Sebastian Currier has been awarded the $200,000 Grawemeyer Prize for Music Composition for his quintet Static, a 2003 work for flute, clarinet, violin, cello, and piano.
James J. Pellerite, Native American flute; Moravian Philharmonic conducted by Lawrence Golan The traditional Native American flute is an extremely expressive instrument, but it is almost invariably played unaccompanied. So it’s great to hear Comanche composer David Yeagley’s single movement concerto, Wessi vah-peh, and the other concertante works featuring Native American flute with a symphony […]
While initially my wife and I were extremely excited about an iPod (after all, our society instills in us the desire for the latest technological innovation), the charm wore off as soon as we talked about what music we would put on it.
Hearing Charlemagne Palestine’s magical approach to the piano live is one of the great “have to be there” experiences. As wonderful as his all-too-rare appearances on recordings have been, none really captures the total experience: in which his maniacal minimalist solo piano pyrotechnics are often accompanied by a sea of teddy bears and a snifter […]
Sometimes extraneous noise, while hindering the ability to listen with undivided attention to the actual performance, is part of what makes concerts in alternative spaces exciting, socially-engaging events.
New Millennium Ensemble Although the eight members of the Common Sense Composers’ Collective are spread all over the country, they mostly share a similar post-minimalist compositional aesthetic. And their shared sensibility has made the previous collective discs remarkably consistent for multiple-composer recordings. But on first listen, the omnivorous post-modernism of Ed Harsh (who also serves […]
Steve Evans, vocals; Jake Vinsel, bass; Noritaka Tanaka, drums; Leandro Lopez Varady, piano According to the booklet notes on his new 2-CD set, jazz vocalist Steve Evans originally intended to release a live recording of his quartet, but “technical difficulties” intervened. So instead he imposed strict restrictions on his studio process in the hopes of […]
The attention of an audience should be of paramount importance for any music.
I really can’t understand why some people feel compelled to walk out of a concert while a performance is still going on; is anything really so unbearable?
Do composers have the right, or even the ability, to determine the context in which their music gets heard?