Sam Scranton’s Detritivore is an evening-length ensemble work that is both theatrical and restrained, simultaneously epic and intimate, and was so absorbing that I could not write about it without participating in the reverberations of the piece itself.
Maria Schneider, Paola Prestini, James M. Kendrick, John Nuechterlein and the American Composers Forum, plus the 27 recipients of the 2014 ASCAP Foundation Morton Gould Young Composer Awards, were honored by the American Society of Composers, Authors, and Publishers (ASCAP) during its 15th Annual Concert Music Awards.
Based in Houston and drawing on some of the finest players in town and from around the nation, River Oaks Chamber Orchestra is gearing up for their tenth season. Founder Alecia Lawyer talks with Andrew Sigler about how this perception-challenging ensemble got started and where it’s headed.
Twenty composers were honored during the 2014 American Academy of Arts and Letters Ceremonial, including 18 award recipients who received cash prizes totaling over $200,000.
It is a remarkably elevated art that is so incapable of settling down, constantly inspiring its practitioners to use the output of one set of rules as the input for a completely different set of rules. Musical style is a moving target. It certainly must be.
Eight young composers, aged 14 to 27, received cash prizes totaling $20,000 during the 62nd Annual BMI Student Composer Awards. Among the winners were Michael Boyman and Daniel Temkin who tied for the William Schuman Prize, the top honor, and Benjamin P. Wenzelberg who received the Carlos Surinach Prize, awarded to the competition’s youngest winner.
David T. Little has been selected from over 100 applicants as the fourth composer in residence in a collaborative initiative between Opera Philadelphia and two NYC-based organizations—Gotham Chamber Opera and Music-Theatre Group.
Operatic director Peter Sellars and rock icon Chuck Berry are the two recipients of the 2014 Polar prize. Each recipient receives a total amount of one million SEK (roughly $160,000 US).
That’s how I will always remember Leo Kraft: in the thick of it. He was always engaged. He didn’t just show up to life, he participated fully. And his music was never “easy”; he cared too much about music and the art of listening for it to be “easy.”
Matt Pakulski, the founder of new Chicago record label FPE, discusses his wide-ranging tastes, his approach to the curation and creation of musical objects, and the label’s first release—an album from Nicole Mitchell’s Black Earth Ensemble.