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Saturday, March 30, 2019 at 8 PM THE MAKING OF AMERICA OF MAKING THE Isaac Stern Auditorium / Ronald O. Perelman Stage Two Wings: The Music of Black America in Migration Jason Moran and Alicia Hall Moran, Producers

Jason Moran, Piano Alicia Hall Moran, Mezzo-Soprano featuring Isabel Wilkerson, Author

Lawrence Brownlee, Tenor Pastor Smokie Norful, Vocals Toshi Reagon, Guitar and Vocals Rev. James A. Forbes Jr., Speaker Hilda Harris, Speaker

with Rebecca L. Hargrove, Soprano | Steven Herring, Baritone Harriet Tubman: The Band Brandon Ross, Guitar | Melvin Gibbs, Bass | JT Lewis, Drums Imani Winds Brandon Patrick George, Flute | Toyin Spellman-Diaz, Oboe Mark Dover, Clarinet | Jeff Scott, French Horn Monica Ellis, Bassoon James Carter, Saxophone | Marcus Printup, Trumpet Thomas Flippin, Guitar | Joseph Joubert, Piano The Harlem Chamber Players | Tania León, Conductor

Sponsored by United Airlines®, Official Airline of Carnegie Hall The Trustees of Carnegie Hall gratefully acknowledge the generosity of Mr. and Mrs. Earle S. Altman in support of the 2018–2019 season. Lead support for Migrations: The Making of America is provided by the Ford Foundation, The Morris and Alma Schapiro Fund, and Igor Tulchinsky. Additional support is provided by the Howard Gilman Foundation. Public support is provided by the National Endowment for the Arts. Two Wings: The Music of Black America in Migration featuring readings by Isabel Wilkerson from her book, The Warmth of Other Suns

FLORENCE PRICE / Sympathy PAUL LAURENCE DUNBAR Alicia Hall Moran, Mezzo-Soprano Jason Moran, Piano

THOMAS A. DORSEY Precious Lord

Joseph Joubert, Piano

JAMES P. JOHNSON Carolina Shout

Jason Moran, Piano

JOE “KING” OLIVER West End Blues

Marcus Printup, Trumpet

BENNY GOODMAN / Flying Home LIONEL HAMPTON James Carter, Saxophone

FLORENCE PRICE Nimble Feet, from Dances in the Canebrakes

Thomas Flippin, Guitar

BILLIE HOLIDAY / God Bless the Child ARTHUR HERZOG JR. Alicia Hall Moran, Mezzo-Soprano Thomas Flippin, Guitar Brandon Ross, Guitar Jason Moran, Piano

JASON MORAN Selections from Cane Coincoin’s Narrative Natchitoches to New York

Imani Winds Jason Moran, Piano SPIRITUAL There’s a Man Going ’Round Taking Names

Lawrence Brownlee, Tenor Jason Moran, Piano

PASTOR SMOKIE NORFUL Dear God

Pastor Smokie Norful, Vocals Jason Tyson, Piano

INTERMISSION

GEORGE WALKER Lyric for Strings

The Harlem Chamber Players Tania León, Conductor

COLERIDGE Louisiana Blues Strut: A Cakewalk TAYLOR-PERKINSON Ashley Horne, Violin Curtis Stewart, Violin

ANTHONY NEWLEY / Feeling Good, from The Roar of the LESLIE BRICUSSE Greasepaint—The Smell of the Crowd

Alicia Hall Moran, Mezzo-Soprano Jason Moran, Piano The Harlem Chamber Players Tania León, Conductor

GEORGE GERSHWIN / Summertime, from Porgy and Bess DUBOSE HEYWARD / IRA GERSHWIN Rebecca L. Hargrove, Soprano Joseph Joubert, Piano

JEROME KERN / Ol’ Man River, from Show Boat OSCAR HAMMERSTEIN II Steven Herring, Baritone Joseph Joubert, Piano

(This evening’s program is continued on the following page.) WALTER DONALDSON / How Ya Gonna Keep ’em Down on the JOE YOUNG / SAM M. LEWIS Farm (After They’ve Seen Paree?)

Alicia Hall Moran, Mezzo-Soprano Jason Moran, Piano

ALICIA HALL MORAN Believe Me

Alicia Hall Moran, Mezzo-Soprano Jason Moran, Piano The Harlem Chamber Players Tania León, Conductor

SISTER ROSETTA THARPE Rock Me

Toshi Reagon, Guitar and Vocals Jason Moran, Piano

SPIRITUAL Lord, How Come Me Here

Alicia Hall Moran, Mezzo-Soprano Joseph Joubert, Piano Rev. James A. Forbes Jr., Speaker

Migration Story

Hilda Harris, Speaker

JASON MORAN Final Speech, from Selma

Jason Moran, Piano The Harlem Chamber Players Tania León, Conductor

SPIRITUAL He’s Got the Whole World in His Hands (arr. Margaret Bonds)

Alicia Hall Moran, Mezzo-Soprano Imani Winds The Harlem Chamber Players Tania León, Conductor

SPIRITUAL Two Wings

Alicia Hall Moran, Mezzo-Soprano Jason Moran, Piano Harriet Tubman: The Band Bank of America is the Proud Season Sponsor of Carnegie Hall. Breguet is the Exclusive Timepiece of Carnegie Hall. Land Rover is the Official Vehicle Partner of Carnegie Hall. Mastercard® is the Official Card of Carnegie Hall. United Airlines® is the Official Airline of Carnegie Hall.

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1819_PBFiller_SocialMedia_half.indd 1 9/19/18 11:47 AM Carnegie Hall salutes Bank of America

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carnegiehall.org/BankOfAmerica Tonight we are gathering to recognize the epic movement of people— American people, Black people—from the Southern United States and those lands where generations toiled in unremunerated labor to all points North and West. Together, we explore a rough chapter in American history—a long chapter, roughly 1910–1970: the Great Migration. Six million African Americans left the South during this period. Through Two Wings, we settle into the musical worlds defined by this mass movement of people, and we give thanks for the opportunities our great-grandparents and grandparents and parents struggled to deliver to us.

The Great Migration shaped my family—and continues to shape my family— just as it transformed the entire nation and continues to echo in the present. I asked my mother, Carole F. Hall—the family historian—about our Southern roots:

Our family’s Southern history is rooted in Athens, Georgia. My father’s great-great-grandparents, Hannah and William Hall, were sold at auction in Augusta as children and taken to Athens in bondage to Dr. Edward Ware and his wife, Margaret. William and Hannah eventually married and had four children: Edward, Rebecca, Rachel, and Mary, my father’s great- grandmother. Mary’s daughter, Alice Virginia Sansom, was my father’s grandmother. She was eight years old when all three Hall generations in Athens—never sold or separated by the Wares—were emancipated in 1865.

In Athens, site of the University of Georgia, educational opportunities for newly freed African Americans flourished. Alice attended the secondary Knox Institute and Industrial School, built on land donated by three wealthy African Americans, and Atlanta University, the first Black graduate school. In 1878, she married Rev. William D. Johnson (1842–1908), an African Methodist Episcopal Church administrator and orator. Born free in Calvert County, Maryland, he earned two degrees from Lincoln University before settling in Athens. In 1880, he completed his doctorate in divinity.

Bank of America Cardholders save 10% on tickets to Their children—Mamie, Decker, Hall, Susan, and Alice Irene (my Carnegie Hall Presents concerts during the 2018–2019 season. grandmother)—also graduated from the Knox Institute and spread their wings. Mamie raised a family in Chicago. Susie became a beautician in carnegiehall.org/BankOfAmerica Philadelphia. After Decker graduated from Tuskegee University, he became a Pullman porter and then a Postal Service clerk in New York City. In 1904, Rev. Johnson was appointed president of Allen University in Columbia,

29 South Carolina—the first Black college in that state. Hall, who was a gifted violinist, entered Allen University as a freshman and graduated in 1909. He went on to attend the University of Pennsylvania and the Hahn School of Music in Philadelphia. By 1921, Hall Johnson had become a force in the Harlem Renaissance and had toured with stars such as James Reese Europe. He played in the pit in Eubie Blake and Noble Sissle’s Broadway hit Shuffle Along. After a year (1924–1925) at the Institute of Musical Art (later part of The Juilliard School), he organized the Hall Johnson Choir to honor the traditional spirituals sung by his grandmother, Mary Hall.

Meanwhile my grandmother, Alice Irene Johnson (1890–1983), had married Robert Foster of Athens. On the eve of the Great Depression, widowed with their five children—William Robert, Mary Ellen, Alfred (my father), Marcus, and Celeste—she became the last of her siblings to leave the South. She migrated to Philadelphia, before eventually leaving for Pasadena, California, in the 1940s. Pasadena had a civic culture comparable to Athens. It was Hall Johnson who recommended the move. Just as he had been the first of his siblings to relocate to Philadelphia and then to New York, he was the first to discover Southern California. He traveled to Los Angeles and lived there periodically, scoring films, producing plays, and directing performances of the Hall Johnson Choir.

Alfred Foster (1922–2009) discovered California when the Navy shipped him from Philadelphia to San Diego towards the end of WWII. He met your grandmother, Constance Barrick (1923–2009), at Cheyney State Teacher’s College near Philadelphia. His grandfather, Rev. William D. Johnson, and her grandfather, George Barrick, were both born in Maryland two years apart. But George was enslaved, and when freedom came—with neither opportunities nor education—he headed North, passed Philadelphia, and kept walking until he found steady employment as a gardener on a Main Line estate. It was there that he married Elizabeth Long.

Three of their children survived: Edward, Herbert, and Clara. Edward married Vaunita Allen, your great-grandmother, and created a family business that sent all 10 of their children to college. Your Grandma Connie left Cheyney to join the war effort at Sun Shipyard. She became the first— and for decades the only—one in her family to leave the Northeast. She and Alfred bought a home in Pasadena in 1951, and he went on to become a psychologist in the Los Angeles public schools.

Likewise, I grew up hearing detailed sagas from the Civil Rights Movement that my father’s parents, Ira D. Hall Sr. and Rubye Mae Hibler Hall, worked tirelessly to uphold in the state of Oklahoma. They faced obstruction at every level and still managed to earn degrees from Langston University and the University of Oklahoma (my grandmother going on to earn a master’s degree as well as sitting as the first African American appointee to the board of the Oklahoma State Regents for Higher Education), raise six children, and fight all forms of discrimination.

30 The boldness of those who were part of the Great Migration amazes me. Looking closely at every person who pursued a better life, each becomes heroic—every one. Tonight, Jason and I present a kaleidoscope that examines the output of artists from our jukebox on the subject. Gospel, folk, rock ‘n’ roll, opera, Broadway, jazz, orchestral, and chamber music are all represented here because in all of them is the Black musical imagination that continues to shape the cultural and political landscape of this country.

We express our overwhelming gratitude for the lives of the many brilliant artists (hundreds of them) whose music brought our people through the storms—the music that paved the sound waves our spirits ride on, and the music that fortifies each of us on the journeys we take every day. We recognize our music in the work and fascination of other artists, just as we use our freedom to explore the ways in which we gather and build with tools we’ve found along our way in the New World. We trace a narrative written in these songs­­—they tell their own story about the movement of people, about great artists who sought a community and found a home in Black music.

—Alicia Hall Moran

There are moments in jazz history that burn brightly. When pianist James P. Johnson recorded his “Carolina Shout” in 1921, the father of the “Harlem Stride” piano style was here to stay. Any pianists uptown would challenge each other with “Carolina Shout,” from Duke Ellington to Johnson’s own pupil Fats Waller. When trumpeter Louis Armstrong’s intro and cadenza to “West End Blues” were heard, the performance became a testament to Armstrong’s precision and inventiveness. His solo has been learned by legions of trumpeters for generations. Lionel Hampton’s recording of “Flying Home” featured the rousing “Texas Tenor” Illinois Jacquet. His solo became a hit, becoming a standard in the saxophone repertoire. Each of these pieces reflects a place. They give us a sense of the hood and the air, the cause and the effect, effectively the call and the response.

Cane (named for Cane River, Louisiana) examines my ancestry leading back to a matriarch in the mid–18th century, Maria Therese Coincoin. She birthed 10 children by her slave master’s son and upon his deathbed, he granted freedom to her and a few of the children. She in turn began the Melrose Plantation, eventually purchasing the freedom of her remaining children and becoming a powerful businesswoman. That plantation is a historical landmark. The tension in the land is felt in every sway of the moss that hangs from the pecan trees. Louisiana and Texas are not passive landscapes. These are not passive songs.

I grew up in Houston’s Third Ward, a neighborhood rich in African American cultural memory and scholarship. Most of my family lived in the zip code, understanding the power and necessity of neighborhoods like this. From Houston to Harlem is not an easy transition, but music solved the puzzles. For fear of being alone, I began telling all of my musician friends in Houston that

30A they, too, should come to New York, bringing the brisket and the blues, and helping to shape the sound of the city.

For more than a century, African American musicians have stepped onto the Carnegie Hall stage to demand the attention of audiences. In Alicia’s bloodline are musicians like choral conductor and arranger Hall Johnson, and vocalist Al Hibbler. Each of them performed at Carnegie Hall with fellow musicians James Reese Europe and Duke Ellington.

Today, Alicia and I stand here with a group of thinkers that help form the constellation in the same way that marks down the history. Artists are always there to “mark it down.” The art becomes the record keeper. Carnegie Hall is still here—we’re ready to etch our mark in the walls.

—Jason Moran

Two Wings: The Music of Black America in Migration is dedicated in loving memory to ...

Bennie Ruth Chester (1919–2003) Joseph P. Chester (1919–1976) Constance Barrick Foster (1923–2009) Alfred Harold Foster (1922–2009) Ira DeVoyd Hall Sr. (1905–1989) Rubye Mae Hibler Hall (1912–2003) Francis Hall Johnson (1888–1970) “Mama Clay” Claudia Llorens Moran (1930–2017) Mary Lou Chester Moran (1949–2004)

... and our teachers ...

Muhal Richard Abrams (1930–2017) Betty Allen (1927–2009) Jaki Byard (1922–1999) Andrew Hill (1931–2007) Shirley Verrett (1931–2010) Warren George Rock Wilson (1934–2011) Dawoud Bey

The Artists Jason Moran

Jazz pianist, composer, and artist Jason Moran was born in Houston in 1975 and earned a degree from the Manhattan School of Music, where he studied with Jaki Byard. Upon graduation, he studied with Andrew Hill and Muhal Richard Abrams. He began an 18-year relationship with Blue Note Records, producing nine highly acclaimed recordings. His groundbreaking trio, The Bandwagon (with Tarus Mateen and Nasheet Waits) is currently celebrating its 20th anniversary.

Moran’s performances with Cassandra Wilson, Charles Lloyd, and the late Sam Rivers reveal the scope of his musical partnerships. His work with visual artists is extensive, including projects with Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, and Kara Walker. He has been awarded fellowships from the MacArthur Foundation, United States Artists, Doris Duke Charitable Foundation, and Ford Foundation.

Moran frequently collaborates with his wife, Alicia Hall Moran, including their residency at the 2012 Whitney Biennial, where they together curated BLEED, a five-day series of live performances. They also premieredWork Songs at the 2015 Venice Biennial. They currently produce recordings on their own label, Yes Records. Since his first album, Moran has produced 14 additional albums, and composed scores for Ava DuVernay’s filmsSelma and 13th, and Ta-Nehisi Coates’s stage version of Between the World and Me.

30C History is an ongoing theme for Moran, who has created monumental pieces about Thelonious Monk (In My Mind: Monk at Town Hall, 1959), Fats Waller (Fats Waller Dance Party), and James Reese Europe (James Reese Europe and the Absence of Ruin).

In 2018, Moran had his first solo museum exhibition at the Walker Art Center in Minneapolis, which will travel to the Whitney Museum of American Art in September. Moran is currently the artistic director of Jazz at the Kennedy Center, programs concerts for Park Avenue Armory, and teaches at New England Conservatory.

Alicia Hall Moran

Mezzo-soprano and composer Alicia Hall Moran conjures a sonic world wherein classical and African American cultures meet. Praised by The New York Times for her “imaginative recontextualization of classical singing,” Moran is a trained vocalist “who never tries to sound like anything else, despite the diverse artistic company she keeps.”

Her productions include Black Wall Street (2016), inspired by the Wall Street career of her father, a native Oklahoman, and the Tulsa race riot of 1921 (River to River Festival, Opera Southwest, SITE Santa Fe, Tulsa Performing Arts Center, Schomburg Center for Research in Black Culture / NYPL, and National Sawdust); and Breaking Ice (MASS MoCA and PROTOTYPE).

Moran made her Broadway debut in the Tony-winning revival of The Gershwins’ Porgy and Bess, before starring as Bess in the celebrated 20-city American tour. The Los Angeles Times praised her performance, writing that she found “the truth of the character in her magnificent voice.” Her latest album, Here Today, was released to high praise in 2017. She also recently recorded Gabriel Kahane’s oratorio emergency shelter intake form with the Oregon Symphony and joined Bryce Dessner’s Triptych, which will be performed at the Brooklyn Academy of Music this spring.

Moran has received solo commissions from Art Public / Art Basel Miami, MoMA, The Kitchen, Histories Remixed / Art Institute Chicago, and the Brooklyn Youth Chorus. Her list of collaborators includes guitarist Bill Frisell, Bill T. Jones / Arnie Zane Dance Company, pianist Lara Downes, and visual artists Carrie Mae Weems, Ragnar Kjartansson, Suzanne Bocanegra, and Adam Pendleton. Moran and her husband, Jason Moran—both Ford Foundation Art of Change Fellows—have jointly created works for the Venice Biennale, Whitney Biennial, Walker Art Center, and Philadelphia Museum of Art.

Moran earned a bachelor’s degree in music from Barnard College (with a minor in anthropology), and a bachelor’s degree in vocal performance from the Manhattan School of Music.

30D Isabel Wilkerson

Pulitzer Prize winner and National Humanities Medalist Isabel Wilkerson is the author of The New York Times bestseller The Warmth of Other Suns. Wilkerson spent 15 years working on the book, interviewing more than 1,200 people to tell one of the greatest underreported stories of the 20th century— that of the Great Migration. In addition to the National Book Critics Circle Award, The Warmth of Other Suns won the Heartland Prize for Nonfiction, the Anisfield-Wolf Book Award for Nonfiction, the Lynton History Prize from Harvard and Columbia universities, and the Stephen Ambrose Oral History Award, in addition to being shortlisted for both the PEN/Galbraith Award and the Dayton Literary Peace Prize.

The Warmth of Other Suns was named to more than 30 “Best of the Year” lists in 2010, including those published by The New York Times, Amazon.com, The New Yorker, Los Angeles Times, and The Washington Post, among others. It made national news when President Barack Obama chose the book for summer reading in 2011. In 2012, The New York Times Magazine named The Warmth of Other Suns to its list of the best nonfiction books of all time.

Wilkerson won the Pulitzer Prize for her work as Chicago bureau chief of The New York Times in 1994, making her the first Black woman in the history of American journalism to win the award and the first African American to win for individual reporting.

Lawrence Brownlee

Named Male Singer of the Year in 2017 by the International Opera Awards, tenor Lawrence Brownlee has been hailed by The Guardian as “one of the world’s leading bel canto stars.” His 2018–2019 season began with two evenings of duets with bass-baritone Eric Owens at the Cliburn, followed by a night of arias at Amsterdam’s Concertgebouw. Operatic engagements this season include two role debuts, singing Nadir in Bizet’s Les pêcheurs de perles (Houston Grand Opera) and Ilo in Rossini’s Zelmira (Washington Concert Opera), and returns to Opéra national de Paris, Opernhaus Zürich, and Deutsche Oper Berlin. His season also features a 12-stop duo recital tour across the US with Eric Owens.

Highlights from last season included returns to the Royal Opera House (Covent Garden), Opernhaus Zürich, and Lyric Opera of Chicago, as well as the world premiere of Cycles of My Being. Co-commissioned by Opera Philadelphia, Carnegie Hall, and Lyric Opera of Chicago, the song cycle centers on what it means to be an African American man living in America today, composed by Tyshawn Sorey with lyrics by Terrance Hayes.

One of the most in-demand singers around the world, Brownlee has appeared on the stages of every major opera house, including the Metropolitan Opera, Teatro alla Scala, Vienna State Opera, Opéra national de Paris, Barcelona’s

35 Gran Teatre del Liceu, and Madrid’s Teatro Real, as well as the festivals of Salzburg and Baden-Baden.

Brownlee’s latest album, Allegro io son, was recognized as a Critic’s Choice by Opera News, and followed Virtuoso Rossini Arias, his Grammy-nominated release on the Delos label.

Pastor Smokie Norful

In addition to being an award-winning recording artist, Pastor Smokie Norful is a world-renowned educator, author, and visionary. Since his solo debut in 2002, I Need You Now, he has sold more than three million albums worldwide. Norful has been named Billboard’s Gospel Artist of the Year several times. He has earned two Grammy Awards, eight Stellar Awards, five Dove Awards, one Soul Train Music Award, two NAACP Image Award nominations, and three BET Award nominations. In his home state of Arkansas, he was inducted into the Black Hall of Fame. He has also been inducted into the Oklahoma Music Hall of Fame.

Norful has contributed to five platinum-selling compilations and has written songs for numerous major-label recording artists. He starred alongside Kirk Franklin, Donnie McClurkin, and Yolanda Adams on the history-making Hopeville tour, and he has headlined the McDonald’s Inspiration Celebration Gospel Tour three times since its inception.

Norful is an educator at heart. Having received his degree in history from the University of Arkansas at Pine Bluff, he went on to teach junior and senior high school for several years. He attended both Garrett-Evangelical Theological Seminary and Trinity International Seminary, where he received his master’s degree and also served on the Board of Regents. Last May, he received a degree in leadership from Trinity International University. Norful recently released his first book,Take the Lid Off, a compilation of his personal life stories, as well as biblical and practical insights to help every individual maximize their potential.

In 2005, Norful officially launched his church, Victory Cathedral Worship Center, in Bolingbrook, Illinois, where he serves as senior pastor. A second campus on the south side of Chicago opened its doors in 2007. The ministry encourages its members to live to be missed and not just remembered by adopting a heart of volunteerism, charity, and philanthropy.

Toshi Reagon

Toshi Reagon is a talented, versatile singer, composer, musician, curator, and producer with a profound ear for sonic Americana, from folk to funk, from blues to rock. Her expansive career has included appearances at Carnegie Hall, the Paris Opera House, and Madison Square Garden.

36 Reagon knows the power of song to focus, unite, and mobilize people. She has recorded with and produced several projects—both solo and in collaboration with artists who include Lizz Wright, Carl Hancock Rux, Allison Miller, Sweet Honey In The Rock, and Meshell Ndegeocello. Her latest theatrical work is an opera based on Octavia E. Butler’s Parable of the Sower.

Reagon is a 2015 Ford Foundation Art of Change Fellow and a 2018 United States Artist Fellow. She is also a DisTIL Fellow and a Creative Futures Fellow, both in collaboration with Carolina Performing Arts and the Andrew W. Mellon Foundation. Her recent projects include touring with her band BIGLovely, The Blues Project with Michelle Dorrance and Dorrance Dance, and Meshell Ndegeocello’s Can I Get A Witness? The Gospel of James Baldwin. In 2011, Reagon founded Word*Rock*&Sword: A Festival Exploration of Women’s Lives. Her latest recording, SpiritLand, is available at bandcamp.com.

Rev. James A. Forbes Jr.

Rev. Dr. James A. Forbes Jr.—born in Burgaw, North Carolina, to James A. Forbes Sr. and Mabel Clemons Forbes—is himself a product of the Great Migration. He received a bachelor’s degree in chemistry from Howard University in Washington, DC, in 1957; a master’s degree from Union Theological Seminary in New York City in 1962; a clinical pastoral education certificate from the Medical College of Virginia (Richmond) in 1968; and a doctorate in ministry from Colgate Rochester Crozer Divinity School in 1975.

When Rev. Forbes was installed as the fifth senior minister of The Riverside Church in New York City, he became the first African American senior minister to guide one of the largest multicultural congregations in the United States.

Two of Rev. Forbes’s songs have been published in the Silver Burdett Songbooks for schools: “For Children Safe and Strong” and “Our Families Together.” He has also provided narration for several musical productions, including Mendelssohn’s Elijah with the Riverside choir.

From 1992 to 2007, Rev. Forbes was co-chair of A Partnership of Faith, an interfaith organization of clergy among New York’s Protestant, Catholic, Jewish, and Muslim communities. He is on the board of Manhattanville College, the Interfaith Alliance, Children’s Defense Fund, Columbia University’s Mailman School of Public Health, and United Way. In 2016, he participated in The Revival: Time for a Moral Revolution of Values, a national tour to redefine morality in American politics in collaboration with Rev. William Barber II, Rev. Traci Blackmon, and Sister Simone Campbell.

Last fall, Rev. Forbes offered thePreaching and the Next Great Awakening Lecture Series at Shaw University Divinity School to commemorate the 50th anniversary of the assassination of Dr. Martin Luther King Jr. He is currently teaching a course at Duke University Divinity School.

37 Hilda Harris

Mezzo-soprano Hilda Harris, formerly a leading artist of the Metropolitan Opera, has performed across the United States and Europe. A native of Warrenton, North Carolina, she is known for her trouser-role portrayals. During her extensive career, she has sung such roles as Dorabella in Così fan tutte, Rosina in Il barbiere di Siviglia, and the title roles in Carmen and La Cenerentola. She has performed with San Francisco Opera, Lyric Opera of Chicago, New York City Opera, Pittsburgh Opera, and Seattle Opera.

In symphonic and oratorio repertoire, she has appeared extensively with the New York Philharmonic, Pittsburgh Symphony Orchestra, Chicago Symphony Orchestra, Oregon Symphony, Orchestre symphonique de Québec, and Sweden’s Malmö Symphony Orchestra, among others.

Harris was a member of the Chicago-based Black Music Research Ensemble, whose purpose is to discover, disseminate, preserve, and promote Black music in all its forms, and to promote appreciation for the Black musical heritage. Her own accomplishments have been documented in Rosalyn M. Story’s And So I Sing, Black Women in America: An Historical Encyclopedia (edited by Darlene Clark Hine), and Eileen Southern’s The Music of Black Americans.

Harris taught voice at Howard University from 1991 through 1994 and at the Chautauqua Institution for 16 years. In addition to maintaining a private studio in New York City, she is a member of the voice faculty at Sarah Lawrence College and the Manhattan School of Music.

Rebecca L. Hargrove

This evening’s performance marks Rebecca L. Hargrove’s Carnegie Hall debut. She is currently touring with the New York Gilbert and Sullivan Players as Peep-Bo in The Mikado. She recently performed the world premiere of Joseph C. Phillips’s one-woman opera The Grey Land and will join the Metropolitan Opera Chorus for the 2019–2020 production of Porgy and Bess. Previous stage credits include work with New York City Opera and New York City Center Encores! Visit rebeccalhargrove.com for more information.

Steven Herring

Steven Herring is a singer whose repertoire spans many musical genres. Among his operatic roles are Iago in Verdi’s Otello, Don Pizarro in Beethoven’s Fidelio, Amonasro in Verdi’s Aida, Sacristan in Puccini’s Tosca, Germont in Verdi’s La traviata, Sharpless in Puccini’s Madama Butterfly, Belcore in Donizetti’s L’elisir d’amore, and the title roles in Verdi’s Macbeth and Rigoletto. Additional performances include Agwe in Once On this Island and the baritone love interest in Alicia Hall Moran’s the motown project.

38 As a featured soloist, Herring’s concert repertoire includes performances of Beethoven’s Choral Fantasy with the St. Louis Symphony Orchestra, Jason Moran and Alicia Hall Moran’s Work Songs for the 2015 Venice Biennial, Fauré’s Requiem with Orchestra of St. Luke’s, Peter in Bach’s St. Matthew Passion with Musica Angelica Baroque Orchestra, and Orff’sCarmina Burana and Handel’s Messiah with the Catholic University of America Symphony Orchestra.

In addition to a busy performance schedule, Herring is managing director of Bridge Arts Ensemble, an organization of New York City–based teaching artists that bring high-quality music education to more than 71,000 public school students in Upstate New York.

Harriet Tubman: The Band

Harriet Tubman: The Band formed in 1998 when guitarist Brandon Ross, bassist Melvin Gibbs, and drummer JT Lewis came together to start a band with meaning. Named after the heroic African American slave who risked her life to escape slavery and help more than 300 others to do the same, Harriet Tubman is deeply inspired by the ideals of freedom. The trio’s music—a fusion of soul, rock, jazz, and blues—examines the depths of these genres for their own unique liberated musical expression. The band counts Jimi Hendrix, Ornette Coleman, and Parliament-Funkadelic as contributors to its musical DNA. Across their respective careers, Ross, Gibbs, and Lewis have collaborated with artists as diverse as Cassandra Wilson, Living Colour, Lou Reed, Herbie Hancock, Henry Threadgill, Sting, Arrested Development, the Rollins Band, David Murray, and Meshell Ndegeocello.

Integrating sampling and other digital methods into a compelling genre- defying sound, Harriet Tubman embraces the pioneering spirit of jazz. Re- contextualizing musical technology to create innovative compositions is an important part of the African American tradition, and the trio members see Harriet Tubman as their contribution.

The band’s 2017 release, Araminta, was one of the most celebrated recordings of that year. Harriet Tubman’s newest recording, The Terror End of Beauty, has been met with wide critical praise from Rolling Stone, The Wire, DownBeat, and The New York Times. The trio’s performance at the Earshot Jazz Festival was hailed as the best live concert of 2018 by NPR’s Nate Chinen.

Imani Winds

Over the course of its more than 20-year career, the Grammy-nominated quintet Imani Winds has discovered what audiences value most: a sense of connection with the music, the performers, the composers, the artistry, and beyond. Extolled by The Philadelphia Inquirer as “what triumph sounds like,” Imani Winds has created a distinct presence in the classical music world through the members’ dynamic playing, culturally relevant

39 programming, commissioning, virtuosic collaborations, and inspirational outreach programs.

From Mendelssohn, Ligeti, and Stravinsky, to Piazzolla, Carter, and John Harbison, to 21st-century greats like Frederic Rzewski, Jason Moran, and Valerie Coleman, Imani Winds actively seeks to engage new voices in the modern classical idiom.

Imani Winds’ touring schedule has taken the quintet around the globe. At home, the group has performed in major concert venues, including Carnegie Hall, Lincoln Center, the Kennedy Center, and Walt Disney Concert Hall, as well as virtually every major university performing arts series and summer festival. In recent seasons, the group has traveled extensively, with tours in China, Singapore, Brazil, Australia, New Zealand, and across Europe. Imani Winds has released six albums, including the Grammy-nominated The Classical Underground. In 2016, Imani Winds received its greatest accolade to date—being on permanent display in the classical music section of the Smithsonian’s National Museum of African American History and Culture.

James Carter

In many ways, weaving together divergent impulses is at the heart of James Carter’s music. Like the late tenor saxophone titan Ben Webster, he’s given to furious, high-velocity solos, but is just as likely to wax sentimental, using his big, bruising tone to tenderly caress a melody. In 2000, he released two albums simultaneously that amounted to an anti-manifesto, a proclamation that everything is fair game.

On Chasin’ the Gypsy—a voluptuous, lyrical session partly inspired by the timeless collaboration between Django Reinhardt and Stéphane Grappelli— Carter assembled a thrilling group with violinist Regina Carter and Brazilian guitarist Romero Lubambo for a project born out of sound-check jamming with Lubambo and Brazilian percussionist Cyro Baptista during a tour with Kathleen Battle. The groove-laden Layin’ in the Cut, featuring James “Blood” Ulmer’s former rhythm section with electric bassist Jamaaladeen Tacuma and drummer Grant Calvin Weston, combines harmolodic freedom with a deep reservoir of funk.

Carter reinvented the organ combo (with 2005’s Out of Nowhere and again in 2009 with John Medeski on Heaven and Earth), explored the music of alt-rock band Pavement (on 2005’s Gold Sounds), and paid loving tribute to Billie Holiday (on 2003’s Gardenias for Lady Day). Taken in context, Carter’s creative rendezvous with composer Roberto Sierra—which resulted in the Concerto for Saxophones and Orchestra—made perfect sense. Now Carter presents his Elektrik Outlet, a configuration within which he has found a new groove to explore, shifting his saxophone into a keen array of electronics and pedals.

40 Marcus Printup

Born and raised in Conyers, Georgia, Marcus Printup’s first musical experiences came from hearing the fiery gospel music his parents sang in church. He would later discover jazz as a senior in high school.

Printup attended Georgia State University and the University of North Florida. While still a student, he won the prestigious International Trumpet Guild Jazz Trumpet Competition.

In 1991, Printup’s life changed when he met his mentor and friend-to-be Marcus Roberts. The incomparable pianist introduced Printup to world- renowned trumpeter Wynton Marsalis, which in time led to an invitation to join the Jazz at Lincoln Center Orchestra in 1993. Printup has been a member ever since.

Printup has led multiple recordings on several major record jazz labels, including Blue Note Records and SteepleChase Records. With his wife, Riza, the Printups created RiMarcable Publications LLC, through which they have published their first children’s book, and arrangements for big band and jazz combos.

Thomas Flippin

Thomas Flippin is established as an original and versatile voice in the world of contemporary music. Whether premiering new works with his pioneering classical guitar ensemble, Duo Noire; performing avant-garde art songs on the theorbo as part of Alicia Hall Moran’s Black Wall Street; or plucking the banjo in the American Repertory Theater premiere of The Black Clown, Flippin is breaking new ground.

His recent Duo Noire album on New Focus Recordings, Night Triptych, is the culmination of Flippin’s 2015 project to address the lack of female representation in classical music. Featuring new works exclusively by women composers, Night Triptych received universal praise from critics.

Flippin’s concert highlights include appearances at National Sawdust, The Metropolitan Museum of Art, Beijing’s Peking University, the Art Institute of Chicago, and Charleston’s Colour of Music Festival. He graduated with honors from the University of Chicago and the Yale School of Music, where he was the first African American guitarist in the school’s history.

Joseph Joubert

Joseph Joubert is a hugely versatile musician whose wide-ranging accomplishments and talent as a pianist, arranger, orchestrator, conductor, and music director have taken him around the world. Most recently, Joubert

41 was music supervisor and orchestrator for Classic Stage Company’s Carmen Jones, starring Anika Noni Rose. His Broadway orchestration credits include The Color Purple (Drama Desk nomination), Disaster!, Violet (Drama Desk nomination), Leap of Faith, and Caroline, or Change. He was music director of Motown: The Musical, and was assistant conductor of Nice Work If You Can Get It and Billy Elliot: The Musical.

As a record producer and arranger/orchestrator, Joubert has worked with Ashford & Simpson, Diana Ross, George Benson, Patti LaBelle, Whitney Houston, Cissy Houston, Jennifer Holliday, Dionne Warwick, Luther Vandross, Norm Lewis, and Dianne Reeves. He has collaborated with such classical singers as Denyce Graves, Esther Hinds, Harolyn Blackwell, Florence Quivar, Simon Estes, and Hilda Harris, and performed with Kathleen Battle at the White House for President Bill Clinton as well as at Carnegie Hall. Joubert was also an orchestrator for the TV series Smash and the filmNights in Rodanthe. He earned a Grammy nomination in 2004 for his arrangement of “Joy to the World,” performed by Broadway Inspirational Voices.

Born the son of a Baptist minister in New York City, Joubert began playing the piano at the age of eight and by age 16 had made his Town Hall debut with a full orchestra. He received his bachelor’s and master’s degrees from the Manhattan School of Music, where he studied with Dora Zaslavsky. In 1980, he won the piano competition of the National Association of Negro Musicians.

The Harlem Chamber Players

The Harlem Chamber Players, Inc. is an ethnically diverse collective of professional musicians dedicated to bringing affordable and accessible live classical music to people in the Harlem community and beyond.

Music at St. Mary’s, Harlem’s acclaimed chamber music series, began in 2008 as a partnership between clarinetist Liz Player and the late violist Charles Dalton, who met while performing at a Black History Month gala concert in Weill Recital Hall at Carnegie Hall. Inspired and encouraged by the late Janet Wolfe, founder of the New York City Housing Authority Symphony Orchestra and long-time patron of minority classical musicians, Player and Dalton created a summer music festival in the neighborhood of Manhattanville / West Harlem that presented dynamic chamber music concerts. Following the enthusiastic reception of the festival, the former rector of St. Mary’s Episcopal Church welcomed and supported the creation of an ongoing series. After the departure of Dalton in 2010, Player joined forces with Carl Jackson, a native of East Harlem, to form The Harlem Chamber Players.

The Harlem Chamber Players have gone on to perform at many venues, including the Apollo Theater, Aaron Davis Hall, Miller Theatre at Columbia University, Symphony Space, The DiMenna Center for Classical Music, WNYC’s Green Space, Brooklyn Museum, Virginia Museum of Fine Arts, and Carnegie Hall. Visit harlemchamberplayers.org for more information.

42 First Violins Second Violins Violas Cellos Ashley Horne Sandra Billingslea Aundrey Mitchell Wayne Smith Concertmaster Principal Principal Principal Claire Chan Romulo Benavides Tia Allen Khari Joyner Josh Henderson Charlene Bishop Trevor New Niles Luther Juliette Jones Frédérique Gnaman Nicole Wright Philip Payton José Manuel Basses Curtis Stewart Pietri-Coimbre Anthony Morris Chala Yancy Stephanie Matthews Principal Christopher Johnson

Tania León

Born in Cuba, Tania León is a highly regarded composer and conductor, recognized for her accomplishments as an educator and adviser to arts organizations. She has received awards for her compositions from the American Academy of Arts and Letters, National Endowment for the Arts, Chamber Music America, New York State Council on the Arts, Lila Wallace / Reader’s Digest Fund, ASCAP, and Meet the Composer, among many others. She has also received a Pulitzer Prize nomination for Ácana as well as a Guggenheim Fellowship. Recent commissions include the score for the opera The Little Rock Nine, with a libretto by Henry Louis Gates Jr., commissioned by the University of Central Arkansas’s College of Fine Arts and Communications; and Inura for voices, strings, and percussion.

León is founder and artistic director of Composers Now, an organization that empowers all living composers, celebrates the diversity of their voices, and honors the significance of their contributions to the cultural fabric of society.

42A Free! Fadi Kheir Fadi

Carnegie Hall is honored to partner with local community organizations to present free concerts that are sensational celebrations of music from across the country and around the globe. At a Carnegie Hall Citywide concert, you can revisit your favorite music or try something new, stay in your home borough or journey farther afield. Whatever you choose, you’ll experience everything that makes New York City so vibrant.

Lead support for Carnegie Hall Citywide is provided by the Howard Gilman Foundation.

Additional support is provided by the A. L. and Jennie L. Luria Foundation.

Free Concerts in All Five Boroughs! carnegiehall.org/citywide

1819_PBFiller_Citywide.indd 1 8/9/18 3:50 PM Future Music Project studio 57 Free | Ages 14–19 | Every Saturday | 11 AM–3 PM Fadi Kheir Fadi

Make music. Meet the pros. Hang out. Perform.

Your voice, your choice. RSVP Required carnegiehall.org/FutureMusicProject

Lead support for Future Music Project is provided by Nicola and Beatrice Bulgari and The Harold W. McGraw, Jr. Family Foundation. Major funding is provided by Ameriprise Financial and MetLife Foundation. Public support is provided by the City of New York through the Administration for Children’s Services, the Department of Youth and Community Development, and New York City Council Speaker Corey Johnson. Carnegie Hall is a partner in The Door’s Youth Opportunity Hub, funded [in part] by the New York County District Attorney’s Criminal Justice Investment Initiative (CJII).

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Take Home a Piece of History

Visit the Carnegie Hall Shop on the Blavatnik Family First Tier (second floor) of Stern Auditorium / Perelman Stage or the Shop Kiosk on the Parterre level of Zankel Hall. Shop anytime at carnegiehall.org/shop.

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