Anthony R. Green

composer, performer

from The Gettysburgian, by Diego Rocha

"Oh, Freedom! [by Anthony Green] is a piece meant to portray the constant struggle for freedom faced by many black Americans 'yesterday, today, & tomorrow' through music. It culminated in a stirring performance of Green's setting of the post-civil war spiritual 'Oh, Freedom,' which was also used heavily during the Civil Rights Movement of the 1950s and 1960s, bringing the audience to their feet in song."  

Click HERE for complete article online

from Hook Falmouth, by Thomas Vaughan

"After his impressive performance this morning, American composer Anthony Green spoke of how technology is shaping the music industry: 'It's really starting to bridge the definitions of what is music. There are composers today who create multimedia experiences with video and audience participation, but they do it from a focus on the music, so the lines are constantly becoming blurred.

Click HERE for complete article online 

Alex In Transition article in the Jerusalem Post

In June 2016, Carl Hoffman published an interview article in the Jerusalem Post about Alex in Transition, which was performed in a concert version 15 June 2016 in Tel Aviv, Israel. To read the complete article (as an image file which one can zoom in), please click here!

My Art Story (featured on the NEA website) 

Growing up as a Black pianist and composer was an experience that always felt incomplete, despite having amazing teachers and top post-secondary education. The incompleteness I felt was through the lack of adequate representation of people who looked like menot only in the concert halls, but also in the classrooms. Contributions of Black composers were usually only taught in specialized classes, and also restricted to certain styles of music such as Jazz or various African music. Where was the segment in music history about how Beethoven composed his "Kreutzer" sonata for George Bridgetower or how Chevalier de Saint-Georges transformed an orchestra of amateurs to the most popular ensemble of his day, which commissioned Haydn? Where was the discussion in music theory class of Ed Bland's raw use of serialism or Margaret Bonds's transformative processes in her "Troubled Water" transcription?  

When Ashleigh Gordon (co-artistic director and violist) and I collaborated to form Castle of our Skins in 2013, we didn't realize how much "bigger than us" our work would become. Simply wanting to contribute to the disproportionately low exposure of Black artistry in the concert hall and the classroom, Castle of our Skins has—in a short amount of time—turned into an organization that has inspired conversation, cultural curiosity, and cultural pride. Not only have our presentations sparked reactions of gratitude amongst our audience, but Ashleigh and I also are constantly amazed about the holes in our own cultural history that we fill on a daily basis because of the amount of research we do to become prepared thought leaders. We have listened to hours of music that we are almost 100 percent sure we would never have heard if it weren't for starting this organization. We have read articles and journal entries and watched documentaries and movies about Black, African, and Caribbean history in an attempt to draw conclusions from these stories, as well as form new hypotheses regarding art and social struggle. We have used these stories from history as guidelines to shape the work that we do in education and social change. All of this has happened because of music.

And our work is continuing! The organization started with Ashleigh and me, and since then we have added Seychelle Dunn, who is our director of educational programming. We have designed educational workshops that not only teach the stories of Black composers, performers, and other artists, but also other figures in Black history, such as the entrepreneur Madam C. J. Walker, or the non-violence activist Bayard Rustin. Our work has lead to presentations at the Roxbury Community College, the IDEAS Boston conference at the JFK Library in Boston, the Bayard Rustin Community Breakfast in Boston, and the Museum of African-American History in Boston, to name a few. We have also given events in Providence, Rhode Island, and abroad in the Netherlands, and have executed research in Chicago at the historic Center for Black Music Research. We plan on spreading our presence physically in the upcoming seasons, and hopefully inspiring others to use our organization as a model to create similar groups elsewhere across the United States.

Click HERE to view on NEA website

from The Boston Musical Intelligencer, by Joshua Nannestad

"... the composer [Anthony Green] handed off the momentum from one instrument to the other in a crafty manner." ~ 7 June 2015

Click HERE for complete article online

from The Boston Sunday Globe

"Working with [her viola] - and pianist [and composer] Anthony Green - [Ashleigh Gordon] has created a concert and education series for children called Castle of our Skins, which teaches them about Black artistry and leadership through music. Gordon gave the IDEAS UMass Boston audience a demonstration of a Castle of our Skins performance, asking them to harken back to their fourth- and fifth-grade selves and to participate in her lesson on legendary figures in African-American history. On Gordon's instructions, as she played her viola, the audience chanted the name of activist Angela Davis, snapped their fingers in time to a poem on composer Ed Bland, and rubbed their hands together as if tilling the soil in an homage to George Washington Carver. 'Our skin and the stories that are woven in our skin are something to celebrate,' Gordon said. 'And our platform of choice is the arts.' " ~ 9 November 2014

from D Magazine, by Wayne Lee Gay

"Paterson's piece was not the only selection to take on edgy material. Anthony Green's Alex in Transition, deals with a transgendered central character and her spiritual and physical journey from male to female. Green, who is his own librettist, supplied a courageously intense text for the scene that was presented and matched with sturdy, expansive music in a scene that suggests painful transformation is part of life for many - not just the transgendered. Green was also supported by baritone Steven Eddy, and the aforementioned soprano, Garvin." ~ 16 May 2014

Click HERE for complete article online  

from The Daily Cameraby Liza Williams 

 "Anthony Green's piano work was so seamless and solid that the show subtly but wholly relies on his consistency ..." ~ 13 December, 2012

Click HERE for complete article online

from The Boston Globeby Matthew Guerrieri  

"...and Anthony Green’s charging, chunky 'Etude II - Four Voice Fugue' (in a grand performance by pianist Elaine Rombola), rhetorically plundering swaths of music history while maintaining a parlance all its own." ~ 23 June, 2009

Click HERE for complete article as a PDF 

from Northeast Performerby Matthew Robinson  

"It was then time for Colorado-bound composer/cameraman Anthony Green to introduce the world premiere of his admittedly procrastinated composition 'Instinct' - an exploration of the compositional process that featured contradictory chord changes, potentially damaging pizzicato pulls and drizzly bow bounces amidst precise caesura and unified reentries. After taking the audience on a wild ride, the Orchestra returned to the familiar for a closing rendition of Joseph Haydn's 'Symphony No. 85 (La reine).' ..."  ~ October 2008 issue

from A Musical Interlude, by Mark Jaquith 

"... The next piece was Green's 'Instinct.' Mr. Green explained that this was 'a piece composed mainly with the idea of the dichotomy of instinctual composing and intentionally going against my own instinct.' It is a very rhythmic piece with much plucking of strings both for melody and punctuation. Very original and creative, I look forward to hearing more from Anthony Green. "  ~ 29 June, 2008

Click HERE for link to article 

Articles and Press Releases

Collide-oscope III (2016) for oboe, clarinet, and bassoon wins honourable mention : click here for press release (28 September 2016) 

Creating a spotlight for Black composers, article about Castle of our Skins, by David Weiniger : from The Boston Globe (22 September 2016)

Review about Ft. Worth Opera's Frontiers Festival, including Alex in Transition: Transition III - Alex : from TheaterJones (18 May 2014)

Review about Ft. Worth Opera's Frontiers Festival, including Alex in Transition: Transition III - Alex : from D Magazine (16 May 2014)    

Review about Ft. Worth Opera's Frontiers Festival, including Alex in Transition: Transition III - Alex : from (10 May 2014)  

Press release about Ft. Worth Opera's Frontiers Festival, including Alex in Transition: Transition III - Alex : from Broadway World (8 May 2014) 

Press release about New Fangled Opera's season, including Alex in Transition: Transition I - Alex & Psyche : from The Sun Herald (2014), and The Marigny Opera House (2014)             

Press releases about AUT's Open Call: The Body project (in Danish): from Snyk (4 December 2013); and from AOA Guide (26 November 2013)

Press releases about Alex in Transition, from which the third transition (scene) has been selected for the 2014 Fort Worth Opera Frontiers Showcase: Theater Jones Press Release (Mark Lowry), and Star-Telegram Press Release (Stephanie Allmon), October 2013

Press releases about "Lighter Motives" (most in Italian): 

Article about select viola works, featuring Dona Nobis Veritatem (viola, soprano, piano) by Gregory K. Williams in the Journal of the American Viola Society, Volume 29, Number 1, Spring 2013

Article about "A Broadway Christmas Carol", by Liza Williams, 13 December 2012

Web Press announcement about lecture and performance of "Premises" for Solo Timpani, 9 November 2012

Press release for the recent ASCAP 2012 Morton Gould Awards, New York, NY, 6 April 2012  (link to the NewMusicBox version HERE)

Blog entry about Weightless (for alto saxophone and piano), by Nathan Hall, 25 November 2011 

Cover Page and Article about CU New Venture Challenge in MUSIC FROM COLORADO, by Kenna Brunner, 2011 Issue

Review article about Iron Composer 2010, by Timothy Robson, 26 October 2010 

Article about Earned (for double string quartet) in the Boston Globe, by David Weininger, 15 May 2009

Article about 3 Groups (for mixed chamber ensemble) in Rochester City Newspaper, by Brenda Tremblay, 25 March 2009


"Dreams Go Through Me" - Debut recording of Denver's Playground Ensemble, featuring The Gettysburg Address 

"The Metaphysics of Notation" - an interpretive graphic score by Mark Applebaum, realized by several artists at the Cantor Center for the Arts. DVD includes a segment of my performance

Chance for string quartet - published in the 2013 PARMA Recordings Anthology of Music, by PARMA Recordings, LLC. 

Nicht Zart II: Hommage à Scelsi for contrabass and piano - published in Kontrabass Werke der jungen Generation by Simon Verlag für Bibliothekswissen (2012) 

Encomium for SATB saxophone quartet - published in the Anthology of Contemporary Concert Music 2011, by PARMA Recordings, LLC (Please contact me if interested in acquiring this anthology)


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