There are no typical divas in Object Collection’s operas, no heroines or heroes in the traditional sense. This is opera that, while distinguishing itself as such, takes into account the cross-pollination of media and art forms following the radical aesthetic transformations that began over half a century ago.
As Cassidy talked me through the many stages of planning, sketching, and composing the quartet, it occurred to me that each step was carefully designed to advance the music’s richness without, first, sacrificing the structural propositions of the previous step and, second, requiring him to resort to the limitations of his human imagination.
Ironically, the avant-garde might be the old guard’s best bet for bolstering the audience for classical music, and vocal music might lead the way.
The technology of the 21st century may have numbed the exoticism that comes with living overseas and rendered the sense of national rootedness more fragmentary and ephemeral. But the creation of identity—a trigonometry of closeness and distance, allegiance and rejection, composition and reception—remains an essential one for any artist.
Knowledge is power, and power is not something that composers have historically enjoyed. If you want to be in control of your circumstances instead of letting your circumstances control you, it might well be time for a different kind of education.
Soon after Thomas Wirtel, a.k.a. Thomas Shabda Noor, met Morgan Powell at North Texas State University in 1957, experiments in group improvisation commenced on a weekly basis, experiments profoundly informed by music of the 20th-century avant garde.
Bunita Marcus’s process of composing The Rugmaker was quite literally her process of remembering the trauma that had happened to her as a child.
There are as many ways to be caught up inside of a melody as there are melodies themselves, and each of them loops itself into our internal hardwiring in a different way.