Podcasts about Florence Price

What does it mean to become a "Sound Liberator"?In this episode of The Piano Pod, pianist, composer, educator, filmmaker, scholar, and advocate Joe Williams joins host Yukimi Song for a wide-ranging conversation on artistry, legacy, belonging, improvisation, education, and the evolving landscape of concert music.Currently pursuing a PhD in composition at the University of Hawaiʻi at Mānoa, Williams has built a multifaceted career championing composers of African descent while developing his own distinctive creative voice. From premiering new works and producing documentary films to contributing scholarship on Florence Price and composing music rooted in liberation, spirituality, and human connection, Williams exemplifies what it means to be a 21st-century artist.Throughout the episode, listeners will hear musical excerpts featuring works by Florence Price, Maria Thompson Corley, Richard Thompson, Brian Raphael Nabors, and Joe Williams himself.

In 1933, while America was deep in segregation, Florence Price became the first Black woman to have music performed by a major American orchestra -- and most people have never heard her name. In this episode of I Didn't Know Maybe You Didn't Either, our host, B Daht, explores how her groundbreaking symphony stood beside other major Black achievements happening during the same era, proving Black excellence wasn't surviving in America... it was creating history in it.See omnystudio.com/listener for privacy information.

It was the morning after the 2016 U.S. presidential election, and pianist Lara Downes was catching a flight from California to Kentucky, where she was set to perform later in the evening. “It was a very weird day to be anywhere,” she recalls.That night, she performed songs from her album America Again in Louisville, a city that mirrored the country's own jagged political divide. Coming from California, Downes expected Louisville to feel tense after the election.Instead, she found that the music — curated to explore the “American Dream” through the lens of diverse composers like Florence Price and Morton Gould — created a shared space of mourning and hope that transcended the maps on the news. As she played pieces like Price's “Fantasie Nègre” and Gould's “American Caprice,” Downes had a profound realization."I think I learned in that moment how much all of the emotions that we feel about being American — the affection and the nostalgia and the confusion and the sadness and the anger — all of it really is expressed in the music,” she says. That idea — music as a shared emotional language — continues to shape Downes' work today. In May, she brought an all-star cast of musicians to UC Berkeley's Zellerbach Hall to join her on her newest project, This Land: Reflections on America. Alongside folk icon Judy Collins, poet Tarriona "Tank" Ball, the Austin-based string and bluegrass quartet Invoke, and the Oakland Interfaith Gospel Choir, she performed songs like the traditional African American spiritual “This Little Light Of Mine,” Paul Simon's “America” and Stephen Foster's “Hard Times Come Again No More.”The performance reflects Downes' ongoing effort to explore what it means to be American through music — a question that also led her to create The Declaration Project, a national initiative tied to the upcoming 250th anniversary of the United States. For the project, Downes spent two years traveling the country to ask Americans from all backgrounds what “life, liberty and the pursuit of happiness” means to them today.In this episode of Berkeley Talks, Downes joins NPR's Chloe Veltman in a pre-concert talk to discuss how music isn't just a performance, but a common language to explore the American experience.The May 9 performance and pre-concert talk were part of Cal Performances' Illuminations: Exile and Sanctuary series and marked the final performance of the season. Learn more about Cal Performances' upcoming 2026-27 programming.The musical selections featured in this episode are from This Land: Reflections on America, performed by Lara Downes and guest artists. All music was used with permission. Listen to the episode and read the transcript on UC Berkeley News (news.berkeley.edu/podcasts/berkeley-talks).Photo by Brittany Hosea-Small.Intro music by by HoliznaCC0. Hosted on Acast. See acast.com/privacy for more information.

Kate Molleson explores the life and music of Florence Price, joined by pianist and scholar Samantha Ege. From her childhood in Little Rock, where family, education and the realities of racial segregation shaped her early ambitions, Price's story unfolds through persistence, reinvention and growing recognition. Moving through her years of study and early career, we hear how she drew on African American musical traditions while navigating the social and political pressures around her. In Chicago, she found a vibrant artistic community and new opportunities, leading to orchestral success and national visibility. In her later years, recognition remained uneven, and her music continued to evolve in the face of resistance and neglect, with works still coming to light long after her death.Music featured includes: Negro Folksongs in Counterpoint: No. 4 Shortnin' Bread Violin Concerto No. 2 Symphony No. 4 in D minor (extract) Scenes in Tin Can Alley: Children at Play Fantasie Nègre No. 1 in E minor Fantasie Nègre No. 2 in G minor String Quartet No. 2 in A minor – Finale Concert Overture No. 2 Adoration Fantasie No. 2 in F sharp minor A Day in the Life of a Washerwoman Fantasie No. 1 in G minor The Goblin and the Mosquito Songs to the Dark Virgin Ethiopia's Shadow in America (extracts) Symphony No. 1 in E minor (extract) Symphony No. 1 in E minor – Juba Dance Piano Concerto in One Movement (extract) Sympathy My Soul's Been Anchored in the Lord The Oak Resignation Violin Concerto No. 1 in D major – Allegro The Mississippi River (extracts) Fantasie Nègre No. 3 in F minorPresented by Kate Molleson Produced by Ellie Ajao for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Florence Price (1887-1953) https://www.bbc.co.uk/programmes/m002vw41.And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

durée : 00:59:46 - La Série musicale - par : Zoé Sfez - Elles ont lutté à leur époque contre leur invisibilisation forcée. De Augusta Holmès à Florence Price, ces compositrices souvent oubliées, parfois redécouvertes, ont produit en leur temps une oeuvre incomparable. - réalisation : Thomas Jost

durée : 00:59:46 - Le grand podcast de voyage - par : Zoé Sfez - Elles ont lutté à leur époque contre leur invisibilisation forcée. De Augusta Holmès à Florence Price, ces compositrices souvent oubliées, parfois redécouvertes, ont produit en leur temps une oeuvre incomparable. - réalisation : Thomas Jost, Laura Dutech-Perez, Apolline Limosino Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

March is Women's History Month, and in this special episode of Busy Kids Love Music, we explore a powerful and important question: If women have been composing for centuries…why were so many of their names forgotten? Instead of focusing on just one composer, this episode looks at the bigger historical picture — uncovering the social, cultural, and publishing barriers that kept many brilliant women composers from being widely remembered. You'll hear excerpts from stunning works and discover why these composers deserve a permanent place in music history. Featured Composers & Works Fanny Mendelssohn (1805–1847) Piano Trio in D Minor, Op. 11 – I. Allegro molto vivace Clara Schumann (1819–1896) Piano Concerto in A Minor, Op. 7 Florence Price (1887–1953) Symphony No. 1 in E Minor  Amy Beach (1867–1944) Romance, Op. 23 In This Episode, You'll Learn: Why women composers were often discouraged from writing large-scale orchestral works How publishing, performance, and teaching influence which music survives Why genre bias shaped the way music history was written How modern musicians are rediscovering and performing long-overlooked works Why listening itself can be an act of honoring history Listener Challenge This week, choose a female composer you don't know well. Listen to: One of the podcast episodes linked below OR A piece of her music  A free printable listening guide is available here to help you go deeper. Previous podcast episodes on female composers to check out and use with your Listening Challenge printable: Episode 15: Fanny Mendelssohn | Busy Kids Do Piano Episode 42: Clara Schumann | Busy Kids Do Piano Episode 66: The Life and Music of Florence Price | Busy Kids Do Piano Episode 92: Lili Boulanger | Busy Kids Do Piano Episode 116: Nina Simone | Busy Kids Do Piano Episode 118: Fanny Crosby | Busy Kids Do Piano Episode 160: The Life of Imogen Holst | Busy Kids Do Piano Episode 171: Margaret Bonds | Busy Kids Do Piano Thanks for listening to Busy Kids Love Music! See you next time as we continue discovering the stories — and the sounds — behind classical music.

In this episode of The Piano Pod, concert pianist Han Chen joins TPP for a deep conversation about virtuosity, vision, and what it means to build something meaningful in today's classical music landscape.Han Chen is a GRAMMY Award–nominated pianist known for his fearless approach to some of the most demanding repertoire in the piano canon — from György Ligeti's Complete Piano Études to Beethoven's Hammerklavier. His recent recording of Florence Price's Piano Concerto in One Movement with conductor John Jeter and the Malmö Opera Orchestra has brought renewed attention to one of the most compelling American concertos of the 20th century.Beyond performance, Han is also a curator and creator. His large-scale project Infinite Staircase pairs all 18 Ligeti Études with 18 newly commissioned works by living composers, expanding the repertoire while rethinking what a piano program can be.This episode offers a rare look into the mind of a pianist who is not only performing at the highest level, but actively shaping the future of classical music.In This Episode, We Talk AboutFlorence Price and the legacy of her Piano ConcertoLigeti's Complete Piano Études and technical/interpretive challengesInfinite Staircase — a 36-work project pairing Ligeti with new commissionsCreative programming as artistic identityCommissioning new music and working with living composersJuilliard training and mentorship under Yoheved KaplinskyExpanding the role of the pianist in today's classical music worldLearn More About Han ChenWebsiteInstagramMeet Our Guest: Han Chen The Piano PodBecome a VIP Member / Unlock Exclusive ContentSubscribe to the Season 6 Piano Playlist — a collection of every piano work mentioned throughout the episodes Join Our NewsletterWebsiteInstagramFacebook

In this episode, Dr. Michael Clark joins me to share the fascinating story of composer Florence Price and the rediscovery of her music. We also talk about supporting young pianists, meaningful practice habits, and why exploring a wider range of composers can enrich your child's musical journey. Learn more at www.PianoParentPodcast.com/378

As the last official entry in Countermelody's Black History Month 2026 series, I bring you a potpourri episode that has long been a dream of mine: one dedicated entirely to the Spiritual, that distinctly American musical form that was born in adversity (specifically enslavement, murder, torture, family separation) and yet by a confluence of miracles yielded the most transcendentally beautiful music ever heard on this beleaguered planet. This is no scholarly exegesis of the form (there are others much better-versed in its history than I); it is rather a celebration of nearly a century of great performances of these songs by the finest concert singers of the twentieth century, beginning with Harry Thacker Burleigh through Janet Williams and the late Roberta Alexander (it still hurts my heart to write this!) In between, many additional Countermelody favorites are heard, including Dorothy Maynor, Marian Anderson, Todd Duncan, Jules Bledsoe, Paul Robeson, Margaret Tynes, Muriel Smith, Gloria Davy, Roland Hayes, Veronica Tyler, Adele Addison, Charles Holland, Anne Wiggins Brown, Robert McFerrin, Camilla Williams, Inez Matthews, and Miss Leontyne Price in arrangements by such exceptional African American composers as Julia Perry, Nathaniel Dett, William Grant Still, Undine Smith Moore, Hall Johnson, and Florence Price. There was so much material that, with regret, I had to leave by the wayside that you can be sure that there will be an additional spirituals episode in the very near future! I dedicate this episode to my beloved mother, who loved these songs, and to all those who have recently lost loved ones. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Florence Price: Sonata for Piano in E minor by Clipper Erickson Clippererickson.com Florence Price: Sonata for Piano in E minor! Clipper Erickson brings commanding insight to Florence Price's 1932 Wanamaker Prize-winning masterpiece. Symphonic in scope yet tightly woven, the sonata draws its poewr from the fusion of grand Romantic form with the melodic and rhythmic language of African American spirituals and dance. Erickson illuminates every nuance of Price's writing, revealing its vitality, lyricism, and structural ingenuity. Clipper Erickson, Pianist, Soul, Passion, Color, and Spirituality. Throughout his long career, Clipper has sought to uplift the music of under-represented voices in classical music, both old and new, alongside the great works of the past. His artistry continues to receive international critical accaim through recordings and performances in major concert halls. As a musical explorer and educator, he shares his insight and love through commentary along with performance.

Claire Huangcis Repertoire ist breit gefächert, es reicht von Tschaikowsky bis Schubert, von Beethoven bis Gershwin, von Bach bis Rachmaninow. Jetzt hat sie ein Konzeptalbum herausgebracht mit Klaviermusik von Komponistinnen. Sie kommen aus unterschiedlichen Zeiten und Welten. Teils sind sie wohlbekannt, wie Fanny Hensel und Clara Wieck-Schumann, teils halbwegs bekannt geworden in jüngster Zeit, dank der Bemühungen der Genderforschung, wie Amy Beach. Und teils müssen sie erst noch entdeckt werden, wie die afroamerikanische Florence Price, die doppelt diskriminiert wurde.

durée : 00:13:40 - Piano Heroines - Claire Huangci - La pianiste Claire Huangci célèbre les compositrices avec ce nouvel album : Clara Wieck, Fanny Hensel, Amy Beach, Florence Price. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:13:40 - Piano Heroines - Claire Huangci - La pianiste Claire Huangci célèbre les compositrices avec ce nouvel album : Clara Wieck, Fanny Hensel, Amy Beach, Florence Price. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This recording of Florence Price’s “Silk Hat and Walking Cane” is included on William Chapman Nyaho’s album Kete: Piano Music of Africa and the African Diaspora, produced through the Jack Straw Artist Support Program and released in 2020 on MSR Classics. The post William Chapman Nyaho – Silk Hat and Walking Cane (Price) appeared first on Jack Straw Cultural Center.

On today's show, we hear more about TheatreSquared's current production "The Book Club Play", and a curated program at the Fayetteville Public Library celebrates the work of Arkansas composer Florence Price. 

Virtuos, wütend, verletzlich. Claire Huangci widmet ihr neues Album Fanny Hensel, Clara Schumann, Amy Beach und Florence Price - und zeigt, wie radikal romantische Musik von Komponistinnen klingen kann.

February is Black History Month—a time to honor and celebrate the contributions of African Americans. As a music teacher, this prompts me to pause and evaluate what I'm teaching, but also why. I ask questions like:How much diversity is present in my students' method books and repertoire?Which pieces should we skip due to their complicated history?How can I make more thoughtful, informed choices about the music I put in front of my students—choices that are pedagogically sound and historically responsible?This year, I want to focus more on the existing repertoire and the creators behind it. In this episode, I'm going to introduce you to seven Black composers of elementary and intermediate piano repertoire.For show notes + a full transcript, click here.Resources Mentioned*Disclosure: some of the links in this episode are affiliate links, which means if you decide to purchase through any of them, I will earn a small commission. This helps support the podcast and allows me to continue creating free content. Thank you for your support!Ep. 045 - The Blues Composition Project“This Is What Diversity Sounds Like” by Linda Holzer (Piano Magazine)RCM Celebration Series Preparatory A Piano RepertoireA Collection of Florence Price's Teaching Music, Vol. 23 Sketches for Little Pianists (Florence Price)RCM Celebration Series Level 7 Piano RepertoireExpanding the Repertoire: Music of Black Composers, Levels 1 and 2 (compiled & edited by Dr. Leah Claiborne)Arise & Shine: Piano Music by Black Composers for Kids2022 RCM Piano SyllabusFive Animal Sketches (William Grant Still)Portraits in Jazz (Valerie Capers)Piano Music of Africa and the African Diaspora, Vol. 1 (compiled & edited by William Chapman Nyaho)RCM Celebration Series Level 6 Piano RepertoireRCM Celebration Series Level 6 Piano EtudesIf you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyewWhenever you're ready, here are three ways we can work together:1️⃣ Need fresh teaching ideas? Schedule a quick 25-min. call and we'll brainstorm on a topic of your choice. Build an idea bank that you can pull from in the months to come.2️⃣ Have questions about teaching or managing your music career? Book a 60-min call and get personalized advice, creative ideas & step-by-step strategies on up to 3-4 teaching/business topics.3️⃣ Develop the skills and strategies you need to plan the year, refine your teaching methods, and manage your time more effectively with a suite of online courses and professional development trainings

Ce 1ᵉʳ janvier se tient le traditionnel concert du Nouvel An de l'Orchestre philharmonique de Vienne, dirigé cette année par Yannick Nézet-Séguin. Suivi par des millions de téléspectateurs à travers le monde, c'est le plus grand événement de musique classique. Pour la première fois, deux compositrices sont au programme. Réputés conservateurs, l'Orchestre philharmonique de Vienne et le concert du Nouvel An veulent aujourd'hui davantage s'ouvrir aux femmes, compositrices et musiciennes. C'est lors de la dernière édition du concert du Nouvel An que, pour la première fois, une compositrice a été jouée. Cette année, le programme va plus loin en incluant deux œuvres de deux compositrices. La Rainbow Waltz de l'Afro-Américaine Florence Price et le Sirenen Lieder de l'Autrichienne Josephine Weinlich, qu'on entend ici jouée par quatre musiciens de l'Orchestre philharmonique de Vienne : Lara Kusztrich, Raimund Lissy, Robert Bauerstatter et Raphael Flieder. Cela montre une volonté d'ouverture, selon le directeur de l'Orchestre philharmonique de Vienne Daniel Froschauer.  « Nous voulons montrer cette diversité. Il y a beaucoup d'excellentes cheffes d'orchestre et compositrices. Et il n'y a aucune raison de ne pas ajouter au concert du Nouvel An toutes ces couleurs qui sont intéressantes, et qui méritent d'y figurer. Il est réjouissant de pouvoir présenter encore davantage de compositrices. Cela va continuer à se développer », affirme-t-il. Une évolution que salue l'historien Oliver Rathkolb, mais en soulignant qu'elle arrive tard. Selon lui, en Autriche, ce ne sont pas uniquement les orchestres, mais tout un système qui a conduit à l'exclusion des femmes musiciennes et compositrices. « Il a fallu beaucoup de temps avant que la musicologie, y compris dans le milieu universitaire, ne s'intéresse à ce sujet, et on constate que très peu de compositions ont été conservées. Aujourd'hui, on est à la recherche d'archives. On voit qu'il y a donc plusieurs aspects à cette question de l'exclusion des femmes du monde de la musique, qui concerne le domaine de la composition, mais aussi celui de l'appartenance à un orchestre. Mais c'est en train d'évoluer », explique-t-il. À lire aussiEn Autriche, des concerts thérapeutiques pour les personnes atteintes de démence Lara Kusztrich, jeune violoniste de 31 ans, est l'une des 24 femmes des 148 membres de l'Orchestre philharmonique de Vienne et jouera lors du concert du Nouvel An. Si les femmes sont encore peu nombreuses au sein de l'orchestre, cela est en train de changer selon la musicienne. « J'ai des collègues qui ont été les toutes premières femmes à rejoindre l'orchestre. C'est dû au fait que cette ouverture a eu lieu relativement tard. Et aussi au fait qu'un poste se libère uniquement lorsque quelqu'un prend sa retraite ou quitte l'orchestre. Il ne peut donc pas y avoir beaucoup de nouvelles recrues en peu de temps. Mais ma génération a passé des auditions à une époque où cela n'était plus un sujet. On constate lors des auditions qu'il y a aujourd'hui un équilibre entre hommes et femmes. Je dirais que c'est environ 50-50 pour les nouveaux postes à pourvoir », estime-t-elle. Le concert du Nouvel An n'a encore jamais été dirigé par une femme-cheffe.  À lire aussiChristian Merlin et la légende du Philharmonique de Vienne

Ce 1ᵉʳ janvier se tient le traditionnel concert du Nouvel An de l'Orchestre philharmonique de Vienne, dirigé cette année par Yannick Nézet-Séguin. Suivi par des millions de téléspectateurs à travers le monde, c'est le plus grand événement de musique classique. Pour la première fois, deux compositrices sont au programme. Réputés conservateurs, l'Orchestre philharmonique de Vienne et le concert du Nouvel An veulent aujourd'hui davantage s'ouvrir aux femmes, compositrices et musiciennes. C'est lors de la dernière édition du concert du Nouvel An que, pour la première fois, une compositrice a été jouée. Cette année, le programme va plus loin en incluant deux œuvres de deux compositrices. La Rainbow Waltz de l'Afro-Américaine Florence Price et le Sirenen Lieder de l'Autrichienne Josephine Weinlich, qu'on entend ici jouée par quatre musiciens de l'Orchestre philharmonique de Vienne : Lara Kusztrich, Raimund Lissy, Robert Bauerstatter et Raphael Flieder. Cela montre une volonté d'ouverture, selon le directeur de l'Orchestre philharmonique de Vienne Daniel Froschauer.  « Nous voulons montrer cette diversité. Il y a beaucoup d'excellentes cheffes d'orchestre et compositrices. Et il n'y a aucune raison de ne pas ajouter au concert du Nouvel An toutes ces couleurs qui sont intéressantes, et qui méritent d'y figurer. Il est réjouissant de pouvoir présenter encore davantage de compositrices. Cela va continuer à se développer », affirme-t-il. Une évolution que salue l'historien Oliver Rathkolb, mais en soulignant qu'elle arrive tard. Selon lui, en Autriche, ce ne sont pas uniquement les orchestres, mais tout un système qui a conduit à l'exclusion des femmes musiciennes et compositrices. « Il a fallu beaucoup de temps avant que la musicologie, y compris dans le milieu universitaire, ne s'intéresse à ce sujet, et on constate que très peu de compositions ont été conservées. Aujourd'hui, on est à la recherche d'archives. On voit qu'il y a donc plusieurs aspects à cette question de l'exclusion des femmes du monde de la musique, qui concerne le domaine de la composition, mais aussi celui de l'appartenance à un orchestre. Mais c'est en train d'évoluer », explique-t-il. À lire aussiEn Autriche, des concerts thérapeutiques pour les personnes atteintes de démence Lara Kusztrich, jeune violoniste de 31 ans, est l'une des 24 femmes des 148 membres de l'Orchestre philharmonique de Vienne et jouera lors du concert du Nouvel An. Si les femmes sont encore peu nombreuses au sein de l'orchestre, cela est en train de changer selon la musicienne. « J'ai des collègues qui ont été les toutes premières femmes à rejoindre l'orchestre. C'est dû au fait que cette ouverture a eu lieu relativement tard. Et aussi au fait qu'un poste se libère uniquement lorsque quelqu'un prend sa retraite ou quitte l'orchestre. Il ne peut donc pas y avoir beaucoup de nouvelles recrues en peu de temps. Mais ma génération a passé des auditions à une époque où cela n'était plus un sujet. On constate lors des auditions qu'il y a aujourd'hui un équilibre entre hommes et femmes. Je dirais que c'est environ 50-50 pour les nouveaux postes à pourvoir », estime-t-elle. Le concert du Nouvel An n'a encore jamais été dirigé par une femme-cheffe.  À lire aussiChristian Merlin et la légende du Philharmonique de Vienne

Laura Jackson, Reno Phil music director and conductor, and Mark Clague, musicologist and professor at the University of Michigan, speak with Chris Morrison about the opening concerts of the Reno Phil's 2025-26 Classix Season, “American Masters,” on October 11 and 12, 2025. The concerts include the Piano Concerto in One Movement by Florence Price and Rhapsody in Blue by George Gershwin, both with piano soloist Michelle Cann, as well as two pieces by Aaron Copland, Fanfare for the Common Man and the orchestral suite from the ballet Appalachian Spring.

durée : 00:14:41 - Le Disque classique du jour du lundi 15 septembre 2025 - Ce nouvel opus qui paraît sous le label Naxos nous fait découvrir les deux concertos pour violon et le concerto pour piano de la compositrice noire américaine Florence Price. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:14:41 - Le Disque classique du jour du lundi 15 septembre 2025 - Ce nouvel opus qui paraît sous le label Naxos nous fait découvrir les deux concertos pour violon et le concerto pour piano de la compositrice noire américaine Florence Price. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

On today's show, rollbacks to the federal Clean Air Act could affect energy development in Arkansas. Plus, further discovery of the musical genius of Florence Price and details on the latest season from the Fort Smith Symphony.

Florence Price's abiding interest in the literary arts helps explain the extraordinarily large number of vocal compositions in her catalogue – well over one hundred – as well as the fact that she occasionally supplied texts of her own for these pieces. Conductor John Jeter discusses with Raymond Bisha his latest album of Price's music which comprises a dozen of these choral works, including Price's two significant cantatas – Abraham Lincoln Walks at Midnight and Song of Hope.

On the latest episode of ‘New Classical Tracks,' John Jeter leads the Malmo Symphony Orchestra, alongside soloists Han Chen and Fanny Clamagirand, in music by Florence Price and William Grant Still. Listen now with host Julie Amacher!

durée : 00:25:08 - Florence Price, Symphonie n°1 - par : Anne-Charlotte Rémond - L'oeuvre, créée le 15 juin 1933 par l'Orchestre Symphonique de Chicago, est la première symphonie composée par une femme africaine-américaine. - réalisé par : Philippe Petit Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

On the latest episode of ‘New Classical Tracks,' British pianist Jeneba Kanneh-Mason releases her debut solo recording featuring ‘Fantasie' for the piano, including music by Florence Price and Alexander Scriabin. Listen now with host Julie Amacher!

William L. Dawson (University of Illinois Press, 2024) by Gwynne Kuhner Brown is a biography of the Black American composer, conductor and pedagogue. She gives equal weight to the different aspects of Dawson's career from his early training at Tuskegee Institute (now University) to his twenty-five years as director of choirs and composer at the same school and ending with his thirty years as a free-lance conductor. Dawson was part of the same generation of Black classical musicians that produced Florence Price and William Grant Still. His most famous composition is probably the Negro Folk Symphony, but he wrote other music including choral arrangements of spirituals that are a staple of college choral programs. Recently, in part because of work by people like Gwynne Kuhner Brown, Dawson's other compositions are beginning to be heard in concert halls once again. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

William L. Dawson (University of Illinois Press, 2024) by Gwynne Kuhner Brown is a biography of the Black American composer, conductor and pedagogue. She gives equal weight to the different aspects of Dawson's career from his early training at Tuskegee Institute (now University) to his twenty-five years as director of choirs and composer at the same school and ending with his thirty years as a free-lance conductor. Dawson was part of the same generation of Black classical musicians that produced Florence Price and William Grant Still. His most famous composition is probably the Negro Folk Symphony, but he wrote other music including choral arrangements of spirituals that are a staple of college choral programs. Recently, in part because of work by people like Gwynne Kuhner Brown, Dawson's other compositions are beginning to be heard in concert halls once again. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

William L. Dawson (University of Illinois Press, 2024) by Gwynne Kuhner Brown is a biography of the Black American composer, conductor and pedagogue. She gives equal weight to the different aspects of Dawson's career from his early training at Tuskegee Institute (now University) to his twenty-five years as director of choirs and composer at the same school and ending with his thirty years as a free-lance conductor. Dawson was part of the same generation of Black classical musicians that produced Florence Price and William Grant Still. His most famous composition is probably the Negro Folk Symphony, but he wrote other music including choral arrangements of spirituals that are a staple of college choral programs. Recently, in part because of work by people like Gwynne Kuhner Brown, Dawson's other compositions are beginning to be heard in concert halls once again. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

William L. Dawson (University of Illinois Press, 2024) by Gwynne Kuhner Brown is a biography of the Black American composer, conductor and pedagogue. She gives equal weight to the different aspects of Dawson's career from his early training at Tuskegee Institute (now University) to his twenty-five years as director of choirs and composer at the same school and ending with his thirty years as a free-lance conductor. Dawson was part of the same generation of Black classical musicians that produced Florence Price and William Grant Still. His most famous composition is probably the Negro Folk Symphony, but he wrote other music including choral arrangements of spirituals that are a staple of college choral programs. Recently, in part because of work by people like Gwynne Kuhner Brown, Dawson's other compositions are beginning to be heard in concert halls once again. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

durée : 01:28:06 - En pistes ! du mardi 03 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On découvrira le quintette de Florence Price et une étonnante suite pour clavecin de Fernande Decruck. On voyagera aussi du côté du baroque avec Monteverdi et Lully, et de la musique contemporaine avec un Requiem du compositeur allemand Sven Helbig...

durée : 01:28:06 - En pistes ! du mardi 03 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On découvrira le quintette de Florence Price et une étonnante suite pour clavecin de Fernande Decruck. On voyagera aussi du côté du baroque avec Monteverdi et Lully, et de la musique contemporaine avec un Requiem du compositeur allemand Sven Helbig...

Conductor John Jeter has been central to the rediscovery and representation of Florence Price's orchestral works. In this podcast, he discusses with Raymond Bisha his latest recording of her piano concerto and her two violin concertos, the only works she composed in the genre. The early First Violin Concerto, with shades of Tchaikovsky and undertones of the blues, stands in contrast to the Second, written shortly before her death, more dramatic, contemporary and compact. The Piano Concerto in One Movement, which Price herself performed, contains some of her most beautiful music set alongside moments of Romantic bravura.

In Randall Goosby, the pioneering American composer Florence Price “has her ideal champion,” writes The Guardian, “his playing full of old-school warmth and breadth but never schmaltzy.” Price's beguiling violin concerto shares a program with Prokofiev's enchanting Seventh Symphony, composed for a children's radio broadcast. The suite from Die Meistersinger von Nürnberg gathers stirring moments from Wagner's opera. Learn more: cso.org/performances/24-25/cso-classical/elder-goosby-and-price

Dvořák's radiant salute to the New World kicks off an American road trip with James Gaffigan at the wheel. Take in poignant selections from Gershwin's landmark opera — sung by Janai Brugger — and the composer's urbane and nostalgic love letter to Paris. Chicago native Florence Price sets two American poems to song, and a pair of symphonic showstoppers by Bernstein transports audiences to “New York, New York” and beyond. Learn more: cso.org/performances/24-25/cso-classical/an-american-suite

This week Dalanie and Katie talk about Carlos Simon's Good News Mass. IN THIS EPISODE: Got a confession? Tell us your craziest, most scandalous music school stories here: https://docs.google.com/forms/d/e/1FAIpQLSf83czJGsGsGuMuvTszo9BptqC-uqGoL_BnCSftlBLlqdFIwg/viewform?usp=header Video episodes are now available on YouTube! Subscribe here: https://www.youtube.com/@classicallyblackpodcast PURCHASE OUR MERCH!: https://www.classicallyblackpodcast.com/store JOIN US ON PATREON! Our next Patreon exclusive livestream is on April 28th at 5:30pm PST https://patreon.com/ClassicallyBlackPodcast FOLLOW US ON SOCIAL MEDIA! https://linktr.ee/classicallyblack Donate to ISBM! https://fundraising.fracturedatlas.org/international-society-of-black-musicians Check out our website: https://www.isblackmusicians.com FROM LAST WEEK: Register for Notes Noire https://docs.google.com/forms/d/e/1FAIpQLSeN56JaI89cmwv5xDcLq889kE5eRvoBFsh_GRoBfAdkwbYM-A/viewform Composer Brian Field to Set Amanda Gorman's Text about Uvalde Shooting https://theviolinchannel.com/composer-brian-field-to-set-amanda-gorman-text-about-uvalde-shooting/ Camerata del Sol Cancels New Mexico Concert, Citing Border Patrol Fears https://theviolinchannel.com/camerata-del-sol-cancels-new-mexico-concert-citing-border-patrol-fears/ Black Excellence: Kendyll Nichole Piece of the Week: Violin Concerto No. 2 - Florence Price

Tijdens de paasdagen presenteren Pynarello en singer-songwriter Shishani een alternatief voor de Matthäus-passion: ‘De Passie van Shishani'. In deze muzikale samensmelting komen de composities van Florence Price samen met de op hiphop, soul, pop en Afrikaanse muziek geïnspireerde klankwereld van Shishani.  Presentatie: Andrew Makkinga

(01:19) Klokkenluidersorganisatie ‘Breaking the Silence' publiceerde deze week een rapport met het verhaal van deze officier en van meer anonieme militairen. Wat zeggen deze nieuwe getuigenissen over de geweldinstructies voor Israëlische soldaten? En wat voor organisatie is ‘Breaking the Silence' eigenlijk? Erella Grassiani, antropoloog en Israël-kenner, is aan de lijn vanuit Israël.  (15:06) Lelijk, vreemd en een Nederlands icoon: Jan Patat. Het is misschien wel het bekendste snackbar-straatmeubilair; een manshoog beeld van een knipogende patatzak dat zijn eigen friet aan het eten is. Het vreemde beeld is een waar cultfiguur geworden, maar wat is zijn verhaal? Journalist Elja Looijestijn maakte de audiodocumentaire ‘Het mysterie van de lachende frietzak' en is te gast.  (20:48) De column van Sana Valiulina.  (25:18) Wim Berkelaar bespreekt drie historische boeken:  Oorlog zonder genade – Koos-Jan de Jager  Meesters van de magie – Ruud Vermeer    Hoe de liefde vergleed – Kiki Amsberg  (38:25) Singer-songwriter Shishani Vranckx schreef met muziekcollectief Pyranello een eigentijdse Matthäus-passion. Shishani liet zich inspireren door componist Florence Price, de eerste Afro-Amerikaanse vrouw wiens symfonieën werden uitgevoerd. Wat is er bekend over het leven van Price? En waarom grijpt Shishani juist op haar terug? Singer-songwriter Shishani is te gast.  Meer info: https://www.vpro.nl/programmas/ovt/luister/afleveringen/2025/13-04-2025.html#  (https://www.vpro.nl/programmas/ovt/luister/afleveringen/2025/13-04-2025.html)

Singer-songwriter Shishani Vranckx schreef met muziekcollectief Pyranello een eigentijdse Matthäus-passion. Ze staan zondagavond in het Muziekgebouw met Passie van Shishani. Shishani liet zich inspireren door componist Florence Price (1887 – 1953), de eerste Afro-Amerikaanse vrouw wiens symfonieën werden uitgevoerd. Haar werk werd goed ontvangen, maar ze raakte toch in de vergetelheid. Wat is er bekend over het leven van Price? En waarom grijpt Shishani met het herschrijven van de blockbuster van de klassieke muziek juist op haar terug? Singer-songwriter Shishani is te gast. Shishani gaat met het Pynarello ensemble door het land om de ‘Passie van Shishani' te spelen, meer informatie en tourdata zijn via deze link te vinden.

I have a special update for you on Florence Price because of the hard work of a particular listener and a previous guest. Support Classical Breakdown: https://weta.org/donatefmSee omnystudio.com/listener for privacy information.

Juliana Soltis is an innovative cellist who has done extensive research to connect listeners with some forgotten stories of classical music. In this episode we talked about her recent album American Woman which features cello and piano music of women composers; you'll hear Juliana's insights into the lives of Mary Howe, Amy Beach, Margaret Bonds, Helen Crane, Dorothy Rudd Moore and Florence Price and hear excerpts from this album which Juliana recorded with the wonderful pianist Ruoting Li. Many listeners will be familiar with Juliana's playing as a Baroque cellist, and it was fascinating to hear about how the French relinquished their beloved viol relunctuantly to the Italian cello. I really love Juliana's recording of the complete Suites for solo cello of J.S. Bach and you'll hear some music from her album Going off Script: the Ornamented Suites for cello. Juliana shared great advice about performing from an athlete's perspective and also the joy of connecting with audiences. This interview begins with one of her beautiful greyhounds, and for those of you watching this on YouTube, hopefully you'll enjoy this comforting canine presence throughout this inspirational conversation. Like all my episodes , you can watch the video or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website, everything linked here: https://www.leahroseman.com/episodes/juliana-soltisOther episodes: Samantha Ege, Julia MacLaine, Dorothy Lawson of ETHEL, Edwin Barker, Euclid QuartetJuliana Soltis Website Podcast Newsletter sign-up Buy me a coffee ? Merchandise storephoto: Teresa Tam(00:00) Intro(02:37)the greyhounds, American Woman album (05:16) archives New York Public Library, Helen Crane(10:42) clip of Ballade Fantasque by Howe(12:20) Mary Howe (16:51) racist divide between Black and white composers(20:47) clip of Troubled Water by Margaret Bonds (22:12) baroque cello (33:57) Courante J.S. Bach Solo Suite in G major(37:14) creating Going off Script: the Ornamented Suites for cello(37:43) other episodes (38:36) the art of ornamentation, recording the Bach album(43:45) lessons with Catharina Meints Caldwell(48:33) connecting with audiences, using social media(56:37) clip of Dirge and Deliverance by Dorothy Rudd Moore(58:00) Kermit Moore, Florence Price, Margaret Bonds, Amy Beach(01:04:23) Berceuse by Beach(01:10:25) 3rd Idyll op. 51 by Helen Crane(01:19:01) how athletic training helps with performance nerves

Samantha Ege is both a leading scholar and interpreter of Florence Price. In this interview, she talks about her recent book “South Side Impresarios: How Race Women Transformed Chicago's Classical Music Scene”. I was fascinated to learn about this compelling history of Chicago's Black Renaissance with women such as Nora Holt,  Margaret Bonds, and Katherine Dunham.  Dr. Ege shared how the scholarship side of her work informs both her identity as a pianist and also how this research and storytelling cause her to reflect on some of her own challenges. We also talked about some of her other recent recording projects, including the upcoming Avril Coleridge-Taylor piano concerto and chamber music with Castle of our Skins, and she reflected candidly on her personal creative life as a writer, performer and composer. Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website Newsletter sign-up Buy me a coffee? Merchandise store You may be also interested in the following episodes:   Gerry Bryant Daniel Bartholomew-Poyser   Vahn Black Rebeca Omordia Omo Bello DeWitt Fleming Jr.  Destiny Muhammad among so many https://www.leahroseman.com/about Troubled Water by Margaret Bonds from concert in Chicago for Crossing Borders Music Fantasie Negre no. 1 in E minor by Florence Price: from concert in Chicago for Crossing Borders Music https://www.samanthaege.com/ Timestamps:  (00:00) Intro (02:11) book Southside Impresarios, Race women, Florence Price (05:07) racism, Florence Price, John Powell (10:50) Margaret Bonds “Troubled Water” from live performance (link to video in show notes) (15:46) Southside Impresarios, Black Chicago Renaissance, Florence Price (18:08) Wannamaker competition, Florence Price, Margaret Bonds (21:47) Nora Holt, Florence Price (30:43) Samantha's practice diaries, Avril Coleridge-Taylor piano concerto (38:03) other episodes you'll like and ways to support this series (38:56) composing, identity and confidence (41:17)the importance of storytelling, upcoming Chicago concerts, community of Black researchers (44:59) Katherine Dunham, ballet (47:05) Boston Six, Amy Beach, exclusion of Black composers (48:55) excerpt from Fantasie Nègre by Florence Price from live performance (link to video in show notes) (51:52) Chamber music album with Castle of Our Skins, Undine Smith Moore, Bongani Ndodana-Breen (55:08) Cambridge Companion to Florence Price, Rae Linda Brown, Alexandra Kori Hill (57:16) Southside Impresarios (59:56) Samantha's reflections on her career, Doreen Carwithen concerto

Automated grocery prices increase depending on the shopper, Target follows suit in abandoning DEI initiatives, ICE officers issued an arrest quota, and the legacy of Florence Price - the first Black women to premiere works by a US orchestra.  NewsAutomation in Retail Is Even Worse Than You ThoughtMeet Florence Price, the first Black woman to have her work premiered by a US orchestraTarget rolls back DEI initiatives, the latest big company to retreatTrump officials issue quotas to ICE officers to ramp up arrests Follow @PodSaveThePeople on Instagram. 

The La Jolla Symphony & Chorus presents "This Soil," conducted by Arian Khaefi. The program features a stunning array of works, including Kristen Kuster's Moxie, Samuel Barber's Knoxville, Summer of 1915, Gabriela Lena Frank's Escaramuza, Gala Flagello's Bravado, Florence Price's Piano Concerto in One Movement, and Leonard Bernstein's “Symphonic Dances” from West Side Story. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39112]

Rose Wollman and Dror Baitel have come together, Viola and Piano respectively, to create the new record Breaking Glass Ceilings Music by Unruly Women offering classical compositions from four women spanning the last century or so; Florence Price, Libby Larsen, … More ... The post Rose Wollman & Dror Baitel – “Breaking Glass Ceilings” appeared first on Paradigms Podcast.

A magical piano named Stein teaches Rebecca music and about the incredible life of Florence Price, the first Black female composer to have her work performed by a major symphony orchestra. Written by Sai Sion Performed by Rebecca Cunningham Produced by Tessa Flannery Executive Produced by Rebecca Cunningham Theme Song by Megan Bagala Links for the Grownups! Listen to Ghost Tour Personalized Stories Girl Tales Events Patreon Girl Tales Store Rebecca's Newsletter Facebook Instagram Buy the Girl Tales Team a Coffee Starglow Media

Philadelphia Orchestra's Principal Bassist Joseph Conyers is back as co-host as we meet a bright teen harpist whose commitment to her instrument is so strong she commutes weekly from Virginia to New York for lessons and a vibrant 12-year-old guitarist plays a fiery work by Roland Dyens and talks about his love for fishing, movies, and performing with his sisters. Peter Dugan and Joseph Conyers open the program with a moving interpretation of Florence Price's Adoration.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

On this week's episode of ‘New Classical Tracks,' pianist Norman Krieger talks about his latest album featuring the music of George Gershwin, recorded alongside the Prague National Symphony and conductor Neal Gittleman. Listen now!