With a background that spans music theater, woman-at-the-piano club shows, and the presentation of experimental work, Gelsey Bell finds herself most at home in spaces of creative risk and vulnerability.
Thomson’s often-complex work is carefully designed and communicates powerfully in live performance without exhausting the audience. We chat with him off stage about how he navigates multiple projects and genres while keeping listeners on the edge of their seats.
Composer, improviser, and pedal steel guitarist Susan Alcorn came up playing country and western music, but her ear eventually led her down a decidedly more singular experimental path. “You’ve got be naked in your mind to be able to play and express yourself—you have to be naked and fearless and that’s not easy, especially the older you get.”
Today marks the 40th anniversary of Nicolas Collins’s Pea Soup, a piece that uses electronics to “play” the signature acoustics of a space. In honor of that milestone, Collins today unveils Pea Soup To Go, a free virtual jukebox programed with recordings of 70 different versions of the work.
In a crowd, nuance fades away. When the argument is literally framed by a fence in the street, the question of “which side are you on?” can take on a certain stark, if ultimately artificial, clarity.
Too embarrassed to ask your colleagues for guidance on handling performance anxiety? Facing a problem so professionally complex your mom doesn’t know how to help you? You need a fierce friend and NewMusicBox is here to help.
This week marks the Disquiet Junto’s 134th composition challenge and the assignment takes things in a fresh direction: score an already-filmed dance piece. The visual movement is complete, but its sound has yet to be crafted in response.
Whether inspired by history, Biblical texts, or purely sonic ideas, Baltimore-based composer James Lee III’s music explores a landscape rich in color and rhythmic texture.
Beyond the serious financial plight of the unpaid 2013 Beethoven Festival musicians, the larger conversation drives home that both performing artists and their employers need to be educated and held accountable by the community at large, and there is some serious work to do on that score.
It came as no surprise that the cancellation of the scheduled simulcast of John Adams’s The Death of Klinghoffer, slated for production at the Metropolitan Opera this fall, has inspired some very active comment section action. But have you heard the work yet? Let’s listen and chat.