News

2013 ASCAP Foundation Awards Announced

Peter Stoller presenting the Leiber and Stoller Music Scholarship to Alexis Hatch. Photo by Scott Wintrow, courtesy ASCAP.

Award-winners in over 50 categories spanning composers writing for symphony orchestra and chamber ensembles, jazz groups, musical theatre, film and television, as well as rock, R&B, country and children’s songwriters, were honored at the ASCAP Foundation’s 18th Annual Awards Ceremony.

Some Additional 2014 Grammy Nominations

Grammy

While mainstream media outlets have called attention to Jay Z’s nine nominations as well as contenders such as “Blurred Lines” (the Robin Thicke song and not the 10-minute microtonal violin and harpsichord duo by Canadian composer John Beckwith), there have been fewer reports about nominees in other categories and there are a total of 82 of them this time around.

Music for Angelenos, by Angelenos

An overview of Los Angeles (composers!) at Walt Disney Concert Hall

This Tuesday, the Los Angeles Philharmonic finally took the leap and programmed a concert of works all by Los Angeles composers—Sean Friar, Julia Holter, Andrew McIntosh, and Andrew Norman. It was an extremely eclectic program that showcased the range and depth of talent here.

Other Guitars

Les Freres Meduses

Put down that taco, Austinites! Whether it’s a delicate touch with nail and flesh or vicious pick scrapes run through seven stompboxes, there are whole worlds of great sounds being created by guitarists you’ve never heard of…yet.

Invisible Cities: Choose Your Own Opera

Christopher Cerrone’s Invisible Cities

At LA’s Union Station last Sunday, I saw composer Christopher Cerrone’s opera based on Calvino’s novel, also called Invisible Cities. The production managed to be at once extravagant and subtle, with the audience listening to the live performance on wireless headphones while wandering freely through an actual, historically scenic train station.

It Takes a Village: Daron Hagen’s A Woman in Morocco

Natalie Cummings and Samantha Liebowitz

No matter how you slice it, overseeing the development of an opera seems a lot like marshaling forces for the invasion of a small country. Hagen’s recently performed (a fully-staged, “pre-professional” workshop) full-length “opera noir,” A Woman in Morocco is no exception.

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