Paul Dresher has done work in at least three distinct musical streams with equal vigor and equally significant results. But whether he’s creating a fully notated piece of post-minimalist chamber music, a poly-stylistic score for an intense musical theater work, or an idiosyncratic experiment for one-of-a kind instruments of his own design, he’s always operating with the same basic assumptions about his audience.
Electronic music pioneer Laurie Spiegel sees a lot of common ground between the seemingly oppositional aesthetics of folk traditions and the digital realm. But whether she’s creating a computer-realized algorithmic composition, crafting a short piano piece or orchestral score, or jamming on a guitar or a banjo, the most important element in all of her music making is emotional engagement.
Paola Prestini combines wild imagination and controlled practicality on an almost molecular level—it’s as if both are fused together in her DNA. Whether she’s talking about her own multimedia operas or VisionIntoArt, the interdisciplinary arts production company she co-founded 15 years ago, she tends to think big but she always manages to make it happen.
Unlike composers who grew up in the United States where just about any kind of music seems part of our tradition, Shanghai-born Du Yun approaches all traditions as somehow exotic, whether classical, pop, avant-garde, or even the traditional Chinese music that deeply influences so many other Chinese émigré composers.
Michael Ching’s A Midsummer Night’s Dream is resolutely tonal, frequently extremely tuneful, and sometimes borders on pop. Yet it is radical and totally unexpected. There are no instruments in the orchestra, every sound is made by voices. It sounds nothing like what you might imagine an opera based on Shakespeare would sound like. And yet it totally works.
One of the themes Robert Honstein frequently comes back to in his pieces is technology and how it impacts on our lives, yet ironically his music thus far has been anything but high-tech. Aside from the occasional electric guitar or electric bass, Honstein’s timbral palette consists predominantly of acoustic instruments. If that somehow seems contradictory, it’s more a by-product of his being attuned to the world we currently live in but not feeling straitjacketed by it.
Tons of people have devoted their whole life to new music, but few people have done so to the same extent as composer/trombonist Jim Staley, who for more than a quarter of a century devoted his home to it as well. But 35 years on, Roulette has moved boroughs and has gone from being new music in someone’s home to a home for new music.