If the final days of the CD are not eagerly anticipated by label managers, it’s still a topic for contemplation and ongoing discussion.
It’s a given: money has to come from somewhere before discs get released. It’s just that the need for dough is more on the surface in all realms of the always-struggling little realm of contemporary American music.
It’s said over and again: recordings are over and done with, except for all those CDs that keep getting released every month; it’s similar to the even more familiar drone that nobody ever listens to contemporary music, except there’s so much of it around all the time.
Four years ago, NewMusicBox featured an in-depth look at the role new American music plays at the Van Cliburn International Piano Competition; this year the Cliburn has once again held an American Composers Invitational and Mason Bates appears to be the big winner.
The new Experimental Media and Performing Arts Center on the campus of Rensselaer Polytechnic Institute in Troy, New York, is set to open on Friday, October 3, 2008.
The Cliburn’s second American Composers Invitational included works by five Americans: Sebastian Currier, Jennifer Higdon, Daniel Kellogg, Jan Krzywicki, and Ruth Schonthal.
Everybody had nametags at the National Performing Arts Convention in Pittsburgh last month. But with the exception of the composers, you had to get up close to read what world they came from—symphony, opera, chorus, or dance.
As American orchestras perform an increasing number of premieres each season, it is all the more difficult to obtain that elusive second performance. A major roadblock toward that goal is the frequent inability of composers—and their publishers and agents—to secure recordings of concert performances for use in promoting new works.