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.
Seeing and hearing Nixon in China staged live by the Chicago Opera Theatre was a revelation.
Just when you thought you knew what new music was supposed to sound like, it suddenly ceased to be new music. Corey Dargel is a difficult one to compartmentalize on the pop-nonpop divide. His songs are further proof that there really shouldn’t be and ultimately aren’t such divides for people doing some of the most […]
Composers from Stephen Sondheim and John Musto to Martin Bresnick and Peter Lieberson are honored at the annual American Academy of Arts and Letters Ceremonial.
If you’re doing several different things at once, are you really paying attention to any of them?
Is it possible that listening and composing are contradictory impulses?
Is it possible to sell out without having to change musical styles?
Most “emerging” composers in our world, as well as aspirants in almost any genre, seek any opportunity to get their music in front of an audience whether financially lucrative or not—in most cases not. It’s probably the one piece of common ground between all of us, even if the economies that support the successful practitioners of each genre are so stark in their differences.