DOCSLIB.ORG

Lynching Ballad to Be Sung by Racially Mixed Chorus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lynching Ballad to Be Sung by Racially Mixed Chorus SATURDAY, JUNE 8, 1949 THE PHOENIX INDEX, PHOENIX, ARIZONA PAGE SEVEN Lynching Ballad To Be Sung By Racially Mixed Chorus Paul Robeson To A PAIR OF KINGS Appear As Soloist NEWS OF THE THEATRES * NEW YORK—(ANP)—The first gan to determine (hemes for it, and 'performance of a unique choral after Miss Chapin traveled to Los composition. “Anri They Lynched Angeles to discuss her poem with Him on a Tree.” the joint creation him. a musical setting begun al- They Plan Calvacade Os Negro Theatre Calvacade Os of William Grant Still and though theme, after theme was dis- ' Katherine Garrison Chapin, whose carded before tne compos tion » Poem the young composer set to reached materialization. Negro Theatre music, will be presented at Tile story is as follows: , Lewisohn Stariuim here June 24 In a with a white and Negro Chorus, a “It is night clearing by among turpentine To Be Staged symphony orchestra, a .soloist and the roadside the by headlights a narrator taking part in the pro- pines, lit the from CHICAGO -<ANP)— What will parked cars, a Negro just been duction . has be the most gigantic Negro stage lynched. The white crowd who spectacle the “Cav- Approaching ever conceived, a state production hanged him and those who watch- alcade of the Negro Theatre”, is * in - ed, now, in its scope, the ballad was are breaking up going i. oil g prepared for presentation at spired by the tragedy of mob law- home. They sing together, get in- ihe American Negro Exposition in lessness and its particular v acial to their cars and drive away. llie t ig Coliseum auditorium scat- expression in the United States Darkness falls on the road and ii g I.persons, it was announced The poem was not intended as the woods Then slowly the Ne- : this week hv Truman K Gibson, propaganda or as problem verse. groes ceme out from hiding to find .. r.. executive director. Miss Chapin says. But rather, she the body of their friend. Written by Arna Bontemps and declares, it was written as a pure- GROPE FOR TREE Langston Hughes, two of the race’s ly human document, inspired by “Among them is the mother of ; most brilliam authors, Cavalcade her conviction that lynching is a the man who was hanged In 1 will dramatically portray the entire of Negro theatre, begin- "serious flaw in the fabric of carkness they grope for the tree; .story the American democracy " when they find it. the mother sings ning with credo and other festivi- and immediately after ROBESON AS SOLOIST her dirge. Tne Negro chorus joins ties; beir.ie the Civil war to ’swing” and the On the same program, when Mr her and they retell the story of the Armstrong, his victory | mode n colored show. Henry welterweight champion, celebrates Still’s most recent composition h a s man’s life and rehearse the trage- FEDERAL AID ASSURED in leading Calloway's or its premiere, Paul the dy iis humble and broke, but over Paul Junior Boston recently by Cab Robeson, Sne presentation will have the distinguished baritone, will appear they ll sing together, This chestra at the Southland in Boston while the king of Hi-De-Ho looks as a white full cooperation of the federal the- soloist. He will voices the Negroes.’ the the e.s sing the “Ballad joining atre. Although orders had gone out on approvingly Armstrong established a new attendance record at for Americans,” he song strong for which was becomes in its im- for the disbanding of this group, Boston Garden while Cab broke all house records during his five weeks* so widely praised after it was partial protest. when Col. F. C. Harrington, WPA engagement at the Southland a fortnight ago. heard on the “Pursuit of Happi- administrator, script he % “This is a human document sung taw the ness” radio program. Earl Robin- enthused he put through a rhtyhmic was so son and John Latouchc composed in expression of poetry special order for the Chicago proj- the music and text of this selec- through music and thence to the ect to continue through Sept. 2. tion . hearts of people," Miss Chapin says. This means ihac fume 75 Negro ac- “And They Lynched Him to a “It is the heart, the intelligence, tors, singers and musicians will be Tree” was brought to the attention that overcomes and eliminates in- available for supporting roles in the of Mr. Still by Dr Alain Lovke of tolerance and (he blew of intoler- extravaganza. land,” Howard university. Thrilled by the ance upon the she con- One idea, the composer immediately be- cludes. Principals are bung selected. of them is Eria Moten, noted sing- radio, .lig stal of stage, screen and mixo will have a prominent role. Rehearsals are starting this week and Cavalcade will have its prem- A REPORTER AT LARGE iere several days after the Exposi- McDaniel Takes the Hattie most of tion opens on Juiy 4. Five oper- WELL, NOW THAT THE ‘war hysteria’ has taken scope style to (that ettas, similar in and country and I find diversion seekers becoming more liberal is, at now famous “Swing Mikado” the the grill) I think it's a good time to poke puns at a few of which this group first introduced, bar and worthy who go to make up the ’£ ifth Column. Mine be- Washington By Storm will be presented by the federal my constituents sup- Langston Hughes, left, and Arna Bontempts, rights (he Negro theatre from pre-Civil war days to the performers at various times to ing the first. ? of Cavalcade. WASHINGTON—(A N )—Hattie man theatres, attended by news- authors, discussing Etta Moten, modern swing era and will have a large cast of plement the showing noted with Miss have a breed McDaniel came to Washington men and women and officers of TO DEPICT OLD-TIMERS OF FIFTH COLUMNS; The street corners tendency to famous star of stage, screen and radio, songs for the stars supported liy members of the Federal Theatre last week and promptly proceeded the theatre chain. With so distin- Most of the important shows will the city's worst enemies. Why can’t FDR form some sort of commis- gigantic of the Negro Theatre" to be in Chicago. Miss Moten will be in one of the lead, From informal to take the town by storm. Tne guished a guest. Mr. Harrison him- “Cavalcade be recreated. the in loafers who block the highways and byways been by Congo sion to gather these star of “Gone With the Wind” ar- self supervised the affair at which produced for the American Negro Exposition at the ing roles. The Cavalcade has prepared Sunday cele'otations in there the about numbers that won’t hit'? . Then, too, s square of New Orleans in 1800 by nereiy u> gab . rived on Friday morning to do a .s 'McDaniel occupied literally Chicago Coliseum between July 4 and September '£¦ Hughes and Bontempts, who have previously col- at slaves, through tile historically fa- bar ‘n' grill addict. He’s not satisfied with taking up space the bar week’s personal appearance a t the and figuratively, the center of the This stage presentation portray the history of laborated on stage productions. will mous play, "The Octoroon,” a hit reporter from high in order to get into the s, Lichtman Lincoln theatre on You state. and preventing a getting of 1850; plantation days just be- repoitei street, her first appearance in this At the last show Friday night. 1 spirit of ‘knocking out a column', but, he actually wants the chance to star we always predicted the Civil war; the original Fisk city and the next to the last stop Sigma Gamma Rho sorority pre- j fore Come, now, Franklin SPEAKING OF THE would come for her. When AVIS Jubilee Singers before Queen Vic- to listen to his chatter. on her nation wide Mc- sented Miss McDanel a beautiful contribute to Fifth Column, tour. Miss ANDREWS, nightingale of the toria in 1874; the Richards and c,ADIES: There isn't much they could the Daniel leaves Washington to ap- oasket of flowers and the audience ! vaudeville circuits, sent in her no- Pringle’s Georgia Minstrels of the could me into forgetting about my daily pear Paramount theater in most fash- save, that they persuade at the in responded approved she would be off for her 1880’s and the Black Patti and the for tice that uozen and in their flirtations, wink at me in that winsome way; New York City. ion to Miss McDaniel’s offerings. customary 10 to 15 week fling of the 1390’5, the Caval- Troubadors King Leopold of the Bel- She sang recited, answered ques- the country. .Etsy. give accurate portrait the ladies, I'd make as great a sacrifice as A series of affairs arranged for throughout was cade will an tions, did scenes from GWTW, and promptly pushed in the..star slot. of the Negro theatre in the 19th gians. Or one even greater . • Seriously, I'm beginning to wonder her entertainment completely sur- told interesting stories of hpr Go on out there, lil girlie, and centuryy. No. 1 column do??? prised why they need a'fifth’ column. Can’t this the buxom star. The first screen work. Imitations of Sophie fIIMMknock them right oil their feet., The late 1890’& ana the 20th cen- HOLLYWOOD—(ANP) meriy Les band making \ was a at Harrison’s and Mae LIKE of Hite’s know can do it. and blues were I breakfast Tucker West brought the white we you tury, when jazz success has .
Load more

Recommended publications
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • JUKEBOX JAZZ by Ian Muldoon* ______
    JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller.
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • Julio Cortázar Y El Jazz. Sincretismo Y América
    JULIO CORTÁZAR Y EL JAZZ. SINCRETISMO Y AMÉRICA. ARACELI ABRAS DANERI […] habrá que trasmitir al lector como se trasmiten las cosas fundamentales: de sangre a sangre, de mano a mano, de hombre a hombre (Cortázar, en Alazraki, 1994: 385). 1 Editor: Universidad de Granada. Tesis Doctorales Autor: Araceli Abras Daneri ISBN: 978-84-9163-858-2 URI: http://hdl.handle.net/10481/51136 2 ÍNDICE DEDICATORIA Y AGRADECIMIENTOS. página 5 CAPÍTULO I INTRODUCCIÓN: CAMPO TEÓRICO-METODOLÓGICO. I. CULTURA E IDENTIDAD: CRÍTICA DE LA CULTURA Y CONTRACRÍTICA LATINOAMERICANA. página 6 II. LA COLONIZACIÓN ESPACIO-TEMPORAL DE LA ACADEMIA: LA LETRA, LOS NOMBRES: RELOCALOZACIONES. página 9 III. ILUSTRACIÓN Y SUBALTERNIDAD. página 34 IV. BOOM Y REALISMO MÁGICO. página 39 V. LA RAZÓN COMO CENTRO EJECUTOR. página 44 VI. JULIO CORTÁZAR, CRÍTICO LATINOAMERICANO. página 48 CAPÍTULO II I. RAÍCES Y ORÍGENES. UNA GÉNESIS DE LAS INFLUENCIAS DE PENSAMIENTO EN CORTÁZAR. página 67 II. RECURSOS: SUEÑO, JUEGO, HUMOR. página 83 III. ABSOLUTO Y LENGUAJE ARTÍSTICO. página 93 IV. REVOLUCIÓN DEL LENGUAJE. página 98 V. TERRITORIOS. LO FANTÁSTICO. página 104 VI. ANALOGÍA. página 117 VII. TIEMPO Y TEMPO. página 126 CAPÍTULO III I. SINCRETISMO. ÁFRICA Y LA ORALIDAD: TRADICIONES DEL JAZZ. página 133 II. MESTIZAJE Y UTOPÍA. página 137 III. ACADEMIA Y ORALIDAD. página 141 IV. EL JAZZ. página 146 V. REPRESENTACIONES DEL JAZZ: JAZZ TALKS. página 181 CAPÍTULO IV I. OTREDAD, ORALIDAD COMO SUSTRATO. CORTÁZAR Y EL SINCRETISMO. página 203 3 II. JAZZ Y LITERATURA: EN CORTÁZAR. página 215 III. RAYUELA. página 244 IV. PRESENCIA, "EL PERSEGUIDOR". EL OTRO. EL JAZZ. página 254 CAPÍTULO V I.
    [Show full text]
  • Tommy Dorsey 1 9
    Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 .........................................................................................................
    [Show full text]
  • 334 XIII. Revivals and Recreations; The
    XIII. Revivals and Recreations; The Sociology of Jazz By the early 1970s, as we have seen, jazz was in a state of stylistic chaos. This was one reason why the first glimmers of “smooth jazz” came about as both an antidote to fusion and an answer to “outside jazz.” But classical music was also in a state of chaos. The majority of listen- ers had become sick of listening to the modern music that had come to dominate the field since the end of World War II and had only become more abrasive and less communicative to a lay audience. In addition, the influx of young television executives in that period had not only led to the cancellation of many well-loved programs who they felt only appealed to an older audience demographic, but also the chopping out of virtually all arts programming. Such long-running programs as The Voice of Firestone and The Bell Telephone Hour were already gone by then. Leonard Bernstein had been replaced at the New York Philharmonic by Michael Tilson Thomas, an excellent conductor but not a popular communicator, and thus CBS’s “Young People’s Con- certs” no longer had the same appeal. In addition, both forms of music, classical and jazz, were the victims of an oil shortage that grossly affected American pressings of vinyl LPs. What had once been a high quality market was now riddled with defective copies of discs which had blis- ters in the vinyl, scratchy-sounding surfaces and wore out quickly. Record buyers who were turned off by this switched to cassette tapes or, in some cases, the new eight-track tape format.
    [Show full text]
  • LACMA Public Programs September 2014
    Music, Film, and Education ^ LACMA Public Programs September 2014 Talk: The Art of Wine: Wine in Music: An Afternoon with the Ahn Outdoor Session: Photography Family Dynamic: Ingrid Calame the Age of Expressionism Sook Sun Ensemble at LACMA and Shelby Roberts with Willa TALKS & COURSES Symposium: Locating Expressionism Saturday, September 6 | 10 am –4 pm Sunday, September 7 | 10 am –4 pm Free and open to the public Noted art historians and scholars convene in this two-day symposium on the occasion of the exhibition Expressionism in Germany and France: From Van Gogh to Kandinsky to shed new light on the extraordinary response of artists in Germany and France to key developments in modern art in the early 20th century. For the first time in a major museum exhibition, LACMA presents Expressionism not as a distinctly German style, but as an international movement in which artists responded with various aesthetic approaches to the work of modern masters. The German side of the story has been less well known in the United States until just recently, and LACMA's groundbreaking exhibition provides visitors and scholars alike an opportunity to explore the nuances of the interrelationship between a group of artists that includes not just Van Gogh and Kandinsky, but Henri Matisse, Georges Braque, Andre Derain, Erich Heckel, Ernst Ludwig Kirchner, and many others. Sponsored by the museum and the Historians of German and Central European Art, topics presented explore in depth the relationship between French art and Germany artists, Cubism's impact, and the impact of non-Western art on European art from this era.
    [Show full text]
  • The 2017 NEA Jazz Masters Tribute Concert Honoring the 2017 National Endowment for the Arts Jazz Masters
    4-3 NEA JAZZ.qxp_WPAS 3/24/17 8:41 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN, Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 3, 2017 at 7:30 The Kennedy Center and the National Endowment for the Arts present The 2017 NEA Jazz Masters Tribute Concert Honoring the 2017 National Endowment for the Arts Jazz Masters DEE DEE BRIDGEWATER IRA GITLER DAVE HOLLAND DICK HYMAN DR. LONNIE SMITH Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-3 NEA JAZZ.qxp_WPAS 3/24/17 8:41 AM Page 2 THE 2017 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts KENNY BARRON, NEA Jazz Master DAN MORGENSTERN, NEA Jazz Master GARY GIDDINS, jazz and film critic JESSYE NORMAN, Kennedy Center Honoree and recipient, National Medal of Arts The 2017 NEA JAzz MASTERS Performances by PAQUITO D’RIVERA, saxophone LEE KONITz, alto saxophone Special Guests Bill Charlap, piano Sherrie Maricle and the Theo Croker, trumpet DIVA Jazz Orchestra Aaron Diehl, piano Sherrie Maricle, leader and drummer Robin Eubanks, trombone Tomoko Ohno, piano James Genus, bass Noriko Ueda, bass Donald Harrison, saxophone Jennifer Krupa , lead trombonist Booker T.
    [Show full text]
  • Of Music. •,..,....SPECIAUSTS • RECORDED MUSIC • PAGE 10 the PENNY PITCH
    BULK ,RATE U.S. POSTAGE PAID Permit N•. 24l9 K.C.,M •• and hoI loodl ,hoI fun! hoI mU9;cl PAGE 3 ,set. Warren tells us he's "letting it blow over, absorbing a lot" and trying to ma­ triculate. Warren also told PITCH sources that he is overwhelmed by the life of William Allan White, a journalist who never graduated from KU' and hobnobbed with Presidents. THE PENNY PITCH ENCOURAGES READERS TO CON­ Dear Charles, TR IBUTE--LETTERSJ ARTICLES J POETRY AND ART, . I must congratulate you on your intelli­ 4128 BROADWAY YOUR ENTR I ES MAY BE PR I NTED. OR I G I NALS gence and foresight in adding OUB' s Old­ KANSAS CITY, MISSDURI64111 WI LL NOT BE RETURNED. SEND TO: Fashioned Jazz. Corner to PENNY PITCH. (816) 561·1580 CHARLES CHANCL SR. Since I'm neither dead or in the ad busi­ ness (not 'too sure about the looney' bin) EDITOR .•...•. Charles Chance, Sr. PENNY PITCH BROADWAY and he is my real Ole Unkel Bob I would ASSISTING •.• Rev. Dwight Frizzell 4128 appreciate being placed on your mailing K.C. J MO 64111 ••. Jay Mandeville I ist in order to keep tabs on the old reprobate. CONTRIBUTORS: Dear Mr. Chance, Thank you, --his real niece all the way Chris Kim A, LeRoi, Joanie Harrell, Donna from New Jersey, Trussell, Ole Uncle Bob Mossman, Rosie Well, TIME sure flies, LIFE is strange, and NEWSWEEK just keeps on getting strang­ Beryl Sortino Scrivo, Youseff Yancey, Rev. Dwight Pluc1cemin, NJ Frizzell, Claude Santiago, Gerard and er. And speaking of getting stranger, l've Armell Bonnett, Michael Grier, Scott been closely following the rapid develop­ ~ Dear Beryl: .
    [Show full text]
  • CARNEGIE HALL ANNOUNCES 2017–2018 SEASON the '60S: The
    CARNEGIE HALL ANNOUNCES 2017–2018 SEASON The ’60s: The Years that Changed America Carnegie Hall leads citywide festival, inspired by Pulitzer Prize-winning author and journalist Robert A. Caro, exploring the turbulent 1960s through lens of arts and culture Debs Composer’s Chair: Philip Glass Visionary composer continues celebration of 80th birthday year with season-long residency featuring premieres and classic works, performed by Philip Glass Ensemble, Nico Muhly, American Composers Orchestra, and JACK Quartet, plus Louisiana Philharmonic and Pacific Symphony in their Carnegie Hall debuts Perspectives: Janine Jansen & Daniil Trifonov Violinist Janine Jansen curates five-concert Perspectives series featuring chamber music performances with all-star roster of collaborators, and concerto appearances with Royal Concertgebouw Orchestra & The Philadelphia Orchestra Pianist Daniil Trifonov featured in seven concerts, including exploration of Chopin, solo recitals in both Stern Auditorium / Perelman Stage and Zankel Hall, and collaborations with Matthias Goerne, Sergei Babayan, Kremerata Baltica, Gautier Capuçon, and Mariinsky Orchestra with the premiere of his own piano concerto Carnegie Hall’s Opening Night Gala 2017-2018 season launches on October 4 with festive Opening Night Gala concert featuring Yannick Nézet-Séguin and The Philadelphia Orchestra celebrating 100th anniversary of Leonard Bernstein’s birth (For Immediate Release: January 25, 2017 (Updated September 18, 2017), NEW YORK)—Clive Gillinson, Executive and Artistic Director, today announced Carnegie Hall’s 2017–2018 season consisting of more than 170 concerts as well as a wide range of education and social impact programs created by Carnegie Hall’s Weill Music Institute. The upcoming season includes performances by many of the world’s finest artists and ensembles representing classical, pop, jazz, and world music, with events presented on Carnegie Hall’s three stages, in the Hall’s Resnick Education Wing, and throughout New York City.
    [Show full text]
  • History of Jazz Tenor Saxophone Black Artists
    HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.
    [Show full text]
  • 2018 Program Book 2007 Conference Program.Qxd
    Alabama A&M University Choir The Alabama A&M University Choir, directed by Dr. Horace Carney, provides students with the opportunity to experience participation in a cooperative activity. Emphasis is placed on fundamental vocal training, posture, breathing, sight-reading, expressive interpretation and tone development. The choir performs for campus convocations, off-campus concerts, religious services, radio and television appearances as well as a Christmas Musicale and spring concert. There is a prerequisite for participation: students must have had some experience in a high school choir or ensemble. Dr. Horace R. Carney, Jr. was born in Nashville, Tennessee but grew up in Tuskegee, Alabama. He graduated with honors from Tuskegee Institute High School fourth in his class. His post-secondary education includes a Bachelor of Arts in Music at Fisk University (magna cum laude), Master of Arts in Music Theory at the Eastman School of Music as a Woodrow Wilson Fellow, and the Doctor of Philosophy in Music Theory from the University of Iowa. He has attended choral workshops at Potsdam Choral Institute, Sarasota, New York, University of South Florida, and Georgia State University. Dr. Carney’s career in music began in elementary school and continued through high school as a member of the choir, pianist, and leader of a dance band. While in high school, he studied at Tuskegee Institute with Lexine Weeks, Charlotte Giles, and Hildred Roach. His studies continued at Fisk University as a music major, a member of the university choir and the renowned Fisk Jubilee Singers for four years. His professional career includes Talladega College where he served for fourteen years as Choral Director and Acting Chairman of the Music Department, Lincoln University, Lincoln, PA; Coordinator of Choral Activities and Chairman of the Humanities Division for three years; and Sixth Avenue Baptist Church, where he served as Minister of Music and Coordinator of Cultural Affairs.
    [Show full text]