Would a “classical music ESPN” work in bridging the gap between our great musical institutions and every cable-subscribing home in America? By leveling the media playing field, could classical music once again compete for the attention of American households?
This week marks the start of something big, busy, and possibly brilliant in New York: the first edition of the NY Phil Biennial. Beyond what look like some exciting programs, I’m waiting to make any grand assessments on something so damn grand.
One of the toughest parts of being a musician in new music is finding the balance between making a living and performing the music and concerts you are passionate about. This is a puzzle that I constantly struggle with.
I have poured a great deal of energy into the way I write about music, as I have similarly done for the way I compose and play music itself. I am discovering that it is not so much a matter of finding (or re-finding) the right note, the right chord, the right word. Rather, a note, a chord, a word, then another, then another, until you are out of space.
Co-creation is something not often explored in the classical genre, and after working on Potential Energies, I’ve been thinking about how the choreographer-dancer process could be applied in creating new compositions.
The Heart does not care about the Music you have prepared for him to grasp. Music is already difficult to grasp through the Mind and Body; why would it be any different for The Heart?
Considering that our industry is saturated, audiences are small, and funding is limited, it’s essential to think about how you’re going to fit into the world of new music. Perhaps it would be more worthwhile to seek an ensemble where you can share your ideas and join an already fully formed team instead of pursuing a similar venture from scratch.
The body, and the use of it, is the only way to dismantle those lofty ideals of immortality created by virtuosity. I’m not interested in watching a superhuman compete in a human challenge. No one likes a rigged game.
Staying true to your artistic vision is much easier said than done. Oftentimes, when we cater to what we think people will want instead of what we truly believe in (in actuality, we really know only one of those two things), time is wasted on creating mediocre work.
It seems there are two ways to negotiate our complex, diverse, and global web of music-making: Either jockey the heck out of everything, as if it is all free gain, or retreat to the rooted, familial plane, and herd with your local community.