Extensions of Remarks E231 HON. PAUL TONKO HON. KENNY

Total Page:16

File Type:pdf, Size:1020Kb

Extensions of Remarks E231 HON. PAUL TONKO HON. KENNY February 28, 2019 CONGRESSIONAL RECORD — Extensions of Remarks E231 America. May we learn from this young man RECOGNIZING THE RAINWATER PERSONAL EXPLANATION the virtues of self-sacrifice and fidelity to our FAMILY AND THEIR CONTRIBU- beloved Nation. TIONS TO THE CITY OF HON. LOIS FRANKEL CARROLLTON, TEXAS OF FLORIDA f IN THE HOUSE OF REPRESENTATIVES HONORING DR. ADOLPHUS HON. KENNY MARCHANT Thursday, February 28, 2019 HAILSTORK OF TEXAS Ms. FRANKEL. Madam Speaker, on roll call IN THE HOUSE OF REPRESENTATIVES votes 90, 91, 92, 93, 94, and 95, I was not present because I was unavoidably detained. Thursday, February 28, 2019 HON. PAUL TONKO Had I been present, I would have voted Mr. MARCHANT. Madam Speaker, I rise ‘‘YEA,’’ ‘‘YEA,’’ ‘‘YEA,’’ ‘‘YEA,’’ ‘‘YEA,’’ and OF NEW YORK today to celebrate trailblazers for equality like ‘‘YEA’’ respectively. IN THE HOUSE OF REPRESENTATIVES the Rainwater Family of Carrollton, Texas dur- f ing this Black History Month. Over the last 100 Thursday, February 28, 2019 years, each generation of the Rainwater family PASSING OF MRS. FANNIE MAE has persistently worked to grow Carrollton, EVANS CORBETT AND IN REC- Mr. TONKA. Madam Speaker, I rise today to OGNITION OF HER MANY CON- celebrate the work of Dr. Adolphus Hailstork. Texas, into a diverse, inclusive, and loving community. TRIBUTIONS TO EASTERN NORTH Dr. Hailstork is a leading composer and pro- CAROLINA Born on February 3, 1912, Annie Heads fessor who has dedicated his life to the study, Rainwater was the sixth child of Walter and composition, and continuation of musical ex- Nancy Heads. In 1932, Annie married Charlie HON. G.K. BUTTERFIELD cellence. He has written numerous works for ‘‘Wash’’ Rainwater, son of George W. Rain- OF NORTH CAROLINA chorus, chamber ensembles, piano, organ, water and Delia Bush. Annie and Charlie had IN THE HOUSE OF REPRESENTATIVES band and orchestra, which are performed and eight children, two of which passed away as celebrated around the world. Thursday, February 28, 2019 infants. Annie and Charlie lived on the family Mr. BUTTERFIELD. Madam Speaker, I rise Born in Rochester, NY, but raised in Albany, farm belonging to Annie’s grandparents—lo- in memory of a great woman and legend with- Dr. Hailstork’s remarkable musical career can cated in present day Carrollton, Texas. Annie in the Wilson, North Carolina community, Mrs. be traced back to his membership in the his- was a homemaker and Charlie managed the Fannie Mae Evans Corbett. Mrs. Corbett toric Cathedral of All Saints Choir of Men and family farm. Together, they attended church passed away on Tuesday, February 19, 2019. Boys, the oldest continually performing en- and spent time instilling Christian values of She was 86 years old. semble of its kind in the United States. His charity, hard work, and friendship in their chil- Born in Pitt County, North Carolina on May membership in the Choir was the catalyst to dren. 23, 1932, Mrs. Corbett was the fourth of five more than seventy years of creative expres- In 1962, Dallas’ school district desegrega- sion and musical prowess. children born to Bessie Evans and Sylvester tion plan was slowly being put into place. In Powell. Mrs. Corbett learned the meaning of Since his time with the Choir, he has pur- Carrollton, a then-rural school district to the hard work at a young age, spending much of sued a career in music with relentless dedica- northwest, Annie Heads Rainwater’s six chil- her developmental years working in the cotton tion. During his years at Albany High School, dren had no neighborhood high school. Under and tobacco fields. In 1955, Mrs. Corbett he began composing music regularly. He re- segregation laws and as was customary, black moved to Wilson, North Carolina, where she ceived degrees from Howard University and students were not allowed to attend the all- married and raised her family. After becoming the Manhattan School of Music and studied in white Carrollton High School just minutes a single mother of four children, Mrs. Corbett France with famed composer and teacher away from the Rainwater family farm. Black set out to improve her economic outlook by re- Nadia Boulanger before receiving his doc- students were bused 20 miles to all-black turning to school to earn her high school di- torate from Michigan State University in 1971. Booker T. Washington High School in Dallas, ploma and an associate’s degree from Wilson What makes Dr. Hailstork truly admirable is and later, 30 miles north to Denton’s all-black Community Technical Institute. not only his aptitude in making music, but his Fred Moore High. Mrs. Corbett’s influence in Wilson was desire and skill in teaching it, passing on his To Mrs. Rainwater, the school system had transformational. In 1968, Mrs. Corbett be- substantial knowledge to future musicians. He failed her family. As a recent widow, Mrs. came one of the key founders of the Wilson has served as professor at Youngstown State Rainwater filed civil action in U.S. District Community Improvement Association (WCIA). University in Ohio and at Norfolk State Univer- Court against Carrollton’s school district, de- Mrs. Corbett led WCIA’s growth from a local sity in Virginia. Currently, he works as a pro- manding desegregation. Her younger daugh- grassroots organization to a proactive move- fessor of music and Composer-in-Residence ters, Nancy and Betty, were named as plain- ment that was a model for community devel- at Old Dominion University in Norfolk. tiffs in the case. Later that year, Judge Sarah opment corporations across the country. Mrs. T. Hughes ordered Carrollton to integrate its Corbett’s indelible contributions to Wilson in- One of the most incredible aspects of music high school. In fall 1963, Mrs. Rainwater is its ability to connect individuals of all ages clude coordinating voter registration drives watched as Nancy and other teenagers be- across East Wilson and engaging the youth in and backgrounds. Dr. Hailstork’s work exem- came the first black students to attend all- plifies this idea. He has studied, composed educational and recreational programs. In white R.L. Turner High School in Carrollton, 1973, under Mrs. Corbett’s leadership, WCIA and taught a vast range of musical styles and Texas. Annie Heads Rainwater lived until genres, focusing on classical compositions established the Wilson Senior Citizen Center, 1992. In 1994, the Carrollton-Farmers Branch which was the first nutritional feeding program with a blend of African American and Euro- ISD recognized Annie for her bold persever- pean traditions. His masterful compositions in Wilson County. ance against many odds by dedicating Annie While championing the value of homeowner- have been performed by the New York Phil- Heads Rainwater Elementary in her honor. harmonic, Chicago Symphony, Los Angeles ship, Mrs. Corbett advocated for programs that Today, Annie Heads Rainwater’s son, Rev. Philharmonic and numerous other prestigious would make owning a home an attainable goal Willie Rainwater, continues to carry the torch orchestras. even to those with modest means. In 1991, for justice and freedom through his work at WCIA received a $1.2 million grant from the This year marks the 60th anniversary of Dr. Christ Community Connection. Willie and his Department of Housing and Urban Develop- Hailstork’s graduation from Albany High wife, Juanita, work diligently to provide schol- ment (HUD) to build 68 homes for low- and School. Since his time in New York’s Capital arships to underprivileged students in moderate-income people. Over 200 families Region, he has left an imprint on the districts Carrollton-Farmers Branch ISD. Additionally, applied for residency in the subdivision, culture and society that will not soon fade. Willie and Juanita started the Martin Luther Adventura East. After purchasing more land, On behalf of the United States Congress, it King, Jr. parade that celebrated its 25th anni- WCIA completed an additional 30 units. is my great honor and privilege to recognize versary last month. Today, the Adventura East I & II subdivision is Dr. Hailstork’s accomplishments. I offer my Madam Speaker, I ask all of my colleagues home to 148 families. In 1993, with WCIA’s af- gratitude for his immeasurable dedication and to join me in honoring the Rainwater Family fordable housing momentum building, the or- wish him continued success in the years to for their significant contributions to the ganization acquired Sunset Terrace, a 104- come. Carrollton, Texas community. unit housing complex. Two years later, WCIA VerDate Sep 11 2014 05:17 Mar 01, 2019 Jkt 089060 PO 00000 Frm 00005 Fmt 0626 Sfmt 9920 E:\CR\FM\A28FE8.015 E28FEPT1 SSpencer on DSKBBXCHB2PROD with REMARKS.
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]
  • Annotated Bibliography of African American Carillon Music
    Revised February 3, 2021 Annotated Bibliography of African American Carillon Music by Tiffany Ng User’s Guide T his comprehensive annotated bibliography lists carillon scores by African American composers and/or based on African American music. While most of the items are published, a few are unpublished but in informal circulation, or are pending publication. Carillonneurs are invited to use this resource to identify music to perform and teach. Despite the length of this bibliography, there are currently only four published original carillon works by African American composers. The vast majority of items are arrangements by white composers, and most of these arrange- ments are of spirituals, pointing to an essentialization of African American music that omits major genres (ex. jazz, soul, and rhythm and blues, to name a few) and freezes musical development in the 19th century. These imbalances point to an ongoing need for the commissioning of original works by Black composers. This survey also indicates that there are only four original carillon works by Black women, all of which I helped com- mission. Furthermore, of the 74 carillon arrangements of works that can be attributed to specific composers, only 11 arrangements (15%) are of works originally composed or co-written by women—Katherine Stockwell Hazzard, Betty Jackson King, Florence Beatrice Price, and contemporary songwriters Beyoncé and Mary J. Blige. Carillonneurs seeking to commission composers are thus encouraged to explore the intersection of race and gender when identifying potential collaborators, and to ask colleagues of races and genders other than their own for outside referrals to composers who will diversify their collaborative relationships.
    [Show full text]
  • A Descriptive Analysis of the Musical Elements and The
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 11-2020 “THIS IS HOW WE DO IT”: A DESCRIPTIVE ANALYSIS OF THE MUSICAL ELEMENTS AND THE BLACK CHURCH CULTURAL INFLUENCES IN ADOLPHUS HAILSTORK’S I WILL LIFT UP MINE EYES: A CANTATA FOR TENOR, CHOIR, AND CHAMBER ORCHESTRA Alfonzo Cooper Jr University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Cooper Jr, Alfonzo, "“THIS IS HOW WE DO IT”: A DESCRIPTIVE ANALYSIS OF THE MUSICAL ELEMENTS AND THE BLACK CHURCH CULTURAL INFLUENCES IN ADOLPHUS HAILSTORK’S I WILL LIFT UP MINE EYES: A CANTATA FOR TENOR, CHOIR, AND CHAMBER ORCHESTRA" (2020). Student Research, Creative Activity, and Performance - School of Music. 150. https://digitalcommons.unl.edu/musicstudent/150 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “THIS IS HOW WE DO IT”: A DESCRIPTIVE ANALYSIS OF THE MUSICAL ELEMENTS AND THE BLACK CHURCH CULTURAL INFLUENCES IN ADOLPHUS HAILSTORK’S I WILL LIFT UP MINE EYES: A CANTATA FOR TENOR, CHOIR, AND CHAMBER ORCHESTRA by Alfonzo Cooper, Jr. A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music (Vocal Performance) Under the Supervision of Professor William Shomos Lincoln, Nebraska November, 2020 “THIS IS HOW WE DO IT”: A DESCRIPTIVE ANALYSIS OF THE MUSICAL ELEMENTS AND THE BLACK CHURCH CULTURAL INFLUENCES IN ADOLOPHUS HAILSTORK’S I WILL LIFT UP MINE EYES: A CANTATA FOR TENOR, CHOIR, AND CHAMBER ORCHESTRA Alfonzo Cooper, Jr., D.M.A.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2011
    iT":""" _ » 3i»^T*X' FSSu* ymphoimVorchestr LI A HULY e Berkshires SCHANTZ ALLERJES ntemporary art 3 Elm Street Stockbridge, MA 413.298.3044 BERKSHIRE MONEY MANAGEMENT We?tl ntaJob vt easy to mov&youvportfolio. November 15, 2007 Sample Market Calls (sell) of Berkshire Money Management July 14 2010 (buy) S&P 500 INDEX DAILY DATA 1/02/2001-12/31/2010 March 6, 2009 (buy) © Copyright 201 1 Ned Davis Research, Inc. Further distribution prohibited without prior permission. All Rights Reserved. See NDR Disclaimer at www.ndr.com/copyright.html. For data vendor disclaimers refer to www.ndr.com/vendorinfo/. May 11, 2001 (sell) May 10, 2002 (sell) November 15, 2007 (sell) "Don't get too scientific.just ask yourself; "If [the NASDAQ] pierces the 1600 level "The obvious answer is a temporary position does it feel like a recession? We don't think again, the prudent investor will not hold in cash." it feels as bad as 1990-1991, but it is bad out for another relief rally...the NASDAQ is The stock market fell 48.9% after that sell enough." setting up for a retest of the September signal. [2007] lows of the 1400s." The stock market fell 16.5% until our next buy signal. October 11, 2002 (buy) March 6, 2009 (buy) "Expect a bottom for the S&P 500 at 660 September 28, 2001 (buy) "The VIX broke 50 [on October 10th], and points." that is my buy signal this time." "Equity valuations are better than they have The stock market rose 63.2% from that buy been in years." The stock market rose 80% until our next signal to the end of 2009.
    [Show full text]
  • Eleanor Lee November 11 2020 Program
    The D’Angelo Department of Music at Mercyhurst University presents Faculty Recital Eleanor Lee, cello Chiaroscuro An Unaccompanied Recital Walker Recital Hall Wednesday, November 11, 2020 8:00pm www.mercyhurst.edu/music PROGRAM Suite No. 5 for Solo Cello in C Minor J.S. Bach Prelude (1685-1750) Allemande Courante Sarabande Gavottes Gigue Brief Pause (5 minutes) Variations on a Theme of Paganini Hans Bottermund (1892-1949) Arr. Janos Starker (1924-2013) Spring Song Augusta Read Thomas (b. 1964) Theme & Variations on “Draw the Sacred Circle Closer” Adolphus Hailstork Theme: Moderately (b. 1941) Variation I: Spritely Variation II: Playfully-Dramatic-Playfully-Dramatic Variation III: Adagio Variation IV Variation V: Animated The use of recording devices is strictly prohibited. Please turn off and stow all electronic devices. Thank you. NOTES Chiaroscuro - (n.), from Italian chiaro, “light,” and scuro, “dark”, technique employed in the visual arts to represent light and shadow as they define three-dimensional objects; used to dramatically enhance emotive effect and psychological impact - Encyclopedia Britannica 2020 has been an emotionally fraught year for our nation and the world at large. With COVID-19 and political division ever-looming, as a collective, we have known isolation, insecurity, grief, anger, and fear. Music and musicians have suffered some of the worst consequences, limited in our ability to both collaborate and to share. While it is true that most of our training comprises independent activities - spending countless hours practicing, score-studying, and listening - music, in its final execution, is meant to be social: a celebration of civilization, of universal human experience. If ever there was a time when we needed music, it is now.
    [Show full text]
  • An American Port of Call Adolphus Hailstork (1941–) Written: 1985 Movements: One Style: Contemporary American Duration: Nine Minutes
    An American Port of Call Adolphus Hailstork (1941–) Written: 1985 Movements: One Style: Contemporary American Duration: Nine minutes Virginia resident Adolphus Hailstork received his doctorate in composition from Michigan State University, where he was a student of H. Owen Reed. He had previously studied at Manhattan School of Music under Vittorio Giannini and David Diamond, at the American Institute at Fontainebleau with Nadia Boulanger, and at Howard University with Mark Fax. Currently, Dr. Hailstork is Professor of Music and Eminent Scholar at Old Dominion University in Norfolk, Virginia. Before that appointment he was Professor of Music and Composer–in– Residence at Norfolk State University. Dr. Hailstork has written in a variety of genres, producing works for chorus, solo voice, piano, organ, various chamber ensembles, band, and orchestra. His early compositions include Celebration, recorded by the Detroit Symphony in 1976; and two works for band (Out of the Depths, 1977, and American Guernica, 1983), both of which won national competitions. Dr. Hailstork’s works have been performed by such prestigious ensembles as the Philadelphia Orchestra, the Chicago Symphony, and the New York Philharmonic, under the batons of leading conductors such as James DePreist, Daniel Barenboim, Kurt Masur, and Lorin Maazel. Dr. Hailstork’s Second Symphony was commissioned by the Detroit Symphony. His second opera, Joshua’s Boots, was commissioned by the Opera Theatre of St. Louis and the Kansas City Lyric Opera. Dr. Hailstork’s Second and Third Symphonies were recorded by the Grand Rapids Symphony Orchestra, under David Lockington, on a Naxos label disc released in January 2007. Recent works include Earthrise, a new large scale choral work premiered by James Conlon, Three Studies on Chant Melodies for the American Guild of Organists, and Whitman’s Journey, a cantata for chorus and orchestra, premiered by the Master Chorale of Washington, D.C.
    [Show full text]
  • Gabrielle Hartman, Bassoon Saturday, April 3, 2021, at 7:00 PM View the Concert On
    presents A Degree Recital: Gabrielle Hartman, bassoon Saturday, April 3, 2021, at 7:00 PM View the concert on: https://youtu.be/RA0SyoiyA58 Bassoon Set Adolphus Hailstork Moderato con anima (b. 1941) Vivo Lento e teneramente Allegretto Bassoon Sonata in G Major, Op. 168 Camille Saint-Saëns Allegro moderato (1835-1921) Allegro scherzando Molto adagio - Allegro moderato with Gwyyon Sin, piano Concert ‘Le Phénix’ Michel Corrette Allegro (1707-95) Adagio Lento e teneramente Allegretto Koncert for Fagot & Orkester Launy Grøndahl Allegro moderato (1886-1960) Quasi una fantasia, adagio Rondo giocoso with Gwyyon Sin, piano Program Notes Bassoon Set by Adolphus Hailstork Adolphus Hailstork is an American composer, music educator, and current professor of music and composer-in-residence at Old Dominion University. Hailstork studied with well- known composer Nadia Boulanger at the American Conservatory at Fontainebleau and continued his studies at the Manhattan School of Music and Michigan State University, where he graduated with a PhD in composition. His other teachers included Vittorio Giannini and David Diamond. His Bassoon Set was written for the students of the National Association of Negro Musicians in 2003. The four movements of this piece are all quite short, yet each explore the different sounds of the bassoon. The first two movements are relatively fast-paced and energetic, and are followed by a melancholy and sober third movement. The final movement is light and moves forward with a sense of ease. Bassoon Sonata in G, Op. 168 by Camille Saint-Saëns Camille Saint-Saëns, a French composer, pianist, and organist, is best known for his piano and cello concertos, Danse macabre, and The Carnival of the Animals.
    [Show full text]
  • 559700 Bk Hanson US
    559722 bk Hailstork US_559722 bk Hailstork US 23/03/2012 10:10 Page 2 Adolphus Hailstork (b. 1941): tribute to the adventurous spirit of all people setting out on all women and men to join with him as he launches out on O to sail the sea in a ship! I launch all men and women with me forward An American Port of Call the seas of life. The texts used in this piece are among the life’s great journey. To leave this steady, unendurable land! into the Unknown. early, youthful poems in Whitman’s Leaves of Grass. The clock indicates the moment – Composer and College Professor Adolphus Cunningham 2004 with the Berkshire Symphony, and Mark Peskanov They depict Whitman’s vigorous optimism and his call to Adolphus Hailstork To leave the tiresome, tiresome sameness but what does eternity indicate? Hailstork, born April 17th, 1941 in Rochester, New York, as soloist. His cantata Crispus Attucks was first given in of the streets, the sidewalks, and houses; began his musical studies with piano lessons as a child. October 2005, in Norfolk, Virginia. Other new To leave you, O solid, motionless land. I launch all men and women forward with me He studied at Howard University and Manhattan School of commissions include Earthrise, a large scale choral work into the Unknown. Music, spending the summer of 1963 at the American for James Conlon and the 2006 Cincinnati May Festival, O to have a life henceforth a poem of new joys! We have thus far exhausted trillions of winters Institute at Fontainebleau, France.
    [Show full text]
  • Organ Literature of Twentieth-Century Black Composers: an Annotated Bibliography
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I Un1vers1ty Microfilms International A Bell & Howell InformatiOn Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313.'761-4700 800.'521-0600 Order Number 9314581 Organ literature of twentieth-century black composers: An annotated bibliography Harrell, Paula Denise, D.M.A. The University of North Carolina at Greensboro, 1992 Copyright @1992 by Harrell, Paula Denise.
    [Show full text]
  • Adolphus Hailstork and the Navigation of Duality [Final Draft V.2]
    Adolphus Hailstork and the Navigation of Duality [Final Draft v.2] Andy Jarema MUH 7360: Studies in Twentieth-Century Music December 6, 2017 Duality and the Experience of the African-American Composer In The Souls of Black Folk, Harlem Renaissance author W.E.B. Du Bois asserts the inherent duality in living as an African-American person in America, lamenting that African- Americans “ever [feel their] twoness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.”1 It follows that the foundations of African-American music would also embody this duality, as Eileen Southern shows the way spirituals and the blues were shaped by “the black man’s experiences in the New World” and “[possess their] own distinctive style, basically oriented in the African tradition but reflecting some of the features of European music.”2 Southern further suggests this duality proposes a challenge to the African-American composer, who is “constantly being confronted with the problem of what kind of music to write.”3 Jason Dungee echoes these remarks by noting the “tension between the individual composer’s experience, and the collective historical experience of those who share his or her racial identity.” As a result, Dungee concludes African-American composers are acutely aware of “the conscious decision of what influences to allow to be present in your music.”4 Carol Oja demonstrates that William Grant Still, the first African-American composer to have a symphony premiered by a major American orchestra, “led a slightly schizoid existence” in his navigation between the spheres of European music and African-American music.5 1 W.E.B.
    [Show full text]
  • Out of the Silence: a Celebration of Music
    BARD MUSIC FESTIVAL PRESENTS Out of the Silence: A Celebration of Music PROGRAM TWO SATURDAY, SEPTEMBER 12, 2020 Bard BARD MUSIC FESTIVAL PRESENTS Out of the Silence: A Celebration of Music PROGRAM TWO UPSTREAMING Saturday, September 12 4:30 pm Composer Roundtable: Joan Tower, moderator; Adolphus Hailstork; Jessie Montgomery; and Alvin Singleton 5:30 pm Performance: The Orchestra Now, conducted by Leon Botstein, James Bagwell, Andrés Rivas, and Zachary Schwartzman Livestream directed by Ashley Tata JESSIE MONTGOMERY (b. 1981) Strum (2018) ALVIN SINGLETON (b. 1940) After Choice (2009) ADOLPHUS HAILSTORK (b. 1941) Sonata da Chiesa (1990) Exultate O Magnum Mysterium Adoro Jubilate Agnus Dei Dona Nobis Pacem Exultate ANTONĺN DVOŘÁK (1841–1904) Serenade for Strings, Op. 22 (1875) Moderato Tempo di valse Scherzo: Vivace Larghetto Finale: Allegro vivace Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social distance. Musicians sharing a stand also share a home. This program is made possible in part through the generosity of our donors and the Boards of the Bard Music Festival, The Orchestra Now, and the Fisher Center at Bard. Programs and performers are subject to change. PROGRAM TWO NOTES JESSIE MONTGOMERY Violinist, educator, and composer Jessie Montgomery grew up in Manhattan’s Lower East Side during a time of vibrant artistic experimentation and community activism in which her jazz musician father and theater-artist mother were engaged. Thus were sown the seeds of artistic eclecticism and commitment that have marked her performing, teaching, and composing career.
    [Show full text]
  • The World Called Music by Adolphus Hailstork Text by Rita Dove
    The World Called Music by Adolphus Hailstork Text by Rita Dove Televised thanks to VPM: Virginia's Home for Public Media Thursday, September 3rd - 8:30 pm and Saturday, September 5 - 6:30 pm Program Notes We are delighted to present a work which was commissioned for the occasion. It is the creative product of two people who, like so many of us, have chosen to call Virginia home. This collaboration calls upon unique experiences to express the universality of human experience. Dove's poem "Testimonial" is the seventh of eight in "Freedom: A Bird's-Eye View" - a section of her book On the Bus with Rosa Parks. The poems in this section speak of expressing the world through youthful eyes:riddles, rhymes, a first book, discovering the library. Hailstork's musical setting of "Testimonial" (which Dove personally helped paint onto a public mural in Charlottesville) is vibrant with the air of discovery, giving us a glimpse of the world unfolding before a young person's senses. The opening motif gives a taste of what is to come: with a nod to one of the poet's other favorite pursuits - ballroom dancing - Hailstork casts much of the poem with dancelike rhythms. The choral fanfare establishes the theme of the work: "The world called, and I answered" - though this is neither the title nor the first line of Dove's poem. A playful gesture from the woodwinds dispenses with any brief solemnity in the "answer." The story begins in earnest "back when the world was new." While this phrase could refer to deep time and the planet's beginnings, I think here it rather evokes the sense of discovery in every new human who encounters the wilderness of the world.
    [Show full text]