Music for Washington’s Birthday

The legacy of George Washinton looms large in our nation’s history, having made a mark in almost every realm from politics to pop culture. In the arts, too, composers have frequently been inspired by the life and character of this multifaceted figure. To celebrate the February birthday of Washington, here are four classical pieces that honor the “father of our country”:

1. Michael Daugherty: “George Washington” from Mount Rushmore

Perhaps best known for his quirky pieces that riff on American pop culture, Michael Daugherty has also composed works of a more serious character. One example is his 2010 oratorio for chorus and orchestra—Mount Rushmore—which takes inspiration from the eponymous monument in the Black Hills of South Dakota. The opening movement (of four total—one for each president carved into the mountainside) spotlights George Washington. Quotations from “Yankee Doodle” and the popular Revolutionary War anthem “Chester” (sung in an ebullient shape-note style) are juxtaposed with a tender choral reflection on words of Washington himself.

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Favorite Albums of 2018

In the blink of an eye, another year has come and gone. And once again, amidst the good and the bad, the uplifting and the cringy, the triumphs and the tragedies, music remained a remarkable constant—a wellspring of every possible human emotion and a beacon of hope for our crazy world.

Below are ten of my favorite albums that were released in 2018, along with a handful of honorable mentions (since it was difficult to choose only ten!). In no particular order, here they are:

Er-Gene Kahng, Ryan Cockerham & Janáček Philharmonic – Florence Price: Violin Concertos (Albany Records)

“Florence Price” is a name that is slowly gaining some well-deserved recognition in the classical music realm. Just this year, prominent articles from The New York Times, The New Yorkerand NPR highlighted this boundary-breaking African American composer, and the first-ever recording of her two violin concertos was released back in February. Price’s music is gorgeous and immediately accessible—hints of Dvořák and Delius appear here and there, yet it still displays a distinct compositional voice. Here’s hoping that this recording will spark continued recognition for Price’s output in the coming years.


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