About the Artist
Ceylon Narvelle Mitchell II is a professional flutist, arts entrepreneur, educator, and arts advocate in the Washington D.C. metropolitan area. Originally from Anchorage, Alaska and a graduate of East Anchorage High School, he earned a Master of Music Education degree from Boston University and a Master of Music Performance degree from the University of Maryland, in addition to a Graduate Certificate in Multimedia Journalism. Ceylon will continue his education in the Doctor of Musical Arts (DMA) flute program at the University of Maryland in Fall 2019. Recent achievements include the National Music Festival Symphony Orchestra, the Young Alaskan Artist Award, a 2018 Prince George’s County Forty UNDER 40 Award in Arts & Humanities, and a 2019 Prince George’s Arts and Humanities Council Artist Fellowship Grant. Ceylon’s mission is keeping classical music alive, authentic, and accessible. An active freelance artist, Ceylon is the co-founder, flutist, and media manager of Potomac Winds, a chamber music collective. Described by the University of Maryland as “magnificent, deeply moving, and a model of alumni pride,” the ensemble is committed to promoting woodwind chamber music as a virtuosic medium through engaging performances of the highest level of artistic expression. As a music educator, Ceylon maintains a private studio in Maryland and serves as the Potomac Valley Youth Orchestra flute choir conductor. He previously served as a teaching artist with the Boston Flute Academy and as the director of the Boston University Flute Ensemble. Ceylon supports performing artists and arts organizations with digital media production and marketing consulting as the owner and founder of M3 Music Media Marketing, LLC, a multimedia organization. Tailored services include photography, videography, and social media marketing. Recent clients include The Clarice, the Arts & Humanities Council of Montgomery County, the Boulanger Initiative, Capitol Hill Jazz Foundation, the Anchorage Festival of Music, and numerous individual artists. Ceylon seeks to equip and empower his fellow performing artists for artistic and marketing success in a 21st-century landscape. Ceylon is also an active arts advocate in the D.C. area, serving as a board member of the Arts Administrators of Color Network and an Emerging Arts Advocates (EAA) member of Maryland Citizens for the Arts. Mentors, past and present, include Dr. Saïs Kamalidiin, Ms. Janese Sampson, Professor Leah Arsenault, Dr. William Montgomery, Professor Linda Toote, Dr. Carmen Lemoine, and Sharon Nowak of Anchorage, Alaska, his first flute teacher. Additionally, Ceylon has performed in masterclasses for professional flutists such as Aaron Goldman, Marina Piccinini, Sir James Galway, Paul Edmund-Davies, Trevor Wye, and Marianne Gedigian. He remains grateful to the entire Anchorage music community for preparing him for a promising career in the arts with encouragement and inspiration. Ceylon currently resides in Bladensburg, Maryland with his wife, Denys Symonette Mitchell.Artist's Statement
My mission is keeping classical music alive, authentic, and accessible. A 2018 Prince George’s Forty UNDER 40 Awardee in the Arts & Humanities, I have been involved in my local arts community as a performer, ensemble leader, educator, arts entrepreneur, and arts advocate. An active freelance flutist and chamber musician, I am committed to promoting woodwind chamber music as a virtuosic and relevant artform in society through high levels of artistic expression and culturally competent performances that promote traditionally marginalized communities, especially those from African-American and Latinx identities. One of the greatest aspects of being a musician is that the art can represent my own voice and voices of other cultures across race and time, ensuring they are not forgotten. I am incredibly fortunate and blessed to possess strong artistic ability, and I find that this ability benefits me as a regular response to life situations. To think that a plastic recorder from the fourth grade began the journey and is responsible for a great deal of success and happiness in my life is beyond words. As a music educator in various teaching artist and private teaching roles, I take great pride in mentoring and influencing the next generation of young musicians. My ultimate goal is empowering and encouraging students to make music alive and applicable in their lives. Regardless of their career paths as adults, I want youth to acquire life-long skills that allow them to analyze, consume, support, and engage with art in their communities. Now and always, I remain grateful to the entire music community in Anchorage, Alaska for preparing me for a promising career in the arts with encouragement and inspiration. Like the music teachers who have made an impact in my musical development from the very beginning, I aspire to become a music professor and an active arts citizen.Featured Work
Videos
-
Jacob do Bandolim: Receita de Samba
Brazilian choro standard.Year: 2019 -
Michael Colquhoun: Charanga
Salsa is a popular Hispanic-American urban dance music with deep African and Cuban roots. Charanga is a style of Salsa which was popular from the 1920’s through the 1970’s. What made Charanga unique was that along with the usual percussion section (congas, bongos/cowbell, timbales, maracas/guiro and clave) there was a string section and a flute lead. When the music was cocinando (or “cooking”), the percussion, piano, bass and strings would play a powerfully swinging, polyrhythmic pattern over which the Charanga flutist was free to improvise complex and intricate riffs. These days, while Salsa is popular as ever, the Charanga as a separate entity rare. The flute, however, continues to be an important solo instrument. This piece is a cubist portrait of Charanga, and is dedicated to all the great Latin Charanga flutists.
Charanga should be played both rhythmically and relaxed; it should swing. The opening, repeated measure is a typical Charanga ostinato, which ois often referred to in the rest of the piece. It is always marked as “Air” and is played by puffing short, unfocused bits of air across the embouchure hole. “Ord” returns the performer to normally produced tones.
Composer/flutist Michael Colquhoun earned his Ph.D. from the State University of New York at Buffalo, where he studied with Robert Dick, Morton Feldman, Cheryl Gobbetti, Lejarem Hiller, and Leo Smit. He was formerly active as a solo recitalist, as director of the Latin Music Ensemble Los Caribes, and as Associate Professor of Music at Canisius College. His works have been published by McGinnis and Marx Music Publishers and performed by Los Caribes, the Talking Drums, the New Jazz Orchestra of Buffalo, the Cathedral Brass, the Schanzer/Speech Duo, the Buried Treasures Ensemble, the New Music Consort, the East Buffalo Media Association and the Maelstrom Percussion Ensemble. Mr. Colquhoun’s compositions draw upon the Classical and Jazz traditions, and often involve a mixture of composed and improvised elements working together to produce a coherent whole. He has received commissions from the New York State Council on the Arts, Meet the Composer, The National Flute Association, and the Buffalo Public Schools.Year: 2020 -
Paquito D'Rivera: Gran Danzon concerto
The danzón, created in 1879 by Miguel Failde, a cornet player from the city of Matanzas, is a direct descendant of the Cuban danzas and contradanzas that were played in ballrooms back in Cuba’s colonial past. In those days the typical dance orchestra was comprised of one cornet, two violins, two clarinets in C, an ophicleide or valve trombone (sometimes both!), a couple of timbales and a guiro. Later on, at the beginning of the 20th century, the Charanga orchestras, also called Francesas (French), appeared on the scene and included one or several violins, a piano, double bass, timbales, guiro, and flute.
Since then, several generations of flutists—among them Antonio Arcaño, José Fajardo, Richard Egües, Pancho el Bravo, Johnny Pacheco, Joaquín Oliveros, Oriente López, Nestor Torres and Eddy Zervigón—have contributed enormously to the stylistic development of this musical form. It was their fresh and peculiar way of playing the flute that inspired the present work. At a certain point in my career I had lots of fun playing the flute with some dance groups, using what I had learned from them. When Marina Piccinini asked me to write a flute concerto for her, I immediately thought of basing the piece on the Cuban flute, a wooden instrument of five keys and six holes that has played a major role in the typical orchestras of my country as well as in the development of the national dance, the danzón.
The central theme of this concerto is based on the rhythmic cell of the danzón, the cinquillo cubano, and on la clave, which is the foundation of almost all Cuban music. However, other national patterns and elements of African origin are to be found throughout the piece, as well as small phrases and quotations that are reminiscent of old folkloric and popular themes. The second most important instrument in this work is the humble guiro (gourd) combining with the Cuban timbales (drums) and contrabass to provide the rhythm-machine that moves the Charanga as well as the feet of the dancers in the ballroom (and probably in the concert hall, too!).
The title Gran Danzón was borrowed from Astor Piazzolla’s Gran Tango. The subtitle “The Bel Air Concerto” was an idea of Marina’s, who knows of my passion for those classic automobiles of the 1950’s, about which I’ve often dreamt. Now I am the proud owner of a rebuilt 1957 Chevrolet Bel Air, which I drive around when not on tour.
Finally, this is my best way of paying tribute to the legendary danzoneros of the island Columbus called “la tierra mas Hermosa que ojos humans vieran”—“the most beautiful land that human eyes will ever see.”
-Paquito D’RiveraYear: 2019 -
Tania Leon: del Caribe, soy!
del Caribe, Soy! [Caribbean, I am!] for flute and piano is a work influenced by gestures in the music of the Caribbean cultures. This work is inspired by a series of improvisations by Nestor Torres, to whom the piece is dedicated.
The rhythmic syntax, harmonic progressions, and flowing melodies are all redolent of Caribbean music. Flourishes with intricate piano writing and rapid passages in the flute open and close the work and appear throughout the piece, channeling the enchanted bird calls of the tropics. Sections of the work provide the flute soloist with the pace to offer cadenza-like responses to the thematic material.Year: 2020 -
Afro-Latino Chamber Music Tour: Promo Video
During National Hispanic Heritage Month 2019, flutist Ceylon Mitchell II and his acclaimed chamber music ensemble presented a concert series of Afro-Latino music at venues throughout Prince George’s County, Maryland. The classical crossover performances highlighted African and Latinx cultures, demonstrating the unique development of Western-European classical flute music in the Latin American countries of Puerto Rico, Cuba, and Brazil. This project was made possible due to a 2019 Prince George’s Arts and Humanities Council Artist Fellowship Grant.Year: 2019 -
JS Bach - Flute Sonata No. 5 in E minor, S. 1034 - IV. Allegro
Year: 2016