Tag: awards

Koussevitzky Commission Winners Announced


The Serge Koussevitzky Music Foundation in the Library of Congress and the Koussevitzky Music Foundation, Inc. have awarded commissions for new musical works to five composers. Jointly granting the commissions are the foundations and the performing organizations that will present the newly composed works.
Award winners and the groups co-sponsoring their commissions are:

Tristan Murail and YarnWire (This is Murail’s second Koussevitzky commission.)

Kaija Saariaho and Da Camera of Houston
Ronald Bruce Smith and the Del Sol Quartet
Kate Soper and Alarm Will Sound
Wang Jie and the League of Composers/ISCM (the U.S. chapter of the International Society of Contemporary Music)
The Koussevitzky Foundation does not make public the amount awarded for commissions. Applications for commissions are accepted annually. More information is available at Koussevitzky.org.

(–from the press release)

And the Winner Is: 55th Annual Grammys Awarded

The artists crowded into the Staples Center in Los Angeles last night might have been dressed a little classier (well, maybe), but the televised portion of the 55th annual Grammy Awards only included a small portion of the winners. Here are a few classical, jazz, and composition awardees whose statuette pick-ups you might have missed. The full list—in case we missed your favorite category—is available here.


Best Contemporary Classical Composition
Hartke, Stephen: Meanwhile – Incidental Music To Imaginary Puppet Plays
Stephen Hartke, composer (eighth blackbird)
Track from: Meanwhile
Label: Cedille Records

Best Instrumental Composition
Mozart Goes Dancing
Chick Corea, composer (Chick Corea & Gary Burton)
Track from: Hot House
Label: Concord Jazz

Best Chamber Music/Small Ensemble Performance
Meanwhile
eighth blackbird
Label: Cedille Records

Best Orchestral Performance
Adams: Harmonielehre & Short Ride In A Fast Machine
Michael Tilson Thomas, conductor (San Francisco Symphony)
Label: SFS Media

Best Choral Performance
Life & Breath – Choral Works By René Clausen
Charles Bruffy, conductor (Matthew Gladden, Lindsey Lang, Rebecca Lloyd, Sarah Tannehill & Pamela Williamson; Kansas City Chorale)
Label: Chandos

Best Instrumental Arrangement
“How About You”
Gil Evans, arranger (Gil Evans Project)
Track from: Centennial – Newly Discovered Works Of Gil Evans
Label: ArtistShare

Best Instrumental Arrangement Accompanying Vocalist(s)
“City Of Roses”
Thara Memory & Esperanza Spalding, arrangers (Esperanza Spalding)
Track from: Radio Music Society
Label: Heads Up International

Best Improvised Jazz Solo
Hot House
Gary Burton & Chick Corea, soloists
Label: Concord Jazz

Best Jazz Vocal Album
Radio Music Society
Esperanza Spalding
Label: Heads Up International

Best Jazz Instrumental Album
Unity Band
Pat Metheny Unity Band
Label: Nonesuch

Best Large Jazz Ensemble Album
Dear Diz (Every Day I Think Of You)
Arturo Sandoval
Label: Concord Jazz

Best Engineered Album, Classical
Life & Breath – Choral Works By René Clausen
Tom Caulfield & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy & Kansas City Chorale)
Label: Chandos

Producer Of The Year, Classical
Blanton Alspaugh

Best Folk Album
The Goat Rodeo Sessions
Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile
Label: Sony Classical

Best Musical Theater Album
Once: A New Musical
Steve Kazee & Cristin Milioti, principal soloists; Steven Epstein & Martin Lowe, producers (Glen Hansard & Marketa Irglova, composers/lyricists) (Original Broadway Cast With Steve Kazee, Cristin Milioti & Others)
Label: Masterworks

Best Score Soundtrack For Visual Media
The Girl With The Dragon Tattoo
Trent Reznor & Atticus Ross, composers
Label: Null/Madison Gate

Yo-Yo Ma Awarded $100,000 Vilcek Prize

Yo-Yo Ma
The Vilcek Foundation has named the winners of the eighth annual Vilcek Prizes, recognizing immigrant contributions to the American arts and sciences. The Vilcek Prize for the Arts, this year focusing on the field of contemporary music, has been awarded to cellist Yo-Yo Ma. The prize includes a $100,000 cash award.

Ma, born in France to Chinese parents, first established himself as a master classical cellist. He has since branched into genres as diverse as tango, bluegrass, and Chinese, Japanese, and Central Asian folk music. Ma is also the founder of the Silk Road Project, a nonprofit organization that promotes innovation and learning through the arts, and fosters collaborations between musicians and composers from around the world.

The Vilcek Foundation also announced the winners of the three Vilcek Prizes for Creative Promise in Contemporary Music, each receiving a $35,000 cash award. These prizes recognize a younger generation of foreign-born artists at earlier stages of their careers; this year, the prizes were awarded to music professionals, aged 30 or under. They are:

James Abrahart—More commonly known as JHart, Abrahart is one of the songwriters behind pop, hip-hop, and R&B superstars such as Justin Bieber, Jason Derulo, David Guetta, Flo Rida, and Trey Songz. The 24 year-old British-born songwriter co-wrote “Take You,” a song for Justin Bieber’s album Believe, which has since gone platinum. Jason Derulo performed “Undefeated,” a song he co-wrote with JHart, on the finale of American Idol, which reached an audience of 22 million viewers. JHart also wrote and featured on “Surrender,” a single for DJ Paul Oakenfold, which reached #3 on the Billboard Dance charts.
Samuel Bazawule—Originally from Ghana, Bazawule (stage name Blitz the Ambassador) infuses an African sensibility into his music as an MC, producer, and composer. He is backed by a horn section, the Embassy Ensemble, and raps fluently in English and Twi, a dialect of Ghana. The 30 year old has released two albums and one live EP, the most recent being the well-reviewed Native Sun. He has collaborated with a wide range of artists, such as Les Nubians, Chuck D, Shad, and Corneille. Blitz wrote and co-directed a short film as an accompaniment to his Native Sun album, of the same name, which was a selection of the Brooklyn ActNow Film Festival.

Tigran—The Armenian-born pianist, vocalist, and composer Tigran draws upon a wide range of influences for his music. Although trained as a classical and jazz musician, the 25 year old is just as inspired by Armenian folk music, Indian classical music, beatboxing, funk, poetry, and more. Tigran won first place at the Thelonious Monk Jazz Piano Competition, and second place at the Martial Solal International Jazz Competition, in 2006, and a French Grammy Award in 2011, among other honors. He has recorded five albums; his most widely known album, A Fable, was released in 2011, and is a solo collection of rhythmic and harmonic experimentation that is an original blend of Armenian folk music and jazz traditions.

The recipients were selected by independent juries composed of experts in the music profession, representing institutions such as Universal Music, NYU Clive Davis School of Recorded Music, XXL Magazine, and The ARChive of Contemporary Music.

The prizes will be presented at an awards ceremony at the Mandarin Oriental in New York City in April 2013. In addition to prizes in the arts, the Vilcek Foundation also awards prizes in the field of biomedical science. More information on the Vilcek Prizes is available here.
(—from the press materials)

George Manahan To Receive 2012 Ditson Conductor’s Award

George Manahan. Photo by Richard Bowditch, courtesy American Composers Orchestra

George Manahan. Photo by Richard Bowditch, courtesy American Composers Orchestra

American Composers Orchestra Music Director George Manahan will be presented with the 2012 Ditson Conductor’s Award during an ACO concert he will conduct at Carnegie’s Zankel Hall on January 18, 2013. Composer Augusta Read Thomas, a member of the Ditson Advisory Committee, will present the award, which includes a $5,000 cash prize. The oldest award to honor conductors for their support of American music, the Ditson Conductor’s Award was established in 1945 by the Alice M. Ditson Fund at Columbia University.

“George Manahan has conducted and championed contemporary American music throughout his distinguished career, whether on the concert stage, in the opera pit, or through recordings,” said Fred Lerdahl, secretary of the Alice M. Ditson Fund and the Fritz Reiner Professor of Musical Composition at Columbia. “After a celebrated dozen years as music director of the New York City Opera, in 2010 he moved to the directorship of American Composers Orchestra, which in only two years he has brought to a fresh level of vitality. He is the composer’s conductor par excellence.”
Currently in his second season as music director of the American Composers Orchestra, George Manahan also serves as director of orchestral studies at the Manhattan School of Music as well as guest conductor at the Curtis Institute of Music. Prior to working with the ACO, he served for twelve years as the music director of the Richmond Symphony (an ensemble honored four times by ASCAP during his tenure for its commitment to new music) and for fourteen seasons as music director of the New York City Opera. Highlights of his NYCO tenure include the world premiere of Charles Wuorinen’s Haroun and the Sea of Stories and the New York premiere of Richard Danielpour’s Margaret Garner.

Manahan’s guest appearances have included the Aspen Music Festival, the Casals Festival (Puerto Rico), the Bergen Festival (Norway), Opera National du Paris, Opera Theatre of St. Louis, Minnesota Opera (where he was principal conductor), the Orchestra of St. Luke’s, the Jerusalem Symphony Orchestra, as well as the symphonies of Atlanta, San Francisco, Hollywood Bowl, and New Jersey, where he served as acting music director for four seasons.

His wide-ranging recording activities include the premiere recording of Steve Reich’s Tehillim for ECM, Tobias Picker’s Emmeline, Edward Thomas’s Desire Under the Elms (which was nominated for a Grammy), and Joe Jackson’s Will Power. In May 2011, Manahan was honored by the American Society of Composers and Publishers (ASCAP) for the ways in which his “career-long advocacy for American composers and the music of our time has enriched and enabled Concert Music both at home and abroad.”

Below is a complete list of past recipients of the Ditson Conductor’s Award:

1945 Howard Hanson
1946 Leon Barzin
1947 Alfred Wallenstein
1948 Dean Dixon
1949 Thor Johnson
1950 Izler Solomon
1951 Robert Whitney
1952 Leopold Stokowski
1953 Walter Hendl
1954 David Broekman
1955 Robert Shaw
1956 Victor Alessandro
1957 Howard Mitchell
1958 Leonard Bernstein
1959 Julius Rudel
1960 Richard Bales
1961 Richard Franko Goldman
1962 Guy Fraser Harrison
1963 Milton Katims
1964 Emerson Buckley
1965 Jacob Avshalomov
1966 William Strickland
1967 Igor Buketoff
1968 Alan Carter
1969 Frederick Fennell
1970 Gunther Schuller
1971 Maurice Abravanel
1972 Louis Lane
1973 Stanisław Skrowaczewski
1974 Lukas Foss
1975 Antal Doráti
1976 José Serebrier
1977 Eugene Ormandy
1978 Gregg Smith
1979 Sergiu Comissiona
1980 James A. Dixon
1981 Michael Charry
1982 Russell Patterson
1983 Julius Hegyi
1984 Leonard Slatkin
1985 Jorge Mester
1986 Efrain Guigui
1987 Dennis Russell Davies
1988 Lawrence Leighton Smith
1989 Gerard Schwarz
1990 Mstislav Rostropovich
1991 Christopher Keene
1992 Herbert Blomstedt
1993 Michael Tilson Thomas
1994 Gerhard Samuel
1995 Gustav Meier
1996 James Bolle
1997 David Zinman
1998 JoAnn Falletta
1999 Christoph von Dohnányi
2000 James DePreist
2001 Joel Sachs
2002 Edwin London
2003 David Alan Miller
2004 Donald Portnoy
2005 David Hoose
2006 David Robertson
2007 Gil Rose
2008 Robert Spano
2009 James Levine
2010 Osmo Vänskä
2011 Alan Gilbert

(—from the press release)

2013 CMA/ASCAP Adventurous Programming Awardees Named

Three ensembles and five presenters will be recognized with CMA/ASCAP Awards for Adventurous Programming during the 35th Chamber Music America National Conference in New York City. A ceremony will be held at the Westin New York at Times Square on January 20, 2013.

Established jointly by Chamber Music America and ASCAP, the annual awards recognize U.S.-based professional ensembles and presenters for distinctive programming of music composed within the past 25 years. The recipients, chosen by an independent panel of judges, were evaluated on the basis of their programming and innovations in attracting audiences to performances of new music.

The 2013 CMA/ASCAP Awardees are:

ENSEMBLES

Contemporary: SOLI Chamber Ensemble (San Antonio, TX)
Through its commissioning activities, the SOLI Chamber Ensemble has expanded the repertoire for its instrumentation—clarinet, violin, cello, and piano—a combination inspired by Olivier Messiaen’s Quartet for the End of Time. The group was cited for an award based on its programming and commissions, which included premieres of works by such composers as Brian Bondari, Xi Wang, Dan Welcher, Doug Balliett, and Paul Moravec, as well as Prelude to the End—created for the group’s 20th anniversary by composer Steven Mackey and video artist Mark DeChiazza.

Jazz: Slumgum (Altadena, CA)
Among the innovations of the jazz ensemble Slumgum is its practice of choosing a single concept, based on which all four band members agree to create at least one new piece. Other recent projects include the creation of a new work for octet (Slumgum musicians plus a chamber ensemble of flute, horn, clarinet, and voice) and performances of original works interpreting the written word, ranging from a passage in Charles Mingus’s autobiography to poems, a Biblical passage, and a Buddhist reading.

Mixed repertory: Radius Ensemble (Concord, MA)
To introduce new music to its classically oriented audience, Radius Ensemble has been offering programs that pair contemporary composers with past masters—Jan Bach and Katherine Hoover with Mozart and Françaix, György Ligeti with Robert Schumann. The ensemble (wind quintet, strings, and piano) was cited for its programming and related audience-engagement activities, including accessible spoken introductions to the works performed, meet-the-artists receptions, podcasts of live recordings, and live streaming of concerts.

LARGE PRESENTERS (10 or more concerts per year)

Contemporary: Miller Theatre at Columbia University (New York, NY)
Columbia University’s Miller Theatre was cited for its many original new music events, in particular its Composer Portraits Series, evening-length programs exploring the catalogs of Tobias Picker, George Lewis, John Zorn, and Hilda Paredes; its Sounds of a New Century (SONiC) Festival, which included a 12-hour marathon curated by the JACK Quartet and eight world premieres; and Pop-Up Concerts, a newly inaugurated free series.

Mixed repertory: Yellow Barn (Putney, VT)
Yellow Barn is being honored for its summer festival programming and for emphasis on new music in its year-round concerts, lectures, and educational offerings.  The 2012 festival routinely juxtaposed new music and iconic classical works, and included several works by composer-in-residence Brett Dean. A May open-air performance featured Gérard Grisey’s Le Noir de l’Étoile (for six percussionists surrounding the audience)—a composition inspired by the discovery of pulsars—and included a pre-concert talk with an astrophysicist. An artist residency in public schools, featuring the ensemble Due East, also highlighted the music of today’s composers.

SMALL PRESENTERS (9 concerts or less per year)

Contemporary: Musiqa (Houston, TX)
Musiqa (Houston, TX) is being honored for its wide-ranging commissioning, performance, and educational activities. “Free of the Ground,”—part of Musiqa’s Downtown Series—was an exploration of fellow artists’ influences on composers’ works; a concert in its Loft Series, held in conjunction with Contemporary Art Museum of Houston’s survey of the career of visual artist Donald Moffett, included politically charged works such as Frederic Rzewski’s No More War. Audience-engagement activities include talks by the composers, question-and-answer sessions, and a variety of new music concerts for children.

Jazz: Magic Triangle Jazz Series/UMass Amherst Fine Arts Center (Amherst, MA)
The Magic Triangle Jazz Series at the UMass Amherst Fine Arts Center is being honored for its programming and associated activities organized by music curator Glenn Siegel. James “Blood” Ulmer, Joshua Abrams, Wadada Leo Smith, the Frank Lacy Trio, Shakers ’n’ Bakers, and Steve Coleman and the Elements performed on the series, conducted student workshops, and participated in live radio interviews that were later made available as podcasts.

Mixed repertory: Kyo-Shin-An Arts (New York, NY)
Kyo-Shin-An Arts integrates Japanese instruments into contemporary Western  music. A typical collaboration, supported by the Japan Foundation, was titled Kammerraku (Kammer is “chamber” in German, and raku “music” in Japanese) and featured new music performed by the Voxare String Quartet with koto, shakuhachi, and shamisen players.  Another partnership, with the Colorado Quartet, featured four works composed for shakuhachi and string quartet, including a commission from Paul Moravec. The works were toured to the John F. Kennedy Center for the Performing Arts during the 100th anniversary of the National Cherry Blossom Festival.

(—from the press release)

2013 Grammy Nominations

Grammy Awards

The Recording Academy has released the list of nominees for the 55th Annual Grammy Awards. When the awards are presented at the Staples Center in Los Angeles on February 10, 2013, there will be winners in a total of 81 categories (down from 101 last year). Determined by the approximately 13,000 voting members of the Recording Academy, the awards will honor music issued on commercial recordings released between October 1, 2011, and September 30, 2012.

Nominations for Best Contemporary Classical Composition include Steven Stucky’s oratorio August 4, 1964, Tania León’s ballet score Inura, and Stephen Hartke’s Meanwhile (which was composed for and performed by eighth blackbird), plus the Cello Concerto No. 2 by Finnish composer Einojuhani Rautavaara and Latvian composer Ugis Praulins’s The Nightingale. For Best Instrumental Composition, a separate category, nominees include Ansel Adams: America co-composed by the recently deceased Dave Brubeck and his son Chris Brubeck. Other nominees include Chick Corea, Chuck Loeb, Bill Holman, and Bill Cunliffe.

Corea has also been nominated in the categories Best Jazz Solo Improvisation and Best Jazz Instrumental Album, where two different albums of his (a disc of duets with vibraphonist Gary Burton and a trio disc with Eddie Gomez and the late Paul Motian) will compete against each other as well as with recordings by Ahmad Jamal, Pat Metheny, and Kenny Garrett. Nominees for Best Latin Jazz Album, a category that was originally going to be discontinued but was subsequently reinstated, include albums by pianist Chano Domínguez, the Clare Fischer Latin Jazz Big Band, and the Bobby Sanabria Big Band.

The eighth blackbird recording on which Hartke’s Meanwhile appears, which is also entitled Meanwhile and additionally includes works by Missy Mazzoli, Roshane Etezady, and Philip Glass, has been nominated for Best Chamber Music/Small Ensemble Performance as well, where it will compete with another disc devoted exclusively to recently composed works, the debut disc of the Los Angeles Percussion Quartet (also nominated for Best Surround Sound Album). Also nominated in this category is a collection of four-hand piano music (including works by Harold Shapero and Leonard Bernstein) performed by the Zofo Duet, the Modern Mandolin Quartet’s album Americana (which features transcriptions of music by Bernstein, Aaron Copland, George Gershwin, and Philip Glass), and a disc by the Boston Symphony Chamber Players devoted to 20th-century French works. While the list of nominees for Best Orchestral Performance is, as per usual, dominated by standard repertoire fare, also included is a disc containing John Adams’s Harmonielehre and Short Ride In A Fast Machine performed by the San Francisco Symphony under the direction of Michael Tilson Thomas.

The first-ever complete recording of maverick composer Harry Partch’s rambling diary with music, Bitter Music, was given a nod by the Grammys in the category Best Classical Compendium. (The other nominees are a Baroque collection and a disc of works by Polish composer Krzysztof Penderecki.) In the “Producer of the Year, Classical” category, it is notable to see that all five of this year’s nominees have at least one recording in their portfolio that features contemporary American music.

Up for Best Historical Album is The Smile Sessions by The Beach Boys, an album which Frank J. Oteri examined at length for NewMusicBox last December. Journey was nominated for Best Score Soundtrack for Visual Media, a first for a video game soundtrack. Composed by Austin Wintory, the game was reviewed by NewMusicBox in May.

A complete list of 2013 Grammy nominees is posted on the Recording Academy’s website.

United States Artists Names Seven Music Fellows

Musicians Jack DeJohnette, Colin and Eric Jacobsen, Claire Lynch, Joanie Madden, Eugene Rodriguez, Tony Trischka, and Edward White are among the 54 awardees (including four collaboratives) working in the visual, performing, media, and literary arts to receive one of 50 USA Fellowships from United States Artists. The fellows were chosen “for the caliber and impact of their work” and will receive unrestricted grants of $50,000 each. Panels of experts in each artistic discipline selected the winning artists from among a total of 438 nominated applicants.

In the area of music, the recipients represent a stylistically diverse array of talent:

Jack DeJohnette

Photo by Dion Ogust

Jack DeJohnette, USA Ford Fellow, Willow, NY
Jack DeJohnette is a jazz drummer, pianist, and composer. After studying at the American Conservatory of Music, he began his career playing R&B, hard bop, and avant-garde music in Chicago with his own groups and with Roscoe Mitchell and John Coltrane. In 1966, DeJohnette moved to New York. He has collaborated with most major figures in jazz history, including Miles Davis, Ornette Coleman, Sonny Rollins, Sun Ra, Thelonious Monk, Bill Evans, Keith Jarrett, Chet Baker, Charles Lloyd, Betty Carter, and Eddie Harris. In January 2012, DeJohnette received a National Endowment for the Arts Jazz Master Fellowship.

Colin and Eric Jacobsen

Photo by Sarah Small

Colin Jacobsen and Eric Jacobsen, USA Cummings Fellows, Brooklyn, NY
Brothers Colin Jacobsen and Eric Jacobsen co-founded the music ensembles Brooklyn Rider and The Knights. Colin is a violinist who first played to critical acclaim at age fourteen with Kurt Masur and the New York Philharmonic. His wide-ranging musical activities include performing with orchestras, such as those of Albany, Chicago, and San Francisco, and playing with dance and theater companies such as the New York City Ballet and the Mark Morris Dance Group. Eric is a conductor and cellist, as well as the music director of The Knights, an orchestra founded with the goal of bringing the camaraderie of chamber music to the orchestral stage. The Jacobsens are also touring members of the Silk Road Ensemble.

Claire Lynch

Photo by Alison Harbaugh

Claire Lynch, USA Walker Fellow, Hermitage, TN
Singer and songwriter Claire Lynch was a rare woman in the bluegrass field when she led the Front Porch String Band in the 1970s. When the group stopped touring in 1981, Lynch became an in-demand session vocalist and wrote songs that were recorded by Patty Loveless, The Seldom Scene, and Kathy Mattea, among others. She has sung back-up vocals with artists such as Emmylou Harris, Dolly Parton, and Linda Ronstadt. Lynch won the International Bluegrass Music Association Female Vocalist of the Year Award in 1997 and in 2010 for her work with the Claire Lynch Band, which she formed in 2005.

Joanie Madden

Photo by Roy Somech

Joanie Madden, USA Friends Fellow, Yonkers, NY
Joanie Madden is a composer, flutist, and whistle player of traditional Irish music. After studying with Irish flute player Jack Coe, Madden became the first American to win the Senior All-Ireland Championship on the whistle and is the top-selling whistle player, having sold over 500,000 solo albums. Madden has also performed on over 160 albums with artists such as Pete Seeger and the Boston Pops. She is the leader of the award-winning Cherish The Ladies, an all-female Irish music and dance ensemble that began in 1985 and has since released 14 albums. The group has performed with Joan Baez, Vince Gill, and The Chieftains, among others, and has given more than 250 solo concerts.

Eugene Rodriguez

Photo by Mike Melnyk

Eugene Rodriguez, USA Oliver Fellow, Richmond, CA
Eugene Rodriguez has played a pioneering role in the revival of Mexican folk music in California. In 1989, Rodriguez formed the youth group Los Cenzontles as a way to teach traditional Mexican music and dance to area youth, and the band has toured nationwide and internationally. In 1994, Rodriguez produced the group’s recording of Papa’s Dream with Los Lobos and Lalo Guerrero, which was nominated for a Grammy for Best Musical Album for Children in 1995. Rodriguez has produced 20 CDs for Los Cenzontles, and he has also worked with musicians such as Ry Cooder and Linda Ronstadt, as well as Mexican and Mexican American folk masters.

Tony Trischka

Photo by James Porto

Tony Trischka, USA Friends Fellow, Fairlawn, NJ
Celebrated and innovative banjo player Tony Trischka has inspired many other progressive players. Trischka started playing the banjo in 1963 and played with numerous bands until the 1980s, when he began recording with his band, Skyline, and worked on the soundtrack for Driving Miss Daisy. His 2007 album, Double Banjo Bluegrass Spectacular, featured appearances by Steve Martin, Earl Scruggs, and many other banjo luminaries, and received two International Bluegrass Music Association (IBMA) awards as well as a Grammy nomination. Trischka also received an IBMA award for Banjo Player of the Year.

Edward White

Photo by Ron Burgis of Glory Days

Edward White, USA Lowe Fellow, Louisville, KY
Drummer Edward White studied master drum-making and playing with Danjuma Ighalo of Nigeria. In 1990, White founded the River City Drum Corps (RCDC), a cultural arts program that brings together traditional African drumming, drum making, and drum line performance and leadership for at-risk youth. The participants make their own “pipe drums” out of found materials, manage the RCDC, tour, and perform workshops in various communities. White has expanded the drum corps curriculum to Jefferson County public and Catholic schools and to other cities. He has received numerous awards, including the 2010 National Council of Negro Women’s Courage Award.

(—from the press materials)

A Horse Race Might Be What We Need

On Monday, Frank J. Oteri mused about the limited (to say the least) cultural impact of the Grawemeyer Award. In his column, Frank describes the lay of the land as far as awards comparable to the Grawemeyer (the Pulitzer, Nemmers, and Polar music prizes) and looks at the judging process, including the methodology behind the selection of winners. He also considers the effectiveness of panels that include “amateurs,” as well as the potential of crowd-sourced judging mechanisms. He concludes:

So, ironically, even though the Grawemeyer Award might be more reflective of what the greater community believes to be the strongest piece of new music, the result of this award will have a harder time reaching people who are not connected to new music in some way. And until the music awarded these kinds of accolades can reach a greater percentage of the population, it won’t really be culturally relevant.

Oh, where to begin…

If we’re really going to think about why the Grawemeyer does not have much recognition outside of the new music community, there are several questions that need to be raised. First off, why is the Grawemeyer so coveted? Why should anyone care who wins this award? Frank’s opening paragraphs subtly point to the possible answer—$100,000 (down from $200,000). It’s impossible to discuss the importance of the Grawemeyer (as well as the Nemmers and Polar) without mentioning the size of the purse. While it does not rise to the level of the Nobel Prize’s $1.2 million stipend or the $500,000 MacArthur Foundation “Genius” grants, the fact that a single artist can be given such a windfall is enough to capture the attention of at least those within our own industry.

So why does the Pulitzer Prize, with its $10,000 award, garner such attention from the media while awards like the Grawemeyer are barely recognized by those within the classical music community as a whole? I would suggest that the answer lies not with the award itself, but with the notoriety of the other recipients of the award. Both the Pulitzer and the Grawemeyer are given to individuals outside of music, but while the other Grawemeyers are given to worthy individuals in the fields of religion, psychology, world order, and education, the Pulitzer winners include journalists, columnists, photographers, and cartoonists, as well as authors, poets, playwrights, historians, and biographers. As notable as the scholars in religion, psychology, and education are within their fields, one would be hard pressed to find any who have a more direct connection with the broader public than journalists, photographers, and cartoonists who work for major newspapers or magazines or authors and writers whose works are readily accessible. Music actually still sticks out among the Pulitzers because of its mystery—often the winning work has not been recorded and distributed, so while the articles, columns, books, plays, and poems can be readily consumed before and after the awards are announced, the public basically has to take the word of the Pulitzer judges that the music winner was good.

Speaking of judges, let’s take a look at those judging panels Frank mentioned. Both the Grawemeyer and the Pulitzer employ variations on the same theme: a small number of “expert” judges are brought together to cull a small number of deserving works from a large field of submissions, whereby another panel of “non-expert” individuals take the responsibility for selecting the winner. This model is supposed to represent a democratic concept, balancing the experienced opinions of the experts with the natural sensibilities of the untrained amateurs—how well that model works can be and has been debated.

I say, if you’re going to feign a democratic process for a major award and intend for it to get noticed outside of our own community, make it a truly expansive democratic process. The individuals vying for the Academy Awards, for example, are nominated by the various branches of the Academy of Motion Picture Arts & Sciences and then voted on by the entire membership—one that numbers close to 6,000. It would not be impossible to form a similar organization, encompassing composers and performers from a wide swath of the community, that celebrates outstanding works from year to year selected by its large-scale voting membership. That’s the difference—practically any new music or composition award out there is ultimately decided upon by a few individuals, all of whom are both experienced and, by the very nature of their numbers, representative of only a small slice of the entirety of the industry.

Imagine a process where works are made available in an easily accessible format, in both score and recorded form, to a large number of professionals in the industry. Somehow a small group of nominees would be chosen and those works would be analyzed and digested by a large number of composers, performers, conductors, critics, and others before the winners were decided. Suddenly you really do have a horse race—several works being looked at over a sizable period of time and debated between various factions and groups in public—and since the judging model is neither a small number of experts nor a popularity contest for an “audience favorite,” the resultant significance of the final decision would be, well, significant.

I’m glad Frank brought this up, because it shines a spotlight on several aspects of our own industry/community that deserve wider discussion. I’ve argued before that our society in many ways does not know living composers even exist, save for a few exceptions, and with exercises such as awards that do bring attention to who we are and what we do, that situation can be changed over time. We should be celebrating Michel’s massive achievement—but we can use that celebration to reevaluate our own place in the world as well.

Not Quite a Horse Race

Horse

Probably the only time I think very much about horses is when I see an equestrian statue, like this one in Zagreb, Croatia, yet even I know about the Kentucky Derby.

Every year on the first Saturday in May since 1875, the eyes of the world are on the state of Kentucky for approximately two minutes to find out which jockey will capture the coveted first prize (and the lion’s share of the now $2,000,000 purse) in the Kentucky Derby. Exactly 110 years later, another extremely high-stakes prize was established in the bluegrass state, though it has yet to garner the same amount of attention from the general public—the $100K University of Louisville Grawemeyer Award for Music Composition. While regrettably there are fewer fans of contemporary music than sports of any kind in this country or probably anywhere else in the world, the Grawemeyer has also yet to be as widely an acknowledged accolade—even among new music aficionados—as other honors like the annual Pulitzer Prize.

Yet until last year, when the award was reduced from $200K to $100K as a result of the fund for the prize losing money due to a drop in the stock market, the Grawemeyer was double the size of the second largest prize a composer could receive. But since that prize, the Northwestern University School of Music’s Nemmers Prize (first awarded in 2004), as well as Sweden’s Polar Music Prize (established in 1989 by ABBA manager Stig Anderson), is also $100K, there still is no larger award. The Pulitzer, at $10K, is merely one tenth the size. The Grawemeyer, Nemmers, and Polar Prizes are open to composers from anywhere in the world (the Polar Prize is actually open to all genres as well), whereas the Pulitzer is exclusively the domain of Americans. However, since Pulitzer prizes are also awarded for journalism, every newspaper in the United States covers them faithfully every year. Did your morning newspaper (those of you who still read such things) run a story on the Grawemeyer Award this morning?

Might the Grawemeyer also not have the same caché as the Pulitzer because of the way the awards are determined? Each Pulitzer Prize winner is determined by a jury comprising a group of experts (which always includes a previous recipient of said award) which chooses three works to submit to the Pulitzer’s board (comprised mostly of professional journalists) which then makes the final selection. The Grawemeyer, on the other hand, is determined by a total of three panels. The first is culled from University of Louisville faculty and the second is a group of music professionals, including composers who have previously received the award. But the final panel, and the one ultimately selecting the winner, is a lay committee of amateurs which, according to the University of Louisville’s website, philanthropist Charles Grawemeyer believed would result in a more “democratic” adjudication process.

That more democratic process has resulted in an admittedly somewhat odd list of works. To date, only one piece of chamber music has ever been awarded (Sebastian Currier’s Static in 2007) and the only other winning work thus far that did not involve an orchestra was the collection of Piano Etudes by Gyorgy Ligeti which captured the second prize in award’s history, back in 1986. There also seems to be a weird proclivity for choosing string concertos. This year’s winner, Michel van der Aa’s Up-close is the 10th such work out of a total of 27 winners, which is more than 1/3rd of the total. However, the fact that Up-close also employs multimedia (it is the first Grawemeyer Award-winning instrumental composition to do so) is a hopeful sign that a greater range of works might snag the award in years to come.

Still, might a panel of “experts” be ultimately more sensitive to ensuring a greater variety from year to year than a panel of “amateurs”? I could imagine a group of such experts opining, “We can’t give this award to yet another violin concerto. Aren’t there any other worthy pieces in the submissions pile?” Of course, these days it sometimes feels a bit nostalgic to ponder the viability of expert opinions. After all, crowd-sourced decisions, a step even further beyond lay panels, have been touted as the unstoppable wave of the future by all the most trusted crystal ball toting spin doctors on the web. (Wait a minute, aren’t those spin doctors “experts”?) And yet Oscars, Emmys, and Grammys still have more cultural clout than the People’s Choice Awards. But maybe that will change as fewer and fewer people receive their news from mainstream media outlets. Sadly, though, the avenues of information that now inform many people about what’s going on (e.g. Twitter feeds, Facebook postings, even websites such as this) are so targeted that it can be extremely difficult for news to reach beyond the folks who have a vested interest in it. So, ironically, even though the Grawemeyer Award might be more reflective of what the greater community believes to be the strongest piece of new music, the result of this award will have a harder time reaching people who are not connected to new music in some way. And until the music awarded these kinds of accolades can reach a greater percentage of the population, it won’t really be culturally relevant.

Even if you don’t care about horse races (I know I don’t), I’m sure you’ve heard of the Derby. Without needing to turn on a TV or a radio, I always know when it’s Derby time from various posts from some composerly friend on Facebook. But if you weren’t somehow involved in new music, would you be friends with someone who posted something about the Grawemeyer Award? Thankfully I’m not a gambler, but if I was I’d be willing to bet the whole purse on what the answer would be. It’s hardly a horse race.

Three Musicmakers Awarded 2012 MacArthur Fellowships

Mandolinist and composer Chris Thile, arts entrepreneur Claire Chase, and bow maker Benoît Rolland are among the 23 recipients of 2012 MacArthur Fellowships. Often referred to as “genius grants,” the program awards five-year, $500,000 unrestricted fellowships “to talented individuals who have shown extraordinary originality and dedication in their creative pursuits and a marked capacity for self-direction.”

Each year, the MacArthur Foundation selects between 20-30 recipients. Between June 1981 and September 2012, 873 Fellows have been named from a range of disciplines. The fellowship is designed to provide recipients with the flexibility to pursue their creative activities in the absence of specific obligations or reporting requirements. There are no limits on age or area of activity. Individuals cannot apply for this award; they must be nominated.

(—from the MacArthur Foundation website)