For our latest edition of Different Cities Different Voices, a series from NewMusicBox that explores music communities across the US through the voices of local creators and innovators, we are putting the spotlight on Boston. The series is meant to spark conversation and appreciation for those working to support new music in the US, so please continue the conversation online about who else should be spotlighted in each city and tag @NewMusicBox.
This Small Town-Big City has more arts and culture nonprofits per capita than New York City. More than 1,500 orgs ranging from the niche and widely varied to storied and well endowed
On the contemporary front alone, we are home to over 40 ensembles with a mission that specifically includes new music!
I haven't been a part of any other community to compare it to, and I don't really feel the need. It's a collegial community, and so many of us perform together in various different ensembles. There's always someone you know on the gig. It's almost like one big shifting ensemble.
Aliana De La Guardia
I find that Boston’s artistic community encourages the experimentation, research-based practice, and site-specific work that I have been drawn to.
Because Boston is, in some ways, a huge college town, there is a constantly changing flow of creatives running through its neighborhoods.
I came to Boston in 2006, doe-eyed, impressionable, and excited to start my Masters in Viola at the New England Conservatory. While I was initially attracted to the city’s quaint charm, its throughline to key people, places, and moments in history have kept me here so long. There’s no shortage of museums to get lost in, stories to recount, and histories to explore and draw inspiration from. Plenty to feed my curiosity (which is a happy coincidence as it also feeds my creativity as a performer and artistic director).
Boston also introduced me to my good friend, NEC classmate, and composer/social justice artist Anthony R. Green. As two Black, twenty-somethings interested in new music/chamber music — and who just so happened to be alphabetical neighbors come graduation time — our paths were destined to cross. With an abundance of youthful energy, collective passion, and mutual interest in exploring culture and history, we created Castle of our Skins, a concert and education series dedicated to celebrating Black artistry. A decade later, I still get to feed my curiosity and explore culture as the organization’s Artistic/Executive Director and violist.
This Small Town-Big City has more arts and culture nonprofits per capita than New York City. More than 1,500 orgs ranging from the niche and widely varied to storied and well endowed. There’s seemingly a group for just about anything and an audience to follow it. While saturated to the point of being overcrowded (especially as it relates to dollars…), Boston has a way of making room for new ideas and voices, something Anthony and I were fortunate for ten years ago when we had an idea. You can hear one of those new ideas and up-and-coming voices below.
Like in any long-term relationship, Boston and I have had plenty of “love-to-hate” you moments over the nearly two decades of knowing each other! But Boston came through to support its creative workers over these pandemic years and continues to do so. While an arduous time filled with great uncertainty and responsibility as a non-profit leader, it also proved to be a creativity-inducing period filled with experimentation, due in no small part to the support I received from Boston and beyond. It still makes space for the interesting and new while keeping its sense of history – the good, bad, and complicated – in the forefront.
Anthony R. Green: On Top of a Frosted Hill
performed by Ashleigh Gordon (viola) and Joy Cline Phinney (piano)
Nebulous String Quartet featuring Kely Pinheiro: Berklee Two Track I Gratitude
I moved to Boston in 2004 for my graduate studies at the Boston Conservatory. Immediately, I fell in love with the city’s sense of place, a dynamic convergence of old and new. This is mirrored in Boston’s vibrant music scene, which is known for its unique strengths in both early and contemporary music. I suspect that Boston has the most classical music per capita of any U.S. city (using “classical” in the broadest sense of the word). On the contemporary front alone, we are home to over 40 ensembles with a mission that specifically includes new music!
Navigating Juventas through the pandemic has been challenging, but also thrilling. Our ensemble members share a deep conviction that it is essential to keep making music to help our community cope through this difficult time. In March 2020, during the initial lockdown, we quickly launched “Stay Home with Juventas,” a weekly solo concert, live-streamed from musicians’ homes. Most of us had never live-streamed anything before. Later that spring, in June 2020, we were one of the first ensembles in the world to reunite musicians in the same room for a live-streamed chamber concert. Our 2020-21 season was entirely virtual, broadcast from a recording studio in Boston, with CD quality audio and high definition video feeds from six cameras. Even though it was super scary, we kept the performances 100% live to maintain the special thrill and audience connection of live performance. While constantly adapting, we found silver linings. One of our live-stream concerts was viewed by over 7,000 people, an audience that was previously unimaginable for our small organization. In June 2021, eager to welcome back an in-person audience, we designed “Music in Bloom,” an outdoor performance experience at the New England Botanic Garden at Tower Hill. Over 1,000 people joined us in-person for a program of contemporary music by composers that are not broadly known to the general populace. We are bringing “Music in Bloom” back for a third year in 2023. Behind these successes has been an incredible amount of un-glamorous grunt work by our team. There was a point in the pandemic when we had trouble finding a space that would let us in to rehearse. We ended up rehearsing in an unheated church, musicians bundled up in long underwear, our pianist Julia working on an extremely out-of-tune piano. This is how much everyone cared.
With my own composing, one of the deepest disappointments was the necessary postponement of a 2020 program of my choral music, a special collaboration between Juventas and the New Hampshire Master Chorale. I had just finished several new works for the occasion and found myself waiting years to hear them. But I funneled my energy into recording a new album, Watershed, with chamber music inspired by favorite walks in nature. And that choral concert is now finally happening this fall, October 29, at Tuft’s Granoff Music Center in Medford, MA; and October 30 at the Colonial Theater in Laconia, NH!
My first work sample is a live performance of Watershed, Movement II “Calm,” the title work on my new album. I wrote this piece during the pandemic as an homage to the Mystic River, a place where I find solace and inspiration.
Nick Southwick, flute
Wolcott Humphrey, clarinet
Anne Howarth, horn
Minjin Chung, cello
Julia Scott Carey, piano
My second offering is an excerpt of Michael Gandolfi’s Line Drawings, performed live by Juventas in September 2019. Michael is a backbone of the Boston music scene, and one of my very favorite composers.
Wolcott Humphrey, clarinet
Olga Patramanska-Bell, violin
Julia Carey, piano
Aliana De La Guardia
Boston and I chose each other. I went there for school and that’s where my closest collaborations formed. It was the exact right place for me during my young adulthood and I received the kind of mentorship I needed to become who I am as an artist. I live outside the city now, but still consider myself a Boston-based artist. I return there often to present and perform new work.
Boston is my community, so of course I’m going to be partial. I haven’t been a part of any other community to compare it to, and I don’t really feel the need. It’s a collegial community, and so many of us perform together in various different ensembles. There’s always someone you know on the gig. It’s almost like one big shifting ensemble.
For Guerilla Opera, the pandemic was problematic, but we were inventive in our own way. We’re not the type of group that presents aria concerts or song recitals. Everything is about new and experimental work development and driving those works toward a fully designed, fully theatrical performance. So we experimented with works that were smaller in scale, with one two and three performers total. We experimented with film and video projects. We re-ran past productions and introduced a whole body of repertoire to new audiences. We experimented with online programming, including a performance series, streaming programs pairing short works together, virtual meet-ups, creative workshops for artists, and we were quite busy. Every month we had at least one event to bring our community together, and that is what it was really about for us -bringing the community together.
Scene 1 from Marti Epstein’s Rumpelstiltskin (Guerilla Opera’s January 2022 Release)
Hannah Selin: Mid-Day featuring soprano Stephanie Lamprea
I came to Boston to study at New England Conservatory. But my journey to Boston opened so many new doors for me. While I love the saxophone and actively play solo and ensemble concerts, my first job out of school was at an art school. While working in the computer arts lab at Massachusetts College of Art, I became involved in transdisciplinary art, and the early development of electronic music education in the age affordable computers. Being at an art college led to me creating music for multimedia collaborations with Tony Oursler, Magdalena Campos, and Sam Durant. I produced a concert by George Lewis and participated in studio visits with John Cage. At the same time, I spent weekend nights at Wally’s Cafe in Roxbury, where I played with Greg Osby, Terri Lyne Carrington, and Terence Blanchard. Within a few years, I developed a practice as a transdisciplinary artist, and it was my work in electronic music and multimedia installation that brought me to Berklee College of Music, where I have been a professor for 30 years, and the Artistic Director of the Berklee Interdisciplinary Art Institute.
Boston is home to a unique community of musicians, artists, curators and researchers, who come from all over the world, to work in colleges and universities in the area. A steady flow of fantastic guest lecturers and artists provides me with the opportunity to experience new art works and talk with compelling creators constantly. Through collaborations from Boston I have worked in more than a dozen countries around the world, where I have played saxophone, composed music, and presented interdisciplinary work. Recently, Fujiko Nakaya, a Japanese artist known for her fog sculptures, and member of the influential Experiments in Art and Technology group, heard my concert Sounding the Cloud with Scanner and Steven Vitiello, at the Institute of Contemporary Art in Boston. She asked me to make the quadraphonic sound composition Lavender Ruins, for her 12-week, outdoor fog sculpture, at the ruins of Frederic Law Olmstead’s athletic pavilion where Duke Ellington gave annual free concerts. Right before the pandemic, Williams College Museum of Art invited me to create Sonance for the Precession, a sound installation that was situated on top of Hopkins Observatory, the nation’s oldest extant observatory, and provided a context to reflect on how Hindu and Greek theories of astronomy and acoustics developed through intercultural exchange. I find that Boston’s artistic community encourages the experimentation, research-based practice, and site-specific work that I have been drawn to.
Some of the best young artists in the world come to develop their practice here, particularly those interested in contemporary music and art. I enjoy helping students, contributing to this critical stage of their growth and having them become colleagues after they leave. About twelve years ago, Berklee asked me to be the founding artistic director the college’s Interdisciplinary Arts Institute. Last fall, my students performed with the Harvard New Music. Later the same semester, my students collaborated in premiering original works made in collaboration with students at MIT’s Opera of the Future lab. The same semester, Miguel Cardona, the U.S. Secretary of Education visited our seminar and observed a student performance. Boston has been an excellent location for helping students learn to build cultural connections between artists from diverse communities and artistic backgrounds.
The post-Covid era presents a unique opportunity for work within the arts that can support local, national and global healing. My professional practice began with the intention of collaborating with artists from around the world, and across all artistic practices. Boston is a good base to pursue this work and involve young people in process of celebrating our shared humanity through the arts.
Here’s a recording of the recent sound installation of mine at Williams College that I mentioned…
Dave Bryant: “Lime Pickle” from Night Visitors
Boston holds a lot of history for me – I was born here, and spent most of my childhood driving back and forth from New Hampshire visiting extended family. During my teenage years, I saw many concerts in Boston, and when it was time to pick a college I looked primarily in and around the city. Although I initially moved back to Boston for school and expected to move elsewhere after I completed my degree, the incredible DIY music scene here is what has made me stay.
Because Boston is, in some ways, a huge college town, there is a constantly changing flow of creatives running through its neighborhoods. My friends and I joke about the “Allston to Brooklyn pipeline”, as many of our musical collaborators have moved from the popular Boston artist’s neighborhood to NYC postgrad. However, even with these constant changeovers, there is an incredibly strong group of people dedicated to making Boston’s music and art scene great. We have independent record labels such as Disposable America, art and culture publications like Boston Hassle and Allston Pudding, and a thriving house show scene that encompasses mostly the Allston/Brighton neighborhoods but extends into Jamaica Plain and Dorchester. I’ve been very fortunate to have toured now along the east coast, out into the Midwest, and along the coast of California, and I can confidently say that Boston has one of the strongest DIY scenes in the country. I believe so deeply in this community and I’m so excited to continue to watch it grow post-pandemic.
I’m very lucky to be in two amazing bands: Sweet Petunia, my folk duo with collaborator Mairead Guy, and a rock band called Winkler. Both bands have seen great success in the DIY scene, and I’ve met many amazing people through each that I’m so happy to call my friends. With Sweet Petunia, one challenge has been carving out a space in a community that is mostly indie rock-centric. Amazingly, though, we have met a lot of people who have taken a chance on us and therefore we’ve played some really interesting, genre-diverse bills over the years. During Covid, both of my bands had members move back home to be with family, and therefore another one of the biggest challenges we faced was continuing to write and collaborate with each other long distance. The third largest problem that we have currently in Boston is a lack of small, traditional venues. With the closing of Great Scott during Covid, we lost one of the most important small venues our city had to offer. Although there are many DIY venues to play, options above that for a band that has begun to grow in following are slim. That has begun to change, though, due to the efforts of promoters like Once and Alex Pickert of Get to the Gig Boston. I believe with time we will continue to grow this aspect of our community! I’m excited to continue to live and work in Boston and to see how our DIY community continues to strengthen.
A track featuring me: “Early Morning Blues” by Sweet Petunia
A track from a local favorite: “Villain of my Mind” by Clay Aching