![]() March)Īnthony DAVIS You Have the Right to Remain Silent, for clarinet and orchestra The symphony’s themes are taken from the melodies of spirituals.īONDS Selection from Montgomery Variations (I. William Dawson’s Negro Folk Symphony was a huge success upon its premiere at New York’s Carnegie Hall in 1934 with the Philadelphia Orchestra and Leopold Stokowski. Margaret Bonds’ spiritual-based Montgomery Variations is a 1963 tribute to Montgomery, Alabama, and to Martin Luther King. In the second program of a series of concerts exploring complex social issues, conductor Thomas Wilkins leads clarinetist Anthony McGill in Anthony Davis’ concerto You Have the Right to Remain Silent, a musical response to a tense encounter with law enforcement in a case of mistaken identity. We invite the BSO audience to be present and to listen to them as they discuss the nuance between public expression and consequences as it pertains to racial injustice: The Right to "Remain" Silent vs. Howse and NAACP Theatre Award winner Robert Manning, Jr. actor and community arts advocate Terrell Donnell Sledge Emmy nominated actor Keith Hamilton Cobb a recognized leader in the Boston arts and theatre scene, David C. Six Black men, all creative professionals, discuss amongst themselves a question: What expression, however pressing, however relevant, do we make public, and what are we liable to encounter as a consequence? Relating to the BSO’s performances of Anthony Davis’s You Have the Right to Remain Silent, panelists include the Pulitzer Prize Winner Composer Anthony Davis, Shakespeare and critical race studies scholar David Sterling Brown, Ph.D. The Right to "Remain" Silent vs the Right to Fully Express A Spiritual Fantasy explores these themes in music, knowing the same sense of strength, resilience, and community were pivotal forces that inspired civil rights activist Octavius Catto, whose story is told in the BSO's later performance of The Passion of Octavius Catto.Ĭo-Presented with Boston Conservatory at Berkleeġ9th-century civil rights leader’s fight for justice.Įnglish composer Samuel Coleridge-Taylor’sĬharming potpourri Petite Suite de Concertĭates from about 1911. All were greatly influenced by the Negro Spiritual, a truly unique expression of African American strength, resilience, and community. (featuring special guest student performers from Project STEP)Ī Spiritual Fantasy highlights African American composers who had a woven connection with Samuel Coleridge-Taylor and William Grant Still: Clarence Cameron White was born five years after Coleridge-Taylor and later studied with him Florence Price was born six years before Grant Still and grew up as neighbors in Arkansas Frederick Tillis was born the same year audiences first heard Grant Still's Afro-American Symphony. PRICE Negro Folksongs in Counterpoint for string quartet Rita POFIRIS) Spiritual from From the Cotton Fields, Opus 18 Special Guest Student Performers from Project STEP Weir and Edward Brice, Jr., and Pamela Everhart and Karl Coiscou. Support for these performances of “The Passion of Octavius Catto” has been generously provided by Vita L. Crawford Living Trust, the National Endowment for the Arts, and the Richard Saltonstall Charitable Foundation. See what else makes this Casual Friday concert special >įestival: Voices of Loss, Reckoning, and Hope is supported by the generosity of the Elinor V. Symphony, his best-known work, is a blues-tingedĪfter the performance, Uri Caine and André Raphel will take questions from the audience. “Longing,” “Sorrow,” “Humor,” and “Aspiration,” Passion of Octavius Catto, which tells of theġ9th-century civil rights leader’s fight for justice. Is Philadelphia jazz pianist and composer UriĬaine’s gospel and popular music-based The Overture and Venusberg Music from Tannhäuser (25)Īmerican conductor André Raphel leads thisįirst program in a series exploring complex Tanglewood Festival Chorus, James Burton, conductor This week’s performances by the Tanglewood Festival Chorus are supported by the Alan J. ![]() He is redeemed by the pure love of Elisabeth, sung by Amber Wagner, and with the help of the wise minstrel Wolfram, sung by Christian Gerhaher. A German minstrel-knight, Tannhäuser (tenor Klaus Florian Vogt), struggles to reject the world’s sensual pleasures, represented by the "Venusburg Music" of the opera’s Act I. ![]() Andris Nelsons and the BSO’s continuing tradition of performing opera in concert brings us excerpts from Richard Wagner’s early opera Tannhäuser, which had its premiere in Dresden in 1845.
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