Reviews of the Concert:
From the NY Times Review of the concert
CRITIC'S NOTEBOOK | MUSIC | By CORINNA da FONSECA-WOLLHEIM DEC. 1, 2016
"The first was an evening of contemporary chamber music and opera extracts at Roulette in Downtown Brooklyn that was dedicated to the Black Lives Matter movement. The concert was presented by Ensemble Pi, a mixed chamber group that, in its marketing materials, defines itself as “socially conscious.”
The program included captivating performances of works by black composers, including Sidney Boquiren, Alvin Singleton and Trevor Weston. But the audience was predominantly white and, I imagined, made up of listeners already sympathetic to the cause. The scene from Mr. Boquiren’s “Stop and Frisk,” dramatizing a white man’s struggle to empathize with the humiliation his black friend suffered, was sharply drawn. But how many police commissioners send their law enforcement officials to the opera house for sensitivity training?"
Read another review of the concert here: Ensemble Pi Presents Moving Black Lives Matter Concert
An event moderated by WQXR’s Weekday Evening host, Terrance McKnight
Marlon Daniel, conductor; Damian Norfleet, baritone
Roulette, 509 Atlantic Ave, Brooklyn
$20 ($15 for students and seniors). Click HERE for tickets.
I Want to Go Home (arranged by Jessie Montgomery, 2016) Premiere
There Is a Balm (arranged by Trevor Weston, 2016) Premiere
For baritone and chamber ensemble
Stop and Frisk (librettos, Daniel Neer, 2016) premiere of orchestrated version for tenor, baritone and chamber ensemble.
From the chamber opera, Independence Eve (2013)
Etude II Secondline for Black Love; Piano Etudes: Carnival for Unity (2003)
Jasper Drag (2000)
For clarinet, piano, and violin
For flute and piano
Shape Shifter (The Angry Bluesman) (2011)
Barry Crowford, flute; Alexis Gerlach, cello; Moran Katz, clarinet; Karl Kramer, french horn; Idith Meshulam, piano; Damian Norfleet, baritone; Brandon Snook, tenor; Bill Trigg, percussion; Airi Yoshioka, violin; and Marlon Daniel, conductor.
This concert was made possible in part by public funds from the Manhattan Community Arts Fund, and the Fund for Creative Communities supported by the New York City Department of Cultural Affairs and administered by the Lower Manhattan Cultural Council, as well as through the generous support of individual donors.