Margaret Bonds (1913-1972), Composer Three Dream Portraits

Total Page:16

File Type:pdf, Size:1020Kb

Margaret Bonds (1913-1972), Composer Three Dream Portraits 21M.410 / 21M.515 Vocal Repertoire and Performance Spring 2005 PROGRAM NOTES Edward Boatner (1898-1981), arranger Didn’t My Lord Deliver Daniel? When I Get Home Edward Hammon Boatner was born on November 13, 1898 in New Orleans, Louisiana to the family of an itinerant minister. Boatner’s father, Dr. Daniel Webster Boatner traveled frequently from church to church, and thus provided his son an introduction to rural church singing. Edward Boatner received his musical education at Western University in Kansas, the Boston Conservatory, New England Conservatory, the Longy School of Music, and the Chicago College of Music. In his lifetime, Boatner arranged and published more than 200 spirituals, with written works including Story of the Spiritual: Thirty Spirituals and Their Origins, and the spiritual musicals, The Man of Nazareth and The Origin of the Spirituals. His arrangements have been recorded by Roland Hayes, Marian Anderson, Paul Robeson, Leontyne Price and Nelson Eddy. Boatner achieved acclaim as a singer and also served as music director of the National Baptist Convention (1925-1933), as music director at Samuel Huston College in Austin and as Dean of Music at Wiley College. He also operated a studio in New York City where he trained choral groups, gave private voice and piano instruction, and trained actors. An avid writer, Boatner published books on music theory and composition. Writings include The Damaging Results of Racism, Black Humor, Great Achievements in Black and White and the novel One Drop of Blood (New York Public Library, Digital Library Collections). Edward Boatner died in New York in 1981, leaving a legacy of developing the concert spiritual genre in which elements of folk song and art song are blended. Sources: Perkins Holly, Ellistine. Biographies of Black Composers and Songwriters; A Supplementary Textbook. Iowa: Wm. C. Brown Publishers, 1990. New York Public Library, Digital Library Collections. http://www.nypl.org/digital/ NegroSpirituals.com The African American Art Song Alliance. University of Northern Iowa. www.uni.edu Margaret Bonds (1913-1972), composer Three Dream Portraits Margaret Bonds was born on March 3, 1913 in Chicago, Illinois. Margaret’s mother, Estella Bonds, was her first piano teacher and exposed her to great musicians like Florence B. Price and Will Marion Cook early in her life. This early contact led her to attend Northwestern University, where she earned her Bachelor’s and Master’s Degrees in music in 1933 and 1934, respectively. From there she attended Juilliard to continue her studies in 1939. The song cycle Three Dream Portraits resulted from her collaboration with poet Langston Hughes, with whom she maintained an enduring friendship. During Bonds’ illustrious career, she taught at the American Theater Wing and performed with several orchestras. In 1967 she moved to Los Angeles to work at the Inner City Institute and Repertory Theater until her death on April 26, 1972. Source: The African American Art Song Alliance. http://www.uni.edu/taylord/bonds.bio.html Langston Hughes (1902-1967), poet Song to the Dark Virgin Three Dream Portraits The Breath of a Rose Fi-yer! Poet Langston Hughes was born on February 1, 1902, in Joplin, Missouri. He began writing poetry in high school, and soon after graduation, wrote the famous poem, “The Negro Speaks of Rivers.” In 1921, he attended Columbia University, but left a year later after a visit to Harlem. There he met many of the other 21M.410 / 21M.515 Vocal Repertoire and Performance Spring 2005 key writers of the Harlem Renaissance, such as Countee Cullen, James Weldon Johnson and W.E.B. DuBois, and his literary career took off. In 1932 he wrote The Dream Keeper and Other Poems, the collection from which “Three Dream Portraits” is taken. Hughes also wrote several plays and the lyrics to the Broadway musical entitled Street Scene (1947). Perhaps the most original of all African American poets, Hughes has been deemed the “Poet Laureate of the Negro Race.” He died on May 22, 1967, but his spirit and influence live on. Source: Poets.org. http://www.poets.org/poets/poets.cfm?prmID=84 Lawrence Brown, arranger Joshua Fit the Battle of Jericho Lawrence Brown is best known for his arrangements of spirituals and as an accompanist for Paul Robeson, baritone. They gave the first all-spiritual recital in 1925 in Greenwich Village Theater, New York where the spiritual was elevated to a venerable place in music, paving the way for future African-American singers. Source: Bay Area Paul Robeson Centennial Committee Web Site. bayarearobeson.org Henry (Harry) Thacker Burleigh (1866-1949), arranger Oh, Didn’t it Rain? Henry Thacker Burleigh was born on December 2, 1866, in Erie, Pennsylvania. His work was greatly influenced by his grandfather, Hamilton Waters, who sang spirituals to Henry while working as Erie’s town crier. While his mother, Elizabeth Burleigh, was in the employ of Elizabeth Russell, Mrs. Burleigh gained Mrs. Russell’s permission for Henry to greet the guests as they arrived for the concerts held in Mrs. Russell’s home. Thus, at a young age Burleigh heard a considerable amount of European classical music, as well. In 1892, he received a scholarship to attend the National Conservatory of Music in New York. There he met Antonin Dvorák, the man who most strongly influenced Burleigh’s career as a composer. In 1894 Burleigh was selected as the baritone soloist at St. George’s Episcopal Church of New York, which in turn gave him the financial stability to compose between two hundred and three hundred songs. His career led to many accolades, such as the Spingarn Medal in 1917, and he influenced many of the young African American musicians of the early 1900s. He died on September 12, 1949. Source: Afrocentric Voices in “Classical” Music. http://www.afrovoices.com/burleigh.html Yiu-kwong Chung (b. 1956), composer By Chance Yiu-kwong Chung was born in Hong Kong in 1956. He received formal training as a percussionist and served as Assistant Principal Percussionist for the Hong Kong Philharmonic Orchestra from 1980 to 1986. Chung was a self-taught composer until 1986, when he won first prize at the Percussive Arts Society Composition Competition, which enabled him to study composition at the City University of New York. Chung moved to Taiwan in 1991, and is now regarded is Taiwan’s best known and most often performed composer. He has composed over seventy works for nearly every conceivable instrumentation, including symphony orchestra, wind ensemble, traditional Chinese instruments, and musical theater. His commissioned works as of 2004 include a saxophone concerto, clarinet concerto, percussion sextet, and chamber music for solo sanxian, bamboo flutes and percussion. Chung is currently a professor of contemporary music and percussion at the National Taiwan University of Arts in Taipei, Taiwan. “By Chance” is the first song in a cycle entitled Three Poems by Xu Zhimo, composed in 1997. Source: Yiu-kwong Chung Official Website. http://cykusic.com. 21M.410 / 21M.515 Vocal Repertoire and Performance Spring 2005 Xu Zhimo (1985-1931), poet By Chance Xu Zhimo was a Chinese poet, born in 1895 in the Chekiang province. In 1918, he came to the United States, where he received degrees from Clark University and Columbia University. Xu then attended Cambridge University in England, where he began writing poetry and studying the works of British romantics like John Keats and Percy Bysshe Shelley. Xu returned to China in 1922, where he maintained a career as a teacher and writer until his death in a plane crash in 1931. He is noted as one of the first Chinese poets to combine Western forms with Chinese styles, exploring themes of love, beauty, freedom, and dynamism in his poetry. Source: Denton, Kirk A. Ohio State University. CH503: Modern Chinese Literature In Translation. http://people.cohums.ohio-state.edu/denton2/courses/c503/xzm.htm By Chance Pinyin (Mandarin Chinese transcription) English translation ou ran By Chance wo shi tian kong li de yi pian yün I am a cloud in the sky, ou er tou ying zai ni de po sin A chance shadow on the wave of your heart. ni bu bi ya yi Don't be surprised, gong wu xü huan xi Or too elated; zai zhuan shuen jian xiao mie de zong ying In an instant I shall vanish without trace. ni wo xiang feng zai hue ye de hai shang We meet on the sea of dark night, ni you ni de, wo you wo de fang xiang You on your way, I on mine. ni ji de yie hao Remember if you will, zwei hao ni wang diao Or, better still, forget zai zhe jiao shi hu fang de guang liang The light exchanged in this encounter Samuel Coleridge-Taylor (1875-1912), composer Long, long the labour Samuel Coleridge-Taylor was born on August 15, 1875 in Croydon, England to Alice Hare, an English woman, and Daniel Peter Taylor, a native of Sierra Leone. Daniel Taylor found it difficult to maintain a medical practice in England because of his race, so he returned to Africa permanently shortly following Samuel’s birth. As a child, Samuel participated in church choirs. His study of the violin led to his enrollment in the Royal College of Music in 1890. After two years he began to focus upon the study of composition. "Long, long the labour" stands as the finale of Coleridge-Taylor's opera Dream Lovers, written in 1898 in collaboration with the celebrated African American poet, Paul Laurence Dunbar. Coleridge-Taylor’s most famous musical work was Hiawatha’s Wedding Feast in which he set verse from Henry Wadsworth Longfellow’s “Song of Hiawatha.” Also known for his humanitarian influence, Coleridge-Taylor became a leader in the Pan-African movement.
Recommended publications
  • Royal Umd 0117E 18974.Pdf (465.4Kb)
    ABSTRACT Title of Dissertation: SELECTED WORKS OF COMPOSERS ASSOCIATED WITH HOWARD UNIVERSITY Guericke Christopher Royal, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Chris Gekker School of Music Throughout its over 100 year history, Howard University has produced and attracted many talented composers of many musical genres. Limiting this project to any one genre or focus would have lessened the overall impact of the music they created and the inspiration that has been a lauded part of the institution. The project will demonstrate the various harmonic, melodic, rhythmic and emotional contributions of the selected composers through interpretation of their music on the trumpet. Composers have been connected to the university in three general ways: as students, alumni and faculty; as commissioned artists; and through the performance of their works by notable performers associated with Howard. The pieces selected for this project exemplify a wide range of musical expressions and compositional techniques, and hopefully have been presented in a way that allows the emotional impact of each piece to resonate in a unique fashion. The selected works tended to fall into the categories of A. Trumpet and Brass Works B. Spirituals/ Meditational/ Religious Works C. Popular and Jazz Pieces D. Organ or other Instrumental Works E. Works of Historical Reference or Significance In some cases, certain pieces may be categorized across multiple categories (e.g. an organ piece based on religious material). As this was also a recording project, great care was taken during the recording process to capture as much emotional content as possible through stereo microphone techniques and the use of high quality equipment.
    [Show full text]
  • Liner Notes Watch and Pray: Spirituals and Art Songs by African American Women Composers, Koch International, 3-7247-2H1, 2000
    Liner Notes Watch and Pray: Spirituals and Art Songs by African American Women Composers, Koch International, 3-7247-2H1, 2000 American Music, by definition, is the result of a particular fusion of many musical cultures. This recording presents an important strand in this complicated tapestry—the blending of African American spiritual songs with the art music of Europe. The origin of the spiritual is still a matter of debate. However, it is generally agreed that it evolved out of the collective folk experiences of the slave. The compositional process relied on the oral tradition, passing these songs from one person to another, generation to generation. We will perhaps never know exactly what they sounded like, nor are we ever likely to precisely trace their evolution. Thus it is probable that the body of music we now associate with the spiritual bears only partial resemblance to the folk original. Spiritual arrangements, as a second evolutionary stage, came into being as early as the middle of the nineteenth century and played an important role in spreading the music and texts far beyond their original folk context. The songs presented here provide a glimpse into a third important development—the reclamation and synthesis of the folksong by African American art music composers. As the African American experience changed, so did its music. By the first half of this century, a small number of African Americans had gained access to conservatories and universities here and abroad. This resulted in the appearance of dramatic new voices on the American musical scene. These African American pioneer composers elected not to abandon their cultural heritage but to transform it with their new musical skills and perspective.
    [Show full text]
  • Touching Photographs { Margaret Olin } Touching Photographs
    Touching Photographs { margaret olin } Touching photographs the university of chicago press chicago and london margaret olin is a senior research scholar in the Divinity School, with joint appointments in the Departments of History of Art and Religious Studies and in the Program in Judaic Studies The University of Chicago Press, Chicago 60637 at Yale University. The University of Chicago Press, Ltd., London © 2012 by The University of Chicago All rights reserved. Published 2012. Printed in China 21 20 19 18 17 16 15 14 13 12 1 2 3 4 5 ISBN-13: 978-0-226-62646-8 (paper) ISBN-10: 0-226-62646-6 (paper) Library of Congress Cataloging-in-Publication Data Olin, Margaret Rose, 1948– Touching photographs / Margaret Olin. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-226-62646-8 (pbk : alk. paper) ISBN-10: 0-226-62646-6 (pbk : alk. paper) 1. Photographs—Psy- chological aspects. 2. Photography—Social aspects. 3. Photography in literature. 4. Barthes, Roland. Chambre claire. 5. Evans, Walker, 1903–1975. 6. Van Der Zee, James, 1886–1983. 7. September 11 Terrorist Attacks, 2001. I. Title. TR183.045 2012 770.01'9—dc22 2011016695 This book has been printed on acid-free paper. For Bob and George, our colleagues and students, and their legacy contents Acknowledgments ix 1 Introduction: Tactile Looking 21 1ts “ I I Not Going to Be Easy to Look into Their Eyes” Privilegef o Perception in Let Us Now Praise Famous Men 51 2 Roland Barthes’s “Mistaken” Identification 71 3 “ From One Dark Shore to the Other” The Epiphany of the Image in Hugo von Hofmannsthal and W.
    [Show full text]
  • A History of African American Theatre Errol G
    Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information AHistory of African American Theatre This is the first definitive history of African American theatre. The text embraces awidegeographyinvestigating companies from coast to coast as well as the anglo- phoneCaribbean and African American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles – from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and ahalf centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals, and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are produc- tions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, are conveyed in this volume. errol g. hill was Professor Emeritus at Dartmouth College, Hanover, New Hampshire before his death in September 2003.Hetaughtat the University of the West Indies and Ibadan University, Nigeria, before taking up a post at Dartmouth in 1968.His publications include The Trinidad Carnival (1972), The Theatre of Black Americans (1980), Shakespeare in Sable (1984), The Jamaican Stage, 1655–1900 (1992), and The Cambridge Guide to African and Caribbean Theatre (with Martin Banham and George Woodyard, 1994); and he was contributing editor of several collections of Caribbean plays.
    [Show full text]
  • HARLEM in SHAKESPEARE and SHAKESPEARE in HARLEM: the SONNETS of CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, and GWENDOLYN BROOKS David J
    Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 5-1-2015 HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS David J. Leitner Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/dissertations Recommended Citation Leitner, David J., "HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS" (2015). Dissertations. Paper 1012. This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS by David Leitner B.A., University of Illinois Champaign-Urbana, 1999 M.A., Southern Illinois University Carbondale, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Department of English in the Graduate School Southern Illinois University Carbondale May 2015 DISSERTATION APPROVAL HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS By David Leitner A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of English Approved by: Edward Brunner, Chair Robert Fox Mary Ellen Lamb Novotny Lawrence Ryan Netzley Graduate School Southern Illinois University Carbondale April 10, 2015 AN ABSTRACT OF THE DISSERTATION OF DAVID LEITNER, for the Doctor of Philosophy degree in ENGLISH, presented on April 10, 2015, at Southern Illinois University Carbondale.
    [Show full text]
  • The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2010 The Alan Lomax Photographs and the Music of Williamsburg (1959-1960) Peggy Finley Aarlien College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Aarlien, Peggy Finley, "The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)" (2010). Dissertations, Theses, and Masters Projects. Paper 1539626612. https://dx.doi.org/doi:10.21220/s2-b3tk-nh55 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE ALAN LOMAX PHOTOGRAPHS AND THE MUSIC OF WILLIAMSBURG (1959-1960) Peggy Finley Aarlien Niirnberg, Germany Master of Arts, Norwegian University of Sciences and Technology, 2001 Bachelor of Arts, Norwegian University of Sciences and Technology, 1995 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Masters of Arts The American Studies Program The College of William and Mary August 2010 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Masters o f Arts Approved by the Committee, June, 2010 Professor Grey Gundaker The American Studies Program / Dr^Gj/affle^MjbGovern he Anwiqfin SJMdies*4*f©gi2iiT^^ 'w / G' fgG Arthur Rrnignt j” The American Studies Program ABSTRACT PACE On July 19, 2002, folklorist Alan Lomax died at the age of 87.
    [Show full text]
  • Deep Rivers: Selected Songs of Florence Price and Margaret Bonds Penelope Peters
    Document generated on 09/30/2021 11:35 p.m. Canadian University Music Review Revue de musique des universités canadiennes Deep Rivers: Selected Songs of Florence Price and Margaret Bonds Penelope Peters Voices of Women: Essays in Honour of Violet Archer Article abstract Voix de femmes : mélanges offerts à Violet Archer This essay examines the songs of two African-American women, Florence Price Volume 16, Number 1, 1995 (1888–1953) and Margaret Bonds (1913–72), who embarked upon their compositional studies and careers only a couple of generations after the URI: https://id.erudit.org/iderudit/1014417ar emancipation. Both discovered in the poetry of Langston Hughes (1902–67) the DOI: https://doi.org/10.7202/1014417ar means for reconciling the musical traditions of their African-American heritage with those of their European training. Through detailed analysis of the textual and musical symbolism in Price's Song to a Dark Virgin and Bonds's The See table of contents Negro Speaks of Rivers and Three Dream Portraits, the author demonstrates the influence of spirituals ("plantation songs"), blues, and jazz and reveals how these African-American idioms are integrated with the melodic and harmonic Publisher(s) idioms from the early twentieth-century European tradition. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Peters, P. (1995). Deep Rivers: Selected Songs of Florence Price and Margaret Bonds. Canadian University Music Review / Revue de musique des universités canadiennes, 16(1), 74–95. https://doi.org/10.7202/1014417ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law.
    [Show full text]
  • African American Song Recital Project BU CFA SOM Departments of Voice and Collaborative Piano April 2021
    African American Song Recital Project BU CFA SOM Departments of Voice and Collaborative Piano April 2021 Program Notes – Shiela Kibbe Art songs by African American composers and composers of the African diaspora are rich and diverse in poetic heritage, harmonic language, and compositional style. This project has introduced pianists and singers to a catalogue of repertoire that is immensely rewarding to performers as well as listeners. Although African American composers have set texts by many authors and poets, they have been especially drawn to the words of African American writers. Three of the most influential African American poets were Paul Dunbar, James Weldon Johnson, and Langston Hughes. Paul Laurence Dunbar (1872-1906) was the first African American poet to gain national recognition. Born to parents who were freed slaves in Kentucky, Dunbar’s writing often referred to their stories of plantation life. He published poems in Standard English as well as in dialect; his poetry using dialect attracted the most attention. The H. Leslie Adams song Sence You Went Away is a beautiful example of the softened diction used in Dunbar’s dialect poetry. James Weldon Johnson (1871-1938) penned the words to Lift Every Voice and Sing in 1900. Set to music by his brother Rosamund, this glorious song became commonly known as the Negro National Anthem, and is sung today in churches, at sporting events, and as part of the Black Lives Matter movement. Johnson was the First African American to pass the bar exam in Florida, and spent his professional life as an educator, a lawyer, the US Consul to Venezuela, and an officer in the National Association for the Advancement of Colored People (NAACP).
    [Show full text]
  • Onal Conference on the Octoberlu 4,Es 2019  WELCOME to the 
    niversity ate U St lta De International Conference on the OCTOBERlu 4,es 2019 WELCOME TO THE GREETINGS FROM DELTA STATE PRESIDENT WILLIAM N. LAFORGE Welcome to Delta State University, the heart of the Mississippi Delta, and the center of Blues country! Delta State offers a wide array of educational, cultural, and athletic activities. Our university plays a key role in the leadership and development of the Mississippi Delta and of the State of Mississippi through a variety of partnerships with businesses, local governments, and community organizations. As a university of champions, we boast talented faculty who focus on student instruction and mentoring; award-winning degree programs in business, arts and sciences, nursing, and education; unique, cutting-edge programs such as aviation, geospatial studies, digital media arts, and the Delta Music Institute; intercollegiate athletics with numerous national and conference championships in many sports; and, a full package of extracurricular activities and a college experience that help prepare our students for careers in an ever-changing, global economy. Delta State University’s annual International Conference on the Blues features academic and scholarly activity and a variety of musical performances to ensure authenticity and a direct connection to the demographics surrounding the “Home of the Delta Blues.” Whether you are a scholar, musician, industry guru, historian, demographer, tourist, or just a casual listener of the music that “grew up” in the Mississippi Delta, Delta State University is pleased to welcome you to the “Blues Mecca.” I hope you enjoy your time on campus. Welcome to Delta State Blues University! Very best regards, William N.
    [Show full text]
  • Msm String Chamber Orchestra
    Tuesday, April 20, 2021 | 12:15 PM Livestreamed from Neidorff-Karpati Hall MSM STRING CHAMBER ORCHESTRA George Manahan (BM ’73, MM ’76), Conductor PROGRAM ADOLPHOUS HAILSTORK Church Street Serenade (BM ’63, MM ’65, HonDMA ’19) (b. 1941) EDVARD GRIEG Holberg Suite, Op. 40 (1843–1907) Praeludium (Allegro vivace) Sarabande (Andante) Gavotte (Allegretto) Air (Andante religioso) Rigaudon (Allegro con brio) HEITOR VILLA-LOBOS Bachianas Brasileiras No. 1 (1887–1959) MSM STRING CHAMBER ORCHESTRA VIOLIN 1 VIOLA Tom Readett BASS YouJin Choi Ramon Carrero Mystic, Connecticut Dante Ascarrunz Seoul, South Korea Caracas, Venezuela Rei Otake Lafayette, Colorado Sophia Stoyanovich Sara Dudley Tokyo, Japan Jakob Messinetti Bainbridge Island, Washington New York, New York Sam Chung Lawrence, New York Young Ye Roh Seoul, South Korea Ridgewood, New Jersey CELLO Rachel Lin Noah Koh San Jose, California VIOLIN 2 Bayside, New York Nicco Mazziotto Da Huang Juedy Lee Melville, New York Beijing, China Seoul, South Korea Esther Kang Benjamin Hudak Seoul, Korea San Francisco, California ABOUT THE ARTISTS George Manahan, Conductor George Manahan is in his 11th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike.
    [Show full text]
  • The Life and Solo Vocal Works of Margaret Allison Bonds (1913-1972) Alethea N
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 The Life and Solo Vocal Works of Margaret Allison Bonds (1913-1972) Alethea N. Kilgore Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE LIFE AND SOLO VOCAL WORKS OF MARGARET ALLISON BONDS (1913-1972) By ALETHEA N. KILGORE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2013 Copyright © 2013 Alethea N. Kilgore All Rights Reserved Alethea N. Kilgore defended this treatise on September 20, 2013. The members of the supervisory committee were: Wanda Brister Rachwal Professor Directing Treatise Matthew Shaftel University Representative Timothy Hoekman Committee Member Marcía Porter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to the music and memory of Margaret Allison Bonds. iii ACKNOWLEDGEMENTS I would first like to acknowledge the faculty of the Florida State University College of Music, including the committee members who presided over this treatise: Dr. Wanda Brister Rachwal, Dr. Timothy Hoekman, Dr. Marcía Porter, and Dr. Matthew Shaftel. I would also like to thank Dr. Louise Toppin, Director of the Vocal Department of University of North Carolina at Chapel Hill for assisting me in this research by providing manuscripts of Bonds’s solo vocal works. She graciously invited me to serve as a lecturer and performer at A Symposium of Celebration: Margaret Allison Bonds (1913-1972) and the Women of Chicago on March 2-3, 2013.
    [Show full text]
  • NEWS RELEASE NATIONAL GALLERY of ART Washington, D
    NEWS RELEASE NATIONAL GALLERY OF ART Washington, D» C 0 REpublic 7-U21S, Extension 282 FOR IMMEDIATE RELEASE FIFTEENTH AMERICAN MUSIC FESTIVAL AT THE NATIONAL GALLERY CF ART Washington, April 15, 1958: John Walker, Director of the National Gallery of Art, announced today that the Gallery's Fifteenth American Music Festival will be presented on successive Sunday evenings from May h through June 1, 1958. Five programs will be played, including orchestral, chamber, piano, choral, and vocal music, The series is under the general direction of Richard Bales, who will conduct the National Gallery Orchestra in two of the programs. A highlight of the Festival will be the premiere of The Concerto Pastorale for Carillon and Orchestra by La Salle Spier of Washington, Do C 0 The solo part, recorded at Luray, Virginia,, by Charles T. Chapman, Carillonneur, of the Singing Tower, will be reproduced via hi-fidelity tape recording, while the National Gallery Orchestra plays the accompaniment. First performances will also be given works by Charles Ives, Mark Fax, and Walter Spencer Huffman,, A number of works will also be heard for the first time in Washington. These concerts will be given in the East Garden Court, beginning at 8:00 P.M. There is no admission charge, and tickets and reservations are not required. The Festival will be broadcast in entirety by Station WGMS-AM and FM, Washington's Good Music Station. » 9 «, National Gallery of Art, Programs and participating artists follow: THE A. Wo MELLON CONCERTS 720th Concert Hay U, 1958, 8:00 p.m. THE KOHDN STRING (JUARTET and Isabelle Byman, Pianist Compositions by Charles Ives "-»-Largo Riscluto No, 1, "The law of diminishing returns" ^String Quartet No.
    [Show full text]