Afro-Cuban Concerto
Flute, Oboe, Clarinet, Bassoon, and Horn
17 Minutes
About the Composer
Well respected as a composer, flutist, and educator, Valerie Coleman is one of the most inspired voices of her generation. Born in Louisville, Kentucky, Coleman began her music studies at the age of 11, and by 14 she had already written three symphonies and earned a reputation as an accomplished flutist. She went on to continue her studies at Boston University, where she earned a double degree in Music Composition/Theory and Flute Performance, and Mannes College of Music, where she earned a master’s degree in flute performance. Praised by The Boston Globe as having a “talent for delineating form and emotion with shifts between ingeniously varied instrumental combinations,” Coleman is regularly featured as a performer and composer at many of the world’s great concert venues, conservatories, and series such as: Carnegie Hall, Lincoln Center, The Kennedy Center, Boston Celebrity Series, DaCamera Houston, The Juilliard School, The Eastman School, Curtis, The Colburn School, and more. She has received numerous accolades for her artistry as a flutist and composer alike.
Coleman was the founder, creator, and until recently, the flutist of the Grammy-nominated Imani Winds. One the world’s premier chamber music ensembles, Imani Winds has spearheaded an evolution of the wind quintet through their dynamic playing, adventurous programming, imaginative collaborations, and outreach endeavors that have inspired audiences of all backgrounds. During her tenure with Imani, Coleman worked tirelessly to expand and diversify the woodwind quintet repertoire. In August 2018 Coleman joined the Frost School of Music at the University of Miami as Assistant Professor of Performance, Chamber Music, and entrepreneurship.
About the Music
Afro-Cuban Concerto showcases the virtuosity of wind instruments through a multitude of Afro-Cuban rhythms. In this vibrant work Coleman harnesses spirituality, passion, and rhythmic precisions to bring the essence of Afro-Cuban music to life. The first movement, “Afro,” begins with an homage to a call to worship within the Santieria religion, which has its origins in the Caribbean. Immediately following, a clave rhythm begins. This ostinato, one of the fundamental rhythms in Afro-Cuban music, persists throughout the entirety of the movement while other voices improvise above it. Movement two, “Vocalise,” opens with a prayer of sorts between the bassoon and horn. The rhythmic pattern in this movements characterizes the habanera, and is marked by a three-note motif that sustains throughout. The last movement, “Danza,” captures the quickness of the rhumba and Coleman’s skill to layer percussive rhythms in a fiendishly fast dance movement. On the whole this piece captures Coleman’s incredible ability to feature the individual voice of each instrument while at the same time creating a beautifully intricate ensemble below.