Meredith Monk, John Luther Adams, Anthony Braxton, John Kander, William Kraft, Pacific Serenades, the JACK Quartet, and the Grand Canyon Music Festival’s Native American Composers Apprentice Project were honored by New Music USA during a private ceremony at the New Museum of Contemporary Art in New York City on May 13, 2013.
Composer and clarinetist Derek Bermel has been named the new artistic director of the American Composers Orchestra commencing with the 2013-14 season. He succeeds composer Robert Beaser who has been ACO’s artistic director since 2000 and was ACO’s artistic advisor from 1993.
I come to generalize about an entire cohort of composers, based solely—sample size be damned—on the Boston Modern Orchestra Project’s May 17 concert at Jordan Hall.
Ten young composers received cash prizes totaling $20,000 during the 61st Annual BMI Student Composer Awards. Among the winners were Juan Pablo Contreras who received the William Schuman Prize, the top honor, and Michael D. Parsons who received the Carlos Surinach Prize, awarded to the competition’s youngest winner, for the second consecutive year.
Tania León, Jon Deak, Steve Smith, the late Morton Gould, and 28 young composers were honored by the American Society of Composers, Authors and Publishers (ASCAP) during its 14th Annual Concert Music Awards, an invitation-only event held at Merkin Concert Hall at the Kaufman Center in New York City on Friday, May 17, 2013.
This year the academy gave out a total of $910,000 to 68 visual artists, architects, writers, and composers during the 2013 Ceremonial. Bob Dylan was inducted as an honorary member of the academy.
Aside from the spectacular content, these shows illustrated (to me at least) the impact of the venue and how spaces shape the experience and help guide the audience.
New York City-based composer/saxophonist Alex Mincek was among the six mid-career artists honored on May 10, 2013, by the Herb Alpert Foundation and the California Institute of the Arts with a 19th annual Alpert Award in the Arts.
What’s the role of the writer—or, more ominously, the critic—in today’s musical ecosystem? Does anyone even read concert reviews anymore? In this series of interviews, I’m going straight to the source—music critics themselves—to find out why they do what they do.
The organization will reconfigure five of its current funding programs into a unified channel of flexible support for a wide range of new music projects.