Though Zwilich, Brouwer, and Shatin are only three of many distinguished female composers, they serve as important models of the different ways a successful career as a female composer can look. Each composer has something wildly different to offer to the contemporary music scene with new CD releases.
What lessons can we as fans, musicians, and members of presenting institutions learn from the Metropolitan Opera’s situation? Can we prevent this from happening in our home institutions?
Not being exactly what one wants to hear seems like a pretty thin rationale for judging whether a piece of music succeeds or doesn’t.
This week marks the Disquiet Junto’s 134th composition challenge and the assignment takes things in a fresh direction: score an already-filmed dance piece. The visual movement is complete, but its sound has yet to be crafted in response.
The ensemble chose to perform their selection of Ashley’s works continuously without a break, sometimes even simultaneously. Boundaries were blurred—not just between the pieces themselves, but also between music and theater, between audience and performer, between performance and life.
Improvisation offers valuable educational applications and allows students to get their feet wet in the world of new music without being tied down to some of the technical challenges inherent in much modern repertoire.
Whether inspired by history, Biblical texts, or purely sonic ideas, Baltimore-based composer James Lee III’s music explores a landscape rich in color and rhythmic texture.
Death sucks, not for the person who dies—it’s mostly a rational solution—but for the people who live on with the absence of a favorite living, breathing creature. There is a creepy scrawled note on my desk with “call Charlie” crossed off. For the past few years, we had been talking about making another Liberation Music Orchestra album.
This selection of chamber works composed between 1993 and 2008 suggest that Becker has an “on/off” switch resulting in either intensely energetic music, or in work of concentrated repose. There isn’t a lot in-between, but clearly such extremes suit the composer.
I’ve been thinking a lot about this over the last two weeks because I felt that this was an unrealistic route to change. Here are some reasons why I think that the statement isn’t sufficient to address the problem of unpaid gigs.
Selected from a pool of over 80 applicants from across the country, Dan Visconti will be given the opportunity to work directly with the California Symphony and its music director Donato Cabrera over three consecutive years to create, rehearse, premiere, and record three major orchestra compositions, one each season.
I believe that this merry band of students has the power to change the music world as we know it, but I fear the “bump” when they leave this environment and explore college options. Will the post-secondary world continue to foster their leadership potential? How will these “over-educated” young composers approach the college experience?
There’s a lot of blame to spread around for our music appreciation downgrade, but I think there’s a single phenomenon that’s working harder than all the others: the constant bombardment of music functioning as an aspect of an environment.
The more you listen to Lumen, an extremely expansive two-CD set culled from twenty years of recordings of music by Philadelphia-area composer/pianist Adam Berenson, the less aware you are of whether the music was composed a priori or improvised on the spot.
I probably met Seymour in New York City sometime in the mid 1940s. Even then, Seymour made quite an impression as he walked into a room—a large, cheerful man swinging his cello at the end of his arm. As a musician, Seymour was remarkable to work with. Seymour could articulate and explain the structural intent of a given piece of music, and his playing was void of vanity.
Fair trade ethical consumption has gone mainstream when it comes to certain products. Wouldn’t music fans follow a similar path if it was laid out for them?
What is the best option for a student who has received a solid and complete education, academically and musically, through their pre-college years? Is there anything that will really fit the bill, or will these young students stimulate a new approach to compositional study on the college/conservatory level?
Mr. Ficklin humbly acknowledges that his analysis is “unscientific,” so allow me to correct his impression that music publishers have been fickle in their support [of composers and contemporary opera]. Their presence has been continuing and ardent.
In the past four years, a new cash spigot has been cranked open for contemporary arts funding across the nation: Creative Placemaking. If current arts policy trends continue, then new music’s institutional vibrancy might depend on how it fits into this rubric, interfacing with communities on levels rarely considered in the past such as neighborhood pride, commercial impact, and livability.
After having toiled in the fields of Golden Books, television, and commercials (my wife can still sing you her Prince Spaghetti TV jingle), Mary Rodgers’s first breakthrough work was Once Upon a Mattress. By the time I worked with her, she had pretty much pushed Mary the composer to the back burner. But there were several of us who didn’t think the composer should retire completely.
John Adams’s most recent album, released by Nonesuch, could essentially be seen as an exercise in nostalgia; City Noir, commissioned by the Los Angeles Philharmonic, is an homage to the city of Los Angeles and its movie-making style of the 1940s and ’50s, while the Saxophone Concerto gives a hat tip to Adams’s own jazz-steeped upbringing.
Although I was always generically interested in music as labor, it was really my involvement with Occupy Wall Street that showed me what the contemporary struggles were in this field. I hope the NewMusicBox commenting community will join in on this conversation, so we can get an even greater sense of where these struggles for fairness and dignity are happening, and what we can do as a community to support them.
When I looked through the Metropolitan Opera’s 2014-15 brochure, I was saddened by their lack of other contemporary repertoire. Then I flipped through the pages of the new issue of OPERA America’s magazine and experienced something very different. Pages full of contemporary opera, American and otherwise. Quite a study in contrasts.
New Music USA has awarded 57 projects in its second round of New Music USA project grants. We received 1,174 project requests this round. Those numbers are humbling, but also inspiring; these submissions only capture a glimpse of the overwhelming creativity resonating throughout the United States today.
