I am quite certain that I would not be a composer today were it not for having received an eclectic liberal arts undergraduate education, and I think there are plenty of young people out there now who, like my younger self, need something a bit different than the laser-focused, technical musical education one might receive at a conservatory or through some other types of programs.
It’s refreshing to hear the bassoon edging it’s way towards the sonic foreground in contemporary music. Anyone with doubts about how cool the instrument can be has not yet heard bassoonist Rebekah Heller perform; in her hands, the oft-underappreciated instrument is transformed into a fierce creature that cannot be ignored onstage.
Are we really the best judges as far as what should and should not be shared with the outside world when it comes to our own music? Are our present selves overly critical of the pieces our past selves have labored over? What is the real purpose behind our attempts to so closely control how, when, and what part of our creative output reaches beyond our individual perimeters?
Composer and electric guitarist D. J. Sparr draws energy and inspiration from interacting with other musicians. “That’s why I compose,” he says, “to get to the point where I can be actively working with other musicians.” A full schedule of composition commissions, performances of his own music and that of other composers, and educational residencies ensures that he gets his fill of that vitality.
The recently released boxed set of electronic music pioneer David Tudor’s work, The Art of David Tudor (1963—1992) on New World Records, charts his transformation from interpreter and co-composer to composer/performer, presenting a selection of full performance recordings of many of his groundbreaking works.