Post Graduate School Re-Evaluation & Upcoming Performance

Hello All,

It's been quite sometime but I am OFFICIALLY back at it. People begin a career in Music because it is something which brings them joy and encouragement.  Many have been exposed to various art forms at a young age.  The same applies to me.  I grew up in front of PBS and my love for singing grew.  The first Opera I saw as a child was Porgy & Bess and it was at that moment I was determined to play both the roles of Serena and Bess one day.  Music and singing was my escape and the expression of my deepest emotions that I was unable to put into words.

Studying music in Undergrad is the opportunity to further develop your skills and gage the kind of singer you want to become.  Graduate school is the application of the previous skills and a time when as singers we are more aware of who we are as people.  As a young Graduate school student although I was very self aware I was also trying to grew into my womanhood.  The unexpected stress of Graduate school and your own personal growth can turn something you LOVE into a chore.  Music and singing have always bee my heart but after Graduate school I had to take a year break in order to "find my love" again.  I am officially back in the saddle and excited for the road ahead.  Nothing will stop me now.

The past year involved a lot of prayer and reflection.  It was the strength in my religion and the feeling that something was missing which bought me back to my heart: Singing.  I found a new teacher, Mark Oswald, whom I love and understand.  He encourages me and challenges me to rise to the occassion.  My first performance as I come back into the world my heart thirst for is with One World Symphony.  I will be singing the title role in Puccini's Suor Angelica.

Click the photo above or the link to www.OneWorldSymphony.org for more information.

Sixth Annual Halloween Program: 
Temptation

One World Symphony
Sung Jin Hong, Artistic Director and Conductor
Bettina May, Burlesque Artist
One World Symphony Vocal Artists

Camille Saint-Saëns: from Samson et Dalila
Paul Hindemith: from Marienleben* (1948)
Giacomo Puccini: from Suor Angelica (1918)
Kaija Saariaho: Douleur (Torment) (2002)
Franz Schubert: Gretchen am Spinnrade (from Goethe’s Faust)*

*Arrangement and orchestration by Sung Jin Hong

Two Performances:
Sunday, October 27, 2013
Monday, October 28, 2013

8:00 p.m.
Holy Apostles Church
296 Ninth Avenue at West 28th Street
Manhattan

$30 Students/Seniors with ID
$40 General

Throw away that raw vegan flaxseed cookie and indulge in something more… sensuous. Discordant musical passages explore the boundaries of tonality and represent the restless conscience while others caress the senses with their soft waves of melody. Camille Saint-Saëns’s Samson et Dalila envelops us in decadent sound as the temptress Dalila lures Samson away from his people. In Puccini’s Suor Angelica, the nun’s dulcet melodies embody her enchantment with worldly pleasures. Be transported by contemporary composer Saariaho, who stretches the limits of tradition with her eerie music that draws you in like a moth to the flame. Go ahead, have your cake and eat it too.

Concert length approximately 90 minutes without intermission. Program may be subject to change.

Classical Singer Competition Results: Project Canción Española Fundraiser for July 2012 Paticipation

I was recently awarded a Full Scholarship at the Classical Singer Competition to participate in Project Canción Española this July 2012.  The scholarship however only covers the cost of the program.  As a result, I am trying to fundraise in order to cover my Room & Board as well as Flight.  I look forward to this experience because it allows me the opportunity to drive into Spanish repertoire.  In addition to increasing my Spanish repertoire I have the opportunity to compete to be invited back to Spain to sing in two concerts (Madrid and Granada) in December 2012.

Your support in my endeavor is greatly appreciated.  I have included a description of the program below.  Any contribution large or small would be greatly appreciated towards this once-in-a-lifetime opportunity.  Thank you in advance.

"Project Canción Española was conceived to promote the teaching of Spanish song repertoire around the world so that it becomes a part of the core curriculum in conservatories and university music programs everywhere (including Spain!). Inasmuch as French, Italian, German and English repertoire are required subjects for singers and accompanists who are studying to be professional musicians in music programs around the world, we see no reason why the vast Spanish repertoire should not also be included.

International Course: Interpretation of Spanish Vocal Music July 16-24 2012"

Fundraising Ideas

Life of a Young Opera Singer After Graduate School

Recently, I completed a Masters of Music in Classical Voice and Opera.  Now that I have finished that degree I have decided to use this blog to illustrate my journey.  "Where do I go after Graduate school?"

I will use this blog to attempt to answer those questions.  I will share what I am embarking on in my journey and I will elaborate and explore various options.  I hope you stay tuned.  I look forward to hearing from you regarding my posts and what interests you may have so to serve you better.

Leanna

Die Zauberflote - January 28, 2010

Hello All,

It has been quite some time, I know.  I have been busy becoming acclimated with my 1st semester of graduate school as both a student and professor.  I've also tried become an active singer within the New York City.  I recently worked with Amore Opera in the chorus of Die Fledermaus and as a cover for the Mother in Hansel and Gretel.  Currently, I am preparing for a performance of Die Zauberflote with New York Opera Studio as the 2nd Lady.

My schedule is quite busy for this upcoming term.  I will sing the role of Prince Orlofsky in Die Fledermaus at NYU, I am also preparing for the Reinhold Honors Recital at NYU, I will be preparing the role of Musetta from La Boheme in addition to the roles I must learn for summer programs.  I am excited for the challenges and all that awaits.  I also intend to learn the roles of Clara and Serena from Porgy & Bess if time permits, as well as Pamina in Die Zauberflote.  I currently know the role of Prince Orlofsky so I can dedicate more time to learning new material and worry about staging and evolving my idea and the directors of the Prince.  I will write more as my musical life begins to unfold.  I'm slowly but surely getting there.

In regards to my summer plans I have auditioned for both Brevard, and Chautauqua Music Festival in which I am waiting to hear from both.  I have auditions coming up for Opera in the Ozarks, and Georgia State Harrower.  I may also apply to dell'Arte Opera Ensemble 2011 Standard Repertoire Project.  I am looking forward to an exciting spring semester and an even better summer learning experience.

Leanna

Ahmal and the Night Visitors by Mennotti

I recently received an email of the upcoming operas/auditions for the school year. On it was Ahmal and the Night Visitors by Mennotti. I was excited because it will be my 1st fully stage opera in which I have a possibility of singing a lead. My challenge arises in that the role is typically done by a messo-soprano. Although it is a possible for a soprano to sing the role there is nothing for a soprano to show off the higher register and soar. I am excited to learn the role however. Auditions are not until the middle of September but I have already begun studying to be ready. I have listened to recordings, watched tapes and DVDs, and borrowed a copy of the Vocal and Piano score to begin learning and reviewing the role. I am currently perfecting The Mothers aria All that Gold. It is coming along well. I'm determined to make this role mine.

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Work, Work, and More Work.....

It's been a while since I posted to this blog but I vow to make it more often. I think it was a result of my summer break until Grad School starts. I began my summer with the intent of doing nothing however nothing turned into a lot of work. I wanted to give my mind a break until I started teaching at NYU as well as beginning my own Masters of Music curriculum.

My summer became interesting around July. I received a call from Wynton Marsalis Enterprises @ Jazz at Lincoln Center so I went from trying to relax to a working girl. I was excited for the call because I remember learning and hearing about Wynton throughout my childhood. In fact I just only completed my History of Jazz course the fall of Senior year and now I get the pleasure of saying that I have worked for Wynton Marsalis. It was an odd and different experience. I have been a classically trained musician my entire life and can have conversations about classical music and opera in particular.

I learned a great deal about myself in this internship. I am MEANT to be a PERFORMER. I am very business minded and savvy. I can come up with the concept and ideas. It was great because I was able to experience Wynton the artist as well as the business man. His name is his business his brand and I am glad that I was afforded the opportunity so to understand how to build my business my brand in music.

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Georgia State University Production of Carmen

On April 23, 2010 I had the pleasure of going to see Carmen at the Rialto put on by Georgia State University School of Music.  The performance was a wonderful one.  The cast was diverse in regards to Undergraduate and Graduate Students.  On the night in which I attend the lead of Carmen was performed by a graduating Masters student.  The role of Carmen is very meaty, and the ability for the singer to provide the dark and rich colors of Carmen is important.  On this night the role was preformed by a contralto.  It would have been interesting to compare the following evening when a soprano would sing lead.

The performer however, that stole the show for me was a sophomore who sang the role of Micaela.  Her voice was rich and bright and filled every inch of the auditorium.  It was amazing to hear such a young singer perform that role with such clarity and precision.  The Don Jose had a beautiful tenor voice.  As he began the aria La fleur que tu m'avais jetée his voice expanded and as he approached the higher parts of his register I noticed similarities between his and Pavarotti.  I believe the best man was chosen for the role of Escamilo.  He was not only fully committed to the music but committed to the acting in which the role required.  Anytime his character arrived on the stage it was his show.  It is important that I noted this because his stage presence and acting made it easier for him to become Ecamillo naturally.  

Each of the singers has tremendous potential in having a professional career in opera.  In fact my favorite roles of the evening were Micaela, Don Jose, and Escamillo.  I enjoyed the opera at Georgia State University.  I believe that when I return to Atlanta for visits I will stop by to check out some other productions.

The Return of Daniel Washington to Spelman College

Daniel Washington is the Associate Dean for Minority Services and has appeared with much acclaim in opera, recitals, and oratorio mainly in Europe, but also in the United States. He has sung leading roles in such prestigious venues as the Royal Opera House Covent Garden (London), Opernhaus (Zurich), Staatsoper (Hamburg), Alte Oper (Frankfurt), Theater des Westens (Berlin), Teatro la Fenice (Venice), and most frequently at the Stadttheater in Luzern. He has also been engaged as soloist with orchestras such as the Royal Scottish National Orchestra, Bournemouth Symphony, Bavarian Radio Orchestra, London Symphony Orchestra, Berlin Philharmonic, Nord Deutsche Sinfonie, Musikverein Wien, and the Czech Philharmonic under such distinguished conductors as Bernard Haitink, Simon Rattle, Charles Mackeras, and John Nelson.

Professor Washington maintained a private voice teaching studio in Luzern from 1995 to 1998. As Associate Dean, he oversees minority peer counseling services.

"University of Michigan School of Music, Theater, and Dance; Faculty & Staff Biography"

No stranger to the Spelman College community Dean Daniel Washington of the University of Michigan School of Music, Theater, and Dance returned to Spelman College on February 10, 2010.  It was great to have him on campus once again.  I recall his visit to Spelman in Fall 2007 in which I had the opportunity to sing for him as a Sophomore in a Master Class.

Although, this is only the second time in which I met Mr. Washington, I feel as if I know him.  A former classmate of mine is currently a graduate student at the University of Michigan in Ann Arbor.  Her desire to attend Michigan was to study with Shirley Verrett however, she is currently a member of his voice studio.  As a trusted colleague she and I share information as well as keep track of the happenings in each other lives and Mr. Washington has become a major part of her life.

His visit to Spelman this time was to share information about graduate school, in particularly the University of Michigan.  Mr. Washington spoke at the Spelman College Department of Music's weekly Music Seminar.  In this seminar Mr. Washington shared information on his career path, summer programs, and the various avenues of study in which a singer can take.  He also shared the importance of advocacy for the arts and music.  He stressed the importance of keeping an art form in which we are passionate about alive.  A student asked the question: "If I get a Masters of Music in Vocal Performance than what's my next step".  Mr. Washington's words were simple: "In this economy Opera is your best bet to focus on and study however, studying oratorio and song literature is equally important".

Mr. Washington stayed after to speak with students but he also attended the departments Pre-Valentines Day Honors Student Recital later that evening.  I was presented with the opportunity to sing for Mr. Washington yet again.  At the recital I preformed Jules Massenet's: Il est doux, il est bon (from Herodiade).  Upon completion of the recital Mr. Washington made a point to speak with me about my plans upon completion at Spelman.  I shared with his how I am interested in the University of Michigan however, that I would be returning to  New York City for graduate school in the fall.  Mr. Washington shared that if I ever change my mind to get in touch with him and that he would continue to be in touch with me as well as speak with my voice teacher.

I am quickly learning that the classical music world is quite a small place and that the networks and contacts that you make are extremely important.  I did not ask Mr. Washington a question in Music Seminar that day which he made sure to bring to my attention.  So now I charge myself to find a question in which I need his helping in answering and getting in touch with him immediately.

The Road Less Traveled: Liberal Arts College vs. Conservatory

  VS.

My journey began four years ago when I made the desicion to attend Spelman College.  I was determined to become a Spelman Woman but those around me who knew of my musical gifts thought otherwise.  Indeed the thought had crossed my mind to attend a Conservatory but I knew that I needed an educational experience that would prepare me for both the world of music and business.  All of my life I knew a Spelman Woman to unstoppable, the world is hers for the taking.  The names of prominent Black Woman that Spelman produced I was determined, better yet I knew, I was destined to be a Spelman Woman.  However, at times I do think what if I chose to go to a Conservatory.

The decision to attend an liberal arts institution or a conservatory has its pros and cons.

The pros of attending a liberal arts institution:

• A nurturing learning environment,
• Great individual attention,
• Strong support systems,
• "College life" (Greek, Sports, Dorm life),
• A more rounded educational experience,
• Less competition,
• More time to improve technique

The cons of attending a liberal arts institution:

• Less competition,
• Bachelors of Arts Degree as compared to a Bachelors of Music Degree,
• Less music courses than those in a conservatory,
• Sheltered environment

The pros of attending a conservatory:

• Name recognition,
• Bachelors of Music as compared to a Bachelors of Arts,
• Strict focus on music courses,
• More performances opportunities,
• More competitive environment

The cons of attending a conservatory:

• Limited educational experiences,
• More competitive environment,
• Less interaction with applied instrument instructors

Although I feel as if I could have thrived in either environment I felt that it was necessary for me to obtain my undergraduate degree at a liberal arts institution.  As stated earlier, I wanted to have the opportunity to explore and gain knowledge in my other areas of interest.  A liberal arts college was also best for me because it allowed me to focus on me.  It gave me time to grown into the young woman that I am today.  A woman passionate about a career in opera.  The experience also aided in improving my technique by providing me with the resources, time, and individuals dedicated to developing me in to becoming the best musician I can be.

I am thankful for my time in a liberal arts program.  It has made me ready to jump into the world wind that is music.  I am more sure of myself than ever which is what you need to be in order to survive in the music in particularly the classical music industry.

Daniel Washington Spelman College Recital 2007

On October 29, 2007, Daniel Washington, Bass-Baritone and Associate Dean of the University of Michigan School of Music, was presented at Spelman College as a Guest Artist. The following day he held a Maser Class and luncheon in which he gave advice to students in regards to the search for graduate school and programs to participate in for those interested in a career in music. 

I have always shared my dislike for singing German however Mr. Washington made it easy. Rather than paying attention to consonants, he elongated vowels to make the pieces legato and beautiful. After the Intermission he began to sing English African American Art Songs and Spirituals. His transitions to the new styles were fluid. While sing Crucifixion arranged by Moses Hogan his diction was very precise so that the listener heard each consonant and vowel in the piece. 

The following day, at the Master class a few students from both Spelman and Morehouse sang for Mr. Washington. I sang the selection “Is There Anybody Here” arranged by Roland Carter. Once I completed the selection Mr. Washington complemented on my diction and then proceeded to ask if I was scared of my voice. While singing, Mrs., Robinson shared with him that this is the year I am willing to finding my voice. As I think back it is not that I was afraid of my voice but that I am becoming more willing to using my voice than I had been in the past. The experience of Mr. Washington on campus left me with a lot to think about in terms of my own music and where I want to take it.

Post-Grad School Audition Review

My graduate school audition went GREAT!!!  I came prepared with my pieces to sing however, I only preformed two of them, my French aria and English piece.  We discussed meeting with voice teachers and having a sample lesson with some once I am available.  I am so excited.  It is such a wonderful feeling to be able to say that I am going to GRADUATE SCHOOL.  I will be working on a Masters of Music next school year in a city that I love dearly.

Now the next question is money and how am I going to pay for graduate school.  I have applied for a fellowship and scholarships at the school however; there are scholarships available for the audition process.  I made a point of asking about scholarships and available funds to pay for my program.

I had worked myself up into a nervous energy about the sight-singing and verbal theory test but it all turned out in my favor.  I cannot wait until I receive official notification from the school.  This is a huge catapult in my development and in my goals of becoming a successful Opera Singer.

Graduate School Audition Preparation

My first graduate school audition is this coming Saturday.  I am excited because it is at my first choice school.  I will be heading back home to New York City for graduate school.  In preparation for my auditions, I have been practicing constantly with my accompanist.  I love him to death.  I think he is the greatest and we work wonderfully together.

Friday of last week, I had declared that I would be going on vocal rest for the week.  The only times in which I would permit myself to sing would be in my voice lessons and in my accompaniment sessions.  However, God gave me a huge operatic voice.  I had shared with the Glee Club Director that I would be on vocal rest for my auditions.  When he needed to hear a part in rehearsal, I had to jump in and sing.  Hey, that's the life of an opera singer.

My accompanist and I practiced yesterday. He feels that I am more than ready.  I feel ready and I am very confident in the material in which I will be performing.  My audition selections are in the order I wish to perform:  Il est doux, il est bon (from Herodiade) by Massenet; Deh, pietoso oh Addolorata by Verdi; Meine Liebe Ist Grun by Brahms; and lastly He's Got the Whole World in His Hands arranged by Margaret Bond.

My audition is Saturday, mid-afternoon.  I have plenty of time to warm up and get the voice ready. I have to get the ready to go to sound as if I am performing a Verdi or Puccini opera, which is no problem because I love them both to death and they fit my voice perfectly.  A friend of mine is also auditioning at the school but his audition is late afternoon, early evening.

I will update you all once I have completed my audition.  Sight singing is involved.  I have become much better at sight singing through my involvement in various ensembles.

WISH ME LUCK!!!!!!

P.S.  When I arrive in New York on Friday, I am going dress shopping for my Senior Recital.  I'm so excited!!!

Did I tell you all I'm singing with the Atlanta Opera this semester!!!! We are working on the production Aida. My first professional Opera experience. YAY!!!

Orfeo & Euridice

Today I was presented with the opportunity to go to the Atlanta Opera to see Orfeo & Euridice.  I jumped at the opportunity because I had never previously seen a full scale Opera from the Atlanta Opera.  A patron of the Opera wanted to purchase tickets for a Morehouse and Spelman student that was involved in music and the performing arts.

The opportunity to attend the opera happened at such a perfect time.  In History of Western we had just learned and viewed parts of the opera L’Orfeo by Monteverdi.  I was very familiar with L’Orfeo because I had the opportunity to see the full opera while in Italy and my History of Italian Opera course went into a full analysis of the work.  Now having seen both versions of the same story I can full heartedly say that I prefer the version of Monteverdi.

Gluck’s version was very interesting especially in part because of the role of the countertenor.  I was first introduced to a countertenor while in Italy.  My first introduction to a countertenor was interesting because I was not expecting such a bright, soprano like sound to come from a man.  The countertenor in Orfeo & Euridice was great and taught me something new.  I was aware of classifications of of voice types but I did not know the same can apply to countertenors.  My first exposure to a countertenor sounded similar to that of a soprano however, the countertenor in this production reminded me greatly of a mezzo-soprano.

Overall the production was great but much of my focus was on the countertenor. The way in which he produced sound and then receiving the opportunity to hear his story of how he learned he was a countertenor was quite interesting.

Otis Redding Foundation Benefit

I attended the Otis Redding Foundation Gala at the Woodruff Arts Center.  The event was star-studded filled with performances by Estelle, Anthony Hamilton, Kenny Lattimore, Chante Moore, Karina and Redding’s children Dexter and Otis III.  The concert began late however, once it began it was not disappointing.

Estelle began the evening saying, “I’m just trying to do his song justice,” who sang “Satisfaction.”  Satisfaction is a Rolling Stones song that Redding covered. “I hope I come close to making the song sound great just like him.”  Estelle’s performance left the audience wanting more.  She was the perfect person to begin the night.  It was quite odd however, watching her perform in a setting that was not her own concert.  I remember seeing Estelle live this summer in New York and she was very free in spirit.  However, due to the occasion of the night Estelle maintained her composure to deliver just to one of Otis Redding’s songs.

It had been quite sometime since I had heard Chante Moore sing but her performance of “Respect” reminded me of just how much I missed her voice on the music scene.  Anthony Hamilton performed “Try a Little Tenderness” with Redding’s sons Dexter and Otis III.  Hamilton’s entrance on stage was superb.  I could not have imagined a better person besides Redding, himself.  As the song came to a close towards the last chorus Redding’s children introduced their father and a video began to play of Redding’s performance.  It was a great evening and homage to their father.

Redding established himself in the early 1960s as a first-rate songwriter, penning and recording “Respect,” which Aretha Franklin made a No. 1 hit. His biggest hit, “Sittin’ on the Dock of the Bay,” was released after his death in a plane crash in December 1967.

Tyrone Clinton Senior Student Conducting Recital

I was given the opportunity to take part in the senior conducting recital of Tyrone Clinton.  The music in which he conducted was very diverse and was truly a treat.  

Having the opportunity to work through music with Tyrone was great.  He was a great motivator, determined to fix all imbalances and communicated effectively with him ensemble.  My favorite pieces of the recital were “Bogoroditse Devo” by Rachmaninoff, and “O Praise the Lord” by Dr. Uzee Brown.  During the learning process Mr. Clinton made sure to inform his recital of what we were singing about and other information that would be of importance for delivery.

“Bogoroditse Devo” by Rachmaninoff in simple is the Russian version of Ave Maria.  It turned out to be one of the best pieces in which the ensemble preformed.  The piece is unaccompanied and slow however, Mr. Clinton enforced that we follow all dynamic markings in order to effectively deliver the beauty of the piece.  The Spelman students in the ensemble followed all markings but Morehouse students forced Mr. Clinton to present them with every nuance.  Mr. Clinton is such a powerful and easy director to follow that Morehouse could not help but to do what they were given.

One of the more challenging pieces of the recital was Dr. Uzee Brown, “O Praise the Lord”.  The song was harder to learn and conduct because of the counterpoint throughout and the frequent use of dissonance within the voice parts.  The organ and ensemble went against each other for most of the piece.  However, the piece turned out to be a huge success.

Tyrone Clinton is a fabulous conductor and I am excited for the day that we cross paths again in our professional endeavors.

Sakinah Davis Senior Recital

On May 3, 2009 I went to see the senior recital of Sakinah Davis.  Davis has a beautiful voice and the mastery and control she has over her voice is wonderful.  After the concert I shared with peers, “that I want to be like her when I grow up.”  The time and devotion that she put into her recital showed.  It appeared effortless and excited me for the possibility of my own next year.

Davis melodic voice filled Sisters Chapel from her very first note.  Her diction within each of her languages was superb.  I was especially thrilled with the Spanish set on her program.  While I was in Italy I was given the opportunity to sing Villa-Lobos Bachianas Brasileira, which begins on the vowel ah and concludes with humming.  I noticed a connection in her Spanish set and Bachianas Brasileira.  Davis song originated from Argentina and mine was from Brazil, the countries are relatively close to each other and it was easy to notice in the music.  In one of the Spanish sets Davis hums.  Her ability to hum and fill the chapel was excellent.  In personal experience sustaining a pitch and melodic idea on a hum in a piece is complicated.  The piece Gato in her Spanish set was great.  The piece was not so much about her singing but about the piano accompaniment.  The intricacies of the piano part were great.  Trey’s articulation and delivery of the fast rhythmic piece was excellent.

I left Davis’s recital that day overjoyed.  I will truly miss her here at Spelman but Cincinnati has an excellent musician coming to them.  I hope they’re ready because she is about to take them by storm.

Indra Thomas Recital at the Historic Ebenezer Baptist Church

On April 26, 2008 I went to see the recital of Indra Thomas presented by The Metropolitan Atlanta Musicians Association at Ebenezer Baptist Church. 

The concert began with four French songs.  In diction we are continually told that French is a language of long vowels.  As the performance continued I noticed that I hardly heard any consonants at all in the French section.  The only consonant I can recall hearing are the r’s in rose as compared to German in her performance of Zigeunerlider Opus 10 by Johannes Brahms.  In German I heard both vowels and consonants.  In some words it appeared as if they were said wrong but had to be pronounced in that manner as a result of the word that followed.  Indra’s stage presence was wonderful.  She became each character or emotion that was to sing.  A prime example of this was in Zigeunerlieder Opus 103 by Johannes Brahms.  I the set of songs she had to quickly become each character or emotion whether it was happy or sad and so, on.

In the Negro spiritual section of the program it was clear that she was enjoying herself.  She told each story yet again as if it were her own.

My voice instructor always speaks of my tone and how I should sound.  As I listened to Indra Thomas sing I realized the sound that I should have when I sing.  Now my goal is to work on developing that sound with my voice.  The concert was very beneficial to me personally because it helped me to see and have a real life example of what people are expecting of me vocally.

Leon Bates Steinway Recital

On April 16, 2008 I saw Steinway Artist Leon Bates perform in concert to recognize Spelman College as an all Steinway School.  The purpose of this concert was to celebrate Spelman College as the only Historically Black Institution to be an all Steinway School.  President Dr. Beverly Daniel Tatum and Provost Dr. Johnella Butler accepted the award on Spelman’s behalf.

The Concert began with Three Impromptus, Opus 90 Franz Schubert (1797 – 1828).  Each Impromptus had its own feeling that it bought to the performance.  The first No. 2 in E flat Major varies between lively and dark colors.  In Leon Bates performance he elongates the darker sections and accents the upbeat in the lively sections.  Next No. 3 in G flat Major he keeps a fluid tone of ideas.  A circle of 5ths progression can also be heard.  Lastly, No. 4 in A flat Major returns back to a lively feeling as in the first Impromptus.  The distinctions between major and minor are very clear because of the change in tone from lively to somewhat sad.  The melody was maintained in the soprano.

Leon Bates made an arrangement of four pieces in the concert.  Each of the three pieces had a jazzy feeling and swing to them.  It was a contrast from the other pieces within the concert.  He included seventh chords and had dramatic pauses and retards throughout the piece Chelsea Bridge.  In A Flower is a Lovesome Thing; he outlines the chord in his right hand while maintaining tonic and root on the left.  He achieved this be establishing a clear pedal tone.

Finally he performed Rhapsody in Blue.  It was great to hear him play because I recall hearing him perform that piece at the Brooklyn Academy of Music while in High School.  At that time Bates stressed the importance that the piece never comes across the same every time.  It varies depending upon mood.  It was wonderful to see him play on a different stage with a different feel.