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Pay no attention to the critics; Exploring Music February 2019

Atlas Obscura

Sibelius once said, ‘A statue has never been erected in honor of a critic.' Bill explores esteemed music critics the week of February 18th. (This photo is the Sibelius Monument in Helsinki.  Learn more.)

Week of February 4, 2019 - Portraits in Black, Brown and Beige, Part I
This two-week celebration, named in honor of Duke Ellington's jazz symphony, will explore 400
years of African-American composers and performers. Starting with Call and Response, and
Shouts from the first Africans to arrive on this continent, Bill will introduce us to art songs,
symphonies, and traditional spirituals that have become a large part of our American musical
identity.
Week of February 11, 2019 - Portraits in Black, Brown and Beige, Part II
Bill's exploration of the music of African-American composers continues this week. We will
hear Bill conduct a work by Anthony Davis, plus music composed by Bill's friend Jeffrey
Mumford. Our two-week celebration ends with a poem from Langston Hughes as well as music
from Louis Armstrong, Miles Davis, and Michael Jackson.
Week of February 18, 2019 - Nobody Ever Builds a Statue to a Critic
As Hollywood mogul Samuel Goldwyn said, “Don't pay any attention to the critics - don't even
ignore them.” Bill reminds us: “Sibelius said, ‘They never built a statue for a music critic.’” But
instead of pillorying critics for being wrong, Bill goes positive with those who could hear and
write clearly about music that not only was good on arrival but would also endure. For example,
Robert Schumann, who was both composer and critic, gave strong support to Chopin. In addition
to the music, Bill interviews several esteemed music critics about their role in shaping culture.
And for this week, Mahler gets the last sound.
Week of February 25, 2019 - Latin Carnival Latin America has a five-century musical history forged by many different indigenous peoples clashing with Spain and Portugal, both ambitious colonial powers. Bill has conducted music from Mexico, Brazil, and Argentina and has a deep appreciation for Latin America’s vast and varied musical landscape. He insists “we can hear the echoes of those collisions” into our era. Highlighting Padilla and Ponce as well as Ginastera, Villa-Lobos and Piazzolla, among others, Bill begins with harmonies from Mexico and extends throughout the region’s diverse orchestral and operatic works.