The Pulitzer isn’t just about me or the Violin Concerto; it’s also about something that was reflected in the concert tonight: the myriads of folks who have taught me in various ways.
If a concert came along where over 80 or 90 percent of the concert’s costs were covered, would the administration of an orchestra jump at the chance? I’ll bet you they would!
I get approached all the time by folks both young and old alike who are getting started in this crazy business. This is what I tell them.
I was invited to testify before the Federal Communications Commission in the fall of 2009 about two issues: digital piracy and rural broadband access. The former, because I am a composer, and the latter, because I am a composer who lives on a small, remote, bridge-less island floating off the coast of the United States who has created and managed her career largely on the internet.
Our ability to share our creations around the world lies in our access to the necessary portal.
Are the kinds of art Americans are seeking and the places they want to go to experience that art accurately being measured by a survey like this one? Are the nation’s cultural organizations evolving fast enough to meet those needs and effectively support the livelihoods of living artists?
While it is nothing new for an American composer to find himself living overseas, I’ve noticed that most composers (and Americans in general) have a very limited conception of “where the action is” in Europe.
Those of us who gravitate toward improvisational music do so because we enjoy relating to other human beings as equals.
We can make composing relevant again. We can answer the question: Why compose now?
By Ann Starr
Composition is a high-risk undertaking with real consequences for the composer’s life and mind; Morgan Powell is drawn to it by the (potentially lethal) need to question; by questions that produce thoughts with unforeseeable outcomes.