John Michael CooperFLORENCE PRICE, BREAKER OF BARRIERSSome Thoughts on the Fantasie №1 in G Minor for Violin and PianoApr 24, 2023
John Michael CooperMARGARET BONDS, LANGSTON HUGHES, AND THE JOY OF “JOY”:A Conspirare Premiere and a Gratuitous Youthful PhotoMar 24, 2023Mar 24, 2023
John Michael CooperA MEMORIAL PERFORMANCE FOR FLORENCE B. PRICEThe Second Violin Concerto in 1953Dec 12, 2022Dec 12, 2022
John Michael Cooper“I NEVER IMAGINED THAT A WOMAN COULD WRITE SUCH MUSIC!”On the Extraordinary Mel-Bonis (1858–1937)Jun 10, 2022Jun 10, 2022
John Michael CooperFLORENCE PRICE, BREAKER OF BARRIERSSome Thoughts on the Fantasie №1 in G Minor for Violin and PianoApr 24, 2023
John Michael CooperMARGARET BONDS, LANGSTON HUGHES, AND THE JOY OF “JOY”:A Conspirare Premiere and a Gratuitous Youthful PhotoMar 24, 2023
John Michael CooperA MEMORIAL PERFORMANCE FOR FLORENCE B. PRICEThe Second Violin Concerto in 1953Dec 12, 2022
John Michael Cooper“I NEVER IMAGINED THAT A WOMAN COULD WRITE SUCH MUSIC!”On the Extraordinary Mel-Bonis (1858–1937)Jun 10, 2022
John Michael CooperFLORENCE PRICE’S SCENES OF TENEMENT LIFEToday witnesses the release of 2022’s second[1] milestone in the recorded legacy of Florence B. Price: the world-premiere recording of…Jun 3, 2022
John Michael CooperON DORA PEJAČEVIĆ (1885–1923)[This is the third in a series of posts of “blogified” short entries from the forthcoming second, enlarged edition of my Historical…May 21, 2022
John Michael CooperA MOST AUGUST OCCASIONAnd a Most August Album and Edition, on the Bicentennial of Pauline Viardot-GarcíaDec 28, 2021
