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The two themes are recapitulated until the piano takes the field with an extended cadenza in which the motor action of the first theme prevails. The orchestra reenters with a triumphant restatement of the lyrical theme.\u003c\/p\u003e\n\u003cp\u003eSeveral instruments in the orchestra share the spotlight with the piano in the slow movement which is purely melodious and wistful. There follows without a pause a rhythmical introduction to the third movement in which jazz characteristics are even more dominant an in which cross rhythms abound. In the contrasting middle section, the jazz elements become more discreet but never disappear. A somewhat abbreviated recapitulation leads to a terse coda consisting of a few bars of hesitation and a few more of exuberance - a question mark and an exclamation point juxtaposed. 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His music speaks to performing artists from many different backgrounds and styles.\u003c\/p\u003e\n\u003cp\u003eWhen asked what he looks for in poetry being considered for a musical setting, the composer states that he is drawn to the feel and contours of a text. Though he draws from the works of African-American writers for Nightsongs, he sees the selected poems as expressing universal concepts not defined by race.\u003c\/p\u003e\n\u003cp\u003eHe employs an instinctive approach and sensitivity to word setting. The piano plays various roles, sometimes revealing by arpeggios or other idiomatic figurations the harmony implicit in the vocal line, and sometimes responding to the melody, or providing an echo.\u003c\/p\u003e\n\u003cp\u003eAt other times, it assumes melodic responsibility, or retains a thought while the voice moves on to a new idea. It is given handfuls of lush harmonies \"” tonal and luxuriantly colored triads. The cadences are often unexpected fresh delights, casting speculation on the modality that has led up to them. The rhythm grows immediately from the texts. Thus the works establish an organic unity and mood, immediately defining the emotional frame.\u003c\/p\u003e\n\u003cp\u003eArtist-Scholar Darryl Taylor dedicated his early performing years to the vocal compositions of Black composers, which resulted in a repertoire of discovered music of the past and present, to which he has given a vibrant living voice with performances rich in commitment and artistic integrity. The songs of H. Leslie Adams found an interpretation in the performances and recordings of Mr. Taylor that touched many artists and reached all parts of the world. The songs continue to be performed and interpreted by both young and established singers.\u003c\/p\u003e\n\u003cp\u003e- notes drawn from the album notes of Love Rejoices - Songs of H. Leslie Adams Albany Records - TROY428\u003c\/p\u003e","brand":"H. 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The oboe-and-piano version was given as a “first performance” at a recital by Charles Lehrer, oboe, on April 4, 1971, in Bowker Auditorium at the University of Massachusetts Amherst; the pianist was likely Dwight Peltzer.\u003c\/p\u003e\n\u003cp\u003eBecause the oboe-and-piano version was performed publicly during the composer’s lifetime — at his own university in 1971 — it appears to be a performance version that Bezanson sanctioned, and not merely a piano reduction intended for rehearsal. Performers may therefore present the Concertino either in its string-orchestra scoring or with piano.\u003c\/p\u003e\n\u003cp\u003eCharles-David Lehrer (born 1940) was the oboe professor at the University of Massachusetts Amherst from 1967 until about 1985, when Fredric T. Cohen succeeded him. 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