DIED 6 FEBRUARY
Undine Eliza Anna Smith Moore was a notable and prolific African-American composer of the 20th century. She was also a professor emeritus at Virginia State University. Moore wrote more than 100 compositions, although only about 26 of these were published in her lifetime. Much of her work was composed for choir or voice and many of these were inspired by black spirituals and folk music. Moore once said that she was "a teacher who composes, rather than a composer who teaches."
Known to some as the "Dean of Black Women Composers," Moore's career in composition began while she was at Fisk. While her range of compositions include works for piano and for other instrumental groups, Moore is more widely known for her choral works. Scenes from the Life of a Martyr, a 16-part oratorioon the life of Dr. Martin Luther King, Jr., for chorus, orchestra, solo voices and narrator was premiered at Carnegie Hall and was nominated for a Pulitzer Prize.
Other familiar compositions are "Afro-American Suite for flute, violoncello, and piano", "Lord, We Give Thanks to Thee" for chorus, "Daniel, Daniel, Servant of the Lord" for chorus, and "Love, Let the Wind Cry How I Adore Thee."
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Afro-American Suite by Undine Smith Moore
FRANCINE AUBIN - FRANCE
BORN 6 FEBRUARY
Francine Aubin obtained at age 20 First Prize in Composition of the Paris Conservatoire in the class of Tony Aubin his master, she became the wife. First woman to be awarded the Director of CA and be named "Director" of a National Conservatory in France, she led the Conservatory of Tourcoing, then the Paris 12th and finally the National Conservatory of Rueil-Malmaison. This musical career was interrupted voluntarily by the composer during three years (1970-1973) where Francine Aubin decided to devote himself solely to painting. In exclusive contract to Wally Findley Gallery she exhibited in France and the United States under the name of artist Tremblot. But her passion for music quickly repeating the step on the painting, she resumed his musical career and his job as Director of Conservatory, s interesting parallel increasingly the direction of conductor and the teaching of writing. She began to call but this time in a style much more romantic. Unlike her book "Youth" influenced by contemporary music of the 1960s, her language grew increasingly tonal.
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