The real Prince George of Prince George's County was Danish

Prince George of Denmark, Duke of Comberland Coat of Arms - Wikipedia

           
             UPPER MARLBOROUGH, Md. -  It is so sad that my county, Prince George's, no longer bothers to check in from time to time with history, let alone teach it. For some readers, history does not matter (you may stop reading any further now), which begs the question why, then, send a gift to the new born Prince George of Cambridge.  For those who do think history matters, the dissonance that arises from thinking the future King of Great Britain' name reflects upon the Danish namesake of the county is unnerving. 

               Prince George of Denmark and Norway, Duke of Cumberland (2 April 1653 – 28 October 1708), born in Copenhagen, the younger son of King Frederick III of Denmark and Norway and Sophie Amalie of Brunswick-Lüneburg.  His mother was the sister of Ernest Augustus, Duke of Brunswick-Lüneburg, later Elector of Hanover.  was the husband of Queen Anne and distant relative of King George I, first of the German rulers of Great Britain from whom the current House of Windsor descends. King George I was the eldest son of Ernest Augustus, Duke of Brunswick-Lüneburg, and his wife, Sophia of the Rhineland Palatinate. Sophia was the granddaughter of King James I of England through her mother, Elizabeth of Bohemia.[1]

               King George V and King George the VI, grandfather and father of the present monarch, Elizabeth II, are the immediate reasons for naming the child George. Prince George the Consort of a Scottish Stuart who slop happened to also rule England, and ultimately unified the dominions into the United Kingdom are not part of the George's of the German House of Hanover which included King George III of revolutionary fame.

               One can only hope that we would try not to twist history to suit our preconceived present and ephemeral vision of glory and focus occasionally on the actual history of this important county in US history.  His Royal Highness Prince George of Denmark and Norway, Duke of Cumberland, was like the county named for him, an important figure in British history but he is far from any reason the reason to name a future King after him. The county does of a strong connection to the United Kingdom and so some remembrance to any British monarch is perhaps in keeping, but the a linking to the coincidence of the same name is not a reason. 

So all together now: 

Prince George's County, Maryland, 

was named in 1695 

after a Danish prince 

who was marry to a 

Queen of the United Kingdom of Great Britain.

              

               

"Prince George's County, Maryland is wasting no time paying homage to England's new favorite son, Prince George Alexander Louis. Third in line to the British throne, Prince George will always have a connection to Prince George's County -- so says County Executive Rushern Baker. After all, the newborn prince is a namesake. Baker says the county is sending the baby a gift package, which includes a commemorative plate with the county seal on it, a county umbrella, because it is always raining in England and some other keepsakes. The prince also has a standing invitation to visit the county."[2]

"LONDON — In choosing to call their first child George Alexander Louis, Prince William and his wife, Kate, selected a first name steeped in British history.

While “George” means “farmer” and “earth worker” — not trades typically associated with U.K. royals — it has been borne by six British kings, four of whom served in a row.

Below, a look at the British monarchs called George who preceded the nearly week-old prince now third in line to the throne.

GEORGE I: The German-born, first king of Britain from the House of Hanover — which provided six British monarchs — acceded to the throne in 1714. The king — who spoke German, French and a little English — ruled until his death in 1727.

GEORGE II: Initially unpopular, George II gained greater respect as his reign lengthened. He was the last British king to fight alongside his soldiers, at the age of 60. Because his oldest son had died, George II’s grandson inherited the throne upon his death in 1760.

GEORGE III: Upon succeeding his grandfather, George III became the third Hanoverian monarch, and the first to be born in England and use English as a first language. He ruled for nearly 60 years, during which time the American colonies declared independence. Once George III became mentally unfit to rule, his eldest son acted as Prince Regent from 1811. The monarch died in 1820.

GEORGE IV: Prior to assuming the throne, George IV secretly and illegally married a Roman Catholic. He later married Princess Caroline of Brunswick, who he tried unsuccessfully to divorce after assuming the throne in 1820. He was known as much for his marriage difficulties as for his interest in art. His only legitimate child died in childbirth, so the crown went to his brother upon his death in 1830.

GEORGE V: He assumed the throne in 1910, and made hundreds of visits to troops and wounded servicemen during World War I. His legacy also includes starting the sovereign’s annual Christmas Broadcast — a tradition that began in 1932. He died one year after celebrating his silver jubilee, leaving his son Edward to take the throne.

GEORGE VI: The father of Queen Elizabeth II was the most recent King George, memorably portrayed in the Oscar-winning film “The King’s Speech.” His first name was actually Albert, but he selected George — his fourth name — to use as sovereign in honor of his father, George V, and to create stability and continuity in the monarchy following the abdication of his brother, Edward VIII." [3] 

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[1] Wikipedia

[2] Prince George's County sending gift box to namesake British prince newborn. Posted: Jul 25, 2013 6:41 PM EDT Updated: Jul 25, 2013 6:47 PM EDT By Karen Gray Houston, @kghfox5dc - bio [accessed July 26, 2013] http://www.myfoxdc.com/story/22935574/prince-georges-county-sending-gift-box-to-namesake-british-prince-newborn#axzz2a9L4A3fC
[3] Some history behind Prince George's name. 2013. Associated Press. [accessed July 27, 2013] http://thetandd.com/some-history-behind-prince-george-s-name/article_6db74e4a-f662-11e2-a3a9-0019bb2963f4.html 

Mozart to Mahler with Michael Mizrahi - The Final Concert of the Prince George's Philharmonic 2012-2013 Season

Michael Mizrahi
Photo by Andrew Chiciak

               Last night at the Clarice Smith Performing Arts Center in College Park, Maryland, the Prince George's Philharmonic ended its 2012 - 2013 season at the top of one of the highest mountains of western music. The two masterpieces are bookends of the Romantic tradition. Mozart's Piano Concerto No. 24 in C Minor, K. 491 foreshadows the heart of romanticism while Mahler's Symphony No. 1 in D Major, the Titan, gathers all of the soul of the Romantic Era of western music in one giant structure summing up all that has come since Mozart and setting the stage for the 20th century's musical offerings.

               Michael Mizrahi was the soloist for the Mozart Concerto. Mr. Mizrahi received his bachelor’s degree from the University of Virginia, where his concentrations were in music, religion and physics. He holds, in addition, master’s and doctoral degrees from the Yale School of Music. Mr. Mizrahi's command of the piano is artful, brilliant, informed, and virtuosic. All of these masterful qualities brought out the very essence of the concerto form. The derivation of the word concerto is open to many theories, one of which is highlighted by Mr. Mizrahi's and Mr. Ellis' collaboratively nuanced interpretation.

               The word concerto may  have arisen from the mixing of two Latin words conserere (meaning to tie, to join, to weave) and certamen (competition, fight). The idea, brilliantly executed by the two Maestri along with the classical sized orchestra, is a piece of music, concerto, in two parts with the soloist and the orchestra alternating episodes of opposition, large scale counterpoint, cooperation, and independence in the recreation of a great conjoined symphonic fusion.

               Mr. Mizrahi was able to switch from a concertante collaborator to a spotlighted fiery soloist in an impossibly brief blink of an eye. One moment he was in complete partnership with the wonderful woodwinds, the next producing waves of sound from pulsating scales that can only come from a master of the pianoforte. This extraordinary ability to switch seamlessly between roles demonstrated the true place of the cadenza, a small piece of improvisation most times obscured, but not this time. From the exploration of emotion in the 1st movement's cadenza to the brief paraphrase of Beethoven homage to this piece in the third movement's cadenza, Mr. Mizrahi was in control.

               The conductor, Mr. Ellis, continued his skillful ability to bring out the various sections of the Philharmonic treating them as soloists in their own right; in the Mozart they surely sparkled in a glittering, stellar performance. With some minor tempo bumps that did nothing to subtract from the overall performance, the orchestra demonstrated is proficiency, skill and art. I am still absorbing the performance having come to the concert with my usual baggage of 40 plus years of expectations based on previous renditions. I was delighted to be treated to a performance de novo that served to reacquaint me with the music as if for the first time - a rare treat in deed.

               After intermission it was time to tackle a peak in the summit of symphonic music. If this was your first hearing, the experience could give you a sense of vertigo. From the drone reminiscent in Beethoven's great 9th Symphony opening, to the sonic tsunami of the ending an hour later, you are swept along through a musical process of creation made audible, sensible, and metaphorically visible. There are no words to describe listening to this music, because it is felt in the soul not circumscribed in the mind. You do not so much understand the music as stand under the emotional weight of it.

               The titanic symphony of Mahler became last night a grand concerto concertante in the sense that I described above.  The Prince George's Philharmonic and its conductor, Mr. Ellis, were all at once soloists and partners in a great endeavor that required every bit of skill and artistry they could muster.  And they did.

               The heroic strings finished the season at the top. The woodwinds gave their all and the brass shook their fists at the gods themselves. And lest we forget, the percussionists' determination and proficiency capped the performance.  How does one even begin to write a review of such a performance? The answer is recognition of the talents, skill, understanding, competency, and mastery of his instrument, the orchestra. Mr. Ellis achieves excellence in performance by in part showcasing the artistry of his orchestra allowing them to shine, and in doing so creates masterful performances. He deserves the accolades due a soloist last night.

               If you heard the concert you were rewarded spectacularly beyond all reason and expectation. I only wish more Prince Georgians could hear the orchestra and fill the seats. How is it that we complain so much about what we do not have and give so little to what we do? The arts are a crucial, critical, integral part of a calculus of quality of life, a community without art is not alive.  If this county truly wishes to be more than just a place to survive, it must reach out and support all the arts, for art defines who we are and who we want to be.

               See you at the Prince George's Philharmonic this fall

Kiplin Hall: Birthplace of Maryland | MPT

Kiplin Hall: Birthplace of Maryland | MPT

A must see for students and those whose desire to learn never sims

"Kiplin Hall: Birthplace of Maryland is a remarkable story of history, religion and politics that could have been ripped from today's headlines - except that it occurred over the past four centuries. This magnificent 17th century manor house in the north of England - north Yorkshire to be precise - is often described as the "birthplace of Maryland", for it was here that George Calvert, the first Lord Baltimore, developed the concept of a colony in the Americas dedicated to religious freedom for Catholics. Rising from humble beginnings without title or riches, Calvert's genius and pluck took him into the King's inner sanctum - a feat almost unheard of in those days - to become Secretary of State to King James, whom he persuaded to accept his dream of a colony."

Saturday, April 6th, 2013, the Prince George's Philharmonic treated its audience to a splendid concert

               

Gabriel Cabezas, soloist
Sphinx's 2012 Isaac Stern Award

                 On Saturday, April 6th, 2013, the Prince George's Philharmonic treated its audience to a symphonic evening at the Bowie Center for the Performing Arts, here in Prince George's County, Maryland.

               The orchestra was led by guest conductor, Anthony D. Elliott, Professor of Cello, and Conductor of the Michigan Youth Symphony Orchestra at the University of Michigan.  Mr. Elliott last performed with the Philharmonic on March 31st, 2012 in an "extraordinary rendition" of the Prokofiev Sinfonia Concertante for Cello and Orchestra, Op. 125. [Review: Prince Georgian April 1, 2012]

               This time Maestro Elliott lent his formidable musical talents in support of an amazing young soloist, Gabriel Cabezas, in a performance of one of the great cello concerti, the Saint-Saëns  Concerto for Cello No. 1 in A Minor, Op. 33. At twenty, Mr. Cabezas is the winner of the 15th annual Sphinx Competition, and Sphinx's 2012 Isaac Stern Award. As soloist, he has appeared with the New York Philharmonic, Cleveland Orchestra, Chicago Symphony, the National Symphony of Costa Rica, the Pittsburgh Symphony, the New World Symphony, and the Nashville Symphony. His technical proficiency and musicianship was partnered with the Philharmonic's demonstrated musical ability to showcase and not overwhelm guest soloists. The brilliance of Mr. Cabezas' playing electrified the audience.

Anthony Elliott
Conductor and Cellist

               At the end of the performance, the audience was treated to a very special unannounced performance of the Sonata for Two Cellos in G Major by Jean-Baptiste Barrière (1707 – 1747). With two masters of the instrument playing together the result was magical.  I asked Mr. Ellis about the tonal qualities of the two instruments and he kindly explained to me that Mr. Cabezas played a very good 80 year old American made cello, while Mr. Elliott's instrument was made in Italy in 1703.  

               After intermission, Mr. Elliott conducted the Brahms Symphony No. 2 in D Major, Op. 73. Sometimes referred to as the 'Pastoral' Symphony because of perceived hints of the famous Beethoven's Sixth, and accordingly most times performed with that reference in mind, this time Mr. Elliott brought out what Brahms wrote about his work: that it is "...so melancholy that you will not be able to bear it. I have never written anything so sad, and the score must come out in mourning." The emotional content of music was writ large in Mr. Elliott's performance and the Philharmonic rose to the occasion.

               Mr. Elliott was able to fuse the strings, woodwinds, brass and percussion into a personal tonal statement that supported his interpretation. This fusion of the parts into a whole is distinct from Mr. Ellis, who produces a musical parfait of layered distinct sounds, crystallized in a glittering sound. The Philharmonic's ability to respond to two distinct conducting styles and interpretations is a sign of their splendid professional abilities.

               The evening started with a performance of Roussel's  Bacchus et Ariane, Suite No. 2, Op. 43. I was delighted that Maestro Elliott kept the Prince George's Philharmonic tradition of a musical preview and explanation (with the orchestra playing musical motifs of significance) to help the audience understand what they were about to hear. Mr. Elliott began the night with a wonderful spirited performance.

               The Prince George's Philharmonic continues to dazzle; you really need to come and listen to this first-rate ensemble, a county treasure.

Saturday, May 11, 2013 - 8:00pm

Clarice Smith Performing Arts Center, College Park, MD

Charles Ellis, conductor - Michael Mizrahi, piano

Mozart                      Piano Concerto No. 24 in C Minor, K. 491

Mahler                      Symphony No. 1 in D Major (Titan)

Tickets for the Clarice Smith Center are included with a season subscription. Single tickets will be available through the Clarice Smith Center box office only. Click here to purchase tickets for this concert online.

Wanted - Student Video Project Lead

Video production project

The Bladensburg History Project is seeking a student with social media platform design, production, implementation and operation skills to assist in the creation of three short videos and accompanying podcasts. The content will focus beyond the Battle of Bladensburg in 1814. Proposed 3-5 minute videos topics include a tour of the historic site within the City of Bladensburg; interviews with project researcher partners and town officials; and an introduction to Bostwick House (or another specific historic structure form the period of interest).

The Bladensburg History Project:

Bladensburg was more than a battlefield in the War of 1812. From its beginnings as a colonial seaport to the present vibrant metropolitan Washington, D.C. community, Bladensburg has been and continues to be a place that matters.

The Bladensburg History Project seeks to recover the town's hidden and often forgotten past by sharing stories about the its people, places and events that shaped the town, the state and the nation. From the letters of George Washington, a frequent visitor, to the oral histories of enslaved Americans, the story of Bladensburg provides a context for exploring many themes in America and the world.

Start Date: immediately End Date: August 31, 2013

Eligibility: Open to High School seniors, Undergraduates or Graduates

Responsibilities

Field Production

In cooperation with other staff, partners and volunteers, coordinates pre-production and production planning activities including content research, layout design and story boarding; conducts field-based video production which involves interacting with subject matter experts, historic site managers, public officials, and the general public,  and operating all portable video and audio equipment; transports and sets up lighting and audio equipment as required; provides limited troubleshooting and maintenance of field production equipment.

Post-Production

Plans and performs video post-production tasks which includes reviewing footage, making editorial decisions, tape logging, rough cuts, audio adjustment, familiarity with color correction and final editing software; utilizes computer graphics and special effects for video post-production in accordance with the overall production concepts; compresses video projects for output; makes video products available in a variety of formats; coordinates internal and external duplication services as required. Experience with social media page set up; design skills with info graphics a plus.

Minimum Qualifications

Education

Any combination of education, training or experience which demonstrates the ability to perform the duties and responsibilities as described. A typical qualifying background would include advanced college level coursework in video production and/or completion of a certificate program in television production from an accredited technical institute.

Experience

Progressively responsible experience in video editing/producing environment demonstrating competence in all areas of video production. Portfolio of recent video, social media design and implementation projects.

Knowledge of:

video production procedures, practices, techniques, and terminology; principles of digital video capture; production equipment operation including video cameras and recorders, audio recording equipment, file compression, video switching, character generation, graphics manipulation, lighting, and post-production equipment; video editing software; proper handling and troubleshooting of broadcast quality video production and post-production equipment.

Skill and Ability to:

Operate f analog and digital video cameras and video editing equipment; creatively plan and translate abstract concepts into effective visual form; work with other technical and non-technical staff to organize and implement videotaping of instructional or other educational related projects; work with clients and talent to be comfortable in front of the camera; adapt video products to fit needs of clients and target audience; optimize workflow techniques to manage complex video projects effectively and efficiently; troubleshoot video product complications; communicate effectively with individuals and groups; write clearly, concisely and effectively; meet deadlines and manage multiple priorities; research and remain current on the developments and applications of state of the art video production technology.

Other Requirements:

Possession of a valid Maryland driver’s license and/or able to provide own transportation in conduct of work assignments; willingness to travel in Prince George's County, Maryland.

Compensation:

               This is a contract position with payment based upon schedule of deliverables.Please put                         "Video Project War of  1812" in subject line.

Contact:

                John Peter Thompson, Project Manager at ipetrus 'at' msn.com for details and information

Baker moves to take-over Prince George's School system

               This morning brings news of a "planned" political take-over of the Prince George's County public school system by the county executive. The news is light on detail; what this means and how would it happen are not included in the reports from the Washington Post. A quick, not-very-thorough-on-my-part review of the County House Delegation's legislation does not provide any useful information.

               We are left with only the broadest concept of a proposal, therefore, which seems to provide a mechanism for the county executive to hold accountable the next superintendent while giving him or her immensely more power. In other words the idea seems to be to make the superintendent answer directly to the county executive.[1]

               The school system is broken at the political level and has been for more than a decade. It is clear that doing the same thing over and over, while at the same time expecting different results, is the very definition of insanity. Change at the top is what is needed, and this change is more than a change of personalities. The change at the top has to be a change in the processes that enable political control of the system through new pathways of accountability for the hard-working qualified professionals who struggle in the winds of our confused, chaotic, parochial politics enabled by powerful self-interests. We need to place success squarely on the shoulders of one person and, then, remove him or her from office by ballot in four years if he or she is unable to produce results.

               It is always hard to weigh in with an opinion before the facts are laid out, but we live in a county where we usually get the facts after a decision is made or at least when it is too late in the process to change a decision substantively. With the opaqueness inherent in our county's political process, it becomes necessary to voice opinion early even at the risk of having to do an about-face when the political elite allows mere mortals to see the actual details of their grand design.

               I reserve judgment until I see the details of the proposal, but conceptually at a very high level I support this structural change in the interest of actually permitting a quality education for our citizens of tomorrow.

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[1] Ovetta Wiggins. March 16, 2013. "Prince George’s county executive moves to take over struggling school system". Washington Post. [accessed March 17, 2013] http://www.washingtonpost.com/local/education/prince-georges-executive-moves-to-take-over-struggling-school-system/2013/03/16/9d38d624-8d81-11e2-9838-d62f083ba93f_story.html

Now is the time to expand libraries and library services in Prince George's County

               If we cannot afford libraries in Prince George's County, it may be time to rethink government itself. Perhaps we need fewer high level political employees with 6 figure salaries. Where do our high priced political leaders think those of us without jobs wit find access to computers and the internet to apply? Madison pointed out that a functioning democracy needs open access to information for all citizens - we seem to be heading in the opposite direction - government of the rich, for the rich and by the rich.

               Now, more than ever, is the time to expand libraries and library services in Prince George's County. If our government cannot figure this out, perhaps now is the time to reexamine the government itself. Libraries in Prince George's County, the idea of public libraries, reach back more than two hundred years. The first library in Prince George's was in Upper Marlboro and chartered by the government immediately following the War of 1812. Among its foremost advocates was Dr. Beanes of Star Spangled Banner fame. He and his colleagues recognized the fundamental importance of equal access to information for a democracy in a representative government.

               Prince George's County needs to tell the political elite that, to paraphrase the Turkish playwright, novelist & thinker,  Mehmet Murat ildan,  you can build a thousand castles, casinos and strip malls; even with a thousand sanctuaries, you are nothing; when you build a library, you are everything! The high and mighty seem to have forgotten that, as “A library is a different kind of social reality (of the three dimensional kind), which by its very existence teaches a system of values beyond the fiscal.” ― Zadie Smith

               “The public library is where place and possibility meet.”  ― Stuart Dybek

               “Perhaps no place in any community is so totally democratic as the town library. The only entrance requirement is interest.”  ― Claudia Alta Johnson

               “A library in the middle of a community is a cross between an emergency exit, a life-raft and a festival. They are cathedrals of the mind; hospitals of the soul; theme parks of the imagination. On a cold rainy island, they are the only sheltered public spaces where you are not a consumer, but a citizen instead”  ― Caitlin Moran

               “Libraries allow children to ask questions about the world and find the answers. And the wonderful thing is that once a child learns to use a library, the doors to learning are always open.”  ― Laura Bush

               “The very existence of libraries affords the best evidence that we may yet have hope for the future of man”  ― T.S. Eliot

               “What a school thinks about its library is a measure of what it feels about education.” ― Harold Howe

               “The only thing that you absolutely have to know, is the location of the library.” - ― Albert Einstein

               “In the library I felt better, words you could trust and look at till you understood them, they couldn't change half way through a sentence like people, so it was easier to spot a lie.” ― Jeanette Winterson

               “Libraries store the energy that fuels the imagination. They open up windows to the world and inspire us to explore and achieve, and contribute to improving our quality of life. Libraries change lives for the better.”  ― Sidney Sheldon

               “He who has a garden and a library wants for nothing.” ― Marcus Tullius Cicero

quotes taken from "Quotes About Library" http://www.goodreads.com/quotes/tag/library?page=1

              

               

Prince George's Philharmonic collaborates with County Highschool Students and with Peter Minkler, viola

               Once more the Prince George's Philharmonic rose to the occasion delivering a wide ranging musical performance last night in the Prince George’s Community College, Largo, Maryland, Fine Arts Building. The participation of Prince George's County students in a side by side performance of George Enescu's Rumanian Rhapsodie No. 1 in A Major, Op.11 showcased both individual musicianship and the conductor's, Mr. Ellis', command of the music.

               The students who played alongside the orchestra in a performance of Enescu's youthful work were:

First violin

               Melia Humphrey                                       Suitland High School

               Kayla Carlyle                                            Suitland High School

               Gabrielle Rogers                                       Suitland High School

               Victor Baules                                            Eleanor Roosevelt High School

Second violin

               Taisha Stewart                                         Suitland High School

               Dominique Marshall                                  Eleanor Roosevelt High School

               Rose Pierce                                             Eleanor Roosevelt High School

               Oliver Meade                                           Eleanor Roosevelt High School

Cello

               Krista Hyppolite                                       No school indicated on program

               Megan Lewis                                           Northwestern High School  

Bass

               Ryan McDonald                                       Suitland High School

               Alfred Walfall                                          Eleanor Roosevelt High School

Flute

               Katherine Skinner                                    Eleanor Roosevelt High School

Oboe

               Arianna Copper                                       Eleanor Roosevelt High School

Clarinet

               Elizabeth Driver                                      Suitland High School

Bassoon

               Catherine Silver                                      Suitland High School

Horn

               Elliott Tapscott                                       Eleanor Roosevelt High School

Trumpet

               Jacob Miller                                           Eleanor Roosevelt High School

Trombone

               Jan Knutsen                                           Eleanor Roosevelt High School

Tuba

               Josiah Herrera                                        Oxon Hill High School

Percussion

               Emily Boluda                                          Eleanor Roosevelt High School

               Andrew Johnson                                    Eleanor Roosevelt High School

               The Rumanian Rhapsodie was completed on 14 August 1901, when Enescu was still only 19 years old and, so, is an appropriate programmatic choice and compliment to the skills and proficiency of our county's young people. The collaboration of the orchestra with Prince George's County's finest was heard by an almost well attended audience. One can only hope that you were there to hear the exciting dance rhythms of the glittering composition. The attacks were clear and as usual, Mr. Ellis found a way to highlight not only the solo parts at the beginning, but all of the enticing musical combinations that make up the swirling folks dance melodies of composition. From the beckoning simplicity of the opening clarinet to the fire of the end, the musical partnership made all us proud of our students and, for a moment, feel like Romanians.

               The concert started with another tipping-of-the-hat to student musicians with a world premiere performance of an orchestral work by Prince George's County's own Christopher Urquiaga, who was graduated in 2009 from my own alma mater, High Point High School in Beltsville.[1] Mr. Urquiaga's original composition, “Dance in 5” went by so fast that I was left wanting more. I hope we can hear an extended work by Mr. Urquiaga in the near future. Perhaps one of our county businesses might consider commissioning a piece by him as part of the bicentennial commemoration of Prince George's County's role in the War of 1812.

               The concert program was so filled with great music and performances that it is impossible to focus on one main part of the evening. In addition to the student partnering performances, the Prince George's Philharmonic collaborated with Peter Minkler, violist.[2]  At a preconcert dinner where I speak about the concert program I was asked about the viola. As we enjoyed a home-made treat of orange slices dipped in chocolate, it occurred to me that listening to a viola is akin to the pleasure found in the finest rich milk-chocolate treats. This analogy only begins to hint at the expressive all-enveloping music that Mr. Minkler brings forth when he plays his viola. His performance of the Romance for Viola and Orchestra in F Maj. Op. 85 by Max Bruch was exquisite. The orchestra was perfectly paired and supportive of the rich tones and melodic lines that wrapped us in a cocoon of musical velvet.  The sweeping main melody in all of its guises is still playing in my head this morning.

               Peter Minkler and the orchestra finished the night with Hector Berlioz's second symphony, Harold en Italie, Symphonie en quatre parties avec un alto principal (Harold in Italy, Symphony in Four Parts with Viola Obbligato), Op. 16, written in 1834. I have to say that I am drawn to the works of Berlioz for their technical brilliance, and, in the interest of noting my biases, not so drawn to their actualization in performance, his Symphonie fantastique, excepted.[3] That said Mr. Minkler soared last night bringing his technical proficiency and his artistic mastery to bear on this musical pilgrimage. The Prince George's Philharmonic worked its magic well allowing the viola to shine and ride above the orchestra in a true partnership that wonderfully framed the soloist abilities and command of the music. Mr. Ellis demonstrated his keen attention to showing off the abilities of his musicians as well as shepherding the ensemble through musical adventures. Given my musical bias towards this piece, I was much taken with the performance and still in awe of Mr. Minkler's artistry and command of instrument, the oft-times overlooked viola. If you get a chance to hear Mr. Minkler perform, you need to grab it.[4]

               After each concert, I continue to grow in my admiration for the level of musicianship and artistry we have right here in Prince George's County. And I continue to be amazed how few people have any idea what we have. You really need to come and hear for yourself what Prince George's County has to offer.

               The next opportunity is:

Saturday, April 6, 2013 - 8:00pm

Bowie Center for the Performing Arts, Bowie, MD

Anthony Elliott, guest conductor

Gabriel Cabezas, cello, Sphinx Competition Winner

Roussel                      Bacchus et Ariane, Suite No. 2, Op. 43

Saint-Saëns               Cello Concerto No. 1 in A Minor, Op. 33

Brahms                      Symphony No. 2 in D Major, Op. 73

Single Ticket General Admission: $20, Seniors: $18, Age 18 and under free (ticket required). Single Tickets go on sale the night of the concert beginning at 7 pm, cash or check only. Tickets can be purchased in advance, by check. Please click here for the Single Ticket mail-in order form. All seating is unreserved. Free Parking.

http://www.pgphilharmonic.org/

                

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[1] Virginia Terhune. 2013. "Former Beltsville student blends Latin, rock and classical influences in orchestral piece Orchestra debuts work by High Point High grad Saturday in Largo." Gazette.Net [accessed February 10, 2013.  http://www.gazette.net/article/20130207/ENTERTAINMENT/130209348/1025/former-beltsville-student-blends-latin-rock-and-classical-influences&template=gazette

[2] Peter Minkler, Baker Artist Awards. http://www.bakerartistawards.org/users/view/peterminkler/

[3] For me personally listening to this piece always reminds me of reading Proust's À la recherche du temps perdu while listening to Ravel's Bolero

[4] Susan Pearl. 2013. Interview with Peter Minkler soloist with Pri Geo's Philharmonic Sat Feb 9th. The PrinceGeorgian. http://princegeorgian.blogspot.com/2013/02/interview-with-peter-minkler-soloist.html

Interview with Peter Minkler soloist with Pri Geo's Philharmonic Sat Feb 9th

Peter Minkler

Interview with Peter Minkler

February 2013  

by Susan Pearl

This Saturday, February 9, 2013 - 8:00pm

Prince George’s Community College, Largo, MD

Charles Ellis, conductor – Peter Minkler, viola

Urquiaga                     New Work TBA

Bruch                          Romance for Viola and Orchestra in F Maj. Op. 85

Enesco                        Rumanian Rhapsody No. 1 in A Major, Op.11

Berlioz                        Harold in Italy, Op.16

Quarter Notes:  Thank you so much, Mr. Minkler, for taking the time to talk to us today.  We are very much looking forward to performing not one, but two wonderful pieces written specifically for viola.  Could we start with a little about your training and your current career?

Peter Minkler:  I began my studies at the Cleveland Institute of Music with Robert Vernon, and continued my studies at the Eastman School of Music with Francis Tursi.  I have been a member of the Baltimore Symphony Orchestra since 1984.

QN:  We understand that you are active with the BSO Summer Academy and the Greater Baltimore Youth Orchestra.  So we’re especially pleased that you will be with us this February for our annual side-by-side concert, at which talented high school musicians join our Philharmonic in one of the concert selections.

PM:  Yes, I maintain a private studio for teaching viola students, and also enjoy coaching adult players at the BSO Summer Academy.  The Academy is a wonderful opportunity for adults who have enjoyed playing in an orchestra but have gone into other professions.  We have a week-long summer session which these amateur musicians attend, and perform a concert with the BSO.

QN:  And tell us about your connection with our Prince George’s Philharmonic.  This is the first time that we’ve had you as a soloist.

PM:  I’ve known Maestro Ellis for over 20 years, but have never worked with him and his orchestra, so I am delighted that he invited me to play with the Philharmonic.  And I am particularly happy that he is a “viola-friendly” music director!  It is not often that any orchestra schedules two viola soloists within just a few years.

QN:   That’s right, we had another viola soloist exactly two years ago, and we are delighted to have you for this concert, and especially for Berlioz’ Harold in Italy!  What a fabulous piece of music!  Is it a favorite of yours?

PM:  I have played this work before as a member of the orchestra, but this will be the first time I’ll have the opportunity to perform the solo viola part in concert.   It is indeed an outstanding piece, and one of the first major works that was written specifically for the viola voice.  In a sense, the piece is a narration of Berlioz’ own travels in Italy in the 1830s after he won the Prix de Rome, and the viola serves as the chronicler of this musical story.  It will be exciting to play it!

I’m happy also to be playing another smaller piece, the Romance by Bruch, which is a favorite of mine.  It was originally written for viola and orchestra - another fairly rare example of this combination.  Although I’ve presented it before in concert, the accompaniment was always with piano transcription, so I’m very happy to be playing it now with full orchestra as it was originally written. 

And what a wonderful program Maestro Ellis has put together!  Even the Enesco Rhapsody, which you will be playing with the side-by-side students, has a viola solo, which I hope the audience will be primed to notice.

QN:  This concert will indeed be a night of Viola Celebration!  Thank you so much; we are really looking forward to performing with you on February 9^th! 

published with permission

Prince George's Philharmonic

Prince George's Philharmonic Featuring County High Students - Saturday, February 9, 2013

Prince George's Philharmonic

2012/2013 Concert Season

Featuring County High Students in side-by-side performance - see roster below

Saturday, February 9, 2013 - 8:00pm

Prince George’s Community College, Largo, MD

Charles Ellis, conductor – Peter Minkler, viola

              Urquiaga                     Dance in 5
              Bruch                         Romance for Viola and Orchestra in F Maj. Op. 85
              Enesco                       Rumanian Rhapsody No. 1 in A Major, Op.11
              Berlioz                        Harold in Italy, Op.16

from the notes of the music director and conductor, Mr. Ellis:

"...home to Prince George’s Community College. Join us for the world premiere of Prince George’s composer, Christopher Urquiaga’s Dance in 5; the season’s annual side-by-side performance; and Hector Berlioz’ Harold in Italy, with Peter Minkler playing the solo viola obligato."

http://www.pgphilharmonic.org/index.html

SIDE BY SIDE ROSTER OF STUDENT PERFORMERS FY 13-Prince George’s Philharmonic

VIOLIN I

Melia Humphrey, Suitland

Kayla Carlyle, Suitland

Gabrielle Rodgers, Suitland

Victor Baules, Eleanor Roosevelt

VIOLIN II

Taisha Stewart, Suitland

Dominique Marshall, Eleanor Roosevelt

Ayana Crutchfield, Bowie

Rose Pierce, Eleanor Roosevelt

Violin Alternates

Oliver Meade, Eleanor Roosevelt

Jela Douglas, Suitland High

Perry Gordaon, Eleanor Roosevelt

Camille Jones, Bowie

VIOLA

Nubia Floyd, Suitland

Mary Commins, Eleanor Roosevelt

CELLO

Justine Josey, Suitland

Megan Lewis, Northwestern High

BASS

Ryan McDonald, Suitland

Alfred Walfall, Eleanor Roosevelt

FLUTE

Katherine Skinner, Eleanor Roosevelt

OBOE

Arianna Cooper, Eleanor Roosevelt

CLARINET

Elizabeth Driver, Suitland

BASSOON

Catherine Silver, Suitland

French Horn

Elliot Tapscott, Eleanor Roosevelt

TRUMPET

Jacob Miller, Eleanor Roosevelt

TROMBONE

Jan Knutson, Eleanor Roosevelt

TUBA

Josiah Herrera, Oxon Hill

PERCUSSION

Emily Boluda, Eleanor Roosevelt

Andrew Johnson, Eleanor Roosevelt

from the Cultivator Jan 1, 1844: Dearness of Labor - Effects Of Plaster Paris or Gypsum - Irrigation

That land in Europe produces more, acre for acre, than in this country, whether under the plow or down to grass, is not to be attributed to the principles productiveness being there better understood than here, but chiefly to the want of capital and the dearness of agricultural labor in America. Is there any country proprietors possess so little means of improving land proportion to the land they own as in ours? Many the southern states,  owners of hundreds of acres, have not money enough to buy a new saddle; resembling in their condition, that of a man who may be supposed to with cold in the midst of a forest, for want of a spark of fire, or a steel and flint to strike one. Hence the great value of labor saving machinery in our country; and necessity has been aptly called the mother of invention, no country has displayed so much ingenuity as ours in invention of contrivances to economize labor.

                Far from being behind hand in the art of agricultural improvement, no people on the globe excel us agricultural knowledge; nor has any made greater improvement in comparison with the labor at the command of the farmer. Every one understands for example, the  paramount importance of increasing his pile of manure; but in no one thing is the dearness of labor so much as in the quantity of it which is required to collect materials for manure,  and to haul out and distribute it after it is made. Herein consists the great value of gypsum on lands to which it is congenial; for on some, as for instance on the eastern shore of Virginia and Maryland, owing perhaps to their alluvion soil or saline atmosphere, or to both, it is said to have but little effect; while in other parts of both these states, its effect is absolutely magical. The very small quantity required - a bushel to the acre - and the quickness with which it applied, has arrested the progress of exhaustion in some of the counties, which, before it was introduced, were on the high road to ruin. In some other respects its results have been remarkable. It has been the cause in Prince George's county for example, of increasing the possessions and fortune of land holders, and diminishing aggregate population. The rapidity with which large bodies of the poorest could be converted into tobacco land, yielding 1,000 weight to the acre, the high price of that article, and the improvements in the implements and modes of culture, by which planters have come to make four or five hogsheads "to the hand" enabled the enterprising land proprietor and slave owner, to make land purchased on time pay for itself. Thus small proprietors of land, owning few or no slaves were bought out, and moved away to the west. [l]arge estates have been accumulated by individuals, while the actual population of that county, perhaps the most productive in the state, and within striking of Baltimore, with its population of 100,000 inhabitants, and bordering on the cities of the District of Columbia,  has diminished from 20,216 in 1820, to 19,539 in 1840.

               The following are among many similar cases to show the operation of the influences to which I have referred; the facts are stated on indubitable authority. The Governor Robert Bowie, a man of singular energy of character and of the highest moral worth, at the time under the state of things already referred to, purchased two hundred acres of poor "broom sedge" land for $1400. He put half of it in corn, and probably gathered not more than 10 or 15 bushels to the acre, sowed it down to oats he next spring, and on them sowed clover and plaster of Paris or gypsum. Plastered the clover the succeeding spring, and the spring following planted in tobacco, and sold from it 100,000 weight at $10 per hundred; making $10,000 for half of the land, which three years before he had purchased probably "on time," for $1400! Many similar instances might be given of effects of plaster of Paris in producing all the results I have stated, but I am wandering from my subject.

                Much and effectively as our ingenuity has been in the invention of every expedient to save labor, it seems to me that there is one means of augmenting our crops grass in a manner as wonderful or at least as great as the effect of plaster of Paris on cultivated crops - which is much practiced in some parts of Europe, but neglected in a country where of all others, circumstances invite the use of it - I mean Irrigation.

                You, Mr. Editor, would render an essential service to American Husbandry, if you would yourself give, or prevail upon some one to give an essay on that subject; especially if you have at your command, so far, the offices of some correspondent who has seen the manner in which irrigation is conducted in Europe. I know a great man who could do it, but the game would hardly be worthy of the falcon. If I had time, I would collect the materials and digest such an essay, were it only for the benefit of a few friends who have all the resources for irrigation at command.

                                                                                      I. S. S.  

Washington Jan 1 1844

transcribed by John Peter Thompson from:

Luther Tucker, ed. The Cultivator, A Monthly Journal to Agriculture, Horticulture, Floriculture and to Domestsic and Rural Economy. Vol. 1. New York. Luther Tucker, Publisher. p. 60. 

Pittman House Burns: Prince George's County loses touch with its important past

Wm S & Portia M. Pittman House, Fairmount Heights, Maryland in better days
PG-MNCPP Historic Survey Database

               We have lost another historic structure to neglect and perhaps a vandal's fire (Gazette.,net story). On December 15, 2012 a fire destroyed a house designed by African-American professional luminary, William Sydney Pittman. And you say Pittman, Pittman who, because we do not teach the history that surrounds us nor do we make it easy to learn the stories of the extraordinary men and women who once walked and lived right here in Prince George's County. In fact there are a few who would have you believe that the county is an empty, blank slate just waiting to be paved over.

William Sydney Pittman
1875-1958
image form the Dallas Texas Observer
"Demolition by Neglect"

Mrs. Portia Marshall Washington Pittman
image URL

               William Sydney Pittman, whose "trailblazing professional deeds" are a part of little-known black history moments and almost lost to history, was born in Alabama on April 21, 1875.[1] He attended Tuskegee Institute. There he studied woodworking and architectural-mechanical drawing completing his studies in 1897. He then enrolled in the Drexel Institute in Philadelphia and received a degree in Architectural and Mechanical drawing in 1900.[2] From late 1900 to 1905, William S. Pittman was employed at Tuskegee Institute as department head of architectural drawing. 

               In 1905 Mr. Pittman came to Maryland and Fairmount Heights in Prince George's County. He went to work for John Anderson Lankford at the offices at 1448 Q Street, NW, in Washington. D.C., and within a short time opened his own practice. He designed the house, now lost to us by vandals, in to which his bride, the daughter of Booker T. Washington, Portia Marshall Washington moved after their marriage in 1907. There they entertained national dignitaries such as the editor of Boston's Alexander Magazine. A newspaper account in April of 1908 described the guest list which included an employee of the War Department, a judge and the Recorder of Deeds as well as other guests.[3] The Pittman House was located at 505 Eastern Avenue, Fairmount Heights, Maryland (PG#72-9-18).

               Mr. Pittman was very much involved in the growth of Fairmont Heights taking an active interest in the establishment of the town. He founded the Fairmont Heights Mutual Improvement Company, designed the town hall and the first elementary school. In his professional life he became the first African-American to win a federal commission for the Negro building at the national Tercentennial Exposition at Jamestown, Virginia.[4] He also designed Garfield Elementary School (1909) and the 12th Street YMCA building (1912) the cornerstone of which was placed by President Theodore Roosevelt in 1908.[5]

12th Street YMCA, Washington DC
image from Blackfives.com

               The town of Fairmount Heights, finally incorporated in 1935, is one of the oldest African American municipalities in Maryland contending for the prize of "first" with North Brentwood also in Prince George's County [Meet the 27 Historic Municipalities of Prince George's County, Maryland - Ready for Adaptive Re-use]. The Pittmans would leave Fairmount Heights in 1913 and the house began its long slow descent into obscurity recognized by the community and a few preservationists but forgotten by the county generally. How easy it is to lose our history and our connection with those who cleared the way for us today.

               For a detailed account of Mr. Pittman's life and achievements, see:

Susan G. Pearl, "WILLIAM SIDNEY PITTMAN (1875-1958)," in Drexel University Archives Digital Collections, Item #84,  http://archives.library.drexel.edu/displays/exhibits/show/pittman/1897-1898/item/84 (accessed January 14, 2013).  4 (accessed January 14, 2013).

http://archives.library.drexel.edu/displays/archive/files/pearlsusang-williamsidneypittman1875-1958_d68def9e1d.pdf

Kentland volunteer fire Department Facebook page photo

              

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[1] Norma Adams-Wade, Pioneer black architect’s life to unfold at symposium. Dallas Morning News. March 15 2010. http://www.dallasnews.com/news/columnists/norma-adams-wade/20110315-pioneer-black-architects-life-to-unfold-at-symposium.ece

[2] Everett L. Fly, "PITTMAN, WILLIAM SIDNEY," Handbook of Texas Online(http://www.tshaonline.org/handbook/online/articles/fpi32), accessed January 14, 2013. Published by the Texas State Historical Association.

[3] Washington Bee, published as The Washington Bee; Date: 04-18-1908; Volume: 27; Issue: 47; Page: [5]; Location: Washington (DC), District of Columbia

[4] Historic Site Summary Sheet. http://msa.maryland.gov/megafile/msa/stagsere/se1/se5/018000/018800/018833/pdf/msa_se5_18833.pdf

[5] Dreck Spurlock Wilson. African-American Architects: A Biographical Dictionary, 1865-1945. Taylor & Francis. 2004. 550 pp.