Ethnic minority musicians are a rarity in Britain's classical establishment, and those who do make the grade often feel they have to work twice as hard to break through. Why has multiculturalism not reached the orchestra pit? The Observer talked to some musical trailblazers, including my friend Althea Ifeka from St Margaret's Barking.
The result is a fascinating article with Althea suggesting that "the lack of black orchestral musicians is about money, not colour." In other words, "it's a bad career choice ... first-generation immigrants don't want their children going into a profession that is uncertain and poorly rewarded."
Althea's debut CD, From Leipzig to London, explores the innovative role of J.S. Bach in creating the earliest duo sonatas, by presenting three sonatas now known to date from his Leipzig period performed on the oboe, oboe d'amore and cor anglais and harpsichord. The demise of the oboe as a solo instrument and the complete demise of the harpsichord during the nineteenth century were overturned in the twentieth as both instruments made impressive comebacks. The four modern pieces were inspired by the duo partnership of Evelyn Rothwell (Lady Barbirolli), oboe and Valda Aveling, harpsichord, and form a powerful overview of the different compositional styles at work in London in the mid to late twentieth century.
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Marsha Heller & Elaine Comparone - Organ Trio Sonata in E minor.
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