The Brahms to begin, and then the Variations on ". " The Gateways Music Festival is opening up a vital future for classical music, and we are honored to be part of it." To learn more about Gateways Radio or locate stations that broadcast the series, go to GatewaysRadio.org. THE COOPER UNIONThe Great Hall Foundation Building 7 East 7th Street New York, NY 10003 Gateways Brass Collective, Gateways String Quartet, the Marian Anderson String Quartet and special guest artists perform in a joint concert featuring old and new-to-some chamber music repertoire. Anthony: -on stage, certainly, but certainly I think this was the best possible opportunity to have my first outing with this great orchestra on this great occasion. She had this great idea to provide a safe affirming space for classical musicians of African descent. Best known popularly in the world these days is the music director for The Late Show With Stephen Colbert. Jeff: He's having so many moments at one time, yes. Jeff: Now on stage, Conductor Anthony Parnther, ready to lead the Gateways Music Festival Orchestra and the Symphony No.3 of American composer, Florence Price. Alex, thank you for stopping by. Jeff: Music of Johannes Brahms begins this concert by the Gateways Music Festival Orchestra in their Carnegie Hall debut. SAHAM. Alex: Not since the start, but since 2001. This work that Jon Batiste is going to perform with the Gateways Music Festival Orchestra has that same kind of structure. Anthony studied music performance at Northwestern University and continued his musical studies at Yale University where he studied orchestral conducting with Lawrence Leighton Smith and Otto Werner Mueller. Gateways is receiving an $800,000 award from the. Best known popularly in the world these days is the music director for. Although certainly, his most famous piece is the, , I urge you to check out George Walker's. Founded in 1993 by pianist and music professor Armenta Adams Hummings Dumisa, the Gateways Music Orchestra was cultivated to connect Black musicians with a shared passion for classical. From August 6 through 11, 2019, 125 professional classical musicians of African descent are invited to Rochester, NY from across the . In 2015, Anthony was profiled by Los Angeles' KCET/TV as a "Local Hero" for his extensive community outreach and advocacy for the performance of works by Black, Latinx, and Women artists. He is a resident member of the Jacksonville-based Ritz Chamber Players, The Harlem Chamber Players, Gateways Music Festival Orchestra, and innovative chamber music theater group the Core Ensemble. Because of limited seating capacity in the Rose Auditorium, we urge you to get your tickets as soon as possible. He also told us they want to be a resource for the larger community. Jeff: From Carnegie Hall Live, the Symphony No. We're talking of the depression years in America, a work in four movements meant to evoke music from African American tradition. Next performances this artist is scheduled to appear at: This artist has no upcoming performances - yet! We're delighted to welcome to the Carnegie Hall microphones, Alex Laing, who is the principal clarinet of the Gateways Music Festival Orchestra, and also with the Phoenix Symphony, and is an educator and a speaker around the country. Another first for this concert by the Gateways Music Festival Orchestra. John: I Can, the name of that piece. Anthony: I mean, it certainly felt like a religious experience on stage with him without a doubt. 3. Of course, that's not true. Adults: $15 | Seniors and Students: $10 | Children/Youth (Under 18): Free, STERN AUDITORIUM / PERELMAN STAGEAT CARNEGIE HALL57th Street and 7th AvenueNew York, NY, THE GATEWAYS ORCHESTRAAnthony Parnther, conductorJon Batiste, piano. The mission of Gateways Music Festival is to connect and support professional classical musicians of African descent and enlighten and inspire communities through the power of performance. [applause]. The Walker in its own way is a set of variations as well. Gateways Music Festival Orchestra 2023 tour dates. Jeff: Backstage at Carnegie Hall, I'm Jeff Spurgeon. The Brahms to begin, and then the Variations on "Lift Every Voice and Sing" to conclude and in between, four works by four composers of African descent that even if they weren't world premieres like Jon Batiste's work, were the first time they were being heard on the Carnegie Hall stage. I'd love to see this orchestra personally go on tour so that audiences outside of New York State have the privilege of witnessing the power and beauty of such a special ensemble. Of course, personally, I would love to see this orchestra come together more frequently. GATEWAY FESTIVAL ORCHESTRA. They're equally important to us. The historic concert was broadcast live on WXXI in Rochester and on the New York City classical station WQXR. John Schaefer: It's a big event for the members of the Gateways Music Festival Orchestra coming down to Carnegie Hall from their home in Rochester, in upstate New York. That's an unfair question. We don't actually have a complete score for the second. It's a new work by Jon Batiste, the Grammy-winning pianist and band leader you may know from, . It turns out that Gateways isn't just an organization that serves musicians. The performance was the first by an all-Black classical symphony orchestra in Carnegie Hall's history. The conclusion of seven days of performances in New York City. Orchestra, Gateways Music Festival and Bellingham Festival of Music. Gateways musicians are rewriting that narrative." Not surprisingly, he will be the piano soloist in that piece. In fact, the third movement is called Juba, which is a type of body percussion and dance that was widely found in musical traditions of enslaved Afro-Caribbean people. I can play rap. Of course, the orchestra, a whole bunch of people on stage, makes a great sound, gets a lot of attention, makes a big statement. John: Their conductor back out on stage, pointing out the different sections of the orchestra, thanking them for their performance on this program, and asking members of the ensemble to rise. What's making the occasion even bigger is that they will be presenting a world premiere, a piece so new, the ink has barely dried on it. . John Schaefer's here as well. Our mentor's other vision was that the Black community in particular, all communities but the Black community needs to see people of African descent up on the stage playing this music and it's about representation. He resides in Los Angeles and Palm Springs. Last week I spoke to Carl Craig, who is one of the pioneers of the second wave of Detroit techno, who played here as part of Carnegie's Afrofuturism festival. That is as Lee Koonce told us again and again, that's one of the most important things that's happening here this afternoon. Jeff: That composition is also being given its first hearing in Carnegie Hall in this performance. Bless the Michael Morgan. There are some elements of truth to that, but what's happening in a concert hall is not just a celebration of Brahms and Walker and Batiste and Price, but it's also a celebration of the audience. Jeff: Lauren Purcell Joiner, Christine Herskovits, Eileen Delahunty, and Max Fine. In addition to this, the festival includes 27 performances this week, chamber music, lectures, a screening of a film, panel discussions. Lee: It's this kind of dual mission. The concert features Jon Batiste, who just won five Grammys at this year's ceremony, including the highly-coveted title, "Album of the Year". Here are your tickets. This is really, I think what Gateways does for us, in addition to bringing us together to make a joyful noise, in addition to bringing together a community that is often geographically separate but spiritually connected, it allows for an intellectual exchange that is captivating to us and we're finding to others as well. Tuesdays at 8:00 pm The Gateways Music Festival Orchestra at Carnegie Hall Fresh, exciting performances highlighting musicians of African descent The Gateways Music Festival Orchestra is a 125+ member ensemble of musicians of African descent under the leadership of conductor Anthony Parnther. Jeff: Absolutely. This text may not be in its final form and may be updated or revised in the future. He's having so many moments at one time, yes. As you noticed, the audience responded in-hand to what they saw visual and it was just another extra element of all of these people on stage celebrating our heritage. In no time he charmed us with his wit and delighted us with his energetic performances. The two pieces are musical cousins and were actually intended to be so. We understand its importance, so that's really significant. We're delighted to welcome to the Carnegie Hall microphones, Alex Laing, who is the principal clarinet of the Gateways Music Festival Orchestra, and also with the Phoenix Symphony, and is an educator and a speaker around the country. The chairs can be adjusted and the Brahms piano can be pushed out. Before everyone dressed all in black, second half, everybody has a splash of color. John: Can you distinguish for us the difference between the festival proper and the festival orchestra? The work we'll hear today is a bigger piece by George Walker, his Sinfonia No. I should have asked you that before this began, but I'll lay it on you anyway. She's never taken medication. Kelly Hall Tompkins, the concertmaster giving the Gateways Music Festival Orchestra a chance to retune after that Brahms opening. Thank you, gentlemen. We had to really be on our feet, go with Jon wherever he decided to go at any given minute. Enjoy the show. Also particularly looking at it from the context of American orchestras. We understand its importance, so that's really significant. The Cleveland Orchestra. (University of Rochester photo / J. Adam Fenster), downloading the latest version of Internet Explorer, Gateways Music Festival Orchestra makes Carnegie debut, Fantastic Rochester undergraduate research highlighted at annual expo, How to get a job after college: 5 tips for juniors and seniors. I'm from the South, and I'm from the Baptist Church tradition, and. Jeff: It's wonderful to have you here. Featuring five of Gateways most popular pianists performing works by Black and other composers. Alex: All right. It's complex because each section has so many different contrasting qualities. Jeff: Pleasure to talk to you. The festival originated in Winston-Salem and then moved with our founder, Armenta Hummings Dumisani to Eastman where she was on faculty. Congratulations. There are parts that are written out, and then, there are parts that he will improvise. That's available to everyone. Okay. BRUNO WALTER AUDITORIUMNEW YORK LIBRARY FORTHE PERFORMING ARTSLincoln Center111 Amsterdam AvenueNew York, NY. Instead of a minuet or scherzo with trio you got a Juba. The Festival's mission is "to connect and support professional classical musicians of African. Now we're so pleased to welcome to the Carnegie Hall microphones, Maestro Anthony Parnther. Congratulations to you, Anthony Parnther, and to the Gateways Music Festival at an amazing week in New York in an amazing combination of this concert. It is his voice. Oh, it was a wonderful variety of sounds as you say, and a really wonderful performance. He has premiered and recorded works by Anthony Davis, George Walker, Errollyn Wallen, John Wineglass, Gary Powell Nash, Marian Harrison, Renee Baker, James Wilson, Phillip Herbert, Daniel Kidane, Chanda Dancy, and James Newton. A terrific program today bookended by two sets of variations. This is Carnegie Hall Live. That's a big step for us as well. I suppose that Gateways is a little bit like that too because you don't get together very often. It was wonderful to see you turn and conduct the audience in that final piece as well. The Gateways Music Festival is getting a substantial grant to continue its mission of supporting classical musicians of African descent. I think the possibility of spontaneity is what makes this particular live performance so deeply engaging and organic for everybody involved including the audience. Because of limited seating capacity in the Hatch Hall, we urge you to get your tickets as soon as possible. Congratulations. John: I think it's really interesting, Alex, that this idea that-- Representation, of course, is important, but this idea of the narrative of classical music is beyond race, is something universal. . That's a narrative that can be true, but it doesn't just happen. As long as we stick to that principle, I think that's the vision. Now, all the orchestra on its feet and with Maestro Parnther bow to this Carnegie audience this afternoon. It's thought to be an old Pilgrim chant known as, , but under any name, a virtuoso showpiece for the orchestra. Enjoy the rest of your brief intermission. That annual festival, which features classical musicians of African descent, will include a performance this coming. It's a beautiful moment. Gateways Orchestra concert, 4:00 p.m. at Kodak Hall at Eastman Theatre on Sunday, August 11, $15 for adults, $10 for students and senior citizens with ID, and free for youth under 18. 3 in C Minor and James V. Cockerhams Fantasia on Lift Every Voice and Sing. First, I would love to thank everyone who made it possible for us to be here, the ancestors who are watching over us. We should also mention Kelly Hall Tompkins, if that's a familiar name to our WQXR listeners, there's a good reason for that. Anthony Parnther: It's a real honor to be here with all of you and in my inaugural. John: In fact, the third movement is called Juba, which is a type of body percussion and dance that was widely found in musical traditions of enslaved Afro-Caribbean people. That's more than 20 years now. I think it's really interesting, Alex, that this idea that-- Representation, of course, is important, but this idea of the narrative of classical music is beyond race, is something universal. He also told us they want to be a resource for the larger community. John: And serves on the board of directors in this orchestra. That is as Lee Koonce told us again and again, that's one of the most important things that's happening here this afternoon. All rights reserved. Accuracy and availability may vary. In Wynton Marsalis's re-imagining, A Fiddler's Tale, he takes Stravinsky's early jazz ingredients even further, melding jazz and classical idioms together with an updated narrative. Absolutely. Jeff: Congratulations to you, Anthony Parnther, and to the Gateways Music Festival at an amazing week in New York in an amazing combination of this concert. 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