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.
Pablo Ziegler, who has been the de facto source for the interpretation of Piazzolla’s music for over twenty years, is an important composer of nuevo tango in his own right. Now based in Brooklyn (though he’s constantly traveling to perform all over the planet), Ziegler has a particularly strong affinity for improvisation and loves to mix tango and jazz.