Tag: news in brief

MAP Fund Awards $1.4M to Support 41 Live Performance Projects

2013 MAP Fund Awardee Bang On A Can's roving 12-player Asphalt Orchestra.

2013 MAP Fund Awardee Bang On A Can’s roving 12-player Asphalt Orchestra

The MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, has announced its 2013 grants. The Fund will underwrite 41 new projects in the disciplines of dance, theater, and music, all works that in some way explore the boundaries of contemporary performance practices.

A panel of peers selected the grantees from more than 800 submissions, and the projects will be supported with grants ranging from $15,000 to $40,000. In addition to project grants, an additional $200,000 total in general operating grants is available to all applicant organizations and artists.

The 2013 grantees include:

Alarm Will Sound, Inc. (NY) for The Hunger, a new opera by Irish composer Donnacha Dennehy about the inequities that led to the Great Famine in Ireland which will be performed by Dawn Upshaw and Iarla O’Lionáird with Alarm Will Sound.
Bang On A Can (NY) Bulgarian Asphalt, a new commission for Bang on a Can’s Asphalt Orchestra, including music by Ivo Papasov and movement by Parker Lutz.

Kronos Quartet (CA) for a new work for string quartet and film in commemoration of the centennial of the outbreak of World War I, created in collaboration between Kronos Quartet and composer Aleksandra Vrebalov.

Providence Productions International, Inc. (CA) for Mediation, a new live performance where pre-recorded sound, video, and text form the basis for improvisational collaboration between lead artists “Blue” Gene Tyranny, Hisao Ihara, and Mary Griffin.
Harlem Stage (NY) for The Idea(s) of Harlem, a song cycle conceived by musician/composer/visual artist STEW, which explores both the reality and myth of Harlem through the lens of writer James Baldwin.
For a complete list of the 2013 grantees, please visit the MAP Fund site.

Harlem Stage receives MAP Funding the year for The Idea(s) of Harlem, a song cycle conceived by musician/composer/visual artist STEW, which explores both the reality and myth of Harlem through the lens of writer James Baldwin.

Harlem Stage receives MAP Funding the year for The Idea(s) of Harlem, a song cycle conceived by musician/composer/visual artist STEW, which explores both the reality and myth of Harlem through the lens of writer James Baldwin.

Panelists who served the MAP Fund this year included Bill Bragin (Director of Public Programming, Lincoln Center for the Performing Arts, New York), Don Byron (independent composer, New Jersey), Jess Curtis (choreographer/director, Artistic Director, Jess Curtis/Gravity, San Francisco/Berlin), Cathy Edwards (Director of Programming, International Festival of Arts and Ideas, New Haven, CT), Gayle Isa (Executive Director, Asian Arts Initiative, Philadelphia), Jaamil Olawale Kosoko (Producing Associate, New York Live Arts, Co-Director of anonymous bodies II art colllective, Philadelphia), Tommy Kriegsmann (President, ArKtype, New York), Mark Murphy (Executive Director, REDCAT, Los Angeles), and Susan Narucki (soprano and professor of music, University of California at San Diego).

The MAP Fund is supported by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. The program, which was established by the Rockefeller Foundation in 1988, has supported innovation and cross-cultural exploration in theater, dance, and music for more than two decades. To date, MAP has disbursed over $24 million dollars to over 1,000 projects. Since 2001, the program has been administered by Creative Capital, a national nonprofit organization founded in 1999 which is dedicated to providing integrated financial and advisory support to artists pursuing adventurous projects in five disciplines: Emerging Fields, Film/Video, Literature, Performing Arts, and Visual Arts.

(-from the press release)

2013 Guggenheim Fellows Announced

Guggenheim
In its 89th annual competition for the United States and Canada, the John Simon Guggenheim Memorial Foundation has awarded 175 fellowships to artists, scientists, and scholars. The successful candidates were chosen from a group of some 3,000 applicants.

In the category of “Creative Arts: Music Composition,” this year’s awardees are:

Kati Agócs
Marcos Balter
Benjamin Broening
Aaron Einbond
Myra Melford
Carman Moore
Paul Moravec
Jean-Michel Pilc
Narong Prangcharoen
Mathew Rosenblum
Sheila Silver
Guggenheim Fellows are appointed “on the basis of achievement and exceptional promise.” Since its establishment in 1925, the foundation has granted over $281 million in fellowships to more than 17,000 individuals.

(—from the website)

Scratch That: Chicago Unites, Beck Composes, and Dale Clevenger Hangs On

New York Times music writer Steve Smith reportedly “leaned on” his editors and got them to fly him out to Chicago this weekend, where he caught the (Re)New Amsterdam benefit show at the Empty Bottle and Anna Clyne’s new Double Concerto at Symphony Center. At the Empty Bottle, members of Chicago’s musical community nursed their beers and politely waited to shake his hand. Okay, maybe that was just us.

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The morning after (Re)New Amsterdam–which was amazing–event co-curator Marcos Balter was effusive, saying: “I am incredibly touched by the generosity and camaraderie displayed by the Chicago new music scene yesterday. The fact that many of our highest bidders and donors were musicians themselves only solidifies what I already knew: we are indeed a family, and we are better artists and individuals for supporting one another.”

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In other (Re)New Amsterdam news, we’d like to share that during the event we spent perhaps fifteen minutes in the Empty Bottle green room. The green room couches carry the alarming scent of two decades of legal, indoor Chicago smoking. Upon our return home, our spouse declared that we smelled “like my granddad.” #rockstarlife

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Veteran journalist Michael Miner–best known for tackling Chicago’s plentiful political and journalistic scandals–turned his attention to the horn section of the Chicago Symphony this week. His article about the mounting criticism of 71-year-old principal horn Dale Clevenger contained some heart-wrenching anecdotes. Apparently, critic Andrew Patner has not spoken to Clevenger–a former friend–since he made his first critical statement about Clevenger in the Sun-Times in February 2010.

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In a review in the Telegraph, British theater critic Charles Spencer valiantly resisted comparing an all-female production of Julius Caesar to “dogs walking on their hind legs”–while still managing to use that exact phrase in his review. Bad-ass British violist Jennifer Stumm called the article “sexist drivel” on Twitter. You go, girl!

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High-level nerds celebrated the auspicious date 12/12/12 by turning the day into a tribute to twelve-tone serialism. It was also our Dad’s birthday. Happy birthday Dad!

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Beck’s long-awaited album of sheet music, Song Reader, has arrived. For composers, whose music usually exists in printed form before it exists in sonic form, this is a revealing moment about the state of sheet music in our digital society. These are the top comments over at The Atlantic:

Comments from The Atlantic

Scratch That will return in January after a holiday hiatus.

Scratch That: Solidarity, Grammys, and Drinking

Two women gossiping

First things first: (Re)New Amsterdam, a benefit concert which was born when Chicago composer Marcos Balter posted a call for performers on Facebook, has now grown to include almost every new music ensemble in Chicago. The fact that the entire community could be gathered so quickly is either (a) a quaint demonstration of Midwestern generosity, like a church bake sale, or (b) a demonstration of how organized, savvy, and connected the scene has become in recent years. The concert will take place on December 16 as part of the (Un)familiar Music Series at the Empty Bottle, curated by Spektral Quartet violist Doyle Armbrust. Storm-ravaged NYC record label New Amsterdam Records is the beneficiary of the fundraiser. NewAm co-founder Sarah Kirkland Snider tweeted: “To everyone who dwells on warring factions in new music aesthetics, look no further than this.” She has a point, since the evening will include Dojo and Searchl1te (those are DJs), the hardcore Darmstadt-prize-winning ensemble dal niente, some Steve Reich easy listening-type stuff, and a folk/outsider jazz band whose members are all composers. Tickets are $10—more if you can—and you’re advised to squeeze onto the guest list right away. // Next week, ensemble dal niente will present their annual homage to new music virtuosity, Hard Music Hard Liquor, at Mayne Stage. We are really looking forward to it, although the event’s concept only magnifies the sad difference between a new music rock star and an actual rock star: the latter gets sloppy onstage; the former does not, because she is counting furiously, threading the needle, sober as a lamb. // Chicago-based touring superstars eighth blackbird have another Grammy nomination—this time for their most recent release, Meanwhile. To celebrate this, we’ll re-watch the beautiful video that Manual Cinema made in collaboration with the ensemble. The title piece by Stephen Hartke was nominated for Best Contemporary Classical Composition. // Chicago is losing Fifth House Ensemble pianist, artistic director, and mensch Adam Marks to New York City. Fifth House’s new pianist is Jani Parsons. // Over on her blog last week, Chicago composer Alex Temple posted a spirited defense of living with a moderate amount of irony. It was nice to see some pushback against that NYTimes hipster hatefest, which we sympathize with but which frankly went too far when it implied that playing the trombone was a hipster thing. // Last week, orchestral musicians in Chicago and beyond moaned in unison over a “scientific study” which found that conductors are, indeed, necessary. The experiment involved attaching an infrared laser beam to a baton and some violin bows, and figuring out who moves first. After being dealt this blow, hundreds of instrumentalists valiantly went to rehearsals in which they managed to play “Sleigh Ride” in spite of what was happening on the podium.