This month, I’ve compartmentalized the articles to make them easier to manage: Featured artists/groups, Collections, Grace Notes (those who have become regulars in this publication), Reviews and Announcements. Please let me know what you think. Thanks!

Dearest Readers,

Last February, I was overwhelmed with the reality that I had no idea what my musical friends and colleagues were doing throughout the year, that there was a huge age differential between myself and the seasoned researchers of black classical music (where's the next generation?) and that the music of black classical composers was not being performed often enough to educate the masses about their legacy. As an outlet for my frustrations, I built a web site and drafted a plan. On February 21, 2007, the Myrtle Hart Society was incorporated in the state of Illinois to make the classical community of color more visible and accessible to me and my friends. See, at the time, my vision was just that limited-I modestly thought of my activities as affecting only those with whom I had close contact. I was unaware that MHS would help to unite a community and to rustle the public demand for resources and information on this community.

I know that I am standing on the shoulders of giants and for that I am grateful. On one hand, I love attending these performances, meeting the musicians and hearing and writing about their lives and activities. I gain a deeper understanding of myself and the world through these interactions. Sounds melodramatic, I know, but my fascination prompted my action. These monthly publications in addition to my other efforts are the proof. On the other hand, I really want MHS to not exist-if my peers and colleagues were performing regularly, if the music of composers of color was performed more often and if more researchers from the community were writing about the community, I could (and certainly would) close my accounts with a contented smile and bask in the sunshine. Alas, that vision will take time and the continued collective effort of the already diligently working vanguard.

And so this new year, I continue my own service, duty and honor to be a credible megaphone for the classical community of color and to encourage the performance of the works of composers of color. Most importantly, I will continue to cultivate more researchers to document the ongoing activities of the community. Please consider supporting my research and advocacy efforts by making a tax-deductible donation. This incredible community continues to kick down boundaries and eliminate labels that categorize and limit activities and minds. I am truly proud to be part of this movement. As always, I thank you for your continued attention, support and encouragement.

Faithfully,
Rashida N. Black

"Real freedom," Leontyne Price once said, "is when you can be bored with type casting, not emotional about it, not upset, but bored because someone continues to insist to pinpoint you or to keep an image of you which is passé..... you've gone so far beyond it, that sometimes I wonder if it is their own mental way of being able to handle how much more you have done." You can imagine that Ann Hobson Pilot, who originally joined the BSO in 1969 as assistant principal harp and principal with the Boston Pops, enjoys real freedom. To many, the thought or sight of an African American harpist is cause for mouth-dropping and cynicism. (Well not to you, enlightened readers, for you are aware of Myrtle Hart, a 19th century African American harpist.) For me, the sight was a sign of relief.

I first met Ms. Pilot during an open rehearsal at the Boston Symphony Orchestra (BSO) when I was about 14 years old. I ran up to the stage while she was tuning and excitedly told her that I too played harp. I remember her smile. The very next school year, I began my study with her.

Ms. Pilot is the principal harp of the Boston Symphony Orchestra, a position she's held since 1980. A graduate of the Cleveland Institute of Music under Alice Chalifoux, Ms. Pilot currently serves on the faculties of the New England Conservatory of Music, Boston University, the Tanglewood Music Center, and the Boston University Tanglewood Institute. In 1998 and 1999 she was featured in a video documentary sponsored by the Museum of Afro-American History and WGBH, aired nationwide on PBS, about her personal musical journey as well as her African journey to find the roots of the harp. Sources tell me, there's a Part 2 in the works...

Ann Hobson Pilot solos this month with the Boston Symphony. Program includes Martin-Petite symphonie concertante, for harp, piano, harpsichord, and double string orchestra; Prokofiev-Violin Concerto No. 1; Saint-Saens-Symphony No. 3, Organ. Wednesday, February 6 at 7:30 PM, Thursday, February 7 at 8:00 PM, Friday, February 8 at 1:30 PM, Saturday, February 9 at 8:00 PM and Tuesday, February 12 at 8:00 PM.

In 2007 Mr. Dixon made his LA Opera debut in Wagner's Tannhäuser and also performed in the Company's Recovered Voices concert. He returned to the Cincinnati May festival to sing Rossini's Stabat Mater under the baton of James Conlon and returned to the Todi Music Festival to sing the role of Lenski in Eugene Onegin. His 2007 tour dates included concerts with soprano Alfreda Burke in Italy and the tenors Cook, Dixon and Young in Alaska and Canada. Mr. Dixon is featured in a new PBS special The United States Air Force 60th Anniversary: A Musical Celebration featuring the Air Force Symphony and Singing Sergeants.

See Rodrick Dixon at the LA Opera on Sunday, February 17 at 2:00 PM; Saturday, February 23 at 2:00 PM; Saturday, March 1 at 7:30 PM; and Saturday, March 8 at 7:30 PM.

He makes his debut with Lyric Opera of Chicago in Barber of Seville this month. Production dates: February 19 at 7:30 PM; February 22 at 7:30 PM; February 26 at 7:30 PM; February 29 at 7:30 PM. Check site for continuing March dates.

Associate Conductor of Oprah Winfrey's national production, The Color Purple, Victor Simonson will soon release his debut CD, Victory! The "Neo-Eclectic sound" will embrace "a variety of music ranging from smooth jazz, classical, gospel, and organ music to opera, acoustic jazz, and inspirational songs." Trained as a baritone at the Eastman School of Music, Simonson is best known for and has defined himself as a multi-genre musician--he is the Music Director for Three Mo' Tenors, the Boys Choir of Harlem, and Three Mo' Divas. In addition to his degree in voice, he attended Howard University for piano and organ. Google him and find out so much more than I can write in this publication. Or better yet, see him play the piano and organ, conduct, sing at his CD release celebrations this month!

Friday, February 1 at 7:00 PM at Memorial Presbyterian Church, 189 Babylon Turnpike, Roosevelt, NY; Saturday, February 2 at 7:00 PM at Calvary Baptist Church, 11110 Guy R Brewer Blvd, Jamaica, NY; Sunday, February 3 during morning services at 8:00 Am and 11:00 AM, Emmanuel Baptist Church, 279 Lafayette Ave, Brooklyn, NY. All concerts are free to the public.

The Southeast Symphony, a community orchestra in Los Angeles made up of primarily African-American musicians, is celebrating their 60^th anniversary! Under the baton of Music Director Charles Dickerson, the ensemble "aspires to remove perceived barriers from participation in, and appreciation for classical repertoire by presenting concerts in areas where access to live classical music is limited, and by offering and providing music instruction to young people in these areas." If you are in the LA area, attend this Annual Black History Concert featuring 17-year-old pianist Nicholas King.

Program also includes the Cuban Overture by George Gershwin, Symphony No. 1 (Afro-American Symphony) by William Grant Still, and the Rachmaninoff Piano Concerto No. 2. Sunday, February 10 at 3:00 PM, Trinity Baptist Church, 2040 West Jefferson Blvd. Los Angeles, CA.

photo credit: Nick Granito

Ms. DuBose will give a voice recital on Sunday, February 23 at 7:00 PM, Manhattan School of Music, Greenfield Hall (New York, NY).

The following has been excerpted from the upcoming book 'The Black Singer and Opera' by Dominique-René de Lerma, Lawrence University.

"Thank God Gershwin wrote Porgy and Bess," George Shirley is quoted by Greg Sandow in Interviews on African-Americans in classical music "because it's given so many singers opportunities to sing an opera.  Some have used that to launch operatic careers.  But it's the bane of black singers because a company will hire you to do Porgy and Bess, but won't hire you to do anything else.  I would never encourage anyone to take a contract just to sing Porgy."  Donnie Ray Albert heeded that concern and, while accepting the engagement, demanded he be cast during the same season for a non-Black role.

Betty Allen cautions: "I tell my singers not to audition for Porgy and Bess.  You immediately get stuck in that and don't get out.  The trouble is that some people want to take the easy way out."

One soprano, Veronica Tyler, told me in an interview that she was past having to sing Porgy and Bess, which she would never do again, but was cast in the Metropolitan Opera production and performed outstandingly.

Projected productions have been cancelled because of objections by the cast.  When performers scheduled for a performance in Seattle by the Negro Repertory Company heard they would need to imitate an alien Southern dialect, the production was cancelled, even when that requirement was eliminated.  Barbara Cyrus, a student at the University of Minnesota led a protest against the school's 1939 intent to stage the opera, which plans were then cancelled.  Harry Belafonte rejected the offer to appear in the MGM film version, which was accepted by Sidney Poitier, who later lamented his decision.  Grace Bumbry, who was Bess in the first performance by the Metropolitan Opera nonetheless had misgivings.  "I thought it beneath me, I felt I had worked too hard, that we had come far too far to have retrogressed to 1935.  My way of dealing with it was to see that it was really a piece of Americana, of American history, whether we liked it or not...it was still going to be there."  When she greeted Sylvia Lee backstage after the première, the coach said "Grace, tonight you sang Tosca!"

Despite having written Four saints in three acts, Virgil Thomson stated that "folklore subjects recounted by an outsider are only valid as long as the folk in question is unable to speak for itself, which is certainly not true of the American  Negro in 1935."  Duke Ellington said that "the times are here to debunk Gershwin's lampblack Negroisms."  Harold Cruse complained that the 1960s revival was "the most incongruous, contradictory cultural symbol ever created in the Western world."  John Hope Franklin was less condemning: "Sportin' Life clowns, but not for white audiences.  Porgy's clowning is a deliberate frustration of white power.  Porgy also plays Uncle Tom, but he is never servile and lives for no white master."

Despite all reservations, the work is an operatic masterpiece.  It may reflect Black life incorrectly, and the music might bear Jewish influences (as stated by Edward Jablonski), just as Carmen is pseudo-Spanish, but is, as Grace Bumby said, a piece of Americana.  Far more slanderous and insidious are Hollywood films and rap, both of which falsely portray the dignity of Black culture to the world.

DALLAS OPERA

Dallas Opera features Gordon Hawkins, Indira Mahajan, Lester Lynch, Angela Renee Simpson (Dallas debut), Victor Ryan Robertson (Dallas debut), Janice Chandler-Eteme, Leon Williams (Dallas debut), Bonita Hyman (Dallas debut), Ivan Tolbert, François Dewberry (Dallas debut), Donald Jones (Dallas debut), Angela Owens (Dallas debut), Elias Hendricks (Dallas debut) and Fred Wilmer. (Dallas debut),

February 22 at 7:30 PM, February 24 at 2:00 PM, February 26 at 7:30 PM, February 28 at 7:30 PM and March 1 at 7:30 PM.

OMAHA SYMPHONY

Gershwin's Porgy and Bess under the baton of conductor Thomas Wilkins features soprano Alyson Cambridge and baritone Leonard Rowe. Program includes Berlioz: Béatrice et Bénédict: Overture, Fauré: Pelléas et Mélisande: Suite, Maxwell Davies: An Orkney Wedding, With Sunrise and Gershwin: Porgy and Bess: Concert Suite.

Performances Friday, February 29 at 8:00 PM and Saturday, March 1 at 8:00 PM, Holland Performing Arts Center. 

Opera North, Inc.presents African American Triptych, a production which includes A Bayou Legend by William Grant Still; Blake by H. Leslie Adams; and Egypt's Night by Leslie Burrs. This production will feature the legendary soprano Carmen Balthrop and Lester Green under the baton of Kay George Roberts. 

Saturday, February 17 4:00 PM , Trinity Center for Urban Life, 22nd and Spruce Streets, Philadelphia (PURCHASE DISCOUNT CODE: MUOP)

For more listings on events in the Philadelphia area, be sure to click on Richard Greene's Black Classical Musicians and Concerts calendar.

Experience the world premiere of Darin Atwater's arrangement of Ravel's Pavane along with Duke Ellington's arrangement of Grieg's Peer Gynt Suite. The evening continues with David Baker's Jazz Suite for clarinet and symphony orchestra.

Thursday February 21 &  Friday 22 at 8:00 PM.

Classical Roots celebrates its 30^th anniversary honoring the lives and works of African-Americans in classical music. Mezzo Soprano Denyce Graves graces the stage under the baton of Thomas Wilkins. Program includes (James Weldon & J. Rosamond) Johnson's Lift Ev'ry Voice and Sing; Berlioz's The Death of Cleopatra and Traditional Folk: This Little Light of Mine.

Thursday, February 21 at 8:00 PM, Friday, February 22 at 10:45 AM and Saturday, February 23 at 8:30pm.

OMAHA SYMPHONY

Conductor Thomas Wilkins leads the Omaha Symphony through Rhapsodies & Romance on Saturday, February 9 at 7:30 PM, Holland Performing Arts Center and Sunday, February 10 at 2:00 PM, Millard South High School.

RHODE ISLAND SYMPHONY

Pianist Terrence Wilson performs Selections from Ives's Three Places in New England, Gershwin's Rhapsody in Blue and Barber's Symphony No. 1 with Rhode Island Symphony on Thursday, February 21 at 6:30 PM and Saturday, February 23 at 8:00 PM.

Get ready for versatility! Three Mo' Tenors grace the stage on Saturday, February 2 at 8:00 PM, INB Performing Arts Center.

SYRACUSE SYMPHONY

Poised and always graceful, violinist Tai Murray is sure to dazzle audiences with the Mendelssohn Violin Concerto in E minor, Op. 64. Also on the program, Berlioz's Roman Carnival Overture and Elgar's Symphony No. 1 in A-flat Major, Op. 55. Friday, February 29 and Saturday, March 1 at 8:00PM.

Chelsea Tipton conducts on Saturday, February 16 at 7:30PM. Program includes Mozart-Symphony No. 31 in D Major "Paris"; Ginastera-Variaciones concertantes and Mendelssohn-Symphony No. 4 in A Major "Italian." 

Stewart Goodyear is The Remarkable Pianist
Saturday, February 16 at 8:00 PM and Sunday, February 17 at 3:00 PM, Century II Concert Hall. Also on the program Bartok: Concerto for Orchestra, Liszt: Piano Concerto No. 1 in E-flat Major and Beethoven: Choral Fantasy, op. 80.

FLORENTINE OPERA

Florentine Opera presents Salome featuring Mark Doss as John the Baptist on February 16-18 at 8:00PM, Marcus Center for the Performing Arts, 929 North Water Street, Downtown, Milwaukee.

SEATTLE OPERA features Lisa Daltrius as Tosca with Steven Cole as Spoletta. Beginning Saturday, February 23 at 7:30 PM, Sunday, February 24 at 2:00 PM, Wednesday, February 27 at 7:30 PM, Friday, February 29 7:30 PM and Saturday March 1 7:30 PM. Extended into March.

RITZ CHAMBER PLAYERS

Residency with David Baker (2007-2008), Ritz Chamber Players & University of North Florida. University of North Florida Department of Music, 1 UNF Drive, Jacksonville, FL 32224 Friday, February 22 - Roots II Piano Trio and Conversations with David Baker. Sunday, February 24 at 3:00 PM - University of North Florida Wind Ensemble, Dr. Gordon Brock, Conductor, Music of David Baker with the Ritz Chamber Player. Check site for more detail.

Uvumbuzi.

The Boys Choir of Kenya; Joseph Mugale Inzai, conductor.
AGCD 2005.  63 minutes.  $15.

Muyale, J., arr.  Utianga, Idakho satire.
Mpapa leshumata, Maasai spiritual.
Kitikiti, Maasai chant.
Mogalo, Noah, arr. Auma, Luo love song.  Angudha Osogo, orutu.
Tonje, Tinkimale circumcision chant.
Zalo, David, arr.  Yesu anipenda, Swahili sacred work.
Keango, Edwin, trans.  Sidigisa, Kisii satire
Wabuya, Bukusu chant.
Muyale Inzai, Joseph, arr.  Musenangu, Giriama satire.
Sogo, Paul.  Gur Jesu, Luo Christian spiritual.  Anghuda Osogo.
Hofmeyr, Rheta, arr.  Tuli tuli, Nama play song.
Vulele, Kisoga folksong, from Uganda.
Ayodele, C., arr. by Fred Onovwersuoke.  Om'oba ni, Yoruba royal procession, from Nigeria.
Muyale, J.  Pitié, French/Ligala love song, from Congo.
Zalo, David, arr.  Roho biro, Luo/Luoya Christian spiritual. 

Choral music for Africa in English, such as hymns of the past, imposes rhythms distinctly non-African.  That is distinctly not the case here.  Rhythms in texted music come from the language, no matter what it is, and this most attractive CD liberates native tongues from the regular metered music that is common with most non-Slavic music from Europe.  One would be wrong to regard the music as syncopated, a mistake perpetuated by Scott Joplin, who allied his 3+3+2 right-hand patterns with the European concept of syncopation (such as found in abundance in the third Leonora overture of Beethoven), rather than relating his rhythms to the African concept of additive rhythm.

As Professor Jean Kidula (University of Georgia-Athens) indicates in his liner notes, the works do not fall into the European concept of folksongs, but also enjoy an African characterization that, at best, one might call art music.

This ensemble is predominately composed of baritones, with treble voices providing a contrast.  The singing is strong, well focused, and mature.  Texturally, there are instances of responsorial singing.  The orutu, a one-string fiddle, is called on in a few instances, and drums discretely offer a foundation (the mixing is the work of Dr. Fred Onouvwersuoke).

The chorus is not unknown in Germany or North America.  A tour of 2004 (15 years after being founded as the Aquinas Boys Choir), they gave concerts in Burligton, New York, Québec, Chicago, Kansas City, and Atlanta.  While their repertoire is pan-African, it also includes spirituals, music from Europe's classical masters, and the Caribbean.

Of those involved in this music, Rheta Hofmyer is known as a cultural figure in Namibia.  David Zalo's music appears also on Mateso!, a CD of the Muungano National Choir of Nairobi, conducted by Boniface Mganga.  Joseph Muyale Inzai, a protégé of David Zalo and Boniface Mganga (he is a former member of the Muungano National Choir), is conductor of Kenya's Hamjambo Afrika Choir.  As for Dr. Onouvwersuoke, those concerned with choral music and the contemporary African musical scene will already be familiar with the work of this Ghanian major talent, conductor of the African Chorus of St. Louis.

Certainly, this recording will be of great interest to all choral directors, but it should not be overlooked by those wishing yet another insight into the distinction of art-music production from contemporary Africa.  Additionally, teachers may use this recording with the study guide as an introduction to Kenyan history, dress, food, and Swahili.  Although issued in a limited edition, copies may be ordered online at www.africanchorus.org. 

Dominique-René de Lerma
Lawrence University

General Summary:
The Associate Director of Public Relations for the Department of Music establishes and disseminates a unified vision of the Department in print and on the web, and acts as the liaison to the press and to the public for concerts as well as academic events.  The responsibilities of the position are to generate effective, targeted publicity both on- and off-campus;  to manage the on-line calendar of events;  design and produce all marketing materials for the Department;  cultivate an expanded student audience;  produce brochures for the performance program and the academic realm;  maintain website revisions;  manage ticket sales for selected events;  manage student workers for the performance program;  assist the Director of Performance Programs with special program needs and with strategic planning;  serve the publicity needs of the student performance program within the Department;  and manage a publicity budget and provide regularized reports.  This is a full-time position, with some weekend work and some flexibility in hours required.

Application:
Interested candidates must apply on-line: http://hr.uchicago.edu/employment/

Congratulations Ensemble du Monde, Marlon Daniel, Lori-Kaye Miller, and Fred Onovwerosuoke on the success of your NY Premiere!

The goal of the Meditation for Darfur concert was:
1) To inspire people through music to be more aware of the world in
which we live
2) To bring greater awareness to the situation in Darfur
3) To provide information on the two organizations we are highlighting:
(The International Rescue Committee and The Human Rights
Watch) to contact if one chooses to make a donation
4) To provide information on the two organizations we are highlighting
(The International Rescue Committee and The Human Rights
Watch) to contact if one chooses to volunteer
5) To perform music written by a native African composer inspired by
life in Africa

From the desk of FredO:
I have many-a-beautiful moments in my life, but I tell you, my time here in New York with Maestro Marlon Daniel and "Rich-silk-voice" mezzo-soprano Lori-Kaye will long be remembered as one of my proudest moments as an African-descent composer. I watched in awe and great admiration our young Maestro - yes, I don't use the word "Maestro" lightly - Marlon Daniel interact with his Ensemble Du Monde of New York. Attention to every musical phrase, detail, cue, balance, imagery, pep-talk, bonding. I know a gem of a conductor when I see one, and Marlon Daniel, one of ours, is upward bound. Not only because of his many unique talents, but more so because his breadth of knowledge and grasp with the wide spectrum of orchestral and chamber music repertoire is second to very few conductors I know - African or European descent. Above all, Marlon is a very giving individual - a very rare virtue among our folks. And I don't have words yet to describe the lusciously silked voice of Mezzo Soprano Lori-Kaye. I can see why she is being fetted all over Germany. She exudes so much art and aura that she hardly has time to be petty like most of our divas revel in here.

THREE MO' TENORS will be auditioning in New York City beginning February 1. Please submit a photo and resume via E-mail to Casting Director Bob Kale at This e-mail address is being protected from spam bots, you need JavaScript enabled to view it .

INSIDER TIPS:
1. The first selection requested for audition is ALWAYS an aria in a foreign language, preferable Italian or French.
2. The remaining two selections requested are to take us as far away from that legitimate tenor voice as possible. The mistake most people make is that they show the same vocal qualities in all three selections -- that's not what they want. They want to hear a range, not just in notes, but in vocal styles as well. In example: an aria, a standard Broadway up tempo, and an R&B ballad would be ideal. This gives a sense of the range of your vocal qualities and not just a range of notes. Styles included in the show itself include Spirituals, Broadway, Jazz, Blues, Gospel, R&B, Soul, Rock 'N' Roll, World, Country, Folk, Scat.

If you are coming in from out of town you are most welcome, however THREE MO' TENORS is not in a position to reimburse for transportation or lodging.

CONFERENCE
If you have not already done so, register to attend the 10th Annual National Conference on Black Music Research 2008 taking place February 14-17 at the Palmer House Hilton, Chicago, Illinois.

The conference will highlight "issues relating to the research, teaching, and performance of music of the black diaspora. A major component of the 2008 conference will deal with reassessing the black music diaspora. Scholars and researchers of black music will be joined by scholars in the allied fields of diasporal studies, history, and philosophy to address such questions as what the black music diaspora is, why it is important, and how it should be understood." Visit site for more information.