If you haven’t read Randy Nordschow’s piece on composer bios, read it right away (then come back here immediately). It’s great—so great that I couldn’t resist ganking his subject for further exploration.
Iran commissions a Nuclear Symphony, an orchestra sells itself on eBay, and an insurance company offers to shield you from the RIAA for $19. Is it just me, or do you hear Michael Stipe singing in the background, too?
Should composers write their own bios?
Only by taking risks can we transcend our limitations.
Peter Sellars’s remarkable keynote address at the American Symphony Orchestra League Conference is now available for anyone to listen to online, but what will be its ultimate impact.
Last Wednesday my husband and I took our three year old to her first concert—the annual Garden of Memory Summer Solstice Concert in Oakland. There was no rule as to whom or where you listened, and our kid was in heaven.
I’ve got one word for you: sousamaphone. Okay, also “Squeaky-deakey!” That’s right. It’s “awesome music,” baby…
When it comes to your music, offering performers and presenters a certain amount of flexibility has its advantages. What are you doing to make your compositions more versatile?
Every now and then, I run across a piece of information that completely rocks my world, only to find that everybody on my block already knows all about it. I don’t know whether the use of beta blockers in classical music performance is common knowledge, but I find this genuinely alarming.
True internationalism begins with an enlightened nationalism which is not prejudicial and therefore quite distinct from xenophobia and jingoistic patriotism.