The discipline needed to learn any piece by Milton Babbitt helped me become a better musician.
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.
If instrumentalists are not exposed to new music when they are learning to play, they are naturally going to be much more inhibited about trying it when they are done with their studies.
Teenagers love playing new music; I know this because I run a contemporary chamber orchestra for teens which in its sixth season can hardly keep up with the enthusiasm of its members.
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.
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.
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?
The Complexity Wars flared up again this summer—that seemingly annual outbreak of the opinion that various types of atonal modernism are just too complicated for proper musical consumption.
I’ve achieved enough success that my day job currently supplements my income as a composer, but I could not have accomplished the things I have accomplished had I been living in New York.
We are always searching for new sounds, and Partch offers a sound world of staggering variety and beauty.