Sunday, July 31, 2011

'Russian Viola Sonatas' Earns Varvara Gaigerova Spot on 'Women Composers' List of Kapralova Society

[Russian Viola Sonatas; Eliesha Nelson, viola; Glen Inanga, piano; Sono Luminus DSL-92136 (2011) (71:02) (Reverse)]

The Kapralova Society carries the name of a Czech composer, Vitezslava Kapralova (1915-1940), a woman who showed great promise as a composer in her brief life. The “Women Composers” list of the Kapralova Society is found online. The website specifies: “Only composers of classical music whose works have been released on compact disc, have been included in this database.”

Today we sent an email to the Kapralova Society:
“Dear Kapralova Society,
I have often visited your website at http://www.kapralova.org/DATABASE.htm I would like to inform you that the new CD Russian Viola Sonatas includes the Suite for Viola and Piano, Op. 8 of the Soviet composer Varvara Gaigerova (1903-1944). The CD is Sono Luminus DSL-92136 (2011), released July 26, 2011. Eliesha Nelson is violist and Glen Inanga is pianist. Naxos distributes the recording, which has been reviewed by the blog AfriClassical:


"Please add Varvara Gaigerova to the list of Women Composers. I hope you will notify me and the performers, who are copied on this email. Thanks in advance.
Sincerely,
Bill Zick"

A short time later, this reply was received:
“Dear Bill Zick,
Thank you for bringing this artist to our attention, she has been added to the database.
Best wishes,
Karla Hartl
The Kapralova Society"

Eliesha Nelson: 'Glen and I will be doing a CD release concert/party in Cayman the beginning of September.'

[Russian Viola Sonatas; Eliesha Nelson, viola; Glen Inanga, piano; Sono Luminus DSL-92136 (2011) (71:02)]

On July 30 AfriClassical posted: “Violist Eliesha Nelson & Pianist Glen Inanga Make Strong Case for Varvara Gaigerova, Alexander Winkler & Paul Juon.” Today we have received a message from Eliesha Nelson, in which she refers to research assistance from Marina A. Ledin and Victor Ledin, and announces a CD release event in the Cayman Islands. We discussed Performing Arts in the Cayman Islands during an interview by phone with Glen Inanga on March 11, 2010. Glen said: “I came here to start a music program for them, and it's a very successful music program that still is in its infancy.” He says he is doing so “...through The Cayman Arts Festival and some other Arts organizations which I've been involved with...”

Eliesha Nelson writes:
“Thanks for such a wonderful review! The liner notes were somewhat of a challenge. I'm glad the Ledins had some original Russian encyclopedias to supplement. Glen and I will be doing a CD release concert/party in Cayman the beginning of September. It will be nice to revisit this music again.
Best,
Eliesha"

“Patrick D. McCoy interviews Author Elaine Mack about her new book: 'Black Classical Musicians in Philadelphia'” Noon Aug. 2

[Elaine Mack]

Patrick D. McCoy tells AfriClassical of his interview with author Elaine Mack:

“After a highly heralded presentation of her new book at the national convention of the National Association of Negro Musicians, Inc. in Philadelphia, PA July 2011, the Chicago native author and cellist drops in on Patrick D. McCoy, The African-American Voice in Classical Music to further expose the work to the public.”

“Tuesday, Aug. 2 at 12 Noon on BlogTalk Radio”

Saturday, July 30, 2011

Violist Eliesha Nelson & Pianist Glen Inanga Make Strong Case for Varvara Gaigerova, Alexander Winkler & Paul Juon

[Russian Viola Sonatas; Eliesha Nelson, viola; Glen Inanga, piano; Sono Luminus (2011) (71:02)]

We have enjoyed the work of Eliesha Nelson and Glen Inanga for years. Dorian Records posted a program sample on YouTube, just under a minute in length, on June 29, 2011 with this description:

“Multi-GRAMMY® nominated violist Eliesha Nelson teams up with pianist Glen Inanga to present a unique and eclectic program of early 20th century Russian viola masterworks — bridging pre-Revolutionary Russian viola pieces and early Soviet period compositions with 2 world premiere recordings. Russian Viola Sonatas is the next in a series of recordings from Ms. Nelson, exploring important, significant and compelling viola literature not commonly heard on other releases. No other recording in the marketplace combines this unique literature on one release.”

The Rest Is Noise is the prominent classical music blog of Alex Ross. He reviewed Russian Viola Sonatas on July 22, 2011 in a post titled Who was Varvara Gaigerova? The Dorian Records sample on YouTube was linked to the post. Alex Ross writes: “I rubbed my eyes somewhat when I studied the tracklist and discovered not only that the Shostakovich sonata was not there but that the composers included — Varvara Gaigerova, Alexander Winkler, and Paul Juon — were entirely new to me. The Gaigerova Suite Op. 8, the beginning of which you can hear in the video preview above, is particularly striking — a Scriabinesque score in four brief, pungent movements.” He says of Varvara Gaigerova: “She had a strong interest in the ethnic musical traditions of the Soviet Union and wrote a symphony on Kalmyk themes.” The review concludes with these comments: “The CD is beautifully played throughout; Nelson's tone is strikingly rich and warm.”

From our perspective, there is far too much to say about this recording for a single review. We will not be surprised if we return to the disc before long. At a time when a major organization such as the Boston Symphony can find itself with a single performer of African descent, following the celebrated retirement of principal harpist Ann Hobson Pilot in 2009, and many other orchestras have very small numbers of members of African heritage, it seems that recordings have allowed a number of instrumentalists of color to demonstrate talent and musicianship outside of an orchestral setting, by selecting challenging repertoire, even if it is neglected.

Awadagin Pratt and Kelly Hall-Tompkins are two examples from this year alone, in addition to Eliesha Nelson and Glen Inanga. Eliesha explored largely unrecorded American repertoire on her first CD, Quincy Porter, Complete Viola Works in 2009. Reviews in the Los Angeles Times and elsewhere hailed the result. On October 20, 2007 we listed the recordings of the Micallef-Inanga Duo, all of which have been very well received:

Micallef/Inanga Two-Piano Works; Works of Sir Richard Rodney Bennett, Bohuslav Martinu, Francis Poulenc; Royal Over-Seas League (1998)

Ravel: Music for Two Pianos; Somm 25 (2002)

Holloway: Gilded Goldbergs; Hyperion (2002)

Eliesha Nelson's recordings are evidence that she has chosen both friends and repertoire with consummate taste. Her first CD, Quincy Porter, Complete Viola Works, benefited greatly from the versatility of John McLaughlin Williams, a violin classmate at the Cleveland Institute of Music who shares Eliesha's deep interest in neglected repertoire. John not only conducted on the recording, but also performed on the piano, violin and harpsichord.

Russian Viola Sonatas was recorded with the Nigerian pianist Glen Inanga, a partner in the renowned Micallef-Inanga Piano Duo as well as a fellow student 15 years earlier at the Royal Academy of Music in London, England. Three of its four works are world premieres, and this appears to be the first recording of any work of of the Soviet woman composer Varvara Gaigerova, at least judging by search engine results.

Varvara Gaigerova (1903-1944) is represented by her Suite for Viola and Piano, Op. 8. The work of Paul Juon (1872-1940) is Sonata in D Major for Viola and Piano, Op. 15. There are two works of Alexander Winkler (1865-1935), Two Pieces for Viola and Piano, Op. 31; and Sonata in C minor for Violin and Piano. Russian Viola Sonatas is enhanced by warm, engaging and erudite liner notes by the violist herself. She takes care to communicate the historical setting in which each work was composed. For example, she writes:

“In the early 20th century, composers Varvara Gaigerova, Alexander Winkler, and Paul Juon, reflect different aspects of Russian music at this historic time of intense social and political revolution.” “Chronologically, Alexander Adolfovich Winkler is the oldest of the three composers. He was born in Kharkov on March 3, 1865.” “Pavel Fedorovich (Paul) Juon was born in Moscow, on March 6, 1872. He was the son of a prominent Moscow official of Swiss and German descent.” “The most biographically elusive of the three composers on this disc is Varvara Adrianovna Gaigerova. She was born October 17, 1903 in the city of Orekhovo-Zuyevo in Moscow oblast (region), western Russia, east of Moscow city, along the Klyazma River.”

Gaigerova is a generation younger than Winkler and Juon, but her Suite seems right at home with the works of Winkler and Juon. The sound of Gaigerova may have a bit more appeal for us, but the CD as a whole is a solid and welcome addition to the repertoire of Glazunov, Borodin, Taneyev and Glinka in our CD collection.

Disclosure: A review copy of this CD was provided by the record label.

Leslie Kwan: 'look at what I found while in Paris this afternoon'



[Yesterday we received a Twitter message from Leslie Kwan, calling attention to a photo she had taken of a commemorative street sign on a Paris street]

Le Chevalier de Saint-Georges (1745-1799) is featured at AfriClassical.com in English and French. The biography explains the history of the street's name. Here are excerpts:

Rue du Chevalier Saint-George
For many years Paris had a street named for General Richepance. In 2001 the City Council changed its name to Rue du Chevalier de Saint-George, at the request of French citizens from the West Indies.

The original sign listed the date of birth as 1739, even though historians and most leading biographers have documented it as 1745. Gabriel Banat is author of the authoritative English language biography of Saint-Georges, The Chevalier de Saint-Georges: Virtuoso of the Sword and the Bow (2006). He engaged in a lengthy effort to obtain changes in the signs for the street. On 25 March 2010, the Office of the Mayor of Paris informed him of changes.

The new signs call the street “Rue du Chevalier Saint-George,” and give the dates “1745-1799.” They add that he was “Colonel de la légion des Américains et du Midi,” [“Colonel of the Legion of the Americans and of the South”] the Legion of mainly Black volunteers Saint-Georges commanded.

Comment by email:
Thanks to Monsieur Gabriel BANAT. Jean-Claude HALLEY

Everett A. Lee III: 'After just reading articles on my Dad in AfriClassical...I decided to start with this email to you.'


[Everett Lee (Photo: Jet Magazine, March 1952, via online archive]

Everett Lee is an African American conductor who was born in Wheeler, West Virginia in 1913. Bob Shingleton of the blog On An Overgrown Path initiated a research inquiry which AfriClassical reposted. The item in AfriClassical prompted Byron Hanson, Archivist of the Interlochen Center for the Arts in Michigan, to volunteer that he had received a phone call a couple of weeks earlier from the son of Everett Lee, and that the conductor was still alive. AfriClassical and On An Overgrown Path both posted information about Everett Lee and the quest for more information on his career. Byron Hanson offered to bring the posts to the attention of Everett Lee's son. Today AfriClassical received an email from Everett A. Lee III:

Mr. William Zick,
After just reading articles on my Dad in AfriClassical, On an Overgrown Path and old clippings from Jet, as well as my conversation this month with Byron Hanson at Interlochen, I decided to start with this email to you.

Relevant information:
· I use Skype to talk to my Dad almost every day, who is retired and is living in Sweden.
· Last year I decided to start documenting his conducting works over the last 60+ years (from his notes written on the flaps of most his scores he has in his library, etc).
· My current Excel concert spreadsheet contains over 900 lines of performed works, as well as 3 other worksheets containing his Choral, Opera and Broadway performances.

I invite you and Bob Shingleton to contact me at any time to get accurate information on my Dad’s past, as well as contact information to reach him in Sweden. We have enjoyed this year long journey logging his conducting legacy and, as you can imagine, the job is not done.
Regards,
Everett (III)
Everett Lee

In our reply, which was copied to Bob Shingleton, we thanked Everett A. Lee III for contacting us and told him we felt Bob Shingleton should have the first opportunity to communicate with him, because he had launched the research inquiry.

Bob Shingleton replied:
“Bill, many thanks indeed for that. I have contacted Mr Lee junior and have suggested that our first priority should be to fill in the blanks in my incomplete outline biography. To this end I have asked him for summary information on post-1972 permanent and guest appointments. Online biographical information is self-replicating so I am anxious to get a complete if not detailed biography available asap. Another reader is translating an Estonian biography of Everett Lee from 2000 and that may also provide useful information.

“I will focus on the one simple task of filling in the biographical blanks and publishing an update of my original article to start with. When that has been done we can decide what to do next. Many thanks for making this important link and I will keep you in the loop.
Regards,
Bob”

Bet Haderej Retweets 'Leo Brouwer Presents 'Music of North America: Works by Jewish Composers' Aug. 4, Havana

[Leo Brouwer Presents: Music of North America: Works by Jewish Composers, August 4, 2011, Havana]

Sinagogas Bet Haderej of Cuernavaca, Morelos, Mexico, has retweeted an AfriClassical post of July 28, 2011 on the Aug. 4 concert in Havana, Music of North America: Works by Jewish Composers. Leo Brouwer (b. 1939) is an Afro-Cuban composer, guitarist and conductor who is featured at AfriClassical.com. His Office sent this announcement to AfriClassical in Spanish; we translated it as follows:

"Dear Sirs,
Leo Brouwer's Office has organized the Fourth Concert of the 2011 Season, entitled Music of North America: Works by Jewish Composers, with live commentary by Maestro Leo Brouwer. The performances will be by Leonardo Gell (piano), Fernando Munoz (violin) and Alejandro Martinez (cello). The program includes the national premieres of the following works: Piano Trio No. 1, Sweetgrass, Curtis Curtis-Smith (1941); China Gates for piano by John Adams (1948), Themes from West Side Story by Leonard Bernstein (1918-1990), in the version for violin, cello and piano; Piano Trio of Charles Ives (1874-1954); Vitebsk, study on a Jewish theme, for piano trio; Hoe Down from the ballet Rodeo by Aaron Copland, the latter version for violin and piano; and Three Pieces from Schindler's List, from the Steven Spielberg film of the same name, with music by John Williams (1932). The concert will be Thursday, August 4, at 6:00 pm at the Basilica of St. Francis of Assisi, Los Oficios Street between Amargura and Churruca, Old Havana."

Comment by email: THANK YOU VERY MUCH!!!! Greetings, Oficina Leo Brouwer

Comment on Baltimore S.O.: 'Kishna Davis was outstanding' and ovation for Terrence Wilson 'lasted 10 minutes'


[Kishna Davis and Terrence Wilson]

On July 12, 2011 AfriClassical posted: "Pianist Terrence Wilson and Soprano Kishna Davis Perform Gershwin With Baltimore Symphony Orchestra July 28 & 29." At 11:09 p.m. on July 29, 2011 "Destruction" commented:

“I just saw this performance with the BSO at the Meyerhoff tonight. Kishna Davis was outstanding. Highlights for me were My Man is Gone, Summertime and My Man. She was very confident and comfortable on stage and the audience was eating out of her hands.

Terrence Wilson's performance of Rhapsody in Blue just wrecked the place. I believe the ovation lasted 10 minutes....and then some.

Friday, July 29, 2011

TheClassicalReview.com: 'Tami Lee Hughes celebrates violin music by African-American composers on Albany Records'


[Tami Lee Hughes; Legacy: Violin Music of African American Composers; Albany Records (2011)]

This is the first of two CDs of works of composers of African descent from The Center for Black Music Research (CBMR) and Albany Records. A disc of symphonic works of Florence B. Smith Price is due to be released next month:


TheClassicalReview.com
July 29, 2011
By Michael Quinn
“Violinist Tami Lee Hughes has recorded an album of works for solo violin and violin-and-piano duo by African-American composers for Albany Records. The program spans almost 200 years, with the earliest work featured, Bingham’s Cotillion, composed in 1820 by Francis Johnson. The most recent is Chad ‘Sir Wick’ HughesS.L.I.C.E., which dates from 2009.

Other works include George Morrison’s set of Five Violin Solos from 1947; David Baker’s 1979 Jazz Suite; and Ozie Cargile’s Mixed Feelings, which was composed in 2000. Hughes is joined for some of the works by pianist Ellen Bottorff. [Francis B. Johnson (1792-1844) and Florence B. Smith Price (1887-1953) are profiled at AfriClassical.com, which features a comprehensive Works List by Prof. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com]

Thursday, July 28, 2011

Leo Brouwer Presents 'Music of North America: Works by Jewish Composers' Aug. 4, Havana








[From TOP: Music of North America; Steven Spielberg (left) with John Williams (right); Aaron Copland; Charles Ives; Curtis Curtis-Smith; John Adams; Leonard Bernstein; Schindler's List]

Leo Brouwer (b. 1939) is an Afro-Cuban composer, guitarist and conductor who is featured at AfriClassical.com. His Office sends this announcement to AfriClassical:

"Dear Sirs,
Leo Brouwer's Office has organized the Fourth Concert of the 2011 Season, entitled Music of North America: Works by Jewish Composers, with live commentary by Maestro Leo Brouwer. The performances will be by Leonardo Gell (piano), Fernando Munoz (violin) and Alejandro Martinez (cello). The program includes the national premieres of the following works: Piano Trio No. 1, Sweetgrass, Curtis Curtis-Smith (1941); China Gates for piano by John Adams (1948), Themes from West Side Story by Leonard Bernstein (1918-1990), in the version for violin, cello and piano; Piano Trio of Charles Ives (1874-1954); Vitebsk, study on a Jewish theme, for piano trio; Hoe Down from the ballet Rodeo by Aaron Copland, the latter version for violin and piano; and Three Pieces from Schindler's List, from the Steven Spielberg film of the same name, with music by John Williams (1932). The concert will be Thursday, August 4, at 6:00 pm at the Basilica of St. Francis of Assisi, Los Oficios Street between Amargura and Churruca, Old Havana."

Comment by email:
THANK YOU VERY MUCH!!!! Greetings, Oficina Leo Brouwer

Boston.com: “'the sound of change' has been almost inaudible from the perspective of a child looking” at an orchestra

[“Ann Hobson Pilot, principal harpist for the BSO from 1980 until her retirement in 2009, is the subject of a program that airs tonight on Channel 2. (Dina Rudick/Globe Staff/file 2009)”]

Boston.com
Television Review
By Jeremy Eichler
Globe Staff / July 28, 2011
Ann Hobson Pilot, the former principal harpist of the Boston Symphony Orchestra, has enjoyed a long and distinguished career. She was also the first African-American woman to serve as a principal player in any major symphony orchestra. A program airing tonight at 10 on WGBH, 'A Harpist’s Legacy - Ann Hobson Pilot and the Sound of Change,’' affectionately tells the story of her life as a harpist and her rapid rise through the color barrier in classical music.

“Pilot was born in 1943 in Philadelphia into a musical family; her mother was, extraordinarily for the time, a concert pianist. Even so, her parents were understandably skeptical when a teacher at Pilot’s high school nudged her from piano toward the harp. The match took, and in her early 20s she joined the National Symphony Orchestra as its only black musician and even toured with the ensemble in the Deep South. With the poise and cadence of a diplomat, Pilot refers to the period of her tenure with the NSO (1966-69) as 'a very difficult time for our nation.’' On tour she was not always able to eat in the same restaurants as her colleagues, and some hotels required special permission before admitting her.”

“Meanwhile her playing was being noticed far and wide. When guest-conducting the NSO, Arthur Fiedler asked her to audition for a principal post with the Boston Pops. She did and got the job, moving to Boston at age 26. In 1980, she was promoted to the principal harp position at the BSO, a post she held until her retirement in 2009. For that occasion, the BSO commissioned a composer of her choice - John Williams - to write her a harp concerto. She gave the premiere of 'On Willows and Birches’' that same year, and the piece, she proudly tells us, is on its way into the harp repertoire. For his part, Williams calls her 'one of the greatest harpists we’ve ever had.’' Yo-Yo Ma chimes in, too, with admiration: 'I don’t know how she gets that sound!'’’

“The truth is that, the program’s subtitle notwithstanding, 'the sound of change’' has been almost inaudible from the perspective of a child looking up at a professional orchestra on stage. Since Pilot’s departure, the BSO once again has just one African-American member. The trends are national. According to statistics provided by the League of American Orchestras, African-Americans make up less than 2 percent of the players in major orchestras, and Latino players less than 3 percent.

Wednesday, July 27, 2011

'LinkedIn SCT Group' posts Samuel Coleridge-Taylor's song 'You lay so still in the sunshine' by Lindqvist & Vogler Duo

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

Today AfriClassical posted: “Lindqvist & Vogler Duo in Samuel Coleridge-Taylor's 'You lay so still in the sunshine' (1:20) on YouTube.” Hilary Burrage is Executive Chair of the Samuel Coleridge-Taylor Foundation, http://www.sctf.org.uk/, and Founder of the 'LinkedIn SCT group.' Both are preparing for the 2012 observance of the Centennial of the death of the composer. Hilary comments:

“Many thanks for this and the previous recent emails Bill. I’ve posted Helene’s Song on the LinkedIn SCT group (she is a member), with of course acknowledgement.

"You (and colleagues) may be interested to know that SCTF’s plans are now gaining some momentum, and we hope to announce more quite soon. In the meantime, if anyone here would like more info, or to share ideas, I’d be delighted to hear from you. All the best, and thank you again, Hilary

Lindqvist & Vogler Duo in Samuel Coleridge-Taylor's 'You lay so still in the sunshine' (1:20) on YouTube

[Samuel Coleridge-Taylor]

The Afro-British composer Samuel Coleridge-Taylor (1875-1912) is featured at AfriClassical.com. On July 3, 2011 AfriClassical posted: “Lindqvist & Vogler Duo: 'We plan to record some of the “Songs of sun and shade”' of Samuel Coleridge-Taylor.” Soprano Hélène Lindqvist and pianist Philipp Vogler perform as the Lindqvist & Vogler Duo. We learned of their planned recordings from Hélène Lindqvist.

Today, July 27, 2011, a YouTube video was uploaded by ArtSongChannel with another song by Samuel Coleridge-Taylor, You lay so still in the sunshine (1:20).

Description:
Classical artsong performed by Hélène Lindqvist and Philipp Vogler 2011. More at

'On An Overgrown Path' on Conductor Everett Lee: 'From Carmen Jones to Arvo Part and beyond.'


[Everett Lee (Photo and article from Jet Magazine, March 1952, via online archive]

On July 26, 2011 AfriClassical posted: “Byron Hanson on Everett Lee: 'Everett was in the room with his son and is therefore alive though nearly 100 years old!'” A day earlier, on July 25, 2011, AfriClassical had posted: “'On An Overgrown Path' Seeks Missing Details on African American Conductor & Violinist Everett Lee, born 1913, Wheeler, WV.” We learned from Byron Hanson, Archivist of Interlochen Center for the Arts, that Everett Lee is alive.

Today, July 27, 2011, the above article and photo from Jet Magazine, March 1952, are posted by Bob Shingleton of the blog On An Overgrown Path, under the title “From Carmen Jones to Arvo Part and beyond.” He also writes:

“My recent post about Everett Lee ended enigmatically with his CD of Arvo Pärt's music released in 2000 by an Estonian label and an appeal for further information about the pioneering African American conductor. Now an email has come from Byron Hanson at the Interlochen Center for the Arts in Michigan and here is the very good news: 'Regarding Everett Lee, I had a call out of the blue from his son just a couple of weeks ago asking me to verify a concert Mr Lee conducted at Interlochen in 1974. Everett was in the room with his son and is therefore alive though nearly 100 years old!'

“My thanks go to Bill Zick at AfriClassical who relayed the email and also to the many readers who shared my article on Facebook and elsewhere. Byron Hanson tells me that the programme for that 1974 Interlochen concert was Mozart Overture to The Magic Flute, Bartók Romanian Folk Dances and Borodin's still neglected Second Symphony. The latter work is a natural for the BBC Proms, but was last performed there in 1971. I am now in the process of making contact with Everett Lee's family and wouldn't an interview be wonderful?”

Tuesday, July 26, 2011

Byron Hanson on Everett Lee: 'Everett was in the room with his son and is therefore alive though nearly 100 years old!'

[Everett Lee (Photo from Marquette University Archives, taken by Carl Van Vechten]

Yesterday AfriClassical posted: “'On An Overgrown Path' Seeks Missing Details on African American Conductor & Violinist Everett Lee, born 1913, Wheeler, WV.” Today the search bore fruit when we learned from Byron Hanson, Archivist of Interlochen Center for the Arts, that Everett Lee is alive:

“Dear Mr. Zick,
Regarding Everett Lee, I had a call out of the blue from his son just a couple of weeks ago asking me to verify a concert Mr Lee conducted at Interlochen in 1974. Everett was in the room with his son and is therefore alive though nearly 100 years old!

“I am to fax him the program copy regarding the concert here and, while I will not volunteer the contact information without his permission, I will call his attention to Mr. Shingleton's article and query and suggest that there could be mutual value in collaboration in the matter of Everett Lee's life during the past 35 years.

“For the benefit of Mr. Shingleton, please forward the information that Everett Lee spent a week at Interlochen Arts Camp [then known as National Music Camp] approximately August 5-11, 1974. He was employed by the University of Michigan to conduct their All-State High School Orchestra on our campus. Normally a single conductor is engaged for this two-week event, but perhaps Lee was not available for more than the single week. His concert on August 11 presented the Mozart Overture to The Magic Flute, Bartok's Romanian Folk Dances and the Borodin Symphony No. 2.. How he came to be employed for this engagement I know not, but perhaps someone in the UM School of Music could find reference to the matter. I will be happy to help further, but this is all the information I have available at present.

Sincerely,
Byron Hanson
Archivist
Interlochen Center for the Arts”

We forwarded the above email to Bob Shingleton of the blog On an Overgrown Path, and promptly received this reply:

“Bill, that is quite wonderful news and I will share it with my readers. There is no problem with my contact details being shared and I would truly love to fill in those blank years in Everett Lee's biography. Thanks for your co-operation in this,
Regards,
Bob”

AfriClassical congratulates Bob Shingleton on his well-timed inquiry into the later career of the notable conductor Everett Lee, and thanks Byron Hanson for contributing the crucial information.

'African Suite' of Fela Sowande is Available as Download from Naxos.com



[Photos show African Suite for Strings of Fela Sowande in three versions. TOP: CD, now in mp3 format, by CBC Vancouver Orchestra; Mario Bernardi, Conductor; CBC Records SMCD 5135 (1994) MIDDLE: LP record by The New Symphony Strings; Trevor Harvey, conductor; Decca LM 4547 (1952) BOTTOM: Naxos mp3 version of Decca LP]

The Nigerian composer Fela Sowande (1905-1987) is featured at AfriClassical.com. The Director of Orchestras at a Texas high school is interested in obtaining printed music for Fela Sowande's African Suite. An inquiry was sent to our associate Michael S. Wright of the U.K., who responds:

“I have remastered the 1950’s Decca recordings but have not published yet. There may be issues. However, Naxos have also done these and are available to download


The recording has flaws as does the performance but it beats anything else around including this version


I am not aware that it is in print but have circulated to people who may know where to find scores and parts. Yes, the music is really great and I wish you all chance of performing this and perhaps other works by this composer including the Folk Symphony.
Regards
Mike”

Program of Decca LP and Naxos Download
African Suite
1. I. Joyful Day: Allegro giocoso 00:07:03
2. II. Nostalgia: Andante 00:03:54
3. IV. Onipe: Andante; con tenerezza 00:02:50
4. III. Lullaby: Andante cantabile e sostenuto 00:06:39
5. V. Akinla: Allegro non troppo 00:03:33
The Negro in Sacred Idiom
6. No. 1 Go Down Moses 00:06:48
7. No. 2. Yoruba Lament 00:05:48
8. No. 3. Joshua 00:02:41
9. No. 4. Kyrie 00:12:47
10. No. 5. Obangiji 00:02:52


Monday, July 25, 2011

'A Harpist’s Legacy: Ann Hobson Pilot and the Sound of Change' Thursday, July 28, 10 PM, WGBH-2

[Ann Hobson Pilot, Boston Records BR1002CD (1991)]

The PBS documentary A Harpist’s Legacy – Ann Hobson Pilot and the Sound of Change will be aired nationally in the future, but will be seen on WGBH-2 in Boston on July 28, 2011:

“Thursday, July 28, 10pm, WGBH 2, more airings
A profile of the principal harpist with the Boston Symphony Orchestra from 1969 to 2008, tracing her groundbreaking career as a pioneering woman of color in the predominantly white world of classical music.”


A Harpist’s Legacy – Ann Hobson Pilot and the Sound of Change profiles the inspirational life and musical career of a gifted African American woman’s triumph over barriers of race and gender to become an artist and teacher, whom many, including John Williams, Yo-Yo Ma and James Levine, revere as one of the world’s great harpists.

“This compelling documentary, produced by Susan Dangel, profiles Pilot’s trailblazing career, not only as principal harp with the Boston Symphony Orchestra for nearly 30 years, but also as a distinguished international soloist, teacher, mentor and moving force behind music educational programs for underserved minorities.

“Born in West Philadelphia to a mother, herself a classically trained pianist, whose own career was limited by the racial biases of the time, Pilot early found her way to the harp. Her talent quickly became apparent and she began her professional career backing popular artists such as Johnny Mathis and Peggy Lee. She soon, however, left behind popular music in favor of the challenge of a classical career.

“After graduating from the Cleveland Institute of Music, where she studied under legendary teacher Alice Chalifoux, Pilot became substitute harp with the Pittsburgh Symphony and principal harp of the National Symphony in Washington, D.C. She became principal harp of the Boston Symphony Orchestra in 1980, having joined the BSO in 1969 as assistant principal and principal with the Boston Pops. She retired from the BSO at the end of the 2009 Tanglewood season.

“The documentary follows her personal and professional journey as the first black woman principal player in a major symphony orchestra. From Pilot’s challenges of performing in the segregated south before and during the Civil Rights Movement, the documentary culminates in her performance of a harp concerto composed in her honor by John Williams and given its debut in the BSO season opening concerts in 2009 at both Symphony Hall in Boston and at Carnegie Hall.

“A Harpist’s Legacy also uses the singular career of Ann Hobson Pilot to explore how the world of classical music has become more diverse and more welcoming for musicians of color. The moving documentary is a powerful story of one musician’s accomplishment, dedication and inspiration through a distinguished career filled with challenges and triumph.”

'Divertimento Notte blu (for String Orchestra and friends)' of Renée Baker Performed by Chicago Sinfonietta May 22 & 23

[Renée Baker Conducting]

Today AfriClassical received a press release concerning the role of Renée Baker, composer and conductor of Divertimento Notte blu (for String Orchestra and friends), in the Women in Classical Music concert of the Chicago Sinfonietta on May 22 & 23, 2011. An article published in Chicago.BroadwayWorld.com on April 20, 2011 and a review of the concert in the blog ChicagoClassicalMusic.org were also received. We present excerpts from all three:

CHICAGO SINFONIETTA TO PERFORM WORLD PREMIERE COMPOSITION BY RENÉE BAKER
Divertimento Notte blu (for String Orchestra and friends) will be conducted by Mei-Ann Chen as part of Sinfonietta’s Women in Classical Music concert May 22 & 23, 2011

CHICAGO – Divertimento Notte blu (for String Orchestra and friends), composed by Renée Baker, will receive its World Premiere in two Chicago Sinfonietta concerts, Sunday, May 22 at 2:30 pm at Lund Auditorium of Dominican University, 7900 W. Division Street in River Forest, and Monday, May 23 at 7:30 pm at Orchestra Hall of Symphony Center, 220 S. Michigan Avenue in Chicago. It will be included in the orchestra’s Women in Classical Music concert along with other notable works by women composers, including blue cathedral by Jennifer Higdon, An American Concerto by Gwyneth Walker, and the Pulitzer Prize winning Symphony No. 1 by Ellen Taaffe Zwilich.

The “friends” of the title are six of the most respected names in the world of jazz and improvised music: saxophonists Mwata Bowden and David Boykin, flutist Nicole Mitchell, vibist Bruce Nelson, cellist Teddy Rankin-Parker, and bassist Karl EH Siegfried.

Ms. Baker will conduct the orchestra and ‘friends’ in these premiere performances.Ms. Baker, in describing the concept behind Divertimento Notte blu, says “I envisioned the depths of the human condition and the melancholy that the examination nurtured led me to explore the face of human nature… In framing the human condition through sound, I have tried to touch both our conscious and unconscious states.” She continues, “Divertimento Notte blu beckons the listener to focus on the party of our lives awakened and to imagine the full randomness of our dream episodes.” It consists of eleven movements, but Baker advises listeners “Don’t try to follow the movements. That would equal the experience of trying to document your dreams every minute in the notebook on your nightstand.”

Renée Baker is founder/leader of thirteen contemporary music performance entities, including Chicago Modern Orchestra Project, FAQ tet, Mantra Blue Free Orchestra, Connoisseur Musica String Ensemble, the Renée Baker Trio, and several more. She has created eclectic chamber festivals for Adler Planetarium, Shedd Aquarium, Joffrey Ballet Chamber Series, Norris Cultural Arts Center and Classical Symphony Hall. She programs and conducts the Chicago Sinfonietta Chamber Ensemble.

As a composer, Ms. Baker has penned compositions for her own groups, as well as the Chicago Sinfonietta Chamber Ensemble and Great Black Music Ensemble/AACM. In 2009, Ms. Baker’s compositions premiered in Umbria, Italy and also have been performed at Suoni Per Il Popolo in Montreal. Baker has presented her compositions in over twenty concerts for the Chicago State University Student Afternoon Recital Series. She has premiered over ten works on the Chicago Sinfonietta Chamber Series. Ms Baker was accepted into the Jazz Composers Orchestra Institute at Columbia University in July 2010. Renée Baker currently has over 900 compositions to her credit. She is currently working on commissions from the Gaudete Brass Quintet, the Harnegra Chamber Orchestra and a chamber opera commissioned by Chicago Modern Orchestra Project entitled Clarity of Job. In October 2010, her orchestral composition Sundown’s Promise for Taiko and Orchestra received its World Premiere with the Chicago Sinfonietta.

As a violinist/violist, she is the principal violist in the Chicago Sinfonietta, of which she is a founding member. Ms. Baker is one of the most sought after instrumentalists for chamber music as well as recitals. She has performed in major music festivals all over the world, including the Aspen Music Festival and the Classical Music Festival (Eisenstadt). As a soloist, she has performed with John Sharp (Chicago Symphony) making her Ravinia debut in Don Quixote as well as with YoYo Ma and many other luminaries.


Chicago.BroadwayWorld.com
April 20, 2011
“Chicago Sinfonietta Bids Farewell to Founder Paul Freeman”
“Pulitzer Prize-winner Ellen Taaffe Zwilich's organic and accessible Symphony No. 1 is next on the jam-packed program, followed by an original composition by Sinfonietta principal violist Reneé Baker, titled Divertimento Notte blu (for String Orchestra and Friends), featuring the Sinfonietta and an ensemble comprised of some of Chicago's most exciting jazz musicians, including Nicole Mitchell on flute, David Boykin on tenor saxophone, Bruce Nelson on vibraphone, Mwata Bowden on baritone saxophone and Karl E.H. Siegfried on bass.”


“Chicago Sinfonietta – a fond farewell to Maestro Paul Freeman”
Kathryn J Allwine Bacasmot
ChicagoClassicalMusic.orgMay 27, 2011
“Following the intermission, and a video presentation documenting the career of Maestro Freeman, came the premiere of the commissioned work Divertmento Notte blu by Renée Baker (who also took to the podium to conduct her piece). Comprised of eleven brief movements 'for String Orchestra and friends,' to be performed without pause, one was instructed via the Ms. Baker’s program notes: 'Don’t try to follow the movements. That would equal the experience of trying to document your dreams every minute in the notebook on your nightstand.' I took her advice, and very much enjoyed the ride through her dreamscape 'ranging from inconsolable desolation to shuckin’ and jivin’ joy' – which included a terrific didgeridoo solo.”

'On An Overgrown Path' Seeks Missing Details on African American Conductor & Violinist Everett Lee, born 1913, Wheeler, WV

[Everett Lee (Photo from Marquette University Archives, taken by Carl Van Vechten]

Bob Shingleton, aka Pliable, writes the influential classical music blog On an Overgrown Path. Bob is based in England and has a keen interest in composers and musicians who have been unfairly neglected. He writes:

“Bill, I have published an article today about Everett Lee - http://www.overgrownpath.com/2011/07/i-dont-believe-in-negro-symphony.html

As I point out in the post, it is a work in progress and I invite readers to fill in the blanks, particularly in the later stages of his career. I hope that this way we can arrive at a biography that does this fine African American musician justice.

Please let me have any additional information you have and I will add it. There will be a brief follow up tomorrow and another big article on a related subject next week. I'll keep you posted.
Regards from England,
Bob Shingleton

Justin Holland, African American Composer for Classical Guitar, Born July 26, 1819

[Justin Holland]

AfriClassical.com features classical guitarist, composer and teacher Justin Holland (1819-1887), who was born July 26, 1819. As a music teacher in Cleveland, he was considered the city's first African American professional. Many customers may not have realized he was an African American, but his sheet music for the guitar was sold nationally.

Since the last anniversary of his birth, Justin Holland has been featured on AfriClassical several times. On August 3, 2010 we posted: “SoupGreens.com: Justin Holland's 'Spanish Fandango, classical/blues nexus.'” On August 8, 2010 AfriClassical posted: “Sheet Music of Justin Holland (1819-1887), African American Composer for Classical Guitar.” We noted that a visitor had asked for assistance in obtaining sheet music for Justin Holland's compositions for guitar. Here is a quote from our reply to the visitor:

“I am happy to hear of your interest! Amaranth Publishing offers sheet music of Justin Holland:

“Our associate Suzanne Flandreau has excellent resources at her disposal. She is Head Librarian and Archivist at the Center for Black Music Research of Columbia College Chicago, 600 S. Michigan Ave., Chicago, Illinois 60605. Telephone: 312-369-7346. Fax: 312-369-8029. http://www.colum.edu/cbmr.”

Pianist Roy F. Eaton Plays Scott Joplin at Bryant Park Monday-Friday, August 1-5


[Roy Eaton (Artwork: LeRoy Neiman)]

The pianist Roy F. Eaton, whose website is http://www.royeaton.net/, has been featured frequently at AfriClassical. Today he sends news of his performances at New York City's Bryant Park:

“At this moment of extreme Personal and International crisis and challenge, I feel my upcoming appearance in Bryant Park during the week of August 1-5 takes on a special significance. Filling the world with sounds of Joy is a special privilege made possible by the great joyful compositions of Scott Joplin whose works will be featured during this appearance. Come join me lunchtime that week from 12:30 to 2:30 except Thursday which will be 2 to 4.” [Scott Joplin is profiled at AfriClassical.com]

Sunday, July 24, 2011

Cedric Berry in 'George Gershwin: From Broadway to Catfish Row' July 26 Annenberg Community Beach House

[Cedric Berry]

7.26.2011
“George Gershwin: From Broadway to Catfish Row
Experience treasures from the Gershwin songbook, including selections from Porgy and Bess, with pianists and commentators Victoria Kirsch and Alan Chapman and vocalists Karen Benjamin, Shana Blake Hill, Cedric Berry and H. Waring Sharpe.

6.30 PM – 8.00 PM
Annenberg Community Beach House
415 Pacific Coast Hwy., Santa Monica, CA
“This concert is at capacity and our waitlist is now full. First choice of seats in the adjacent spillover room will go to those on the waitlist, then if there is room, to walk up guests. Depending on weather we may open the screen doors in the concert hall, in which case the concert can be experienced from outside.

Cedric Berry (bass baritone) received his music diploma from Interlochen Arts Academy and both his Bachelor's and Master's degrees from the University of Southern California. He has performed a variety of operatic roles including the title role in Puccini's Gianni Schicchi, Mephistopheles in Gounod’s Faust, Falstaff in Nicoli's Merry Wives, Lepporello in Mozart’s Don Giovanni, Sarastro in Mozart's Die Zauberflote, Collatinus in Britten's The Rape of Lucretia and Schaunard in Puccini’s La Boheme. Berry made his first European stage appearances in Spain, as Jake, in a concert version of Gershwin's Porgy & Bess. He appeared with LA Opera at the Savonlinna Opera Festival in Savonlinna, Finland and sang a concert in tribute to Paul Robeson for the Banlieurs Bleues festival in Paris, France. He has been the recipient of several awards including first place in the Metropolitan Opera Western Region Competition.”

TimesUnion.com: Scott Joplin wrote operas 'The Guest of Honor' and 'Treemonisha' as well as Ragtime

[Scott Joplin Piano Rags; Joshua Rifkin, piano; Nonesuch 79159 (1990)]

Albany Times Union
Museum at St. Louis home of the 'King of Ragtime,' Scott Joplin, tells story of the life of a musical pioneer
By Michael Schuman Special to the Times Union
Sunday, July 24, 2011
“At the turn of the 20th century, ragtime was what jazz, rhythm and blues, and hip-hop would be in later decades: cutting-edge music played in not so savory places and an art form that respectable people said was going to be the end of Western civilization as they knew it.

“And nobody wrote and played ragtime as well as a Texas-born itinerant musician named Scott Joplin. The only home where Joplin lived that still stands is a humble yet handsome, brick structure on Delmar Boulevard in St. Louis. It is open as a state historic site, serving both as a tribute to Joplin and perhaps the nation's most significant monument to this truly American musical genre. The bottom floor is a mini-museum devoted to ragtime and the early recording industry; the top floor is a recreated turn of the century flat, furnished like Scott Joplin and his wife Belle might have had it during their residency.”

“Joplin tackled more ambitious projects beyond single ragtime tunes. He composed an opera, 'The Guest of Honor,' to commemorate Booker T. Washington's dinner at Teddy Roosevelt's White House. It was performed throughout the Midwest and prairie states in 1903, although some music halls refused to accept the fact that a black man could write an opera and credited 'The Guest of Honor' to 'Scott Joplin's Minstrel Company.' Unfortunately, the sheet music has been lost, so it can never again be performed.

“A second Joplin opera, 'Treemonisha,' tells the story of a post-Civil War black couple who adopt a baby girl who grows up to become a teacher and leader. No music publisher thought it would be a commercial success, and Joplin was unable to sell it. He self-produced and performed it once in 1912, but 'Treemonisha' was soon forgotten -- that is, until 1972 when it was performed in Atlanta. It was later performed on Broadway, and in 1976, Joplin was posthumously awarded a special Bicentennial Pulitzer Prize for his contributions to American music.” [Scott Joplin is profiled at AfriClassical.com]