Introducing a new way to enjoy the music and interviews NewMusicBox collects every month! You can now sit back and listen to audio-only versions of the profile videos we have created in a single continuous stream, or pick and choose to create your own playlist.
Earlier this month, Nouveau Classical Project premiered Vin Calianno’s Sororatorio: a Cuntata, which took as its text the famed, absurdly vulgar 2013 email lashing delivered by a Delta Gamma chapter president. So just how did he end up setting that much anger and profanity to music?
“It’s not your skill level, it’s how much you communicate,” cellist Erik Friedlander advises. “It’s how much you express that the audience really wants to hear. They come to hear you be real.”
Jimmy Fallon spent 50 seconds during Monday’s Tonight Show making fun of pioneering flutist and composer Robert Dick’s name and textbook. Now Dick is hoping to get invited on the show himself so he can let his artistry do the talking instead.
Violinist Miranda Cuckson embraces even the sharpest, most unapproachable-seeming pieces, conveying the music with such palpable control and insight that it’s as if she’s holding the door into these worlds open for the audience.
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.