If you think hard enough about new music and how it makes its way in our present society, there are striking similarities to the fictional wizarding community that J. K. Rowling has so elaborately depicted in her Harry Potter narratives.
For those who missed the May 3, 2016 event at Roulette Intermedium in Brooklyn, full clips are available now.
Over the course of the last eight weeks I attended three significant national music events which were extremely different from each other in terms of scope and scale—the 2016 Minnesota Orchestra Composer Institute, the annual Chamber Music America conference, and the Midwest Clinic, the world’s largest music gathering.
Most concerts of the Festival de Música Contemporánea de la Habana featured Cuban musicians and were heavily populated with music by Cuban composers, but there were visiting performers from Argentina, Canada, Denmark, Korea, Italy, and Spain performing music by composers from their home countries as well as from Belgium, Brazil, Colombia, the Czech Republic, France, Greece, Hong Kong, Hungary, Japan, Poland, Taiwan, Turkey, and Venezuela. And, for the first time in its 28-year history, a delegation of musicians and composers from the United States was invited to participate.
All in all, the 2015 edition of the World Music Days was filled with lots of truly memorable music that was very well performed and I was very happy that I had the opportunity to be there to experience it firsthand. Still, I could not help thinking that this one-of-a-kind new music assemblage could be so much more than what had been presented in Ljubljana.
When you’re a far from the nation’s new music capitals, how to you build a vibrant creative life? When composer Ray Evanoff moved his life to New Orleans, this question became front and center.
This Sunday the virtual #musochat salon will hold its third open door event on Twitter to talk creative issues and career quandaries. How did all this get started in the first place? Here’s what we now know…
When a journalist like Tippett can interview anyone in the world, which musicians does she choose? And what does this tell us about musicians’ perceived impact in the wider world?
The National Composers Intensive, organized by the LA Philharmonic, invited ten collegiate composers to write for wild Up. While readings of student works are not uncommon in the new music world, the Intensive was unusual in that composers had multiple opportunities to hear and revise their works.
How does a New York freelance musician survive with her soul intact? Violinist and yoga teacher Heidi Schaul-Yoder shares ancient teachings that go beyond the conventional wisdom of “staying tough.”