Viewpoint

Nuclear Introspection: A Cantata for Contemplation

In a year or two, the world’s attention will have moved away from the urgent questions raised by Fukushima. Therefore I feel that far from showing disrespect, the nature of this cantata and the spirit in which it was created make it a powerful means to show and magnify precisely the deep respect and attention we need at this moment.

The Art World That Isn’t (And the Music World That Is)

If today’s art world truly resembled today’s musical world, “popular art” would be a thriving multi-billion dollar industry, but there’d also be “classical art” exhibited in small, subsidized museums catering to the rarefied tastes of a small minority of connoisseurs who believed strongly in the intrinsic superiority of long-dead artists, and “contemporary high-art” populated by un-popular living artists.

Making 2011 the Year of the Composer

On February 17, 2011, Governor Peter Shumlin declared this the Year of the Composer in Vermont; what had happened in 30-plus years to bring Vermont from artistic backwater to being the first state to declare its commitment to new music?

Raising Young Voices

To mark the tenth anniversary of Transient Glory, the Young People’s Chorus of New York’s ongoing commissioning, performance, and recording program, YPC Founder and Artistic Director Francisco Núñez writes about how this important initiative first got started and how it has continued to flourish as it enters its second decade.

Why Louis is Different

Many Americans would love to claim Louis Andriessen as ours simply because we recognize so much of us in him and of him in us.

On New Opera and Film Music

I’ve often been asked why I would want to compose an opera and while I actually expect this question to arise among those who know me primarily through my work as a film composer, when it’s asked by accomplished composers who have also composed operas, it seems that its answer lies more in the philosophical than the practical.

Does a Composer’s Body Need to be Tuned?

Professional singers and dancers have always been trained to think of their bodies as delicate instruments that need constant maintenance, instrumentalists less so, but is it possible that we have not recognized heretofore that a composer’s body is itself an instrument, too?