Dvorák to Duke Ellington: A Conductor Explores America's Music and Its African American Roots
Drawing upon a remarkable mix of intensive research and the personal experience of a career devoted to the music about which Dvorák so presciently spoke, Maurice Peress's lively and convincing narrative treats readers to a rare and delightful glimpse behind the scenes of the burgeoning American school of music and beyond. In Dvorák to Duke Ellington, Peress begins by recounting the music's formative years: Dvorák's three year residency as Director of the National Conservatory of Music in New York (1892-1895), and his students, in particular Will Marion Cook and Rubin Goldmark, who would in turn become the teachers of Ellington, Gershwin, and Copland. We follow Dvorák to the famed Chicago World's Fair of 1893, where he directed a concert of his music for Bohemian Honor Day. Peress brings to light the little known African American presence at the Fair: the piano professors, about-to-be-ragtimers; and the gifted young artists Paul Dunbar, Harry T. Burleigh, and Cook, who gathered at the Haitian Pavilion with its director, Frederick Douglass, to organize their own gala concert for Colored Persons Day. Peress, a distinguished conductor, is himself a part of this story; working with Duke Ellington on the Suite from Black, Brown and Beige and his "opera comique," Queenie Pie; conducting the world premiere of Leonard Bernstein's Mass; and reconstructing landmark American concerts at which George Antheil's Ballet Mecanique, George Gershwin's Rhapsody in Blue, James Reese Europe's Clef Club (the first all-black concert at Carnegie Hall), and Ellington's Black, Brown and Beige, were first presented. Concluding with an astounding look at Ellington and his music, Dvorák to Duke Ellington offers an engrossing, elegant portrait of the Dvorák legacy, America's music, and the inestimable African-American influence upon it.
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4 The Chicago Worlds Columbian Exposition of 1893
5 The National Conservatory of Music of America
6 Paul Laurence Dunbar Clorindy and The Talented Tenth
7 James Reese Europe
8 George Gershwin and African American Music
9 Leonard Bernstein
13 George Antheils Ballet Mécanique
14 Bernsteins Mass
15 Duke Ellington
16 Ellingtons Queenie Pie
17 Ellingtons Black Brown and Beige
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Dvorak to Duke Ellington: A Conductor Explores America's Music and Its ...
Limited preview - 2004
Aeolian Hall African American music ain’t Antheil arrangements artists audience Ballet Mécanique banjo bass Bernstein Broadway Brown and Beige Burleigh Carnegie Hall Carnegie Hall concert Celebrant Chicago choir chorus Clef Club Clef Club Concert Clorindy Colored Columbian composer composition conducted conductor Cook’s Copland Czech dance drum drummer Duke Ellington Duke’s Dvo≠ák to Duke ensemble Europe’s George Gershwin Goldmark Grofé guitar Harlem instruments interview James Reese Europe jazz jazz band Jazz Symphony Jim Europe John Johnson Lenny Marion Cook Mass Maurice Arnold musicians National Conservatory Negro melodies Negro music Notes to Pages opera original Paris performance Philip’s pianist Pianola piece played player piano poem Porgy and Bess premiere Quartet Queenie Pie ragtime re-creation recording rehearsal Rhapsody in Blue rhythm sang saxophone score singers singing solo soloist song sound stage Street string Swing Theater theme trombone trumpet tune violin violinist Whiteman Williams World wrote York Herald York’s
Page 4 - But the artist appeals to that part of our being which is not dependent on wisdom; to that in us which is a gift and not an acquisition — and, therefore, more permanently enduring. He speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives: to our sense of pity, and beauty, and pain...