Los Angeles writer and rocker October Crifasi remembers how the wild gang of Killsonic brought artists into its fold — and then launched them out into the world.
Pittsburgh has more going on in new music, and the arts in general, than you would expect for its size (around 300,000 people in the city, and 2.4 million in the metro area). This is due in part to a high density of universities with good music programs, but new music events aren’t confined to the academic year. When summer comes and many cities offer little in the way of classical music besides orchestral pops, Pittsburgh has more modern sounds than you can shake a 4th of July sparkler at.
What Andrew Pekler’s project and Vicky Chow’s recital had in common was that they both prompted consideration of a particular feature of technology: the technology you notice is almost always, at the same time, pushing another technology into the unnoticed background.
The 2015 CMA/ASCAP Awards, the “New Music from CMA” commissions’ concert, and the majority of the ensemble showcases at the 37th national conference of Chamber Music America provided a real immersive new music experience—one in which definitions were constantly being expanded and which celebrated diversity and inclusivity.
The inaugural New Music Gathering in San Francisco was proof in action that an environment that removes the problems of proximity, competition, and ego can generate an immense amount of collaboration, friendship, and growth.
I can’t tell if the Spektral Quartet is getting bigger or smaller. At the quartet’s Saturday night concert, “Snowpocalypse Antidote,” I had the opportunity to reflect on “miniaturization” and the pleasure of small forms. They’re “doing small” in a very big way.
I sometimes wonder if, several decades from now, people will look back on the current era of new music and characterize it in terms not far removed from tourism.
It was Open House Chicago this weekend. Open House is, apparently, a worldwide celebratory architectural free-for-all phenomenon that started in London. But I’ve only ever experienced it in Chicago. Here, it usually falls in late October, when each rainstorm is a tender rite of passage that strips the city of a bit more color.
Finding a way to attend the International Society for Contemporary Music’s annual World Music Days ought to be a new music aficionado’s equivalent to going on the hajj. Here are some highlights from this year’s edition which was held in Wrocław, Poland.
Boston loves its exemplars—those acts that either are so singular as to make (and, sometimes, break) the mold, or that so fully embody a sound, or a genre, or an attitude, as to aspire to a kind of universal standard.