OperaNews.com: 'Bolcolm: From the Diary of Sally Hemings'

[BOLCOM: From the Diary of Sally Hemings; Alyson Cambridge, soprano; Lydia Brown, piano. English text. White Pine Music WPM 221]

Sandra Seaton sends us Joshua Rosenblum's review of From the Diary of Sally Hemings:

OperaNews.com:

“It would have been fascinating had Sally Hemings actually left behind a diary; a first-person written account by Thomas Jefferson's famous slave/paramour, who quite probably bore him children, would be illuminating, not to mention historic. No such document exists (to the best of our knowledge), but playwright Sandra Seaton created an imaginary one for William Bolcom, at the composer's request. Bolcom in turn had been asked to compose a song cycle on Hemings by mezzo-soprano Florence Quivar. Quivar sang the premiere of the cycle in 2001; the current disc, featuring soprano Alyson Cambridge, is its first recording.

“Seaton's texts are, as she herself puts it, a product of the imagination, within the bounds of historic possibility. Most significantly, her Sally Hemings is a woman 'whose intellect and taste were limited neither by her legal status nor racial categorization.' As a teenager, Hemings accompanied Jefferson to France for his tenure as American envoy there. Seaton's Hemings is permanently affected by the enlightenment this experience offered in terms of cultural and societal awareness. It also gives Bolcom, who studied with Darius Milhaud, the opportunity to provide an appealing dash of French influence to the music. By contrast, Bolcom, who is celebrated for his skill at combining classical and popular idioms, steers mostly clear of any obvious African–American musical references, such as jazz or spirituals. This is decidedly an art-song cycle, reflecting Bolcom's skill at text-setting and his seemingly bottomless wellspring of inspiration. The music teems with vitality, even in the slower numbers, and melds seamlessly with Seaton's libretto to create a rich, multi-hued inner life for this intriguing figure.”

JOSHUA ROSENBLUM

CultureSpotLA.com: Still's 'Danzas de Panama' at Huntington 'resonated with sun-drenched color'

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

On July 1, 2010, AfriClassical posted: “William Grant Still's 'Danzas de Panama' at Southwest Chamber Music Summer Festival July 10 & 11.” CultureSpotLA.com provides this review:

“Music Review: Southwest Chamber Music

July 18, 2010

By Wendy Kikkert

Classical Music and Opera

Each year I look forward to Southwest Chamber Music Summer Festival at the Huntington. To enjoy the beauty of the grounds, the art, and exquisite chamber music in the cool of a summer evening is a cultural experience unrivaled in Southern California.”

“Two works for string quartet concluded the program: Danzas de Panama by William Grant Still, and Dvorák’s String Quartet in F major, Op. 96, American. It was an interesting pairing, to hear a piece by the American composer Still that incorporates melodies from Panama juxtaposed with the Czech composer’s perceptions of the United States. Still’s piece resonated with sun-drenched color, lively dance rhythms, and the percussive sounds of native instruments.”

William Grant Still (1895-1978) is profiled at AfriClassical.com, where a complete Works List by Prof. Dominique-René de Lerma is found. Here is an excerpt from the entry on Danzas de Panama, indicating that the work was premiered by the Waldo Latin-American String Quartet on May 21, 1948 at the Los Angeles County Museum:

“Danzas de Panamà, for string quartet (1948). New York: Southern Music, 1953 (#197-31). 32p. 1. Tamborito; 2. Mejorana y sovacón; 3. Punto; 4. Cumbia y congo. After melodies collected by Elisabeth Waldo. Première: 1948/V/21; Los Angeles County Museum; Waldo Latin-American String Quartet. Duration: 15:00. Library: Library of Congress (also photocopy of manuscript, 57p., 48-39735), Lucks (11515).”

Danzas de Panama
resonated with sun-drenched color
Wendy Kikkert
Southwest Chamber Music
Culture Spot LA
Music Review

International Trumpet Guild: 'Fitzgerald gave a stunning performance full of sensitive expression.'

[Dr. Langston Fitzgerald III]

Trumpeter Wilmer Wise sent us this official review of a world premiere of a work for trumpet, performed by Dr. Langston Fitzgerald III at the 35th Annual Conference of the International Trumpet Guild, held in Sydney, Australia July 6-10, 2010:

"Langston Fitzgerald III next performed Down a River of Time by Eric Ewazen. This piece got its inspiration from an essay of nostalgic memories that recounts one's life journey. Only the second movement, '...of sorrows' was performed on today's program. The movement was heartfelt, wistful, and poignant. The harmonic language and style would certainly be familiar to those who know Ewazen's music. Playing a liquid line of lyric beauty that encompassed the entire range of the trumpet Fitzgerald gave a stunning performance full of sensitive expression. The movement's soaring lines, sweeping harmonies, and tender moments revealed how Ewazen's music can provide comfort in its lyricism and sincerity."

Penn State University Music Department Faculty Page

"Dr. Langston Fitzgerald III, professor of trumpet at Penn State, played trumpet with the Baltimore Symphony Orchestra from 1970 to 2003. Fitzgerald has played extra with the National Symphony and performed as assistant principal trumpet with the St. Louis Symphony Orchestra. He is principal trumpet and musical contractor of the Baltimore Choral Arts Society Orchestra. In addition, he is first trumpet and founder of both the Giavanni and the Potomac brass quintets. His free-lancing in Baltimore and Washington has included performing at three presidential inaugurations and three 'Christmas in Washington' nationally televised specials. He helped to contract and played co-principal trumpet at the nationally televised millennium celebration at the Jefferson Memorial in Washington, D.C.

"Prior to joining the Penn State faculty, Fitzgerald taught trumpet at Catholic University. He currently teaches at both the Peabody Conservatory of Music and Penn State. He was lecturer at the National Orchestral Institute at the University of Maryland at College Park. Fitzgerald served as assistant professor of trumpet, coordinator of the brass department, and orchestra conductor at Howard University. He has also taught trumpet at Morgan State University, the Duke Ellington High School for the Performing Arts, University of Maryland at Baltimore County, University of the District of Columbia, Towson State University, and Western Maryland College.

"He is a graduate of Howard University (B.M.E.) and Catholic University of America (M.M. and D.M.A.). He is a member of the International Trumpet Guild and is on the board of the International Women's Brass Conference. Fitzgerald is also a member of the American Federation of Musicians in Washington, D.C. and Baltimore."

Langston Fitzgerald III
Sydney ITG Conference
International Trumpet Guild
Down a River of Time
Eric Ewazen
Wilmer Wise

Delos: James DePreist's 'memorable versions of the three Respighi favorites together at last.'

[Respighi's Rome; Oregon Symphony; James DePreist, conductor; Delos DE 3287 (2001)]

On June 18, 2010 Delos Music's blog published “Virtual Reality Recordings Part One.” Here is an excerpt: “VRR orchestral recordings encompass a sense of dimension, space and timbre that take us a step closer to the wrap-around sound we hear in the concert hall.” Part Two involves a recording made in 2001 by the Oregon Symphony under the direction of the African American conductor James DePreist (b. 1936):

Delos Music

Friday, July 16, 2010

“37-for-37: Respighi's Rome/Virtual Reality Recordings Part Two

RESPIGHI: Roman Trilogy

Fountains of Rome • Pines of Rome • Roman Festivals

James DePreist, conductor • Oregon Symphony

DE 3287

Fountains of Rome (Fontana di Roma)

Pines of Rome (Pini di Roma)

Roman Festivals (Feste romane)

“Respighi’s popular showpieces provoke virtuoso playing in a spectacular recording…Delos offers a triumph. The sound has a sensuously velvety, wrap-around quality that is both warmly atmospheric and finely detailed, helped by a sharp terracing of textures to make the sound both immediate and vividly realistic. …the Fountains of Rome, with its gentle opening…the clean separation of the recorded sound immediately conveys a fine sense of presence…DePreist, over the years since he became music director of the Oregon orchestra in 1980, has built it into a virtuoso band more than able to hold its own in any international company, presenting these showpieces with just the sort of panache that they need.” —Gramophone

"'Respighi's Rome,' Respighi's colorful Roman Trilogy, is one of our favorite Virtual Reality Recordings (VRR)...with James DePreist and the Oregon Symphony. Others in the VRR series with the same artists include Korngold’s 'Sea Hawk' Suite and Symphony Op. 40 (DE 3234) and Stravinsky’s 'Rite of Spring' and 'Firebird' Suite (DE 3278). We're not alone in celebrating this Roman Trilogy recording, as the rave quote from Gramophone affirms.

"'Respighi's Rome,' also has a bit of Delos history. In 1987 we made our first recording with Jimmy and the OSO: an album we called 'Bravura,' (DE 3070) that won superlatives from every corner of the globe. It was an Ovation Recording of Distinction; and Bert Whyte of Audio proclaimed: 'James DePreist’s incandescent performance and John Eargle’s spectacular engineering blaze new trails in the musical sonic firmament.' The lead piece on the album, Respighi’s 'Roman Festivals, became an audiophile benchmark.

“15 years later we completed the Respighi Roman Trilogy with new DePreist/OSO recordings of 'Pines of Rome' and 'Fountains of Rome,' which were recorded with John Eargle's VRR process, thus making 'Pines' and 'Fountains' audiophile benchmarks as well. It was a great satisfaction to Amelia, John and everyone at Delos to have Jimmy’s memorable versions of the three Respighi favorites together at last. [On March 1, 2010 AfriClassical.com announced a complete revision of its page on James DePreist (b. 1936), the world-famous African American conductor who is Director of Conducting & Orchestral Studies at The Juilliard School in New York City.]

Respighi's Rome
Virtual Reality Recording
Delos 3287
Roman Trilogy
Fountains of Rome
Oregon Symphony

'Sphinx Organization Announces Launch of the Catalyst Quartet!'

[The Catalyst Quartet. From left to right, cellist Karlos Rodriguez, violinists Karla Donehew Perez and Bryan Hernandez-Luch, and violist Christopher Jenkins. Photo: Win Lubin.]

The Catalyst Quartet, a Sphinx Ensemble, comprises top Laureates and alumni of the internationally acclaimed Sphinx Competition for young Black and Latino string players. Founded by the Sphinx Organization, members of the Catalyst Quartet combine a serious commitment to diversity, excellence and education with a passion for accessible modern works. The members are violinists Bryan Hernandez-Luch and Karla Donehew Perez, violist Christopher Jenkins, and cellist Karlos Rodriguez.

Graduates of top music schools in the country, including the Manhattan School of Music, New England Conservatory of Music and Cleveland Institute of Music, the Catalyst Quartet serves as principal faculty at the Sphinx Performance Academy at Oberlin College and Roosevelt College in Chicago, Illinois, and as visiting teaching artists at the Sphinx Preparatory Music Institute hosted by the Detroit Symphony Orchestra. The mission of the ensemble is to advance diversity in classical music and inspire new and young audiences with dynamic performances of cutting-edge repertoire by a wide range of composers.

Having recently received coachings from Annie Fullard of the Cavani Quartet, in residence at the Cleveland Institute of Music, the Catalyst Quartet will next be in London conducting educational residencies through In Harmony England, a program based on Venezuela’s El Sistema. They will also be featured in a forthcoming BBC documentary on music education.

The Catalyst Quartet will make their debut at Carnegie Hall on October 5th, 2010, and at the National Conference for Grantmakers in the Arts, in addition to appearing as the featured Guest Artists for the 14th annual Sphinx Competition for young Black and Latino String Players presented by the DTE Energy Foundation. Members of the ensemble have performed as part of the national Sphinx Chamber Orchestra Tour, which has met with critical acclaim since its inception in 2008 and embarks on its third annual tour this Fall.

The Sphinx Laureates at Carnegie Hall is presented with generous support from Sheila C. Johnson and Bloomberg. The Sphinx Chamber Orchestra tour is made possible by the Andrew W. Mellon Foundation. Support for youth and community programs through Musical Encounters-The Tour! provided by Target.

Meet the Members of the Catalyst Quartet!

Bryan Hernandez-Luch began his violin studies at the age of six. Hailed by the press for his compelling performance at the 2003 Sphinx Competition, Bryan won first place in the senior division while performing with the Detroit Symphony Orchestra. As a Sphinx Laureate, Bryan has appeared with the Cleveland, Atlanta, New Jersey, Utah, Chautauqua, New World, Colorado, Nashville, Grand Rapids, Prince George Philharmonic and Battle Creek symphony orchestras as well as Canada's National Arts Center Orchestra. Also an avid chamber musician, Bryan was the first violinist and founding member of the Sphinx Quartet. Bryan has studied at the Manhattan School of Music, University of Utah, and Brigham Young University. Bryan's principal teachers include Igor Gruppman, Hasse Borup, Isaac Malkin and Nell Gotkovsky. He has also worked with Itzhak Perlman, Joseph Silverstein and William Preucil.

A native of San Juan, Puerto Rico, Karla Donehew Perez began playing the violin at age three. She entered the children's string program at the Conservatory of Puerto Rico at age seven. There she studied with Henry Hutchinson, concertmaster of the Puerto Rich Symphony Orchestra, with whom she performed as a soloist. She continued her studies with Zaven Melikian, former concertmaster of the San Francisco Opera Orchestra. Karla completed her Bachelors and Masters degree at the Cleveland Institute of Music, studying performance with the heralded violin teacher Paul Kantor, David Cerone and William Preucil. Karla was awarded as a Laureate in the 2008 Sphinx Competition. Recently, Karla was featured on the Young Artist Series for the Festival del Sole, in Napa Valley, California and was guest concertmaster of the Tucson Symphony Orchestra. Currently, she is entering her second year as a fellow of the New World Symphony.

Christopher Jenkins, violist, is a sought-after performer in the classical and rock worlds in New York City. Having performed in the viola sections of the New York Philharmonic, the St. Louis Symphony, the Virginia Symphony, and American Ballet Theatre, he has soloed in London and Manchester with jazz great George Russell’s Living Time Orchestra, and was the violist of Invert, an alternative-rock string quartet, and the Haven String Quartet. Past multi-year Laureate of the Sphinx Competition, Chris has served as violist for the Sphinx Quartet, and performed at the Quartet’s Carnegie debuts in both Stern and Weill halls in 2005. He is currently associate principal viola of the Miami Symphony and assistant principal viola of the Reading Symphony.

In the spring of 2004, Mr. Jenkins graduated from the Manhattan School of Music, where he earned a Professional Certificate studying with Michael Tree and Karen Dreyfus. He earned his M.M. at New England Conservatory, where he studied with Martha Katz, and his B.A. at Harvard University, where he concentrated in music and psychology and studied with Michelle LaCourse of Boston University. He has served as Dean of the Sphinx Performance Academy since 2007, and was awarded the Sanford Allen Award in 2010 by the Sphinx Organization in recognition of his professional achievements as Dean.

Cellist Karlos Rodriguez made his orchestral debut at the age of thirteen to great audience and critical acclaim. Karlos has since been an avid recitalist and chamber musician appearing at many of our important musical venues including Carnegie Hall, Merkin concert hall, Avery Fisher Hall, Alice Tully Hall, Philadelphia’s Kimmel center, and Radio City Music Hall. Karlos has also had the honor of working with distinguished artists such as the Beaux Arts Trio, American, Cavani, Cleveland, Emerson, Guarneri, Juilliard, Miami, Orion, Tokyo, and Vermeer String Quartets; Janos Starker, Lynn Harrell, and Steven Isserlis. His teachers have included Richard Aaron, Peter Wiley, and David Soyer. Karlos has attended and been a guest artist at the ENCORE School for Strings, Sarasota, Aspen, and Kneisel Hall chamber music festivals, Cleveland Chamber Music Society, and the Philadelphia Orchestra Chamber Music Society. Karlos is a top alumnus of the Sphinx Competition and veteran faculty member of the Sphinx Performance Academy.

Also as a teacher he is on the faculty at Summertrios and coaches chamber music at the Schneider Series-New York String Seminar. He is also the co-founder and music director of the Amagansett Chamber Music Festival. Karlos has worked on various Broadway musicals and Pop albums, most recently with Shakira and Marc Anthony. In addition to his other musical activities he is also the Principal Cellist of the Florida Grand Opera Orchestra in Miami. [The Founder/President of The Sphinx Organization is violinist Aaron P. Dworkin (b. 1970), who is profiled at AfriClassical.com.]

Catalyst Quartet
Sphinx Competition
Bryan Hernandez-Luch
Karla Donehew Perez
Christopher Jenkins
Karlos Rodriguez

'Five Short Choral Works' of Adolphus Hailstork in 'Life, Love & Lullabies' of Nathaniel Dett Chorale

[Nathaniel Dett Chorale; Brainerd Blyden-Taylor, conductor]

The Nathaniel Dett Chorale, http://www.NathanielDettChorale.org, whose namesake is the pianist, composer and choral director R. Nathaniel Dett (1882-1943), is based in Canada, the country in which Dett was born. The Chorale has ended its 10th Anniversary Season with a program called “Life, Love & Lullabies,” performed in Toronto May 27 and 30, 2009. [Originally, AfriClassical erroneously stated the year of the performances was 2010. The Nathaniel Dett Chorale brought the correct date to our attention in a comment posted July 21, 2010] Audio samples of the program can be heard at:
http://nathanieldettchorale.org/experience/booking/programs/life-love-lullabies/

Life,Love & Lullabies

Five Short Choral Works – Adolphus Hailstork

I Will Sing of Life (Arthur Graham)

Nocturne (Jim Curtis)

Crucifixion “He Never Said a Mumblin’ Word” (Traditional Spiritual)

The Cloths of Heaven (William Butler Yeats)

The Lamb (William Blake)

Three by Langston – Ricky Ian Gordon

New Moon

Luck

Joy

Missa Afro-Brasileira – Carlos Alberto Pinto Fonseca

(Based on Afro-Brazilian Rhythms and Lullabies)

“This delightful spring concert is full of powerful, haunting and infectious rhythms and melodies. It showcases Adolphus Hailstork’s impressive Five Short Choral Works, which include striking settings of Arthur Graham’s 'I Will Sing of Life' and the beloved Yeats poem 'The Cloths of Heaven'; Ricky Ian Gordon’s Three By Langston, settings of love poems by famed poet Langston Hughes; and Carlos Alberto Pinto Fonseca’s monumental Missa Afro-Brasileira, based on Afro-Brazilian rhythms and lullabies.” [R. Nathaniel Dett (1882-1943) and Adolphus C. Hailstork (b. 1941), Composers of African Descent, are profiled at AfriClassical.com]

Nathaniel Dett Chorale
Life, Love & Lullabies
Adolphus Hailstork
Five Short Choral Works
Three by Langston
Missa Afro-Brasileira

Two Pieces of Guitar Sheet Music of Justin Holland, African American Composer, Offered on eBay

[Justin Holland]

An eBay listing offers sheet music composed and arranged by Justin Holland, who is profiled at AfriClassical.com. The auction is scheduled to end “Jul 17, 201018:40:05 PDT”:

“Very rare stuff that belongs in a museum or high grade collection. 5 pieces of guitar sheet music, published in the 1850s and bound together. The 2 rarest are pieces by Justin Holland, (1819-1887), African American Guitarist & Composer. Condition as pictured but with some patching and tears. Please email for more detailed description.

“No 1 is Spanish Fandango by Justin Holland, published by S Brainard & Co at Cleveland in 1856. No 2 is I'm Lonely Since My Mother Died by H S Thompson, arranged by W L Hayden, published by Oliver Ditson at Boston in 1863. No 3 is 'Twas But A Dream by D J Lyon, arranged by Justin Holland and published by S Brainard & Co at Cleveland in 1858. No 4 is No One To Love by W B Harvey, arranged by Sept Winner and No 5 is Ever of Thee by Foley Hall, arranged by Bishop and published by Oliver Ditson at Boston. The final 2 are more deteriorated than the first 3. Shipping and insurance in the US is a flat $10.00, others actual. Thank you.”

MAP Fund Finances Sphinx Organization Commission of Tania León Work for Harlem Quartet

[Tania Justina León (b. 1943)]

The Sphinx Organization, http://www.SphinxMusic.org is on a list of 40 grant recipients announced by The MAP Fund July 6, 2010. Alison Piech is Manager of Media Partnerships at the Sphinx Organization. AfriClassical recently asked her to confirm the report that a new grant would fund a commission for a composition by the Afro-Cuban composer and conductor Tania León, born in Havana in 1943. Alison has replied:

“Thank you for your message. Yes, I’m happy to confirm with you that Sphinx has received funding from the MAP Fund to support this commission from Tania Leon. There is also a release from the MAP Fund that has additional details which can be found here: http://mapfund.org/emails/2010_07_02/“

MAPFund.org

“New York, NY - July 6, 2010 The MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and The Rockefeller Foundation, announced today its 2010 grants underwriting 40 new projects spanning the disciplines of performing arts practices. A panel of peers selected this year's grantees from more than 800 submissions.”

“The Sphinx Organization

Detroit, MI

A New Work by Tania Leon

Tania Leon

Harlem Quartet

The Sphinx Organization will commission a new work from renowned Cuban composer Tania León for the Harlem Quartet, a Sphinx ensemble, to premiere during the 2010-2011 season.” [Tania Justina León (b. 1943) is profiled at AfriClassical.com and at http://www.TaniaLeon.com]

Pasadena Star-News: James DePreist “will conduct the symphony in 'Sonic Sensations' on opening night, Oct. 23”

[Fanfare Magazine; November-December 1995; Conductor James DePreist]

Pasadena Star-News
Pasadena Symphony announces its guest conductor roster for 2010-2011 season
By Janette Williams, Staff Writer
Posted 07/11/2010
“PASADENA - A lineup of five guest conductors for the Pasadena Symphony's 2010-2011 season has been announced, to replace long-time artistic director Jorge Mester at the podium. Mester's contract was terminated in May after 25 years, reportedly when negotiations over a salary cut fell apart; Mester has never commented on the reasons for his sudden departure from the financially strapped orchestra, which he announced at the season's final concert.

“Paul Jan Zdunek, chief executive officer of the Pasadena Symphony and POPS orchestras, said the symphony repertoire had already been set and will not be changed. 'We've been working with (new artistic advisor) James DePreist for the last few weeks and came up with a list of conductors,' Zdunek said Friday.”

“DePreist - a veteran conductor and director of conducting and orchestral studies at the Julliard School in New York City - will conduct the symphony in 'Sonic Sensations' on opening night, Oct. 23, at its new Ambassador Auditorium venue.” “The symphony will continue to use guest conductors 'at this time,' Zdunek said, and they are already working with DePreist on the 2011-2012 lineup. DePreist, who was hired as an independent contractor in early June, is scheduled to arrive in Pasadena on Aug. 27 to meet the orchestra and symphony 'constituents,' Zdunek said.” [Maestro James DePreist (b. 1936) is profiled at AfriClassical.com]

'Hidden Treasures' of Irene Britton Smith, William Grant Still & Others, Northwestern College, Jan 25, 2010

[Irene Britton Smith (1907-1999)]

On July 10, 2010 AfriClassical posted: “'Sonata for Violin and Piano' of Irene Britton Smith Heard at Northwestern College Jan. 25, 2010.” Dr. Barbara J. Rogers serves on the Piano Faculty at Northwestern College, and specializes in classical music composed by women and people of African descent. She has generously provided us with a copy of the concert program:

Hidden Treasures
David Kozamchak, violin
Barbara J.Rogers, piano

Monday, January 25, 2010

7:30p.m.

Nazareth Chapel

Five Madrigal Stanzas – Bohuslav Martinu (1890-1959)

Sonata for Violin and Piano – Irene Britton Smith (1907-1999)

Romanza, Op. 75, No. 4 – Mary Carr Moore (1873-1957)

Oror (Lullaby), Op. 1 – Alan Hovhaness (1911-2000)

Suite for Violin and Piano – William Grant Still (1895-1978)

Program Notes (Excerpts)

“Welcome to a program of hidden treasures for violin and piano. Surprisingly, each of these pieces was written during the twentieth century. All but one of the composers represented were American, and even that one spent years in this country. Thus all of this musi is part of our national heritage, and we are pleased to share it with you.”

Irene Britton Smith

“It was for a class in larger forms taught by Giannini at Juilliard in 1947 that Smith completed the Sonata for Violin and Piano, but it apparently languished unheard until 1990, when violinist Gregory Walker and pianist Helen Walker-Hill premiered it at the Denver Public Library. The three-movement work is in the traditional fast-slow-fast order. The musical language here is lush romanticism tempered with occasional spicy dissonance, deliberate 'wrong' notes and a structural reliance on tritone relationships – perhaps somewhere along the continuum between Fauré and Shostakovich.”

William Grant Still

"For the Suite for Violin and Piano, compoed in 1943, Still was inspired by three pieces of visual art: sculptures in the first and third movements; a lithograph in the second. Ethnomusicological scholarship in Africa not yet having found its bearings at this time, Still sought to evoke African music through modal harmonies and driving rhythms. His fluency in jazz and blues idioms is evident in the piece, as well as his mastery of the neo-romantic vocabulary of his day. In thefirstmovement, the violin at first carries the melodic material while the piano drives the rhythm with rapidly arpeggiated chords; later, the piano offers the same tune in blocked chords while the violin weaves filigree above them.” [Irene Britton Smith (1907-1999) and William Grant Still (1895-1978) are profiled at AfriClassical.com]

Hidden Treasures
Barbara J. Rogers
David Kozamchak
Irene Britton Smith
William Grant Still
Northwestern College Faculty Artist Series