Jenny Q Chai brings Synaesthesia to CNMAT in Berkeley


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All is set up in the diminutive performance space at CNMAT.

Jenny Q. Chai is a graduate of Curtis Institute and the Manhattan School of Music.  She is trained as a pianist but she is in the process of expanding that role somewhat.  Chai is one of an unusual group of people called “synaesthetes”, that is, people who see sounds and hear colors.  Her program tonight is entitled, “Sonorous Brushes”.

I am not a synaesthete and it is most likely that most of the audience was more like me.  The actual prevalence of synaesthesia in which stimulation of one sense (such as sound) simultaneously stimulates another sensory or cognitive pathway (such as color or emotion) is estimated to occur in about 4% of the general population (estimates vary).  This condition is unusual but is not pathological.  The interest or the challenge here is the artist’s attempt to convey her personal synaesthetic perceptions in a way that can be understood by those not similarly wired.

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Chai spoke eloquently about her research to the audience.

The program was divided into sections.  In the first Chai performed some mostly conventional repertoire from the early twentieth century namely Debussy, Ravel, Messiaen.  The four Debussy pieces with which Ms. Chai opened this recital (two etudes, “Pour les huits doigts” and “Pour les quartes” and preludes 11 and 12 from book 2) left absolutely  and no doubt as to  and the artist’s virtuosity and interpretive skills.  She then launched into a Ravel homage by one Frederic Durieux followed by Ravel’s Oiseaux Tristes and a  truly athletic Messiaen piece.  Understandably these pieces inspired visual creations by this artist and seemed to be the seed for her ongoing research.

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It is curious and somehow very fitting that this musical exploration begin with music that was inspired by the visual.  Impressionism was pretty much paralleled by the music which appears to have been inspired by the visual art, an early argument for synaesthesia.  There is little doubt that many artists (and non-artists) have had this condition for better or worse but it is likely that such unusual perceptions would have been classified as pathological and not the topic of polite conversation back in the 19th century and before.

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On this night it would be not merely a topic of conversation but an introduction to research which began with a grant Chai received from the French government for research into synaesthesia and presenting these ideas to a wider audience.  Far from pathology, this could even be seen as a deficit in those who lack this ability.  The key then is to explore synaesthesia as a potential asset.  Of course a complete and detailed explanation was not the goal of the evening.  This was to whet our appetites.

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Composer Jarosław Kapuściński explains some of the technology behind his compositions and the visual art that accompanied these performances.

 

This next part of the program involved the work of Jarosław Kapuściński (Warsaw, 1964-) whose two pieces were slated for the last portion of the program.  He is, since 2016, the chair of the music department at Stanford University and no doubt spends time with CCRMA (Stanford’s equivalent of CNMAT) investigating music, sound and computers.  He spoke of being inspired by a calligrapher who was also well known to Ms. Chai, a Chinese woman and master calligrapher named Shanshan Zhao (the film was done at the Shanghai Conservatory of Music).  While he did not go into great detail the composer basically shared his visual inspirations and spoke a bit about how his composition program “listens” to the performer (see the photo with the two mikes inside the piano below) and responds in some way.  This sounds like another chapter in the book which includes David Behrman’s early computer/performer interactive experiments.  Some 50 years later (this piece, “Calligraphies for Ziqi” is from 2018 and got its US premiere here tonight).  Another generation shows its expertise.

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Note the two black microphones inside the piano. No, its not the Russians.

The title, “Calligraphies for Ziqi” (2018) references Ziqi, a man whose listening was so perfect that the musician destroyed his instrument after Ziqi died because he knew he would never find a better listener.  This ancient Chinese story (approx 770-476 BC) is also about the merging of sound and image in its way.  Several calligraphies are displayed in process during the performance with the music reflecting the moods of the Chinese characters being displayed.  Each movement involves a different Chinese character and a different attempt at calligraphy.  There may be extramusical references here but the music does a satisfying job of standing with the visuals and further analysis can be left to musicologists and program annotators.

In addition Kapuściński is no stranger to Asian arts.  He has explored eastern musics and incorporated aspects of them into some of his works.  He is also no stranger to computers and their use in composition.  His appreciation of disparate artistic techniques effectively spanning 5000 years and utilizing them effectively is a mark of genius in this writer’s opinion.  This is a challenging piece for the soloist but it is a sensual journey for the audience.  While the geekier folks (this reviewer definitely included) would like to know much more about the technical aspects of this gorgeous music, suffice it to say that such knowledge is not a prerequisite for enjoying the art.

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Chai playing the interactive piano part to the visuals in “Calligraphies for Ziqi” (2018), This was the California premiere.

This was followed by another visual/musical collaboration, Side Effects (2017) also by Kapuściński involves music set to videos by Kacper Kowalski who shoots from a perspective 150 meters directly above his subjects.  Think a latter day Koyaanisqatsi (do I need to footnote that reference?).  Again we see affecting music which captures the composer’s reaction to the visuals.  I didn’t get the sense that there was any computer interaction here, just some good music to some stunning visuals.

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Chai playing the music to the visuals in “Side Effects” (2017)

The capacity audience (the room capacity is only 49) was very appreciative and gave a standing ovation which compelled no less than two encores.  Forgive your reviewer for not being able to recall the first but there seemed to be a new magic afoot when this pianist launched into the second, a wonderful rendition of the aria from Bach’s Goldberg Variations.  It was a loving and intense interpretation (no doubt full of colors as well) and it left the audience satisfied as a dessert would cap the climax of a fine meal.  Brava, Ms. Chai.  And thank you Mr. Kapuściński.

Political Classical: Frank Horvat’s “For Those Who Died Trying”


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Frank Horvat (1974- )is a Canadian composer and musician with a profound interest in social justice and human rights.  In this 35 movement string quartet he is concerned with memorializing the lives of 35 activists who died while furthering the cause of human rights.  This work is made even more compelling by including photos from a photo essay of the subjects taken by Luke Duggleby, a Thai-based photographer and journalist.

Without a doubt this is a shining example of what I have termed, “Political Classical”, a genre of protest music which seems to have emerged in the twentieth century.  This work takes its place now with Frederic Rzewski’s Pueblo Unido Variations, and works by composers like Luigi Nono, Hans Werner Henze, and countless others who have chosen to use their expertise in the classical genre to write works analogous to the folk protest music which is perhaps better known to the listening public.

With songs one has the words which can directly or indirectly evoke the particular issue being addressed.  But, other than a dedication in the program notes, how does one imbue their music with the intended meaning for a given protest work.  Well, Mr. Horvat has chosen to utilize only the letters from these victims’ names to form the musical material for each portrait.  That is he uses the letters which correspond to musical notes.  Most famously this practice is known through the B, A, C, H (corresponding in German notation as B flat, A, C, B) theme which is the basis for Bach’s Art of Fugue.

By itself this can be a bland and meaningless exercise but Horvat manages to work within this carefully limited framework to create 35 very convincing portraits of these Human Rights Heroes.  The 35 movements are relatively brief and put this listener in the mind of composers who have  succeeded quite well with such a format such as Alan Hovhaness and Lou Harrison.  Both of these composers and the man in discussion here work in a basically tonal framework with a balanced and judicious use of dissonance.  What is curious is how he seems to succeed in evoking these people purely through sound.

In comes the Mivos Quartet whose job it is to make sense of the composer’s intentions and breath life into the notes on the page.  This New York based string quartet consists of Olivia de Prato, violin; Maya Bennardo, violin; Victor Lowrie Tafoya, viola; and Tyler J. Borden, cello.  And let’s just say they are up to the task.  Each movement takes on its individual character but retains a larger connection to the work as a whole.  Perhaps this is also a metaphor for the nature of individuality as part of the larger concept of humanity and why each perspective is vital to our collective survival.

Before I wax too philosophical let me just say that, at least in terms of this recording, this is a document of classical string quartet which also serves as a memorial to the victims it references and, hopefully, as a sort of wake up call to those who, for whatever reason, are unaware of these atrocities.  Ultimately, I suppose, the goal is the amelioration of inhumane practices.  But until then we may find comfort in the beauty which this composer has brought to this work.  This would seem to be a stab at acknowledgement of sacrifice in the name of human rights seeking justice but, for now, we must settle for beauty even if it brings tears which are a mix of both sadness and joy.

My 2018 in the Arts


One of the Theater Organs at House on the Rock, Spring Green, WI, a really fun place to visit.


I’m skeptical about year end lists but I have enough people asking me that it would be impertinent to skip this task. I make no claims to having even listened to enough to make any definitive statements about the “best” but I have my own quirky criteria which I hope at least stirs interest. Here goes.

Let’s start with the most read reviews. Without a doubt the prize here goes to Tim Brady’s “Music for Large Ensemble”. This reviewer was enthralled by this recording by this Canadian musician whose work needs to be better known.

This little gem was sent to me by a producer friend and I liked it immediately. I knew none of these composers but I enjoyed the album tremendously. Don’t let the unusual name “Twiolins” stop you. This is some seriously good music making. It is my sleeper of the year.

Running close behind the Twiolins is the lovely album of post minimalist miniatures by the wonderful Anne Akiko Meyers. Frequently these named soloist albums of miniatures are targeted at a “light music” crowd. Well this isn’t light music but it is quite listenable and entertaining.


The creative programming and dedicated playing made this a popular review to New Music Buff readers. Definitely want to hear more from the Telegraph Quartet.

Another disc sent by my friend Joshua. This one is a DVD/CD combo of music by a composer whose existence was only revealed to me a couple of years ago. Marin includes a clever animated video which accompanies the title track.

I was fortunate enough to have been able to hear Terry Riley and Gloria Cheng in an all Terry Riley program at the Yerba Buena Center for the Arts. Both were in spectacular form and the audience was quite pleased.

I would be remiss if I didn’t include the fabulous 6 night series of concerts produced by Other Minds. This is why I am a rabid advocate of OM programs. More on that soon with OM 24 coming up.

And lastly I want to tell you about two more composers who are happily on my radar.

One of the joys of reviewing CDs is the discovery of new artists to follow. Harold Meltzer is now in that group for me. This basically tonal composer has a real feel for writing for the voice and has turned out some seriously interesting chamber music.

Another composer unknown to these ears. I bristle at the term “electroacoustic” because it sometimes means experimental or bad music. Not so here. Moe is fascinating. Definitely worth your time.

OK, gonna can the objectivity here to say that this is possibly the most underappreciated album I’ve heard this year. Combining a recording of the Debussy Preludes along with Schoenberg’s rarely heard “Hanging Gardens”, Webern’s Variations, and Berg’s Piano Sonata creates a picture of a moment in history when music moved from impressionism to expressionism. Jacob Greenberg is very much up to the task. Buy this one and listen, please. It’s wonderful.

Also beyond objectivity is this fascinating major opus by Kyle Gann. It didn’t get much recognition on my blog but it’s a major work that deserves your attention if you like modern music.

Well this is one of my favorite reviews in terms of the quality of my writing. The work is most wonderful as well. Though this review was actually published on December 31st I’m still including it in my 2018.

This is definitely cheating on my part but after that concert at Yerba Buena I can’t resist making folks aware of this wonderful set on the independent label, “Irritable Hedgehog”. Trust me, if you like Riley, you need this set.

I review relatively few books on this site but by far the most intriguing and important book that has made it across my desk to this blog is Gay Guerilla. The efforts of Mary Jane Leach, Renee Levine Packer, Luciano Chessa, and others are now helping to establish an understanding of this composer who died too young. Here’s looking forward to next year.

I know I have left out a great deal in this quirky year end selection but I hope that I have not offended anyone. Peace and music to all.

In the Beginning Was the Word: Other Minds 23


 

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Charles Amirkhanian performing one of his spoken word compositions at Other Minds 20 in 2015

Other Minds has been the the darling of composer/producer Charles Amirkhanian since its founding in 1993.  Along with television producer and arts patron Jim Newman he has presided over the 25 years of this renowned festival which has consistently brought the finest new music composers and performers to San Francisco.

There is little doubt that this year’s festival has to be very close to Amirkhanian’s heart.  Words have been central to his career at least since 1969 when he began his work as a producer at KPFA.  In the 23 years he spent there he presented countless hours of musical programming and interviews.  He crossed paths with most of the major stars in contemporary classical music and many stars whose genre may not be captured by the classical label.  A look at his programming choices and interviews from his time there defined new music for the Bay Area and beyond.  After his tenure at KPFA ended in 1992 he continued exploring cutting edge music and musicians bringing them to San Francisco for live performances.

His work as producer and curator has tended to overshadow his work as a composer, sound poet, and spoken word artist.  This year’s OM festival is dedicated to speech, sound poetry, and the spoken word.  It is about both the history and the present state of the art.  In many ways Amirkhanian’s 1975 release “10 + 2: 12 American Text Sound Pieces” on 1750 Arch Records (now on an OM CD 1006-2) can be seen as sort of the starting point for this festival.  This masterful anthology includes works by Charles Amirkhanian (1945- ), Clark Coolidge (1939- ), John Cage (1912-1992), John Giorno (1936- ), Anthony Gnazzo (1936- ), Charles Dodge (1942- ), Robert Ashley (1930-2014), Beth Anderson (1950- ), Brion Gysin (1916-1986), Liam O’Gallagher (1917-2007), and Aram Saroyan (1943- ).

 

“Word! Thou word that I cannot speak!

At the end of the second (and last completed) act of Arnold Schoenberg’s powerful opera “Moses und Aron” (1932) Moses sings, or actually half speaks and half sings this text lamenting his expressive deficits.  Speech song or, in German, sprechgesang is an invention by Schoenberg in which the singers are asked to find a point between speech and music.  Perhaps this is a good example of some of the artistic thinking going on at about the time when speech music/sound poetry began to take shape.

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Kurt Schwitters (1887-1948)

Some of the history of sound poetry is featured in this unprecedented 6 day festival (April 9-14).  Some of the earliest practitioners of this unusual genre include the German artist Kurt Schwitters whose composition Ursonate (1922-32) will be performed in its entirety, a rare event by itself.

Another early gem will be the Spoken Music (1930) by German-American composer Ernst Toch.  This three movement suite has been known for its last movement, the Geographical Fugue.  The other two movements, once thought lost, were discovered in sketches in 2006 and reconstructed by Christopher Caines.  The now complete version will be presented I believe on day 3.

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Ernst Toch (1887-1964)

 

It is beyond the scope of this blog post to tell the history of text sound so I will refer readers to the Other Minds website for further details.  Or you could come to the festival too I suppose.

With due respect given to the past the festival will move on to the present.  San Francisco Beat Poet Michael McClure (1932- ) will make an appearance as will post beat colleagues Anne Waldman (1945- ), Clark Coolidge (yeah the guy from that cool anthology), Aram Saroyan (another guy from the classic text sound disc).

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Alvin Curran in conversation last year in Berkeley.

Other Minds alumnus Alvin Curran (1938- ) will be premiering his collaboration with Clark Coolidge entitled, Came Through in the Call Hold.  Curran’s eclectic sensibilities will doubtless result in an interesting composition.  This event alone, at least for this writer, is worth the price of admission.  And this is just the first day!

Other events include workshops, discussions of the history of the art, and even some curious variations on a theme.  Apparently the writer Lawrence Weschler is the grandson of Ernst Toch and has written a variation on the Geographical Fugue called, The Medical Fugue which will be premiered at this festival.

The increasingly ubiquitous pianist Sarah Cahill will be present to perform Virgil Thomson’s unusual but entertaining setting of a Gertrude Stein (a one time Oakland resident) text called Capital, Capitals.  She will accompany the men of the Other Minds Ensemble.  Jaap Blonk will be tasked with performing Schwitters’ Ursonate and, along with Enzo Miranelli will also perform other historical works including some by a couple of Italian Futurists.

Other Minds Administrative Director Randall Wong will end the evening by undertaking a performance of the late great Cathy Berberian’s Stripsody.  That promises to be a wild evening I think.

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Jaap Blonk (1953- )

Northern Europe, including the Netherlands and the Scandinavian countries will literally have their day.  As it turns out they are doing a great deal of creative work in this increasingly diverse genre of speech music.  Other Minds is at its best in introducing the new and the innovative from wherever Charles’ radar has tracked it down.  Indeed Mr. Amirkhanian and his wife, artist/photographer Carol Law traveled throughout these regions in the early 70s talking with and learning from these diverse artists.  (Amirkhanian’s work, Just was recorded in a Scandinavian studio during one of those trips).

As usual homage will be paid to the past with some recorded classics by Sten Hanson, Åke Hodell, and Lily Greenham.  Some new voices will be introduced including Tone Åse and Sten Sandell.  The Norwegian/Russian-American duo OTTARAS (consisting of visual poet Ottar Ormstad and composer Taras Mashtalir will also perform.   One can fully expect a mind expanding experience which will redefine the possibilities of the art form.

Auspiciously or perhaps dangerously Friday the 13th has been reserved for Bay Area talents.  First up will be the man of the hour, Charles Amirkhanian.  Hearing him do his work live is an uncommon but entirely enjoyable experience.  If that alone weren’t enough we will get to hear the even rarer public collaboration between him and his life partner Carol Law whose photography and collage work deserves wider recognition and will happily get that here.

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Amy X Neuberg.

Trained in both linguistics and music, Amy X Neuberg will be on hand to perform her indescribable electronic cabaret including the world premiere of “Say it like you mean” and other genre bending work.  She is another valued Other Minds alumnus having given numerous performances at the festivals.

Stanford professor Mark Applebaum, another alumnus will present “Three Unlikely Corporate Sponsors” which premiered at Stanford in 2016.  Enzo Miranelli will conclude the evening with his theatrical combination of movement and text in “Fame: What I Want to Say”.

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Pamela Z

The festival concludes on Saturday April 14th with Jaap Blonk followed by the wonderful San Francisco based Pamela Z who, like Neuberg uses electronics, but creates her own unique sound world.  She too is an alumnus of Other Minds.

Another composer from that great anthology, Beth Anderson, will make an appearance to perform “If I Were a Poet”, “I Can’t Stand It”, and “Ocean Mildew Minds”.

The finale will feature Susan Stone and Sheila Davies Sumner performing excerpts from two works, “House with a View” and “Loose Tongues” both dealing with the lives of working class southern women.

This will be both a feast and a marathon but it promises to be one of the finest Other Minds productions maybe ever.  Come to be entertained, come to be challenged, come to expand your mind.  You’ll never be the same.  See you there.

300 Years of Virtuosity, Liza Stepanova’s Tones and Colors


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Concert Artist Guild CAG 120

This is the solo piano debut of this talented and incredibly virtuosic artist.  This hard working pianist can be heard on a previous CD (After a Dream) with the Lysander Piano Trio.  Her web site can provide a good idea of the range of solo, chamber, and orchestral music in her repertory.

This CD is a good example of creating a brand, a practice which seems to be the current rage especially among artists who specialize in new music.  I have previously commented on the brands of pianists like Sarah Cahill, Kathleen Supové, Nicolas Horvath, and Stephane Ginsburgh to name a few.  All are amazing musicians but each seems to have been able to carve out an identifiable niche which sets them apart from each other and defines their various artistic missions.  Granted these are soft definitions in that they do not preclude them from playing anything they choose but it gives audiences a sort of general idea of what to expect when they do a program.

Liza Stepanova appears to have chose virtuosity as her signature.  She plays what sounds like fingerbreakingly difficult music with both ease and expressiveness.  Here she chooses to basically survey virtuosity from J. S. Bach to György  Ligeti.  In addition she has chosen to pair each composition with an analogous piece of visual art.

The pairing of music and visual art is as old as dirt and has always seemed to have an inherent validity.  Tone poems like Mussorgsky’s Pictures at an Exhibition or Debussy’s Clair de Lune are familiar examples of music as a visual analog.  But music sometimes suggests pictures even if it was not the stated intent of the composer too.  Stepanova covers the visual territory from the representative to the abstract in this entertaining collection.

Perhaps the most interesting aspect of this recording is the pianist’s choice of music.  She does go with the familiar at times such as Debussy’s Goldfish but the majority of this disc contains music that is seldom heard by lesser known composers such as Maurice Ohana (1913-1992), Joaquin Turina (1882-1949), Fanny Hensel (1805-1847), and Lionel Feininger (1871-1956).  There are better known names such as Enrique Granados (1867–1916), Bohuslav Martinú and Leopold Godowsky (1870-1938).  And the most familiar names such as J. S. Bach (1885-1750), Franz Liszt (1811-1886). Claude Debussy (1862-1918), George Crumb (1929- ), and György Ligeti (1923-2006).

There are 13 tracks grouped into 4 visual art themes (A Spanish Room, Nature and Impressionism, Conversations Across Time, and Wagner, Infinity, and an Encore).  The only problem I have here is the photos of the art (which thankfully are included in the little booklet) are necessarily small and really don’t give the consumer the full intended effect.  One would do well to obtain some art books or some larger prints of these to gain the intended effect.

I won’t go into detail about each individual piece.  Suffice it to say that they are all technically challenging and intelligently chosen pieces.  This is a very entertaining program from this emerging artist.

This reviewer is given to speculation as to Stepanova’s next release.  Perhaps Sorabji with some Dada works?  Whatever it is will doubtless be as interesting and entertaining as this disc.  Brava, Ms. Stepanova!

 

More Than the Ears Can Hear: Bill Fontana in Conversation


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Despite being possessed of a rabid and eclectic interest in all music I had not been aware of Bill Fontana until I found this presentation sponsored by Other Minds and curated by Charles Amirkhanian (whose radar seems to capture just about everything).  This entry into the Nature of Music series last night featured this artist who extends the very meaning of composition and the very reach of our ability to hear.

This series is hosted by the David Brower Center in Berkeley, CA.  The center is a state of the art environmentally friendly building which serves, appropriately, as a center for ecological awareness and hosts various organizations within its walls (including the Berkeley office of Other Minds) whose missions serve various environmental concerns.  The Nature of Music series attempts to address ecological concerns and indeed the featured artists have all demonstrated connections to the environment in various creative ways.

Bill Fontana (1947- ) is a San Francisco resident but his art takes him all over the world.  He presented audio and video excerpts from his installation works in Kyoto, Lisbon, San Francisco, London, and Iceland.  The basic concepts behind his work seem to be the extension of hearing and, to some degree, of seeing.  He uses multiple microphones and transducers to extract sound from objects such as bridges, bells (when not ringing), musical instruments (not playing), etc.  His multi-layered video experiments are at least partly analogous to this.

The first presentation was perhaps the most striking.  Fontana showed a video of an old Zen Temple bell which was just hanging there in a still video recording.  He had attached a sonic transducer to pick up the subtle vibrations of the bell as it reacted to the ambient sounds around it, something it had been doing for its entire existence (though no one knew until this).  He quipped that the monk whose job it was to care for said bell was somewhat anxious about what Fontana was doing.  When the monk heard the sound that this “silent” bell made he was astonished.  What one learns is that there are sounds made which our ears do not hear.

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Another “not ringing” bell in a New York tower revealed its reactions to its environment sonically and in a still video overlooking Manhattan from the high atop the lonely tower.

One installation involved 8 microphones arranged around San Francisco Bay which transmitted the sounds they captured to an installation of 8 loudspeakers located at Fort Mason.  The effect was of having ears that could hear all of these sounds which were so geographically distant that one pair of ears could not hear them in this way.  This 1982 installation is scheduled to have the recordings of those captured sounds from the original presentation played continuously in a permanent installation at Fort Mason.

Other installations included a bridge and a river in Lisbon and some hydrothermal installations in a couple of places.  What these all had in common was this extension of hearing (and vision) and how this increases one’s awareness of the environment both sonically and visually.  The artist acknowledged a passion for environmentalism and took the time to answer the questions of a medium sized but very engaged audience.

There are things in his work that echo the work of John Cage, Annea Lockwood (who appeared on a previous Nature of Music program), Pauline Oliveros, and any number of drone/noise composers.  But his vision is clearly a unique one and it was revelatory to have been able to hear/see this little exposition.  Fontana is truly a phenomenon whose roots fit comfortably on the west coast but whose vision is global.

It is well worth your time to peruse Fontana’s web site which is full of videos and sound files depicting his unique visions from various locations all over the world.  Fontana seemed a warm and unpretentious figure led all these years and still going with a child-like sense of wonder and a spectacular imagination.  All in all a mind-blowing and entertaining evening.

Linda Twine, A Musician You Should Know


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Linda Twine

I have found it strange that the few articles I have written (and, full disclosure, I’m a white guy) on black musicians seem to have placed me in the position of being one of apparently a limited number of writers/bloggers who pay attention to the topic.  Happily these articles have gained an audience.  The rather simple piece I wrote on black conductors, a little essay composed in honor of Black History Month, remains by far one of my most read articles.

The vicissitudes of race and racism are such that we need to say, “black lives matter” because even the most cursory examination of statistics shows that they seem to matter far less than lives with other racial identities.  The same is true with music and musicians..  There are organizations dedicated to the promotion of black musicians because they remain far less well represented.

It is in this spirit that I am writing this little sketch to highlight a black musician who does not have a Wikipedia page or even a personal web page that I have been able to find.  You can find her easily with a Google search but you will find some of the same segregation of which I spoke.  One finds her on the “Broadway Black” website which does a fine job of promoting her and her work.  And what fine work it is.

To be fair she is also on the “Internet Broadway Database“, “Playbill“, the “Internet Movie Database“, and one can find her most recent work listed on the “Broadway World” site.  Her cantata, “Changed My Name” can be found on You Tube.  And it is there where, curiously enough, one can find the most comprehensive information on her.  I present it here:

From the Muskogee Phoenix, 11/10/2007, we have this information about Linda Twine:

Twine, a native of Muskogee, OK, graduated from Oklahoma City University in 1966, with a bachelor of arts degree in music. There, she studied piano with the esteemed Dr. Clarence Burg and Professor Nancy Apgar. After graduating from OCU, Twine studied at the Manhattan School of Music in New York, where she earned a master’s degree, and made New York her home. She began her musical career in New York, teaching music in public school by day and accompanying classical and jazz artists at night. At one of these engagements, she was asked if she would like to substitute for the keyboardist of the Tony Award winning Broadway hit, “The Wiz.” Her positive response began a long career in Broadway musicals from keyboard substitute to assistant conductor of Broadway orchestras. In 1981, to conductor when Lena Horne asked her to conduct her one-woman hit, “Lena Horne: The Lady and Her Music.” This garnered Twine the respect of her peers and as a much sought-after Broadway musical conductor. In addition to “The Wiz” and “Lena Horne,” Twine’s Broadway credits include, “Ain’t Misbehavin’,” “Big River” (the score composed by Oklahoman Roger Miller), “Jelly’s Last Jam,” “Frog and Toad,” “Caroline or Change,” “Purlie,” and the current “The Color Purple,” starring Fantasia. Not only a distinguished conductor, Twine is also a composer and arranger. She composed “Changed My Name,” a cantata inspired by slave women Sojourner Truth and Harriet Tubman, and written for two actresses, four soloists, and a chorus. Her popular spiritual arrangements are published by Hinshaw. As a producer, instrumental and vocal arranger, her work can be seen and heard in the books and CDs of the Silver Burdett Publishing company, which are used by many public schools in the United States. Community commitment and involvement have also marked Twine’s outstanding career. She has arranged and composed for the renowned Boys Choir of Harlem, and she served for 14 years as minister of music for St. James Presbyterian Church of New York. Among her many awards and honors is the “Personal Best Award for Achievement and the Pursuit of Excellence,” for her role as a writer and arranger for the Boys Choir of Harlem, her artistic achievements in the world of Musical Theatre, and her concern for humanity. Twine, a proud Oklahoman, is the granddaughter of William Henry Twine, a pioneer lawyer who made a homestead claim in the 1891 Sac and Fox Run, and along with G.W.F. Sawner and E.I. Saddler established the first black law partnership in Oklahoma Territory.

So here, in honor of Black History Month, I wish to present this fine musician whose art deserves the world’s attention.  Take note please.