste. After all this time the festival continues the marrying of divergent cultures.

“Currently sponsored and organised by the Transnet Foundation, Sowetan and the Aggrey Klaaste Nation Building Foundation, this festival is among several musical showcases that are showing that blacks, together with all other races, have a place when it comes to marking history’s sad and joyous moments. It also shows that music is our nation’s heritage in continuing the tradition that was expounded by Professor Khabi Mngoma, Matlhaela Michael Masote, Henry Nxumalo and later by Kolwane Mantu, Motsumi Makhene, Mhlanganisi Masogo and Professor Mzilikazi Khumalo.”

“Classical music was de-racialised centuries ago and Africans have been part of its global development. Sadly, this part of history had been hidden and Africans were hoodwinked all along into believing that they were intruders of the classical field. Some of the leading African figures that contributed to the “universalisation” of classical music are Chevalier Saint-Georges (1745-99), a contemporary of Mozart. He was black and a prolific violinist who composed several works for violin and orchestra. Saint-Georges also conducted the first Parisian performances of Haydn’s Paris Symphonies.

“Beethoven had his most difficult violin sonata, (the) Kreutzer, premiered by black violinist George Bridgetower. The work itself was inspired by, and written for Bridgetower. The first Brazilian opera was composed by José Mauricio Nunes Garcia (1767-1830). He too was black. Samuel Coleridge-Taylor (1875- 1912), also black, was...highly regarded in Britain. In the U.S., blacks who shone in the classical music genre include composers such as William Grant Still, Edward “Duke” Ellington and Charles Mingus.

“In South Africa we have composers such as Michael Mosoeu Moerane, Todd Matshikiza of King Kong fame, Gideon Nxumalo and many others who studied classical music and jazz. The Massed Choir Festival has been one of the spaces where choral music thrived. It has proven its popularity for more than 20 years. Its significance and – by extension – that of choral and classical music, has seen a number of young South African being given an opportunity to showcase their talents.” [George Bridgetower, Samuel Coleridge-Taylor, Edward Kennedy "Duke" Ellington, José Mauricio Nunes Garcia, Mzilikazi Khumalo, Michael Mosoeu Moerane, Le Chevalier de Saint-Georges and William Grant Still are profiled at AfriClassical.com]
The Sowetan
Mokale Koapeng
Blacks in Classical Music
Classical Music De-Racialised
Universalisation of Classical Music
Beethoven & George Bridgetower

African American Museum in Philadelphia Links to AfriClassical Interview on New Exhibit

[“Audacious Freedom: African Americans in Philadelphia 1776-1876”; Exhibition Illustration © Eisterhold Associates Inc.]

On August 5, 2009 AfriClassical posted: “'Audacious Freedom' Exhibit at African American Museum in Philadelphia Honors Frank B. Johnson.” The Exhibit is the new core exhibit of the Museum. We have since heard from Ivan Henderson of the Museum. He tells us the website feature “AAMP In The News” includes a link to the AfriClassical post:
“Hi Bill: Here is a link to our interview on our site: http://www.aampmuseum.org/aamp-in-the-news I also used a modified (cropped) version of your banner for a linked image.
Ivan D. Henderson, Project Coordinator
PA's Initiative on Black History Community Education and Neighborhood Revitalization - 2010
THE AFRICAN AMERICAN MUSEUM IN PHILADELPHIA, 701 ARCH STREET, PHILADELPHIA, PA 19106 (215) 574-0380, Ext. 220; (215) 574-3110 Fax http://www.aampmuseum.org/”

Ivan Henderson originally brought the new Exhibit to our attention via an entry in the Guest Book at AfriClassical.com:
“This site is an excellent resource for exposing the public to music history. This has been a huge help in planning for our current core exhibit, which explores the lives of African American in Phila. 1776-1876.” [Francis B. Johnson (1792-1844) was an African American bugler, band leader and composer whose life has been researched by Dr. Dominique-René de Lerma, Professor of Music, Lawrence University, Appleton, Wisconsin. The research has been made available for the Francis B. Johnson page at AfriClassical.com]
Audacious Freedom
Core Exhibit
African American Museum in Philadelphia
Ivan Henderson
Francis B. Johnson
Dr. Dominique-René de Lerma

Mike Wright Says Harpsichord Might Have Been Used for Flute & Harp Sonata of Saint-Georges

[Le Salon de Musique de Marie-Antoniette; Isabelle Poulenard, soprano; Jean-François Lombard, tenor; Stéphanie Paulet, violin; Amélie Michel, flute; Ambroisie AM179 (2009)]

On August 30, 2009 AfriClassical posted: “Dr. Dominique-René de Lerma Says a CD of 'Sonata for Flute and Harp' of Saint-Georges is a First.” Three days earlier we had quoted a favorable review in the British newspaper The Telegraph of the new CD Le Salon de Musique de Marie-Antoniette; Ambroisie AM179 (2009). Three tracks of the disc are devoted to a Sonata for Flute and Harp of Le Chevalier de Saint-Georges (1745-1799), who is profiled at AfriClassical.com.

We were unaware of any other recording of the work. Dr. Dominique-René de Lerma, Professor of Music, Lawrence University, commented: “Yes, this work has not been previously recorded. It betrays a characteristic of Saint-Georges re voice leading, which I solved by the addition of a cello (not an unusual practice of the time). It was thus performed by Anthony Elliott (cello), D. Antoinette Handy (flute), and Geneva Southall (piano) at our Minneapolis conference in 1975. Dominique”

Mike Wright is Chair of the International Society of African to American Music (ISAAM), and is based in London. He adds a further remark via email:
“Hi Dominique, You mentioned the ‘cello (as part of continuo?) as not unusual. Would it also have been far more likely that a harpsichord or clavichord (rather than a pianoforte or even a fortepiano) would have been used for Saint Georges music? Regards, Mike” Prof. De Lerma then quipped: “Of course, Mike is Wright.”

Author Sandra Seaton Comments on Recording of 'From the Diary of Sally Hemings'

[Sandra Seaton]

Professor emerita Sandra Seaton of Central Michigan University comments on our post of Sept. 1, 2009: “White Pine Music Records 'From the Diary of Sally Hemings,' by Sandra Seaton & William Bolcom”:

“Greetings Bill,
Here's my post on your website:
Great to see your interview with Scott Burgess. Bill Bolcom and I are eagerly awaiting the debut recording of 'From The Diary of Sally Hemings' with soprano Alyson Cambridge and pianist Lydia Brown. Bill and I had a very productive week recording up in Mt. Pleasant with Alyson and Lydia, two wonderfully talented artists. Kudos and thanks to our gracious host, White Pine's Audio Production Manager Scott Burgess, whose recording expertise makes it possible to share the world of Sally Hemings with a wide audience.
Take care and thanks,
Sandra”

William Grant Still's Symphonies Nos. 4, 'Autochthonous' & 5, 'Western Hemisphere' on Naxos in October

[William Grant Still: Symphonies Nos. 4, 'Autochthonous' & 5, 'Western Hemisphere'; 'Poem'; Fort Smith Symphony; John Jeter, conductor; Naxos 8.559603 (2009)]

The new CD of William Grant Still's 4th and 5th Symphonies, and his “Poem” for orchestra, Naxos 8.559603 (2009) will soon be available internationally. The Fort Smith Symphony of Fort Smith, Arkansas won critical acclaim in 2005 when it released a Naxos American Classics CD of William Grant Still's Symphony No. 1 (Afro-American), accompanied by world premieres of In Memoriam: The Colored Soldiers Who Died for Democracy (7:22) and Africa (Symphonic Poem) 27:51, on Naxos 8.559174.

AfriClassical broke the news of the latest CD on June 22, 2009. We later wrote on August 1, 2009: “William Grant Still's Symphony No. 4 '...was intended to be descriptive of the American spirit...'” The post was based on an excerpt from the book “William Grant Still and the Fusion of Cultures in American Music”; Second Edition; Judith Anne Still, Managing Editor; The Master-Player Library (1995). On the next page, Paul Harold Slattery writes:“The addition of program notes. The program notes that were devised by Mr. And Mrs. Still read as follows: 'The Autochthonous was written in Los Angeles, in the house where we lived for twenty years, and where our children were born: 3670 Cimarron Street. The Symphony was copyrighted October 20, 1947.

'This Symphony, dedicated to the composer's old friend and teacher at Oberlin, Maurice Kessler is subtitled “Autochthonous” to explain that the music has its roots in our own soil, and portrays – in a sense – the spirit of the American people. The First Movement exemplifies the feeling of optimism and energy: The American ability to “get things done.” The Second Movement is more pensive, then, in the “second subject,” animated in a folky way. The Third Movement is humorous and unmistakably typical of our country and its rhythms. The final movement depicts the warmth and the spiritual side of the American people – their love of mankind. It may also be said that the music speaks of the fusion of musical cultures in North America.'”

Yesterday we heard from John Jeter, Conductor of the Fort Smith Symphony: “William - FYI Our latest CD is to be released nationally/internationally in October. Log on to http://www.naxos.com, click 'More Upcoming Releases', on the left middle of the home page. The October releases are listed in alphabetical order by composer. Find 'Still', it is a small image but very exciting. Regards - John Jeter - Fort Smith Symphony”

Maestro Jeter tells us his ensemble's recording of William Grant Still's Afro-American Symphony, in the Naxos American Classics series, has been very successful in terms of both sales and classical music reviews. He and the Fort Smith Symphony now present two more of the composer's symphonies on the world's best-selling classical music label. [William Grant Still (1895 -1978) is profiled at AfriClassical.com, where a complete Works List by Dr. Dominique-René de Lerma is also found]

Sphinx Chamber Orchestra & Harlem Quartet at Bowling Green State University Sept. 13

[Coleridge-Taylor Perkinson (1932-2004): A Celebration; Chicago Sinfonietta et al.; Paul Freeman, Conductor; Cedille 90000 087 (2005)]

LaPrensaToledo.com
Bowling Green State University
Lively Arts Calendar
Sept. 13—The opening concert of the 2009-10 Festival Series at BGSU features the Sphinx Chamber Orchestra, made up of top alumni of the national Sphinx Competition for young black and Latino string players. Joining the orchestra for the 3 p.m. performance in Kobacker Hall of the Moore Musical Arts Center will be guest violinist Elena Urioste and the Harlem String Quartet, comprised of the orchestra’s principal chairs. Urioste was recently selected by Symphony magazine as an emerging artist to watch. The diverse program will include well-known repertoire by Mozart and Vivaldi, in addition to works by Latino and African-American composers such as Piazzolla, Michael Abels and Coleridge-Taylor Perkinson. For tickets, call the Moore Center box office at 419-372-8717 or 1-800-589-2224. [Coleridge-Taylor Perkinson is profiled at AfriClassical.com]

White Pine Music Records 'From the Diary of Sally Hemings,' by Sandra Seaton & William Bolcom

[Sandra Seaton]

On May 17, 2008 AfriClassical posted: “CMU to help celebrate African-American culture, history during Idlewild weekend.” The former African American resort town of Idlewild, Michigan was the scene of a performance of Professor emerita Sandra Seaton's play “The Will”, along with events celebrating diversity in classical music.

The Copland Fund for Music is devoted to contemporary American music. It recently announced a 2009 grant of $9,000 to White Pine Music, the record label of the Department of Music of Central Michigan University, Mt. Pleasant, Michigan for “From the Diary of Sally Hemings,” a song cycle by composer William Bolcom. AfriClassical interviewed Scott Burgess, Audio Production Manager at White Pine Music, by phone on Sept. 1, 2009.

He said he has been in his present position for 10 years and in the music business for 22 years, since graduating from Cleveland Institute of Music. He notes: “I was a bassoon performance and audio recording major there.” White Pine Music was founded in 2004. “I'm most of the show,” he says. Scott has an assistant and says the label also involves “Art faculty and students, Public Relations, Broadcasting and Cinematic Arts people.” He adds, “We work a lot with the Office of Research as far as grant-writing and that sort of thing.”

Sandra Seaton's website gives this summary: “Sandra Seaton’s recent work, From The Diary Of Sally Hemings, is a collaboration with composer William Bolcom, who set Seaton’s text to music. A song cycle, the work recreates the thoughts and feelings of Sally Hemings throughout her long relationship with Thomas Jefferson by means of fictional diary entries.” Composer William Bolcom's website says the composition is a 2000 work for voice and piano.

Scott says of William Bolcom, “It was great working with him. He was up here for the session. We've already recorded that one.” “We had a good time with that. Our soprano on that one is Alyson Cambridge, an up-and-coming singer at the Met, and one of the Met's pianists, Lydia Brown.” “We recorded that in July and we're bringing that one out in February.” [Part II of the interview with White Pine Music will appear shortly]
Copland Fund for Music
From the Diary of Sally Hemings
White Pine Music
$9,000 Grant
Release February 2010
Voice and Piano