Saturday, August 4, 2012

Dominique-René de Lerma: 'Black music on NPR'


[But Not Forgotten: Music by African-American Composers for Clarinet & Piano; Marcus Eley, clarinet; Lucerne DeSa, piano; Sono Luminus DSL-92156]

Prof. Dominique-René de Lerma writes:
              I waited in vain for one of our devoted flock to comment on this, but none did.  I am a solid and dedicated follower of Exploring music, an NPR program heard weekday evenings.  It is hosted by an experienced conductor (of Ben Holt's performance of Anthony Davis' X; The life and times of Malcolm X, for example) who lacks the pretentiousness of most baton addicts and, although coming from the ranks of the trombonists, is oxymoronically further alert to the world of the piano and string quartet.  When I have lauded this oasis, amidst the endless elevation of the trivial and the trivialization of the elevated, DJs who shamelessly air movements, opera without singers, and every available fantasia on Carmen themes along with no end of Vivaldi concertos, I get a complaint that Exploring music does not consider Black musical culture.  Within a few days after that first email arrived, William Grant Still was heard (not yet, however, by his masterful Afro-American symphony or the Songs of separation).  This week's theme was new releases, and I fell in love all over again with the Emerson Quartet (especially the cellist).  But what followed them?  Marcus Eley, with music by Clarence Cameron White and Sam Akpabot!  Was I the sole auditor from our club? 
              Bill McGlauglin has indicated to me that he actually reads all of his mail, and not one show takes place without an invitation to communicate with him. 
              Even were he never to give attention to our priorities, this program should have the enthusiastic support of all of us, us especially, as long as it is on the air, before the Ice Tea Party (cold, without any sweetener) terminates anything close to the humanities.

Dominique-René de Lerma

Dominique-René de Lerma: "I suspect that Coleridge-Taylor and Gottschalk both had a Caribbean source for the 'Bamboula'"

[Samuel Coleridge-Taylor (1875-1912)]

Prof. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com, replies to the post of Byron Hanson, Archivist at the Interlochen Center for the Arts, which noted the use of the tune of the Bamboula by Louis Moreau Gottschalk long before Samuel Coleridge-Taylor used it:

I suspect that Coleridge-Taylor and Gottschalk both had a Caribbean source for the Bamboula, particularly since CT's awareness of African music was second hand.  Note might be made of the book by S. Frederick Starr: Bamboula!; The life and times of Louis Moreau Gottschalk (New York: Oxford University Press, 1995 -- Gottschalk was undeniably this country's first music super star).  A fourth use of the tune appears in Henry F. Gilbert's The dance in the Place Congo, op. 15 (1908; rev. 1916), a ballet first performed at the Metropolitan Opera House (recorded in 1977 by Calvin Simmons conducting the Los Angeles Philharmonic on New World Records NW-228).  Incidentally,  much of Gottschalk's biography has led some to think he was Black.  He was not.

Comment by email:
Thank you for this additional information, Dr. Lerma -- I believe I may have heard the Henry Gilbert music performed in Rochester in the early 1960s at one of Howard Hanson's American music festivals but I'm not sure! I need to hear more of Coleridge-Taylor's work, and the attention he is receiving with new recordings in this centennial year should provide the opportunity!
Byron Hanson
Archivist
Interlochen Center for the Arts
www.interlochen.org

Friday, August 3, 2012

U.S. Ambassador to Jamaica expresses 'absolute delight and appreciation' for Morgan State Choir performances


Morgan State University Choir



Dr. Eric Conway, Director of Morgan State University Choir, writes: 


Hello choir,


Please see attached thank you note from Pamela Bridgewater, US Ambassador to Jamaica, for our performances in Jamaica.  You represented Morgan well and I look forward to future musical exchange opportunities!
Dr. C



EMBASSY OF THE
UNITED STATES OF AMERICA
KINGSTON
OFFICE OF THE AMBASSADOR


Dr. Eric Conway
Chairperson of Fine Arts
Director of Choral Activities
Murphy Fine Arts Bldg, Rm. 329C
1700 E. Cold Spring Lane
Baltimore, Maryland 2125I
U.S.A.


Dear Dr. Conway:
I would like to share with you my absolute delight and appreciation for the inspired performances of the Morgan State University (MSU) Choir during their tour of Jamaica, June 29 to July 2,2012. From the start, the vocal mastery of the group of 28, under your leadership captured the finest traditions.and reputation of the MSU choir.  The local audiences at the Institute of Jamaica, the Andrews Memorial SDA Church and the Northern Caribbean University were all enthralled with the range of songs performed. This was especially evident when soloists displayed their unique talents and delivered riveting renditions
of these well known pieces.


The highlight performance was for me delivered before an audience of Jamaica's most prominent leaders of government, business, culture and civil society at our celebration of the 236th aurniversary of American Independence. We at U.S. Embassy Kingston salute you and the MSU Choir for so marvellously  representing the fine tradition of music at HBCUs and presenting timeless American music for the engagement and enhancement of mutual understanding between Jamaica and the U.S.A.


Thank you for highlighting Jamaica's own celebration of 50 years of independence with the fitting tribute in song 'Celebrate'. I was particularly pleased with responses of Prime Minister Simpson Miller and that of Ms. Rita Marley, widow of Bob Marley, who both thoroughly appreciated the performance and effusively expressed such at the end of the evening.


I congratulate you and the choir again and I note that our celebrations were enriched by this tour which shared American culture, at its best, with Jamaica at a significant time in our friendship.
Sincerely,

Pamela E. Bridgewater
Ambassador

Byron Hanson: Tune in Coleridge-Taylor's 'Bamboula' same as in Gottschalk's work of same name



Louis Moreau Gottschalk
(Wikipedia)


  
Bamboula

Our friend Byron Hanson is Archivist at the Interlochen Center for the Arts in Interlochen, Michigan.  He writes in response to the Gramophone article on Samuel Coleridge-Taylor, which we excerpted recently:

In regard to the mention of Coleridge-Taylor's Bamboula introduced in orchestral performance by the NY Philharmonic in 1910:

Do we all recognize that, while C-T's composition has a personality of its own, the tune that is the basis of his piece is the same one that Louis Moreau Gottschalk published as "Bamboula, danse de nêgres, Op.2"  before 1850 and that figures prominently in Hershy Kay's 1951 ballet Cakewalk?

My understanding is that Gottschalk's sources are largely from the West Indies but I assume Coleridge-Taylor's would be solely from Africa. If that assumption is false, please advise!

Thanks for all the good information you continue to offer, day in and day out!

Best regards,
Byron Hanson

Archivist
Interlochen Center for the Arts
www.interlochen.org

Comments by email:
I suspect that Coleridge-Taylor and Gottschalk both had a Caribbean source for the Bamboula, particularly since CT's awareness of African music was second hand.  Note might be made of the book by S. Frederick Starr: Bamboula!; The life and times of Louis Moreau Gottschalk (New York: Oxford University Press, 1995 -- Gottschalk was undeniably this country's first music super star).  A fourth use of the tune appears in Henry F. Gilbert's The dance in the Place Congo, op. 15 (1908; rev. 1916), a ballet first performed at the Metropolitan Opera House (recorded in 1977 by Calvin Simmons conducting the Los Angeles Philharmonic on New World Records NW-228).  Incidentally,  much of Gottschalk's biography has led some to think he was Black.  He was not.
Dominique-René de Lerma


Thank you for this additional information, Dr. Lerma -- I believe I may have heard the Henry Gilbert music performed in Rochester in the early 1960s at one of Howard Hanson's American music festivals but I'm not sure! I need to hear more of Coleridge-Taylor's work, and the attention he is receiving with new recordings in this centennial year should provide the opportunity!
Byron Hanson
Archivist
Interlochen Center for the Arts
www.interlochen.org

Dominique-René de Lerma: 'Can anyone identify who this is?'


Can anyone identify who this is?  I'm certain she is a contemporary concert singer and my source suggests her name might be Bonds.

Dominique-René de Lerma

Wednesday, August 1, 2012

Awadagin Pratt & Zuill Bailey Perform Brahms Cello Sonata No. 2 at Ravinia Festival 6:30 PM, Aug. 18, 2012

Pianist Awadagin Pratt and cellist Zuill Bailey recently recorded works of Johannes Brahms on the Telarc label.  The duo will perform the Brahms Cello Sonata No. 2 in F Major, Op. 99, at the Ravinia Festival on Saturday, August 18, 2012 at 6:30 PM in Bennett Gordon Hall.

Maestro Kazem Abdullah Assumes Post of 'Generalmusikdirektor of the city of Aachen, Germany' August 1, 2012


[Kazem Abdullah]


A press release on January 25, 2012 announced that the American conductor Kazem Abdullah had been selected as “Generalmusikdirektor of the city of Aachen, home to one of Germany’s oldest orchestras...” Maestro Abdullah officially assumed his duties today, August 1, 2012, under a five-year contract. The release explains the “Culturally rich Aachen post includes both orchestral and operatic performances.”


Kazem Abdullah is now “the 30th Generalmusikdirektor of the city of Aachen, home to one of Germany’s oldest orchestras...” “A press conference was held to formally introduce him to the public at the Rathaus Aachen (Aachen’s City Hall) by Mayor Marcel Phillipe and Aachen Theater Intendant Michael Schmitz-Aufterbeck.

Mr. Abdullah was unanimously elected to the post in November 2011 by the orchestra’s Search Committee, having been selected as one of seven candidates invited to audition from a pool of 100. The press conference followed a private meeting in which Maestro Abdullah signed a five-year contract with the orchestra. As the musical head of both Aachen’s orchestral and operatic season, Abdullah will lead a concert series of eight major orchestral programs and six to seven operas, as well as special concerts and events.”

Intendant Schmitz-Aufterbeck congratulated Mr. Abdullah, stating, 'I am very pleased that next season Kazem Abdullah will become the new Generalmusikdirektor of the city of Aachen, and on this occasion I offer him my most heartfelt congratulations. From his previous work in Aachen, we know just how Abdullah's spark has vaulted over the orchestra and audience. I have only very rarely seen standing ovations here for a guest conductor. Abdullah thrills people. We have found a totally major talent.'”

Mr. Abdullah said, 'I am honored to be elected Generalmusikdirektor of Aachen and humbled to think of those who have held this post before me. I am especially excited to build on the legacy of my predecessor, Marcus Bosch, and to continue making excellent music with an orchestra of such exceptional quality. In recent years, as its national and international reputations have grown, Aachen has developed a distinctive voice, well suited to a remarkably wide repertoire. This musical diversity is matched by the city itself, a combination of astonishing history and refreshing innovation. Its citizens, people of discriminating tastes but also down-to-earth hospitality, have cultivated a musical treasure, and I am so very happy to count myself among them.'”

In becoming General Music Director of Aachen, Mr. Abdullah inherits an orchestra steeped not only in cultural tradition (Aachen was the capital of western Europe in the 9th Century) but also musical firsts: it presented the Paris premiere of Weber’s Der Freischütz (The Marksman), and in 1825, then music director Ferdinand Ries conducted the Aachen premiere of the Beethoven’s 9th symphony, the first performance of the work outside of Vienna. Among the renowned music directors who preceded Maestro Abdullah atAachen are Herbert von Karajan and Wolfgang Sawallisch.

A vibrant, versatile and compelling presence on the podium, the 32-year old conductor has experience in both the orchestral and operatic arenas, which will serve him well in his new position. Kazem Abdullah’s orchestral credits include the Berliner Kammerphilharmonie, Philharmonisches Orchester der Stadt Nürnburg, Staatskapelle Weimar, Finnish Radio Symphony Orchestra, Helsinki Philharmonic Orchestra, Orquesta Filarmónica de la Ciudad de México, Oregon Symphony, Indianapolis Symphony Orchestra, the National Arts Center Orchestra of Ottawa, and the Tanglewood Music Center Orchestra, where he substituted on very short notice to conduct performances of Purcell’s Dido and Aeneas in collaboration with the Mark Morris Dance Group. 

"Mr. Abdullah served as Assistant Conductor at the Metropolitan Opera in New York, a three-year post to which he was appointed by Music Director James Levine. In addition to Levine, while at the Met he worked with conductors such as Louis Langree, Kirill Petrenko, Lorin Maazel, and Fabio Luisi. A recipient of a 2010 Solti Foundation U.S Grant, Mr. Abdullah graduated from the Cincinnati Conservatory of Music, where he trained as a clarinetist. He then studied at The Peabody Institute of the John Hopkins University before joining The New World Symphony as a clarinetist under Michael Tilson Thomas for two seasons, after which he continued his musical studies at the University of Southern California. His conducting teachers include Jorma Panula, Gustav Meier, Stefan Asbury, Bernard Haitink, and James Levine.”

'Dittersdorf – Vanhal Double Concertos' on Hyperion is acclaimed first solo CD of double bassist Chi-chi Nwanoku


[Dittersdorf - Vanhal Double Bass Concertos; Chi-chi Nwanoku, double bass; Swedish Chamber Orchestra; Paul Goodwin, conductor; Hyperion CDA67179 (2000)]

The Nigerian-Irish double bassist Chi-chi Nwanoku was featured on AfriClassical on July 24, 2012 when AfriClassical posted: “WHPK-FM Plays Hyperion CD of Nigerian/Irish double bass player Chi-chi Nwanoku in Dittersdorf Concertos July 25 12-3 PM."

The next day, July 25, 2012, we posted: “'Chi-chi: Tales from the Bass Line' will premiere at the Black Harvest Film Festival in Chicago Aug. 5 & 6.” Several months ago I acquired a CD of three Sinfonias of Carl Ditters von Dittersdorf, and the recording has been on my iPod most of the time since then. When I learned of Chi-chi Nwanoku's Hyperion CD of two double bass concertos of Dittersdorf and one by his contemporary Johann Baptist Vanhal I promptly purchased a copy. I was not disappointed by either the choice of repertoire or the quality of the performances.


ArkivMusic.com has compiled excerpts from reviews of the disc:
'A most enjoyable disc' (BBC Music Magazine) 'Nwanoku's playing is both athletic and eloquent in these appealing bass concertos. [She] plays her solo music with due vivacity and skill ... as graceful as can be imagined on her instrument. Paul Goodwin's neat and sympathetic accompaniments, his leisurely pacing and his judicious balance...make this disc even more appealing' (Gramophone) 'An elegant performance. Beautifully played and phrased by Nwanoku, who reveals the lyrical potential of the solo bass' (The Strad) 'Chi-chi Nwanoku is a delightful soloist. [Her] light-as-air sound and technical clarity are a continual source of pleasure' (International Record Review) 'An ideal coupling, very well recorded' (The Penguin Guide to Compact Discs) 'A treat' (Amazon.co.uk)




Chi-chi Nwanoku Bio (Excerpt)
She is currently Principal Double Bass with
the Orchestra of the Age of Enlightenment (of which she is also a founder member), and Endymion Ensemble.


She is Professor of Double Bass Historical Studies at The Royal Academy of Music, Professor of Double Bass at Trinity College of Music in London, and a visiting Professor for the National Youth Orchestra of Great Britain.
Chi-chi was made a Fellow of the Royal Academy of Music in 1998.
She was awarded an MBE for ‘Services to Music’ in the Queen's Birthday Honours 2001.
Chi-chi has a wide range of musical interests, resulting in her involvement in the cutting edge of diverse st on frequent occasionsyles of performance practise.
This includes authentic style baroque performances, through the periods until the contemporary.
She gave the UK premiere performance of Ferneyhough’s ‘Trittico per G.S.’ for solo double bass in 1996, and is the double bass soloist on the recording of Alexander Goehr’s ‘Sing Ariel’, conducted by Oliver Knussen.
Chi-chi compiled a varied solo programme for the BBC Radio 3 series ‘Tuning Up’, which was selected for ‘Pick of the Week’. She has also been interviewed for ‘Woman’s Hour’, ‘Kaleidescope’, and ‘Comparing Notes’.
She was featured as a soloist on a BBC 2 television series ‘Strings, Bows and Bellows’, and Channel 4 television’s ‘Shooting Stars’ in 1994/5. She presents a weekly programme Radio Three Requests on BBC Radio 3 every Sunday 2-4pm. Chi-chi was a jury member of 'Classical Star', featured on BBC 2 TV in 2007. Her extensive discography includes three recordings of Schubert’s ‘Trout’ Quintet, with Domus, Hausmusik and Trio Fontennay with Nabuko Imai (viola), for Virgin, EMI and Teldec respectively. There are also recordings of the Schubert Octet, Beethoven Septet, Rossini String Sonatas (a Quattro) and Boccherini ‘cello sonatas (with Richard Lester/Hyperion).
She has made many symphonic recordings as orchestral principal.
In October 2000 Hyperion label released Chi-chi’s first solo recording to critical acclaim. This includes three double bass concertos by Vanhal and Dittersdorf, with the Swedish Chamber Orchestra; Hyperion CD 67179.




Charles Kaufmann: 'Hiawatha Overture' played in 1904 'may be revived by The Marine Band'


Charles Kaufmann, Artistic Director of The Longfellow Chorus, is seeking to raise $15,000 via Kickstarter.com to support production of the documentary film Samuel Coleridge-Taylor and his music in America, 1900–1912, to be released in March 2013.  Thirteen backers have pledged $317, with 21 days remaining to reach the goal.

by Charles Kaufmann

A New "Hail to the Chief?"

Update #1 · Jul. 28, 2012 
I move onto Washington on August 3 to prepare for filming at the Metropolitan African Methodist Episcopal Church and the Marine Barracks Extension August 6-8 -- our attempt to reproduce the "Hiawatha-mania" of 1904, to use the term coined by the late Howard University historian Doris McGinty.

This will be an exciting trip, with time allowed to research Coleridge-Taylor's music and activity in Washington 1903-1906 at the Library of Congress. One thing I want to know, what day and time exactly did Coleridge-Taylor meet with President Theodore Roosevelt in the presidential office of the White House? It was sometime between November 13 and November 23, 1904. Library of Congress holds Roosevelt's appointments diary for the time period.

We have made an agreement with the Marine Band to hold the interview with their historian, MGySgt Mike Ressler, and GySgt Kira Wharton, Assistant Chief Librarian, at the Marine Barracks Extension, followed by a short filming of the Marine Band in rehearsal.

The Marine Band has taken renewed interest in Coleridge-Taylor's conducting appearance in 1904, and they still have the parts for the Hiawatha Overture they used in 1904. While the Band is too busy to play for us a little of the Hiawatha Overture, I understand the piece may be revived by the Marine Band and performed sometime in the near future. That would be an historic occurrence, actually, reoccurrence. A new "Hail to the Chief?"
Charles Kaufmann

Artslink.co.za: Tania León workshop at Linder Auditorium 3 PM Aug. 12 with JPO Academy Orchestra

Artslink.co.za

Public open workshop with Tania León

WSOA - Wits School of Arts
08/01/2012 12:04:44

Tania León will give a unique public open workshop at the Linder Auditorium on Sunday 12 August at 15:00 with the JPO Academy Orchestra.

The workshop is presented by Wits School of Arts / WitsMusic and Wits Theatre.

Tania León, (b. Havana, Cuba) is highly regarded as a composer and conductor and recognized for her accomplishments as an educator and advisor to arts organizations. 
...
León's opera Scourge of Hyacinths, based on a play by Wole Soyinka with staging and design by Robert Wilson, received over 20 performances throughout Europe and Mexico. Commissioned by Hans Werner Henze and the city of Munich for the Fourth Munich Biennale, it took home the coveted BMW Prize. The aria "Oh Yemanja" ("Mother's Prayer") was recorded by Dawn Upshaw on her Nonesuch CD, "The World So Wide."
...
The programme for the workshop with the distinguished Mellon Visiting Professor will include Tania León’s work BATÁ and works by Ferdinand Herold (“Zampa”), Bizet, Grieg, and Smetana.

The JPO Academy programme serves as an ideal incubator for the professional JPO orchestra and the industry in general, which benefits from a constant supply of well trained and highly competent young musicians. The JPO Academy Orchestra offers a limited number of full scholarships to talented students who would otherwise not be able to afford to study music at tertiary level. 

[The website of the Afro-Cuban composer and conductor Tania León (b. 1943) is http://www.tanialeon.com/; she is also profiled at AfriClassical.com]