Florence Price
Violinist Augustin Hadelich and pianist Orion Weiss prove that there is plenty of music written on these shores to explore, especially when you are not limited by region or style. Soprano Karen Slack and pianist Michelle Cann demonstrate the strength of Florence Price’s songs and arrangements.
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Symphonic music wasn’t composer Florence Price’s strong suit. Rather, she was much more at home working in smaller forms or for her own instrument.
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Two first-rate albums: pianist Lara Downes successfully reconsiders Scott Joplin and the New York Youth Symphony plays Florence Price and others with panache.
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This is an album that’s at once musically significant but, more than that, thoroughly enjoyable. How tragic that, largely on account of her race and gender, Florence Price’s music was almost erased.
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Florence Price’s voice and the richness and complexity of an almost-entirely neglected body of symphonic music by Black American composers can be heard in this excellent recording.
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New CD releases provide splendid performances of remarkable American music, from Barber and Bernstein to recently rediscovered Black composers Florence Price and William Grant Still.
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This disc from the London-based Kaleidoscope Chamber Collective pairs piano quintets by Amy Beach and Florence Price with Samuel Barber’s haunting “Dover Beach.”
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Arguably, the strongest entry in the BSO’s complete Shostakovich symphony cycle thus far; Esa-Pekka Salonen’s 2016 Cello Concerto is emotionally direct and, at times, simply gorgeous; the resurgence of interest in the music of Boston-educated composer Florence Price is a good thing.
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Fine recordings of symphonies by neglected American composers Florence Price and George Antheil; and a curious album from Cornelius Meister and the ORF Radio-Sinfonieorchester Wien.
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Rethinking the Repertoire #22 – Florence Price’s “Mississippi River Suite”
Composer Florence Price’s lack of acceptance into the American canon is shameful.
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