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#Coleridge-Taylor Perkinson
hellocanticle · 4 months
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Not Just Another Black Composer Compilation: Kellen Gray Revives Neglected American Masterpieces
LINN CKD 731 For the humble listener, a musician’s technical and interpretive performance skills are one of the most compelling reasons to buy a concert ticket or a recording of said musician. But your humble reviewer has another, perhaps equally important reason for investing time and money in the work of a musician. And that skill is what I like to call “musical radar”. It is the (sometimes…
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16strings · 2 months
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Coleridge-Taylor Perkinson : String Quartet No. 1 "Calvary", performed by the Catalyst Quartet
The Catalyst Quartet performed String Quartet No. 1 "Calvary" by Coleridge-Taylor Perkinson as part of their Artist-in-Residence series in @GreeneSpaceNY titled "Uncovered." You can watch the full concert here:   • Uncovered: Jessie Montgomery, Colerid...   Hailed by The New York Times as “invariably energetic and finely burnished… playing with earthy vigor,” the Grammy Award-winning Catalyst Quartet graced our stage with rare performances of work by five historically important Black composers, bringing to light these beautifully-crafted and — in some cases — heretofore never-recorded works. 
The Catalyst Quartet:   Karla Donehew Perez, violin   Abi Fayette, violin   Paul Laraia, viola   Karlos Rodriguez, cello
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rainydawgradioblog · 1 month
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Randall Goosby Plays Mozart and Answers My Burning Questions
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28-year-old violin virtuoso Randall Goosby had his debut performance at the Seattle Symphony performing Mozart’s Violin Concerto No. 3 on February 8-1, and I had the pleasure of catching this performance and getting in touch with him for an interview. I’ll save the interview for last, as for now, I hope you’ll indulge me as I share my thoughts on the concert. 
Despite my show name having “Mozart” in the title (how could I pass up on the alliteration and name recognition for a quippy title?), I have never been particularly fond of Mozart. Wolfgang Amadeus Mozart was an incredibly prolific composer, and despite only living to the age of 35, he was able to churn out over 600 works, many of which were full-length multi-movement works. He was also a composer that largely operated within the confines of his time period, so I have often felt that his music falls victim to the formulaism common to the classical era (roughly 1750-1820). Bearing in mind his huge body of work and 18th century musical proclivities, I’ve accepted Mozart as a musical genius whose works seldom strike a chord with my personal tastes. This acceptance, of course, arrives with the occasional exception, for how could you not enjoy at least several out of a body of 600. 
I felt that Mozartean disclaimer necessary because I rarely feel Mozart’s music delivering any emotional revelations, but somehow, Randall Goosby was able to do just that. Goosby’s sincere love for the score radiated off of him as soon as he appeared onstage. As he swayed with the music, we were offered a glimpse into a veritable dialogue between soloist and orchestra. The first movement was rather light and dancelike, but I was particularly struck by the movement’s cadenza. I felt finally enlightened to what Goosby refers to as Mozart’s “endless expressive possibilities,” as the solo had moments of incredible emotional weight and a harmonic structure that seemed, to me at least, before its time. The following two movements were both flawlessly delivered in their own right. Though Mozart violin concerti have never been particular favorites of mine, I found the entire performance to be quite enjoyable. 
Having now witnessed Goosby’s radiating talent firsthand, I was in raptures to hear his encore. He played Louisiana Blues Strut (A Cakewalk) by African American composer Coleridge-Taylor Perkinson (not to be confused with Black British composer Samuel Coleridge-Taylor, for whom he was named). Goosby’s performance of this piece was stunning, to say the least. Topping off my enjoyment was that, as it turns out, Goosby and I are both from Memphis, TN. At once I was flooded with joy at hearing the Southern and Black folk traditions that I had the opportunity of being surrounded by growing up, but don’t encounter often here in Seattle. 
I’m attempting to wrap it up here so this blawg post doesn’t drag on forever with the inclusion of an interview. However, I haven’t even touched upon the second half of the concert, which was a Shostakovich symphony that I enjoyed so fervently that I had a smile plastered on my face for most of it. So I will attempt to be brief, which, as you might have gathered, is not my strong suit. 
Shostakovich’s 9th Symphony, in my opinion, is the the height of musical sarcasm. As I’ve gathered from the conductor Christian Reif’s description and my own knowledge of the life and times of Dmitri Shostakovich, our Shosty was engaged in a near constant battle between his own artistic desires and that of Stalinist Russia. At the time of the composition of his ninth symphony in 1945, Shostakovich had previously announced that his upcoming symphony was to be a large-scale work imbued with the heroic triumph of a Soviet victory over the Nazis. The resulting symphony was anything but, as Reif stated, Shostakovich had written first movmenets longer than this entire symphony, and the mood of triumph was nowhere to be found. Instead, there were moments of sprightly whimsy, sardonic dissonance, and carnivalesque satire. I just threw a lot of adjectives at you, dear blawg reader, but such is the nature of describing such a complex work with so many moods compacted into 27 minutes of music. I’ll end this all too short description with my general impression: I loved every moment of it. 
At long last we’ve arrived at the interview, which you can read below. 
You were quite young for your debut performance, has it been a lifelong goal to be a professional musician, or did you ever consider any other paths?
When I was a kid, I wanted to be a basketball or football player like everyone else. In the beginning, violin was simply something I found really fun and just loved to do. It wasn’t until I was in high school that I decided I wanted to make a career out of it.
Was there anything that attracted you to the violin in particular?
I have no memory of why I wanted to start violin. All I know is that my mom basically said to me and my siblings (I’m paraphrasing here), “I’m gonna make you play an instrument, but you can choose what I make you play!”
Who is your favorite composer, and why?
Mozart has been my favorite composer since I was a kid. There’s a simplicity to his music, in the sense that anyone who listens to it can understand, in their own way, what it’s about or what he was expressing. But, the more you listen and study his music, you start to understand what a complex personality he was — one minute the music makes you want to dance, and before you know it, you could have tears in your eyes. Just endless expressive possibilities in the subtlety and nuance of his writing. Truly magical stuff, and to me it never gets old.
The answer to these questions may be one and the same, but what is your favorite piece to listen to, and what is your favorite piece to play?
Do you often listen to classical music, or do you diverge to other genres for your personal listening habits?
I really don’t think I can choose one favorite piece to play or listen to! At least as far as classical music goes, it changes from day to day or week to week. Today, it’s Mozart Violin Concerto No. 3! Outside of classical music, I’ve always gravitated towards soul/R&B, mostly the oldies my parents always listened to when I was growing up — Stevie Wonder, Luther Vandross, Earth Wind & Fire, Whitney Houston, the list goes on and on.
Where was your favorite place you have performed?
Favorite place I’ve played is a tough one. If we’re talking about concert halls, probably Wigmore Hall, Carnegie, or the Concertgebouw. If we’re talking more generally, I’d say Korea or Japan — such an excitement and appreciation for classical music there, they had me feeling like a rock star! Also Japanese and Korean foods are my top 2 favorite in the world!
As a recording artist for Decca Classics, is there any recording that you are most proud of? 
I’ve only put out 2 records with Decca, but I’m very proud of both of them! I’m grateful for the opportunity to record and share the stories of great composers with people all over the world!
Are there any upcoming events or performances that you are particularly excited about? 
Really excited to take Florence Price’s Violin Concerto No. 2 on tour in Europe with Yannick Nezet-Seguin and the Rotterdam Philharmonic this Spring!
Special thanks to Randall Goosby, whose new single is above, Alison Ward & the SSO’s PR team for their continued support & connecting me with Goosby’s team, and Brandon Patoc for the photo. 
Thanks for heeding my classically inclined ramblings, until next time,
Addie
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raybizzle · 4 months
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"Thomasine & Bushrod" (1974) is a romance-western film written by Max Julien and directed by Gordon Parks Jr. The movie is a spin on the 1967 classic, "Bonnie & Clyde." Julien and Vonetta McGee team up in an underrated film that ventures into the Wild West, where these two lovers commit a streak of crimes over four years. A year removed from his iconic role as Goldie in the 1973 film, "The Mack," Julien continues to expand his versatility as an actor and writer. However, this was Julien's last role until 1997, when he played Uncle Fred in "How to be A Player."
McGee was in the prime of her career as she had established herself as a well-respected actress. The further I look into her career and roles, the more I am impressed. She was a phenomenal individual and easily one of the best actresses of the 1970s. Her role as Thomasine was authentic. She identified well with her character and delivered on multiple levels throughout the film.
Juanita Moore and Glynn Turman also appear in the movie, adding to a remarkable and dynamic cast. But, unfortunately, like many black films that make films that spin on other major Hollywood productions, their budgets are not comparable. However, this film is a solid adaption, which also took advantage of the booming blaxploitation era of cinema. It's an entertaining movie, so I recommend it to you.
Director: Gordon Parks Jr. Writer: Max Julien Composed by: Coleridge-Taylor Perkinson Title Song: "Thomasine & Bushrod" by Arthur Lee
Starring Max Julien, Vonetta McGee, George Murdock, Glynn Turman, Juanita Moore, Joel Fluellen, Jason Bernard, Jackson D. Kane, Bud Conlan, Kip Allen, Ben Zeller
Storyline While jailed, Thomasine (Vonetta McGee) sees a wanted poster of her boyfriend, Bushrod (Max Julien). She tracks him down, and they rekindle their relationship together. However, after Bushrod kills a notorious murderer, U.S. Marshal Bogardie (George Murdock) steps in and attempts to arrest Bushrod until Thomasine intervenes. Now, fugitives of the law, Thomasine and Bushrod, go on a bank robbing spree while the U.S. Marshall tracks them down.
Available on DVD and streaming services
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18kgold · 2 years
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This is the concert. The program looks excellent!
Actus Tragicus for String Quartet  -  J.S. BACH Healer - Milad YOUSUFI Movement for String Trio  -  Coleridge-Taylor PERKINSON At the Purchaser's Option  -  Rhiannon GIDDENS Lyric for String Quartet  -  George WALKER Piano Trio  -  Germaine TAILLEFERRE Piano Quintet in F Minor, op. 34  -  Johannes BRAHMS
I’m uninterested in the Brahms -- I’m usually uninterested in Brahms, excepting his stunning choral music -- but the rest is very exciting, the Walker piece especially. 
It’s being livestreamed too, but my internet’s too slow for that, and in any case I bought tickets because I want to *be there* with the music! Oh well. Fingers crossed the throat lump is due to the soaring allergen levels and not a virus.
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adk-almanack-mirror · 2 months
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tomgilsenan · 11 months
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Coleridge-Taylor Perkinson, Amy Beach and Florence Price were among the composers celebrated in a recent violin (and viola) recital at Drake. Student musicians played the works of 'underrepresented composers.' This was a striking alternative to the usual recital; most classical music recitals are comprised of works by white men. Photos (clockwise from upper left): + Max Steinblums accompanied by Christa Pearson. + Hannah Cool + Erin Templin + Paul Ching (at Sheslow Auditorium) https://www.instagram.com/p/Cry6EJ1ud5C/?igshid=NGJjMDIxMWI=
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ausetkmt · 1 year
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Nov. 20, 2022Difficult GraceNYT Critic's Pick
The cellist Seth Parker Woods presented an evening-long, multimedia program titled “Difficult Grace” Saturday evening at the 92nd Street Y’s Kaufmann Concert Hall. It was the full staging’s world premiere, but, as Woods remarked, he had premiered a “nucleus version” in February 2020 in Seattle; the coronavirus lockdown gave him the opportunity to rework his concept into its current form.
Woods was already a cellist of prodigious technical gifts and sharp intellect. This program has stretched him even further into performing as a spoken word artist and singer as well as instrumentalist.
Aided by the choreographer and dancer Roderick George — a childhood friend from Houston — “Difficult Grace” was a feast for the ears, eyes and mind.
In one portion of Freida Abtan’s “My Heart Is a River,” the audience sees a prerecorded video projection of two dancers as Woods plays live in front of the screen. The dancing figures straddle a cello that they are reimagining as a boat. The performer in front — actually Woods himself, with dancer Tamzin O’Garro behind — is wielding the cello bow as an oar. It’s a marvelously apt metaphor: Woods is an artist rooted in classical music, but whose cello is a vehicle that takes him, and his concertgoers, on wide-ranging journeys.
The program included works by a large roster of composers, many of whom used electronic sound design as well as live acoustic cello: Fredrick Gifford, Monty Adkins, Nathalie Joachim, Abtan, Ted Hearne, Devonté Hynes and Pierre Alexandre Tremblay. (In addition to Coleridge-Taylor Perkinson, who died in 2004.)
Gifford’s piece “Difficult Grace,” which lent its name to the entire program, included projected artwork by Barbara Earl Thomas and was inspired by Dudley Randall’s poetry. Regrettably, it was difficult to discern from the auditorium seats much of what Woods was saying during long spoken-word stretches. (Projected supertitles would be a welcome addition.) The same was true during Hearne’s work with an unprintable title, with texts by the poet Kemi Alabi. Within the most riveting section of Hearne’s piece, Woods sang and played R&B-flavored harmonies atop hip hop-inspired electronic beats.
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Each composer who used prerecorded cello and electronic sound design, sometimes with on-the-spot manipulations, did so to very different aesthetic ends. Woods performed two movements from Abtan’s piece (“Opening Out” and “Seeping In”), in which the electronics and the live cello swirled around each other in haunting, echoing duets. Adkins’s gentle, cinematographic “Winter Tendrils,’‘ accompanied by an equally warmhearted film by Zoë McLean, used electronics almost like an invisible string orchestra, framing Woods’s cello in lush, glowing harmonies.
The most overtly narrative work was Nathalie Joachim’s “The Race: 1915,” which used projected images from the artist Jacob Lawrence’s “Migration Series” and texts taken from The Chicago Defender, the Black newspaper that was founded in 1905 and urged Black Americans to move northward in what became the Great Migration. Joachim’s music alternated between busy, cyclical motion and periods of meditative, slow arcs.
The most traditionally “classical” piece during the evening was a technically demanding cello sonata written by Devonté Hynes, whom certain music-loving New Yorkers may recall from his recent stint opening for Harry Styles at Madison Square Garden.
The other fully acoustic work was the third movement from Perkinson’s “Lamentations: Black/Folk Song Suite for Solo Cello,” entitled “Calvary Ostinato.” Perkinson’s music evoked centuries of Black American music, between lavish pizzicato sections which called to mind the connections between the American banjo and West African plucked string instruments and bluesy slides from note to note.
The evening ended with a powerful duet between Woods and George dancing live onstage in Tremblay’s “asinglewordisnotenough 3 [invariant].” It’s a piece that crackles with nervous, coiled energy. Woods often attacked his strings with furious intensity, while George’s dancing combined solid muscularity and sinuous movements. Somehow, all of these emotional currents found a home inside Tremblay’s score.
Difficult Grace
Performed on Saturday at Kaufmann Concert Hall, Manhattan.
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lboogie1906 · 2 years
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Coleridge-Taylor Perkinson (June 14, 1932 – March 9, 2004) was an innovative composer whose interests spanned the worlds of jazz, dance, pop, film, television, and classical music. He was named after Afro-British composer Samuel Coleridge-Taylor. He attended the High School of Music and Art in New York City. After graduating from high school, he attended NYU. He later transferred to the Manhattan School of Music. He received a BA and a MA from the Manhattan School of Music. He studied at Princeton University. He was on the faculty of Brooklyn College and studied conducting in the summers in the Netherlands with Franco Ferrara and Dean Dixon and learned to conduct at the Mozarteum in Salzburg. He co-founded the Symphony of the New World and became its Music Director. He was Music Director of Jerome Robbins's American Theater Lab and the Alvin Ailey American Dance Theater. He composed a ballet for Ailey entitled For Bird, With Love. He wrote a great deal of classical music but was well-versed in jazz and popular music. He served as pianist for drummer Max Roach’s quartet and wrote arrangements for Roach, Marvin Gaye, and Harry Belafonte. He composed music for films such as The McMasters, Together for Days, A Warm December, Thomasine & Bushrod, The Education of Sonny Carson, Amazing Grace, Mean Johnny Barrows, and the documentary Montgomery to Memphis about Martin Luther King. He wrote incidental music for at least one episode of the TV show Room 222. His music has a blend of Baroque counterpoint; American Romanticism; elements of the blues, spirituals, and black folk music; and rhythmic ingenuity. #africanhistory365 #africanexcellence https://www.instagram.com/p/CeyFwnYujc6Q1ELmeBaVW3Tq1xdzYK7FziAV3g0/?igshid=NGJjMDIxMWI=
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badgaymovies · 3 years
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Thomasine and Bushrod (1974)
Thomasine and Bushrod (1974)
GORDON PARKS JR. Bil’s rating (out of 5): BBB.5 USA, 1974. Columbia Pictures, Eaves Movie Ranch. Screenplay by Max Julien. Cinematography by Lucien Ballard. Produced by Harvey Bernhard, Max Julien. Music by Coleridge-Taylor Perkinson. Production Design by Bert Allen. Costume Design by Andrea Lilly. Film Editing by Frank C. Decot. Gordon Parks, Jr., son of the director of The Learning Tree and…
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hellocanticle · 8 months
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Rising Star Seth Parker Woods’ “Difficult Grace” is a Classic in the Making
Cedille CDR 90000 019 Every solo artist, regardless of what instrument they play seeks to define themselves. Generally that means setting limits. Some set limits by specializing in an era (baroque, classical, etc.). Some specialize in working with electronics, some with jazz, some with experimental music, some with standard recital repertoire, etc. Seth Parker Woods (1984- ) seems almost unaware…
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soulmusicsongs · 2 years
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The Robbery And The Chase - Coleridge-Taylor Perkinson (The Education Of Sonny Carson (Original Motion Picture Soundtrack), 1974)
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sonyclasica · 3 years
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YO-YO MA
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NOTES FOR THE FUTURE
YO-YO MA se une a artistas de todo el mundo en su nuevo álbum Notes For The Future: Angélique Kidjo, Mashrou’ Leila, Tunde Olaniran, Jeremy Dutcher, Andrea Motis, ABAO, Lila Downs, y Marlon Williams. Hoy disponible. 
Consíguelo AQUÍ
Notes for the Future captura las emociones humanas en toda su amplitud, desde el lamento del tema adelanto del álbum, una versión colaborativa de “Blewu” con Angélique Kidjo (considerada “la primera diva de África” por TIME), hasta la enérgica plegaria para volver al hogar “Ha’oud (I Will Return)” de Ma y la banda de rock establecida en Beirut Mashrou’ Leila (conocida como “la banda independiente más influyente del mundo árabe" por Financial Times).  Como la mayor parte del trabajo de Ma, Notes for the Future es profundamente global y al mismo tiempo, fuertemente arraigado, con temas de las dos Américas como: “Doorway,” una balada optimista de conexión de Ma y Flint, con el músico establecido en Michigan Tunde Olaniran; la austera interpretación solista de Ma de Calvary Ostinato del trabajo seminal del compositor de Chicago Coleridge-Taylor Perkinson, “Lamentations, ‘Black/Folk Song Suite;’” y “Honor Song,” un himno de la tribu Mi’kmaq de Ma y Jeremy Dutcher que apela a nuestra responsabilidad colectiva de cuidar el planeta que compartimos.
Originalmente inspirado en el Proyecto Bach, el viaje global de Yo-Yo Ma para explorar de qué manera la cultura nos puede ayudar a imaginar y construir un mundo mejor, estos nueve temas --con canciones cantadas en árabe, zapoteca, catalán, paiwán, español, mi’kmaq, Wolastoqey, Ewe, maorí e inglés— celebran la sabiduría de las generaciones que fueron y la oportunidad de las que vendrán. 
TRACKLISTING:
 Lamentations, "Black/Folk Song Suite": III. Calvary     Ostinato (de Coleridge-Taylor Perkinson)
Honor     Song (con Jeremy Dutcher)
Doorway (con Tunde Olaniran)
Blewu (con Angélique Kidjo)
Ha'oud     (I Will Return) (con Mashrou' Leila feat. Narcy)
El Cant dels Ocells (La canción de los pájaros) (con     Andrea Motis)
La Sandunga (con Lila Downs)
Thank You (con ABAO)
Te     Whakāroha Nui (con Marlon Williams)
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johnjpuccio · 3 years
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Reviews of Four New CDs in “Recent Releases, No. 14″
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Randall Goosby: Roots. Xavier Dubois Foley: Shelter Island; Coleridge-Taylor Perkinson: Blue/s Forms for solo violin; George Gershwin (arr. Joshua Heifitz): Porgy and Bess selections; William Grant Still: Suite for Violin and Piano; Florence Price: Adoration; Fantasie No. 1; Fantasy No. 2; Samuel Coleridge-Taylor (arr. Maud Powell): Deep River; Antonîn Dvorák: Sonatina. Randall Goosby, violin; Zhu Wang, piano; Xavier Dubois Foley, double bass. Decca B0033878-02.
From the opening notes of the first cut, Shelter Island, with violinist Goosby (b. 1996), a protégé of Itzhak Perlman, swinging along in blues-tinged fashion with the young composer Xavier Foley (b. 1994) on bass, you know this is not going to be yet another virtuosic display by a violinist out to stake a claim in the classical landscape. A glance at the program, with its emphasis on music by African-American composers (the liner notes point out that Goosby also “included works by two non-Black composers, Antonîn Dvorák and George Gershwin, because of the admiration and respect they showed for African-American and Native American people during their time, and in their music”). Throughout the recording, Goosby makes a case for this music with his sensitive but always enthusiastic playing. He can make it swing, he can make it sing, he can make it cry, he can make it fly... We seem to have here a major new musical talent, and we should salute him (and the folks at Decca) for presenting us with such a fresh and fascinating – not to mention timely and important – musical program for his debut. Kudos to all concerned!
To read the full reviews, click here:
https://classicalcandor.blogspot.com/2021/08/recent-releases-no-14-cd-mini-reviews.html
Karl W. Nehring, Classical Candor
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f-sharp-inder · 3 years
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🎶 Lamentations ✅Ticket Free ⏱Time EDT Sat, Mar 20, 2021 9:00 pm - 11:00 pm CET Sun, Mar 21, 2021 2:00 am - 4:00 am 🔊Performers Julie Alvers, cello Kyu-Young Kim, violin Eunae Koh, violin Kariya Papach, viola Hyobi Sim, viola Richard Belcher, cello Hanna Hyunjung Kim, piano James Ferree, horn Eunice Kim, violin 🎼Program Lamentations, Black/Folk Song Suite For Solo Cello, Coleridge-Taylor Perkinson String Quintet in G minor, K. 516, Wolfgang Amadeus Mozart Horn Trio in E-flat, Johannes Brahms Lamentations | Concert Library — The Saint Paul Chamber Orchestra (thespco.org) - #music​ ​#concert​ ​#orchestra​ ​#instrument​ ​#livestreaming #onlinestreaming​ ​#streaming​ ​#violin​ ​#viola​ ​#cello​ ​#doublebass #flute​ ​#oboe​ ​#clarinet​ ​#bassoon #trumpet​ ​#trombone​ ​#horn​ ​#tuba​ ​#timpani​ ​#percussion #saxophone​ ​#voice​ ​#piano​ ​#harp​ ​#organ​ ​#overture​ ​#symphony​ ​#suit (at Online Event) https://www.instagram.com/p/CModD0rjo_U/?igshid=3xmxtyspkl9s
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suzylwade · 4 years
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Dance Theatre of Harlem “I had a sister who was taking violin lessons at the ‘Harlem School of the Arts’ and she said there was a black man there who was going to be teaching ballet. [Arthur] was sort of a maniac. He was very much about: ‘Take off your shoes and socks, let me see your feet, point them really hard. Have you ever been on point before?’ I was in awe of him.” - Lydia Abarca, Classes 1968; Dancer 1969 - 1980, ‘Dance Theatre of Harlem’. Arthur Mitchell became the first permanent African American principal male dancer of a major ballet company in 1955 when he was selected by Lincoln Kirstein and George Balanchine to join the ‘New York City Ballet’. He performed for 15 years with the company rising to the rank of “premier danseur”. As the first African American to achieve this status Mitchell danced in virtually all the ballets in the company’s repertoire. In 1968 upon learning of the assassination of the Rev. Dr. Martin Luther King, Jr., Mitchell and Karel Shook decided to form ‘Dance Theatre of Harlem’ to provide an opportunity to study dance and transform the lives of the children in the community. The ‘Church of the Master’ was one of the first spaces that Mitchell and Shook used to teach classes. In the early years Mitchell choreographed several works for the company the first of which was ‘Ode to Otis’ by Coleridge-Taylor Perkinson. On January 8, 1971 ‘Dance Theatre of Harlem’ made its official New York City debut at the ‘Guggenheim Museum’. Initially the women of ‘Dance Theatre of Harlem’ wore the traditional classical ballet style of pink tights and pink pointe shoes. The dancers, breaking from a 300-year tradition, dyed their tights and shoes to match their unique, individual skin tone. The wardrobe department codified the technique with a blend of ‘RIT’ dyes (a popular brand of fabric dye used) creating a recipe card for each dancer. Applying pressed powder on the ribbons and shoes seamlessly blended the two together. Matching tights and pointe shoes to skin tone became a trademark of ‘Dance Theatre of Harlem’ and is now practiced by dancers all over the world. Mitchell and Shook’s vision remains one of the most democratic in dance. (at Dance Theatre of Harlem) https://www.instagram.com/p/CEq29JyFlMj/?igshid=1psf4ka3yee38
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