I was interested to see Steve Schwartz reference this composer and I am
pleased to have an opportunity to comment on a work I have listened to with
interest:

>One of the big success stories, however, is Hannibal Lokumbe, who
>publishes his own stuff and charges hefty fees for score rentals and
>performing rights.  His African Portraits has had close to 80 performances
>at least since the Chicago premiered it.

For those who don't know the piece I think Hannibal's piece (he uses
only the one name) could be described as an Oratorio depicting the history
of African- Americans through music--theirs and that of the Europeans
who brought them here.  Sections of varying length include symphonic
performance (the Chicago Symphony recorded the disc I have) as well as
African griot, American blues, jazz and gospel.  I was interested to hear
that it has been performed as widely as it has since it requires a wide
range of talented artists to make it work.

In the final analysis, despite wonderful sections, the work falls short
for me, but in ways which I believe are instructive.  Part of the problem
is that it is so episodic and my ears were unable to hear any connecting
structure or harmony that might unite it.  Despite enjoying several parts
of the work like the jazz and gospel and blues sections, I was aware that
for each of these styles I can find better examples by listening to the
"real thing."

Also, I decided the work was too didactic in tone for my taste.  The
liner notes even include a reading list!  I realize that the necessary
telescoping of character and plot required by opera and oratorio can
be the cause of this didacticism.  However, the great works seem to be
identifiable in part by their ability to develop more subtle shadings and
depth--often by means of the music they use to accompany the words or
action.

In a related vein, I am becoming convinced that some of the best music for
telling a story is that which isn't so overt in its programmatic aspects.
Rather than try to tell a story, the composer attempts to paint a picture
and share the "feel" of the story with the listener.  By addressing these
more emotional aspects of experience I think they are better able to take
advantage of music's properties.  So, for example, I find an Ellington
suite like Black Brown and Beige to be more persuasive in telling this
story than Hannibal's more explicit work.

As a side note, this is why a piece like Elgar's Cello Concerto can be
even more effective as a requiem for those lost in WWI than Britten's War
Requiem.  This is not to say that the latter is not a masterful work in its
own right.  In fact I think it benefits too from using poetry rather than
narrative to tell its story.

Another contemporary composer who is trying to do something similar to
Hannibal and grasping for recognition as Ellington's musical heir is Wynton
Marsalis.  His extended works definitely bear a close listen.  He won the
Pulitzer Prize for a work called *Blood on the Fields* which covers some of
the same ground as African Portraits.  An even better piece (in my opinion)
is *In This House on this Morning.* This is a musical depiction of a Sunday
worship service in an African-American Church.

Despite these caveats, I applaud Hannibal's efforts and would welcome the
chance to become familiar with more of his music.  Thanks to Steve for
bringing him to the attention of the list.

Ed