Articles published in other sources, including magazines and music blogs.
Listen to our Light City-Themed Holiday Playlist (Baltimore Magazine)
Originally published in Baltimore:
It’s hard to believe that just a year ago, all of Baltimore waited with anticipation for the exciting inauguration of the festival called Light City. We wondered: What would this “light art” look like? Would the weather cooperate? Would the tourists show up? No one knew for sure, but everyone could feel the energy crackling.
Listen to a Baltimore-Themed Holiday Playlist – (Baltimore Magazine)
I recently began contributing to Baltimore Magazine. Here's my first piece:
Wendel Patrick, “Let’s Ride”
The holidays get me thinking about sleigh rides, which, while they weren’t the inspiration for this track, still make me think of “Let’s Ride.” The vintage keyboard sounds alongside spicy drumbeats and clean electric guitars make this a perfect fit for our off-the-beaten-path sleigh ride. When you’re finished, check out some of Patrick’s other projects and collaborations, like the Baltimore Boom Bap Society and Bond St. District.
"María" Provokes and Penetrates at Le Poisson Rouge – (Sequenza21)
I occasionally write for Sequenza21. Here's a concert review from a very special concert I attended in 2013:
Greenberg managed to turn the cramped, uncooperatively spare stage to her advantage, projecting into the space a smokey, claustrophobic Buenos Aires alleyway positively dripping with sinful lust and criminality, where “Hustlers, pimps, and devils appear at every turn,” as Greenberg wrote in the program.
Papers written in an academic setting for a specialist audience.
Leonard Bernstein's Norton Lecture Series of 1973 has played a critical role in helping to define a particular landscape of thought which might be best described by Bernstein’s own (admittedly nonacademic) term, "musico-linguistics". While not a formal discipline, the term characterizes and encompasses the body of thought upon which he speculates in six multi-hour lectures at Harvard.
Analysis: Bartók, Music for Strings, Percussion, and Celeste, Mvt. 1
Béla Bartók’s Music for Strings, Percussion, and Celeste highlights Bartók's mastery of orchestration, and innovation with rhythm. However, the opening movement perhaps least exemplifies these features (relative to the other movements). The first movement of the work instead showcases his mastery of counterpoint with a particularly praiseworthy example.
In 2006, I wrote an analysis of the early orchestral works of Brahms. I revised it in 2011.
Johannes Brahms stands as one of the central-most figures of late 19th century German art music. Brahms was the first true successor to Beethoven in the symphonic tradition… many volumes have been devoted to cataloguing the significant melodic, harmonic, and formal features of his four symphonies. Fewer have been devoted either to the early orchestral works or to the rhythmic and metric techniques employed.
Widely acknowledged as one of the most pivotal symphonic compositions in allof western music, the third symphony of Ludwig van Beethoven is, in substance, rarelyagreed upon. Beethoven’s semi-programmatic title, “Eroica,” the extreme size, uniqueformal organization, and developmental history of the work collectively open up toomany variables to allow a singular analytical approach to this work that is mutuallyagreed upon by the musical community plausible, as evidenced by over 200 years of serious efforts to do exactly that. This discourse seeks to give one possible analysis, thefocus being primarily upon the organization of thematic elements that give the work acyclical or “symphonic” quality.
Updates and news about composer Florence Price.
Tomorrow will mark the release of the World Premiere recording of Florence Price’s Symphony No. 4. Those looking for a tiny appetizer in anticipation of tomorrow’s main course will enjoy this live recording of the opening of a movement from Price’s Quartet in G Major. I performed this full strings with a small ensemble assembled for an Advent Cantata service at Hunt’s Memorial UMC where I serve as Music Director. I highly recommend this excerpt for use in church services when looking for a short, uplifting, and accessible selection for strings.
65 years after her death, one of the twentieth century’s most important voices has finally begun to receive the attention she so richly deserves. Florence Beatrice Price, born in Little Rock, Arkansas in 1887, was the first African-American woman to have a composition performed in concert by a major American orchestra.
the world will get to experience Price’s final statement in the form in the new year. Thanks to Schirmer’s rapid movements, we will be able to do so with score in hand.
There is nothing quite like leading a group of musicians who devote their precious free time to performing in an orchestra.…opportunity to conduct a small taste of the music of Florence Price. We performed the Andante from Price’s three-movement suite, Ethiopia’s Shadow in America.