The Well-Tempered Ear
The third LunART Festival celebrates Black women in the arts with FREE streaming concerts and events this Saturday night, Oct. 10, and next Saturday night, Oct. 17
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By Jacob Stockinger
The Ear has received the following announcement to post:
The LunART Festival is back for its third season, continuing its mission to support, inspire, promote and celebrate women in the arts, with a special presentation, “Human Family,” available via two FREE video livestreams on LunART’s website and Facebook page on Saturday, Oct. 10, and Saturday, Oct. 17, at 7 p.m. CDT.
The events will be co-hosted by LunART founder and flutist Iva Ugrcic (below top), and by vocalist and art administrator Deja Mason (below bottom).
In response to the most recent and ongoing racial inequality and in solidarity with the Black Lives Matter movement, LunART will present the “Human Family” virtual festival featuring art created by Black women.
These FREE streamed events will feature a palette of emerging and established artists drawn from Madison’s rich arts scene, while also celebrating those who have paved the way for generations to come.
Radical inclusivity has been part of LunART’s mission from its conception. While women have historically been underrepresented in the arts, we cannot deny that there are segments of women that have been doubly marginalized, including women of color, women in the LGBTQIA+ community, older women and women with disabilities.
Part of creating a more just, inclusive world means recognizing that even within the space of underrepresentation, there remain disparities.
Works from the past include Florence Price’s “Five Folksongs of Counterpoint” for string quartet (heard in the YouTube video at the bottom), which is deeply rooted in the African-American spiritual tradition; Margaret Bonds’ Spiritual Suite for solo piano, written in a neo-Romantic classical style infused by jazz harmonies and rhythms; Afro-American Suite for flute, cello and piano by Undine Smith Moore, based on authentic spiritual songs used to express and record everyday life of slaves in America.
Florence Price (below), Margaret Bonds and Undine Smith Moore all fought against both racial and gender discrimination throughout their lives. To be a woman composing classical music in the mid-20th century was unusual; to be a Black woman composer was even more so. And yet, these women forged ahead, making history and paving the way for the women who would follow them.
Along with these pioneers of the past, LunART will also celebrate contemporary Black women who are making a big impact in the world of arts, culture, advocacy and activism, following the footsteps of their predecessors.
“Voodoo Dolls” for string quartet by Jessie Montgomery (below in a photo by Jiyang Chen) is influenced by West African drumming patterns that are interwoven with lyrical motifs in the improvisatory style.
“Fanmi Imen,” a work for flute and piano by Valerie Coleman (below) — LunART’s 2019 Composer-in-Residence) — is based on a powerful poem by Maya Angelou, “Human Family.” Angelou calls for peace and unity, while acknowledging differences due to ethnic and cultural background in her famous refrain: “we are more alike, my friends, than we are unalike.”
The chamber music will be performed by Madison’s finest musicians: Isabella Lippi, Karl Lavine, Peter Miliczky, Magdalena Sas, Marie Pauls, Satoko Hayami, Yana Avedyan and Iva Ugrcic.
Celebrating women’s creativity across many art forms has been a core component of LunART’s artistic mission from its inception, and this year is no exception. While music will create a sound painting, “Human Family” will also feature women who use words and movement to tell their story.
Enter a world of phenomenal talent with emerging singer-songwriters Danielle Crim and Akornefa Akyea performing their most recent original songs; magically moving poems and spoken-word pieces by Jamie Dawson and Shasparay Lighteard; and join dancer and choreographer Kimi Evelyn in self-exploration of what happens when the body and the soul are left in complete solitude through her powerful piece “Body, Sweet Home.”
To commemorate the Festival events, LunART has commissioned digital artwork (below) by local artist and activist Amira Caire, which is inspired by the “Human Family” concept. This stunning piece of art will be available for purchase in printed form on LunART’s website.
We are calling our community to eat local, drink local and support local. By supporting LunART, you are also supporting local nonprofits and small businesses.
This project would not be possible without the generosity of Madison’s creative media agency Microtone Media, The Piano Gal Shop from Sun Prairie, Dane Arts and a grant from the Madison Arts Commission at https://www.cityofmadison.com/dpced/planning/madison-arts-commission/1580/, with the additional funds from the Wisconsin Arts Board.
Events are free and available for anyone to watch online, and donations are welcomed. For more details about the artists, events, programs and links, and donation methods, please visit https://www.lunartfestival.org
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Classical music: During global protests against racism, a longtime fan of the Madison Symphony Orchestra writes a letter to ask for more diversity and African-American composers
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By Jacob Stockinger
During the ongoing global protests and demonstrations against police brutality, racism and white privilege, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) will hold its annual meeting next Tuesday, June 16, at 3:30 p.m.
The meeting is NOT open to the public — as erroneously stated in an earlier version — but just to season subscribers (not single ticket buyers) and members of MSO boards. The meeting will be virtual and held online via Zoom.
During the meeting, a statement about diversity and inclusion will be read, according to the MSO.
If you have questions, you can call Alexis Carreon at (608) 257-3734.
With both the symphony and current events in mind, a longtime MSO subscriber has written the following letter to Manager of Individual Giving Jeff Breisach.
Please read the letter and then let us know what you think.
Do you agree or disagree?
What else would you like to say about the role of MSO in adapting to concerns about racism, injustice and privilege?
Do you have any suggestions?
“Dear J. Breisach:
“Please share my following concerns with those planning the annual meeting of the Madison Symphony Orchestra:
“In light of the recent historic events, I hope MSO will add an item or two to deal with the economic and racial injustice prevalent in Madison, as well as elsewhere in our nation.
“Specifically:
- Empty seats should be made available as Rush Seats ($1 or $5) the day of the concert to open our halls to those facing economic disparity. Such disparity rests on a long history of racism and poverty injustice in our town and in our land. Our hall should always be full and should have a more multi-ethnic, multi-age audience than is currently the case. As our audiences stand, we are one of the most racially and economically privileged events in Madison. That must stop.
- We need more racially diverse composers included in our regular programming–at the very least during the month of February, but even better throughout the year. And I’m not just thinking of “Porgy and Bess” tunes. Samuel Coleridge-Taylor (below top) also comes to mind as a composer we need to hear more often. Le Chevalier de Saint-Georges — Joseph de Boulogne (1745-1799, below bottom) — is another. (Editor’s note: You can hear the Romance for violin and orchestra by Coleridge-Taylor in the YouTube video at the bottom.) There are more. Having a local black chorus in for Christmas is not enough!
“It is time for MSO to acknowledge its history of white privilege and take some steps to more widely acknowledge the richness of a diverse local audience and classical music history.
Sincerely,
Carol Troyer-Shank
“PS: I have been a MSO ticket holder in the economically denigrated balcony for more than 20 years.
“PS2: The architect and designers clearly thought about making more money — not about safety of attendees — when they designed a balcony to squeeze in more people instead of to allow ease of movement for lower-cost ticket holders. Shame on them! So, of course, all those seats should be filled every time. Even at $5 a ticket, the MSO would gain enormous improvement in their local image.”
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Classical music: New Orleans seeks to once again become an American opera capital with an emphasis on diversity
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By Jacob Stockinger
When you think of opera in America, chances are good that you think of New York City with the Metropolitan Opera and the New York City Opera; the Lyric Opera of Chicago; the Houston Grand Opera; the Santa Fe Opera; and countless other opera companies in many major cities.
And when you think of New Orleans, you understandably think of jazz.
But the truth is that for a long time, New Orleans was an American capital for opera, more important than many of the other cities mentioned above.
Consider the fact that the first opera performed in the United States was performed in New Orleans in 1796. And that at one point, New Orleans was home to five opera companies.
Plus, the opera that was performed there in the past brought racial, cultural and gender diversity to an art form that often lacked it and was largely Euro-centric. (You can hear the company sing “We’re Goin’ Around” from ragtime great Scott Joplin‘s opera “Treemonisha” in the YouTube video at the bottom,)
Now some singers and others (below) have formed an organization – OperaCreole — with the aim of correcting racism and restoring New Orleans’ reputation for opera, especially that of the many African-American and Creole opera composers who were native to New Orleans.
A fine story, with an illuminating interview, recently appeared on NPR (National Public Radio).
Here is a link:
Another excellent story, with more focus on repertoire and history, appeared in The New Yorker magazine:
And here is a link to OperaCreole’s own website with more information about the company and its productions:
Tags: African American, America, Arts, Baroque, Chicago, choral music, cities, city, Classical music, composer, Creole, cultural, diversity, ethnic, gender, History, Houston, Houston Grand Opera, interview, Jacob Stockinger, Jazz, Lyric Opera of Chicago, Met, Metropolitan Opera, Music, New Orleans, New York City, New York City Opera, New Yorker magazine, NPR, opera, Opera Creole, OperaCreole, race, racial, racism, Radio, rag, Ragtime, repertoire, Santa Fe, Santa Fe Opera, Scott Joplin, The New Yorker, Treemonisha, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, US, vocal music, Website, Wisconsin, YouTube
Classical music: Three upcoming UW events –- two focusing on racial diversity and one on Latin American classical guitar music -– merit your attention. Plus, classical guitarist Christopher Allen gives a FREE recital at noon on Friday.
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ALERT: This week’s FREE Friday Noon Musicale, from 12:15 to 1 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, features classical guitarist Christopher Allen performing music by Abel Carlevaro, Leo Brouwer, Manuel Ponce and Federico Moreno-Torroba.
By Jacob Stockinger
Three upcoming events at the University of Wisconsin-Madison School of Music merit your attention and maybe your attendance.
Two concern racial diversity and the role of African-American composers and performers. It is an issue here and at many music schools around the country.
The third involves a concert by Javier Calderon of Latin American composers who wrote for the classical guitar.
All events are FREE and OPEN TO THE PUBLIC.
THURSDAY
On Thursday night at 5-6 p.m. in Room 1351 of the Mosse Humanities Building, baritone Emery Stephens of Wayne State University in Detroit will present a lecture-recital titled “African American Voices in Classical Music,” with UW-Madison collaborative pianist Martha Fischer, along with an interactive component for audience members.
Stephens will share brief histories of the composers and their music. The program will include unaccompanied spirituals, spiritual arrangements and art songs by African-American composers.
Works will be by Harry Burleigh (1866-1949), Edward Boatner (1898-1981), Hall Johnson (1888-1970), Margaret Bonds (1913-1972), Charles Brown (b. 1940), and Betty Jackson King (1928-1994). Sorry, specific titles have not been mentioned.
For more about Stephens and his subject, visit:
http://www.music.wisc.edu/event/beyond-race-with-emery-stephens/
FRIDAY
On Friday afternoon from 3:30 to 5 p.m. in Room 1351 of the Mosse Humanities Building Stephens will present a master class on his Beyond Race Project.
SATURDAY
On Saturday night at 7:30 p.m. in Mills Hall, UW-Madison School of Music professor Javier Calderon will give a FREE faculty concert of guitar music by music of Eduardo Caba (Bolivia), Manuel Ponce (Mexico), and Heitor Villa-Lobos (Brazil).
Sorry, The Ear has received no word on individual works on the program. But at bottom is a YouTube video of Calderon playing a work by Isaac Albeniz at a UW Varsity Band Spring Concert in 2010.
Tags: Abel Carlevaro, African American, art song, Arts, band, baritone, Brazil, choral music, Classical music, Detroit, diversity, Emery Stephens, Federico Moreno-Torroba, First Unitarian Society of Madison, guitar, Jacob Stockinger, Leo Brouwer, Madison, Manuel Ponce, Mexico, Music, Piano, race, racial, spiritual, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vocal music, Wayne State University, Wisconsin, YouTube
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The Well-Tempered Ear 
Songs by Black composers trace their cultural realities in a free online UW performance TONIGHT of “Verisimilitudes.” Plus, the five winners of this year’s Beethoven Competition perform Sunday.
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ALERT: This Sunday, April 25, from 3:30 to 5:30 p.m. the five winners of this year’s Beethoven Competition at the UW-Madison will perform in a winners’ concert. Included in the program are the popular and dramatic “Appassionata” Sonata, Op. 57, and the famous and innovative last piano sonata, No. 32 in C minor, Op 111. Here is a link to the YouTube video: https://www.youtube.com/watch?v=eMF0Hd1MJwMg. Click on “Show More” and you can see the full programs and biographical profiles of the winners.
By Jacob Stockinger
The concert could hardly be more timely or the subject more relevant.
Think of the events in and near Minneapolis, Chicago and elsewhere in the U.S.; of the Black Lives Matter movement and social protest; of the political fight for D.C. statehood and voting rights – all provide a perfect context for an impressive student project that will debut online TONIGHT, Saturday, April 24, at 7 p.m.
The one-hour free concert “Verisimilitudes: A Journey Through Art Song in Black, Brown and Tan” originated at the UW-Madison’s Mead Witter School of Music. It seems an ideal way for listeners to turn to music and art for social and political commentary, and to understand the racial subtexts of art.
Soprano Quanda Dawnyell Johnson (below) created, chose and performs the cycle of songs by Black composers with other Black students at the UW-Madison.
Here is a link to the YouTube video: https://youtu.be/-g5hjeuSumw
Click on “Show More” to see the complete program and more information.
Here is the artist’s statement:
“Within the content of this concert are 17 art songs that depict the reality of the souls of a diasporic people. Most of the lyricists and all of the composers are of African descent. In large part they come from the U.S. but also extend to Great Britain, Guadeloupe by way of France, and Sierra Leone.
“They speak to the veracity of Black life and Black feeling. A diasporic African reality in a Classical mode that challenges while it embraces a Western European vernacular. It is using “culture” as an agent of resistance.
“I refer to verisimilitude in the plural. While syntactically incorrect, as it relates to the multiple veils of reality Black people must negotiate, it is very correct.
“To be packaged in Blackness, or should I say “non-whiteness” is to ever live in a world of spiraling modalities and twirling realities. To paraphrase the great artist, Romare Bearden, in “calling and recalling” — we turn and return, then turn again to find the place that is our self.
“I welcome you to… Verisimilitudes: A Journey Through Art Song in Black, Brown, and Tan”
Here, by sections, is the complete program and a list of performers:
I. Nascence
Clear Water — Nadine Shanti
A Child’s Grace — Coleridge-Taylor Perkinson
Night — Florence Price (below)
Big Lady Moon — Samuel Coleridge-Taylor
II. Awareness
Lovely, Dark, and Lonely — Harry T. Burleigh
Grief –William Grant Still (below)
Prayer — Leslie Adams
Interlude, The Creole Love Call — Duke Ellington
III. The Sophomore
Mae’s Rent Party, We Met By Chance –Jeraldine Saunders Herbison
The Barrier — Charles Brown
IV. Maturity
Three Dream Portraits: Minstrel Man, Dream Variation; I, Too — Margaret Bonds (below)
Dreams — Lawren Brianna Ware
Song Without Words — Charles Brown
Legacy
L’autre jour à l’ombrage (The Other Day in the Shade) — Joseph Boulogne (Chevalier de Saint-Georges, below)
The Verisimilitudes Team
Quanda Dawnyell Johnson — Soprano and Project Creator
Lawren Brianna Ware – -Pianist and Music Director
Rini Tarafder — Stage Manager
Akiwele Burayidi – Dancer
Jackson Neal – Dancer
Nathaniel Schmidt – Trumpet
Matthew Rodriguez – Clarinet
Craig Peaslee – Guitar
Aden Stier –Bass
Henry Ptacek – Drums
Dave Alcorn — Videographer
Here is a link to the complete program notes with lyrics and composer bios. And a preview audio sample is in the YouTube video at the bottom: https://simplebooklet.com/verisimilitudesprogramnotes#page=1
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