Sunday, February 24, 2013

Afro-American Chamber Music Society Orchestra in "Motherless Child" by William Grant Still (3:44)


[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]


"Motherless Child" by William Grant-Still (3:44)
aacms orchestra



Published on Feb 16, 2013
Afro-American Chamber Music Society Orchestra at Glendale City Seventh-Day Adventist Church 2/9/13

Janise White, Conductor/Piano
Jeff Corwin, Concertmaster (Violin 1)
Shigeru Logan, Violin 2
Gordon Halligan, Flute
Robin Ross, Viola
Karl Vincent, Bass
Kevan Torfeh, Cello


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Detroit Free Press: 'Rochelle Riley: Sphinx music organization flourishes as it enriches young lives'

Violinist Annelle Gregory, 17, of Escondido, Calif., was a finalist in the Sphinx Junior Division competition. / Rob Darmanin



[Aaron Dworkin, right, founder and president of the Sphinx Organization, presents an award to actor Delroy Lindo on Feb. 17 at the Bloomfield Hills home of Richard DeVore, left. DeVore is regional president of PNC Bank of southeast Michigan.  / Rob Darmanin]


Detroit Free Press
Rochelle Riley
February 24, 2013
Three virtuosos stroll into the parlor of Richard DeVore's spacious Bloomfield Hills home and bring some in the room to tears with haunting interpretations of Bach, Boccherini and Mozart.
...
The musicians are not just stellar. They are flawless. Their mastery speaks to years of training. They are poised and incredibly focused.
Oh, and they are 13, 16 and 17 years old.
...
The reception, or friend-raiser, is billed as a chance to meet Lindo, an actor who has had roles in "The Cider House Rules" and "Ransom," among others. But Lindo said he was playing a minor role, and the event was about the children.
"On a very fundamental level, Sphinx's mission has to do with creating opportunities where an opportunity might not exist ... putting stringed instruments into the hands of these young people. I believe in it wholeheartedly," he said. "I believe in it intellectually. I believe in philosophically. I believe in it emotionally because I have seen the effect of this work."
Sphinx was founded in 1996 by two University of Michigan students -- future violinist and MacArthur Fellow Aaron Dworkin and future teacher Carrie Chester -- solely to destroy cultural stereotypes and encourage black and Latino youths to embrace classical study, mostly strings.
The organization has been embraced nationally -- Yo Yo Ma has taught some students -- and has just expanded to London. But its heart and soul are in Detroit. And what Motown did for "the sound of young America" 50 years ago, this Detroit-based group may do for classical music now.
That is partly why Dworkin keeps the annual competition in Detroit.
"Given Detroit's historical standing in music and the arts, we feel it is critically important to continue its legacy by uplifting and empowering the next generation of artists," Dworkin said a week after the competition. He said he wants to "honor the city as a cultural Mecca and an artistic epicenter."
The organization's success shows what can happen when a person dreams -- and their dreams not only beget other dreams, but help make those other dreams come true.
This dream began with Dworkin, who not only encourages diversity in music, but diversity in education and composition. In addition to the national competition Feb. 17, the organization also hosted SphinxCon, the nation's first convention devoted to diversity in the arts, Dworkin said.
...
It may sound simplistic, but it's true: Children carrying violins usually aren't carrying guns.
Contact Rochelle Riley: rriley99@freepress.com

More Details: Watch, listen

To hear the national Sphinx Competition Concert, tune into WRJC-FM (90.9) at 5 p.m. today. To watch the concert, turn to Detroit Public Television at 2 p.m. today. The broadcast also will be available on demand at www.dptv.org. 


Saturday, February 23, 2013

Harlem Chamber Players Present 5th Annual Black History Month Celebration Sunday, February 24, 2013 at 3 PM



Alicia Hall Moran, Thomas Flippin & Daniel Bernard Roumain

Harlem Chamber Players & Special Guests

Sergio Mims: Soprano Takesha Meshé Kizart has CPO Recording of Ottorino Respighi's Opera 'Marie Victoire'

Takesha Meshé Kizart on Ottorino Respighi Marie Victoire; CPO Records

Takesha Meshé Kizart

Sergio Mims writes of soprano Takesha Meshé Kizart:

She has a new recording of a rarely heard Respighi opera on the CPO label
 
 
 

Soprano Adrienne Danrich Brings “This Little Light of Mine” to Cheyney University March 5, 7:30 PM

Adrienne Danrich

Dr. Sebronette Barnes-Aborom writes:

Soprano Adrienne Danrich will perform her one woman musical tribute “This Little Light of Mine: The Stories of Marian Anderson and Leontyne Price” on Tuesday, March 5 in the Marian Anderson Music Center on the campus of Cheyney University at 7:30 p.m. She will be joined by pianist Djordge Nesic. Tickets are available at www.cheyney.ticketleap.com. The program is presented through the 2012-2013 Cheyney University Arts and Lectures Series which features a variety of speakers and visual and performing artists from throughout the US and abroad. The Arts & Lectures Series is sponsored by a grant, Strengthening Historically Black Colleges and Universities.

Dr. Sebronette Barnes-Aborom
Director
Cheyney University Arts and Lectures Series

[More detail on the performance is available in a Feb. 17, 2013 Cheyney University News release:

WQXR: 'The Price of Admission: A Musical Biography of Florence Beatrice Price' Airs Sunday, Feb. 24, at 9 pm on 105.9 FM and WQXR.org

Sergio Mims sends this article on Florence B. Price:

WQXR Radio, New York City
Sunday, February 24, 2013
Florence Beatrice Price wrote more than 300 musical compositions. Some of her works R have been lost, others are unpublished, and some of piano and vocal music is still being heard in concert halls. When contralto Marian Anderson gave that historic concert at the Lincoln Memorial in 1939, she concluded her recital with Price’s “My Soul’s Been Anchored in the Lord.” And since the 1930s, Price’s art songs and spiritual settings have been favorites of artists who specialize in African American concert music.
At 9 p.m. on Sunday, Feb. 24, join Terrance McKnight, WQXR host and former Morehouse professor of music, for "The Price of Admission," a one-hour program that brings to light the music and legacy of one of America’s pioneering but nearly forgotten composers and takes a biographical look at Price’s symphonic music, songs, and works for piano and organ. The radio documentary includes archival interview tape of composer Margaret Bonds talking about her friendship with Price and Marian Anderson’s performances of Price’s music recorded during “The Bell Telephone Hour,” a popular musical showcase in the 1940-'60s.
Price was born in Little Rock, Ark., but spent her professional career in Chicago. Due to her musical talent and her family’s affluence, Price enrolled at the New England Conservatory in Boston, where she majored in organ and piano. After graduating with two degrees, Price worked as a college professor, a church organist and a theater accompanist. However, she is best remembered as the first woman of African descent to have a symphony performed by a major American orchestra. In 1933, the Chicago Symphony Orchestra played her Symphony in E minor. That orchestra also premiered her Piano Concerto the following year.

Video: Florence B. Price "To My Little Son" Erin Flannery, Soprano and Terrance McKnight, Piano

Dominique-René de Lerma: 'Black, Brown & Beige #5 -- Paul Robeson, all-American patriot'

Paul Robeson in 1942 (Wikipedia)

Florence Beatrice Smith Price (1887-1953) was an African American composer, arranger and teacher who was the first African American woman to have a symphony performed by a major orchestra. Florence B. Price is profiled at AfriClassical.com, which features a complete Works list by Prof. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com

Dominique-René de Lerma writes:

                 Although the first half of Bill McGlaughlin's Exporing music on NPR featured Florence Price's piano concerto and E-minor symphony, what seemed most relevant to me today was triggered by the voice of Paul Robeson.
              Being outspoken and "uppity", he was the target of the right-wing radicals who sought to depose him.  He was on the enemy list (along with Martin Luther King) of J. Edgar Hoover, the ruler of the FBI for whom a building in Washington is named [!].  His powerful, deep, resonant, authoritative voice told Joseph McCarthy's infamous Committee on Un-American Activities that his people built the country and he had as much right to it as anyone else.  His unpopularity was encouraged when he appeared in Othello, cast -- as Shakespeare designated -- as the husband of a White lady at a time mixed marriages were outlawed in the United States.  Yes, he was on good terms with the Soviet Union like so many intellectuals before World War II, but he did not reject that relationship after the Soviets fought with the British, French, and Americans against the Nazis, not because of politics, but because he was accepted there as a man.  He gave what might have been the first recital consisting only of spirituals, and included in his repertoire the music of the world's people, singing their songs in their own languages.  At the end of his career, when the Supreme Court finally agreed with the Constriction's guarantee of free speech, he sang the following credo at the Mother A.M.E. Zion church, eliciting cheers from the congregation when he emphasized the words underscored in the text below.

What is America to me? A name, a map, the flag I see,
a certain word, "Democracy"! What is America to me?

The house I live in, a plot of earth, a street,
The grocer and the butcher and the people that I meet
The children in the playground, the faces that I see;
All races, all religions, that’s America to me.

The place I work in, the worker at my side
The little town or city where my people lived and died,
The "howdy" and the handshake, the air of feeling free,
The right to speak my mind out, that’s America to me.

The things I see about me, the big things and the small,
The little corner newsstand and the house a mile tall;
The wedding and the churchyard, the laughter and the tears,
The dream that’s been a growin’, for a hundred-fifty years.

The town I live in, the street, the house, the room,
The pavement of the city, or a garden all in bloom,
The church, the school, the club house, the million lights I see,
But especially the people, that’s America to me.

The house I live in, my neighbors, white and black,
The people who just came here, or from generations back,
The Town Hall and the soap box, the torch of Liberty,
A home for all God’s children, that’s America to me.

The words of Old Abe Lincoln, of Jefferson and Paine,
Of Washington and Jackson, and the tasks that still remain,
The little bridge at Concord, where Freedom’s fight began,
Our Gettysburg and Midway, and the story of Bataan.

The house I live in, the goodness everywhere,
A land of wealth and beauty with enough for all to share,
A house that we call Freedom, the home of Liberty,
And it belongs to fighting people, that’s America to me.

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Dominique-René de Lerma


Friday, February 22, 2013

Lawrence University Symphony Orchestra to Perform W.G. Still's 'Afro-American Symphony' Sun. 3 PM (Central), which will be Live-Streamed


William Grant Still (1895-1978)
(Photo is the sole property of William Grant Still Music, and is used with permission)

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

Dominique-René de Lerma writes:

              This Sunday at 3 PM (Central), the Lawrence University Symphony Orchestra, conducted by Dr. Kirk D. Moss, will perform the Afro-American Symphony of Still at http://www.lawrence.edu/conservatory/services/webcasts/.

------------------------------------
Dominique-René de Lerma

MusicUNTOLD Concert Celebrates 50th Anniversary of March On Washington & 'I Have A Dream' Speech, AT&T Center Theater, 3 PM Aug. 18, 2013


John Malveaux of www.MusicUNTOLD.com writes:

MusicUNTOLD will present a concert to celebrate the 50th Anniversary of March on Washington and Dr. King's I HAVE A DREAM speech at the AT&T Center Theater (downtown Los Angeles), 3:00 PM, Sunday August 18, 2013 featuring distinguished classical and opera artists with KUSC Classical Radio as media sponsor. For information or inquires, email jmalveaux@gmail.com
 
John Malveaux

Dominique-René de Lerma: 'Black, Brown and Beige #4'

William Grant Still Symphony No. 1 (Afro-American) 
Detroit Symphony Orchestra; Neeme Järvi, Conductor
Chandos 9154 (1993)

   Those who were tuned in to Bill McGlaughlin's fourth program of his current Black, Brown and Beige series on National Public Radio were treated to one of our landmark masterworks: William Grant Still's Afro-American symphony.  It is unfortunately quite possible that many of his faithful followers heard this for the first time.  If so, they were in the same situation as those students enrolled in my final class, which concluded fifty-two years of university teaching.  For the past twenty-nine years, I had offered at least one semester on the history of Black music.  This was initiated with a consideration of general characteristics of the music, including various uses of the blues -- and that included a sampling of the first movement of this symphony by Still.  At our very next meeting, the students entered the classroom obviously irritated.  They did not hesitate in letting me know the reason: They felt angry because, thus far in their music studies, they had never previously heard this work.  It was so characteristic of Lawrence University students. I had not assigned or even suggested that they listen to the entire work after that introduction, but this is exactly what they did that initial evening.  This initiative alerted me that this was going to be a highly motivated and receptive group, and it was a wonderful honor to end my teaching career with that audience.  Every course they took had some effect on their personal or professional lives. One went immediately to Arizona and began teaching steel bands, one went to Sénégal on research and study, and another moved to Japan to develop new audiences for American music.  To an extent, they helped me reach the goal of all teachers: obsolescence.
              I'd hope Bill McGlauglin's listeners were similarly stimulated, if their concert going and record collection had sidestepped this work.  If that were not enough, he also included R. Nathaniel Dett's piano suite, In the bottoms, performed by the late  and much loved Natalie Hinderas, a friend of his from his Temple University days.  The last movement of that work is the Juba dance, which was a targeted piece for the repertoire of almost any Black pianist of the past.  When I saw it was out of print, I encouraged the publisher to reissue it.  They did more than that -- they reprinted all of Dett's piano suites.  Natalie included at least  the Juba  on many of her tours, and it finally made it to CD from LP in the company of other works of Black composers she so ardently supported.  I found it fascinating to learn that the composer-pianist George Walker was present for her Oberlin performance when she was a child prodigy.  (The radio program included one error: Dett did not study at Harvard.)
              The Afro-American symphony will very soon be on line, in a performance by the Lawrence University Symphony Orchestra, conducted by Dr. Kevin Moss. Now all students on this Wisconsin campus will have an advantage those ten years ago lacked.
              Ending just over a half-century of teaching was tough.  I closed that final meeting with Darryl Taylor's singing Leslie Adam's touchingly nostalgic Sence [sic] you went away.  In my dreams, I am back in class, blessed with students I have known, introducing them to our precious heritage.

------------------------------------
Dominique-René de Lerma