What is the best option for a student who has received a solid and complete education, academically and musically, through their pre-college years? Is there anything that will really fit the bill, or will these young students stimulate a new approach to compositional study on the college/conservatory level?
Mr. Ficklin humbly acknowledges that his analysis is “unscientific,” so allow me to correct his impression that music publishers have been fickle in their support [of composers and contemporary opera]. Their presence has been continuing and ardent.
Although I was always generically interested in music as labor, it was really my involvement with Occupy Wall Street that showed me what the contemporary struggles were in this field. I hope the NewMusicBox commenting community will join in on this conversation, so we can get an even greater sense of where these struggles for fairness and dignity are happening, and what we can do as a community to support them.
When I looked through the Metropolitan Opera’s 2014-15 brochure, I was saddened by their lack of other contemporary repertoire. Then I flipped through the pages of the new issue of OPERA America’s magazine and experienced something very different. Pages full of contemporary opera, American and otherwise. Quite a study in contrasts.
Sometimes it feels like life is a tug of war—between east and west, life and career, social and personal, work and play, urban and rural, composer and singer-songwriter, professional and academic, serious and jocular, art and business, collaboration and solitude—and I can’t seem to choose my side.
Growing up, I was ashamed of being a nerd. This was pretty typical. At the time being labeled a nerd was considered about as bad as showing up to school in nothing but your underwear. Times have changed. It is now a badge to be worn proudly by all of us. We all finally grew up. And took over.
Since I started walking the Pacific Crest Trail seven weeks ago, I’ve undergone a number of physiological and mental changes. One of the biggest changes that has occurred, however, relates more specifically to working with sound and music as a composer—an alteration in my sense of hearing.
The Virginia Center for the Creative Arts sits on a hillside from which little is visible but trees. The setting fosters extended walks and quiet minds. The place itself almost disappears as your thoughts take the foreground. There is only you, and the work.
It came as no surprise that the cancellation of the scheduled simulcast of John Adams’s The Death of Klinghoffer, slated for production at the Metropolitan Opera this fall, has inspired some very active comment section action. But have you heard the work yet? Let’s listen and chat.
Poor attendance at a new music concert is nothing out of the ordinary. However, one of my best-attended concerts featured what was arguably some of the most abstract and adventurous programming that I have placed on Fresno New Music’s calendar.