Why do some of us take composers who teach younger students less seriously than composers who teach at universities?
The Da Vinci Code gets more play from the music than the plot, the International Music Police launch their own Schoenberg investigation, expected chatter concerning lists and critics. Plus: How did that piano get there?
Writing about iPods is totally cliché; but I’m doing it anyway.
It has occurred to me that our music is probably less a result of our processes than vice versa: We want to meet certain goals in our music, so we’ve accumulated, synthesized, and exercised skills that allow us to accomplish these goals.
If you’re doing several different things at once, are you really paying attention to any of them?
Why is it that we take such care programming a concert by professionals, yet often fail to take the same approach with our students?
I’m still as excited as I was before I arrived in Minneapolis 10 days ago for the Composer Institute.
Gossip and post-modernist fun in a time of economic and social uncertainty.
Exhaustion and its effects have begun to sink in, for all of us involved. The glazed-over look has become all the rage in the wing of Orchestra Hall we’ve taken over.
Have I lost focus, here in orchestra-orgasmafantasyland? Have I begun to think that now I would actually like to inhabit this world and set up a little patisserie?