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.
New music has been experiencing a surge of popularity over the past couple decades, but, at least in the orchestral world, it still plays the role of underdog. But even if new music does become standard in orchestral concerts across the nation, the music will always be of its time and by definition will always be new; and so it will always be fun to root for.
Remarkable as Elliott Carter’s productive longevity is, he is far from the only composer who has given the lie to the Mozartean mythology that composing genius traces an early trajectory.
Overheard on 57th St.: I just played Carnegie Hall; I’m going to take a cab!
A rundown of the 2007 Minnesota Orchestra’s Composer Institute.
More music and seminar action from the Minnesota Orchestra’s Composer Institute.
Would we musical outcasts turn to some other form of unpopular music if modern composition went mainstream?
Does “unuseless” culture have any musical implications?
Johnny Marr, the most influential rock guitar player of the past twenty years, has taken a gig teaching composition and popular music at a major university in Great Britain.
Osmo Vänskä’s focused questions made me think about my piece at a deeper level than I ever had. “What does ‘With Bite’ mean? That can be interpreted in so many different ways. Do you think that figure there will be heard? What effect are you going for here exactly?”