Impressions of the 2005 New Music Miami ISCM Festival.
The Seattle Chamber Players not only sold out its performance of Astor Piazzolla’s opera, María de Buenos Aires, but could barely accommodate a second audience which eagerly paid for tickets to the morning’s dress rehearsal. Why so popular?
Thoughts about the Sonic Interventions conference at the Amsterdam School for Cultural Analysis.
New American music dominates the Cleveland Youth Wind Symphony’s year-end concerts.
New music group Bent Frequency concluded their season with a concert at Eyedrum on May 8, titled (Bang Fist). Within the first half of the program, Stuart Gerber offered two interesting solo performance art pieces: Bang Fist, a short, early text by John Cage which eventually appeared in his piece 45′ For a Speaker, and Giorgio Battistelli’s Il Libro Celibe which has a score that is essentially pictures. The “libro” is a large, briefcase-like box that the performer opens in the manner of a book, each “page” being a rather flat “instrument,” such as a piece of paper, cellophane, metal, or a sound-making construction.
Pianist McCoy Tyner plays the Gershman Hall of The University of the Arts.
Carl Stone curates a duo performance by Yuko Nexus 6 and Mariko Tijiri.
The academic atmosphere is an inescapable feature and usually colors the experience of new music consumption in Boston.
April’s new music calendar opened in Atlanta in a blend of old and new with an Eastern twist. On April 2, the Emory Javanese Gamelan, directed by Steven Everett, presented both traditional gamelan music and new works for (or inspired by) Indonesian instruments…