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.
In this article, I want to expand quality into agency—a thing can only advocate for itself if it can speak. Quality means empowerment–and it requires care.
You and your librettist (and co-collaborator for most artistic things in your life) decide that the way around the non-performances and non-workshops of your work is to create a small opera company. This totally can be done, you think. You got this.
And then you do it.
To me, the weird division of labor between composing works and playing concerts puts musicians in a difficult position. Performers have become new music’s coerced mouthpiece of accountability. The student summer festival provides the clearest case study for this skewed power dynamic.
I admit I attempted composing for opera long ago as an undergraduate. I remember seeing the Los Angeles Opera’s production of Billy Budd in the late ’90s and then seeing their production of Peter Grimes in the early 2000s, and I was convinced I absolutely had to write an opera.
If one wants contemporary music to remain in the academy, how do we take its social behavior and make it contrarian, vital? How can we combat the characteristically academic forms of racism, sexism, and other discriminating obstacles to thought and speech? And if one wants to find it a new home, where can it go?
Pondering identity-protective cognition “is to stare into a kind of intellectual abyss.” Nevertheless, it is a task that seems particularly worthwhile from time to time if we, as artists, are to truly reflect the—inevitably social—human condition.