Anyone can reject European influence, but how is it possible to write music as new and fresh as, say, Harry Partch or Charles Ives without developing equally bizarre sets of reference points?
Exploring Naples with visual artists allowed me to see things I would have easily missed on my own.
A physical recording is a reminder of the when-ness of something; it provides historical context and a portal into the mindset of another time.
Who can afford to be a practitioner of that most labor-intensive, under-compensated, high-overhead of art forms, art music composition, unless you live in music-crazed Finland.
There’s a a new music betting pool for that?
LIFE—fluid, invisible, inaudible… is simple yet deep in its fundamental concepts, important in its themes, and excellent in its realization.
Composers obsess on strange things. For me, it’s the gender role stereotypes and sexuality surrounding any given instrument.
Desperately seeking orchestra music that is new in every regard.
Can a private institution control its artistic agenda in a way that a public one cannot?
While one can argue about the importance of remaining true to one’s ideals, when writing music for a large ensemble such as an orchestra, what is practical is ultimately what will get done.