Classical music as a genre has been too fixated on the past, so it goes to follow that most classical music enthusiasts would believe in yesterday more than in the here and now, but I’ve been experiencing a greater openness to new music than ever before.
The premise of Tonic’s new rock complexity festival last week was to highlight the ever porous boundary between rock and, for lack of anyone’s better term, contemporary classical music. But as exciting and as new as much of this music sounded, is this really a new idea?
For some reason, the summer seems to have become as busy as the rest of the season: concerts (both in and out of town), award ceremonies, receptions, you name it.
The BMI Foundation has awarded Asuka Kakitani its seventh annual Charlie Parker Jazz Composition Prize; the award honors the writer of the best new work composed during the annual BMI Jazz Composers Workshop.
Peter Sellars’s remarkable keynote address at the American Symphony Orchestra League Conference is now available for anyone to listen to online, but what will be its ultimate impact.
True internationalism begins with an enlightened nationalism which is not prejudicial and therefore quite distinct from xenophobia and jingoistic patriotism.
The Knights played a concert at the visually stunning Angel Orensanz Center called Rewind which I should have loved, but they never stopped playing.
While I had a fabulous time at the free Bang on a Can Marathon at Manhattan’s Winter Garden Atrium, my level of commitment and connectivity to the listening experience was nowhere near what it had been just days before in concerts at L.A.’s Walt Disney Hall.
Perhaps there’s a way to make the American Symphony Orchestra League conference more of a new music event.