Field Reports

CLOTS at the Museum of Human Achievement in Austin

Created by composer and percussionist Nick Hennies, electro-acoustic musician/visual artist Sean O’Neill, and designer/UT lecturer Clay Odom, CLOTS is performed in a museum-like environment in which the audience members can move throughout the space and spend whatever amount of time they like experiencing the art.

Old First Concerts Offer Exceptional Chamber Music

Old First Concerts, a series founded in 1970 in a Presbyterian church in San Francisco, presented two exceptional young chamber ensembles performing contemporary music in late March. Both concerts demonstrated O1C’s commitment to emerging and mid-career artists who are exploring non-standard repertoire.

Austin: New Concert Reboot

By acting as a clearing house for collaborative work and by moving concert music to different venues, Jacqueline Perrin’s Classical Reinvention project is bringing music to a new audience.

New England’s Prospect: Pulvis et Umbra

Mohammed Fairouz’s Anything Can Happen—which was given its Boston premiere on March 17 by the Back Bay Chorale, one of the work’s co-commissioners—is a piece of music in which multiple strategies for communicating connotations of seriousness are utilized with unusual skill.

New Marketing for New Art: The Mondavi Center Google Hangout Experiment

I attended a Google hangout with members of the Calder Quartet as part of a new audience engagement initiative supporting the Studio Classics series at the Mondavi Center for the Performing Arts in Davis, California. The series showcases new music and I was curious to know why the Mondavi Center chose Google hangouts to promote the series, and what they hoped to accomplish.

New England’s Prospect: Naming Rights

One of the barometers of new-music status in Boston—anywhere, really, but especially here—is whether a group’s concerts feel as much like networking events as performances. BMOP is in that strata; the Boston Composers’ Coalition is, as of yet, not.

No Idea Festival 2013: Improv Anywhere

Chris Cogburn recently curated the 10th annual No Idea Festival with six concerts in Austin and San Antonio. Hailed by the Paris Transatlantic as “one of the finest improvised festivals in the world,” this year’s gathering featured performances by nineteen musicians who made domestic treks from Austin, Houston, Jackson, and New York, as well as those who braved customs with loads of arcane gear from New Zealand, Germany, France, and Mexico.