I ask the age-old question: If a tree falls in the forest and no one is there, does it make a sound? Or, if a composer writes a piece of music, and there is no one to perform it, does it matter?
It’s intriguing to hear Alsop speak about the necessity of providing experiential education for young conductors. I wish she had an equally wide-ranging vision for the music she programs at Cabrillo.
Do you have to struggle during the compositional process in order to create something musically worthwhile?
I can’t cite statistics, of course, but I wouldn’t be surprised to hear that YouTube gets more people interested in new music than all the symphony orchestras in America put together.
The way you see and hear the world depends on where you are.
From finding ways to encourage the performance of new music by students to creating opportunities for all composers to write for young players and considering how to help educators find their way to us, many penetrating questions have been raised. But has this online conversation made a difference?
What is it that makes one composer more adventurous than another?
Musical response to another art form is tempting, but the composer still isn’t excused from composing.
In New Zealand, nationally specific material is separated out into its own section in book stores and record shops. But, by and large, contemporary classical music (that term again) is still overshadowed by standard rep and local pop fare. Sound familiar?
Even though I pride myself on how much I try to stress collaboration between performers and composers, I was still taken aback with the ease and forthrightness the documentary film crew had when talking about the music.