Studying with a new teacher is a convenient time to reevaluate the foundations of one’s compositional thinking. My conundrum du jour: Is it worth limiting one’s options in the short term to realize what may ultimately be a much more valuable project somewhere far down the road?
If you can’t convince yourself that something you’ve done is spectacular, how will ever convince anybody else to care about it?
YouTube was born three months after my book was published, and I would have killed to have had free access to so much privileged material; but not all is peachy: YouTube is a fence for stolen intellectual property.
And they say we’re the cultured ones?
I hate program notes. If I wanted to communicate something so concrete and literal that it could be written about, I wouldn’t be scribbling a bunch of dots, lines, and musical symbols on manuscript paper.
Even if you don’t like the text in a musical composition, ignoring it is irresponsible.
Would a newer piano be a better workhorse to encourage the creation of new music, or would a century-old piano inspire work that can stand the test of time?
While solo piano can be isolating, adding percussion can be very complicated; still, I really love the sounds.
If it’s been produced at the Avignon Festival, the Munich Biennale, or the various Fringe Festivals from Edinburgh to New York, chances are it’s not opera or music theater but “new music theater.”
We’re getting younger, prettier, and classical music is hot again.