It was Open House Chicago this weekend. Open House is, apparently, a worldwide celebratory architectural free-for-all phenomenon that started in London. But I’ve only ever experienced it in Chicago. Here, it usually falls in late October, when each rainstorm is a tender rite of passage that strips the city of a bit more color.
Twelve orchestras and composers have been selected to receive Music Alive: New Partnerships grants of $7,500 each, the League of American Orchestras and New Music USA announced today.
Finding a way to attend the International Society for Contemporary Music’s annual World Music Days ought to be a new music aficionado’s equivalent to going on the hajj. Here are some highlights from this year’s edition which was held in Wrocław, Poland.
Boston loves its exemplars—those acts that either are so singular as to make (and, sometimes, break) the mold, or that so fully embody a sound, or a genre, or an attitude, as to aspire to a kind of universal standard.
Alison Brown, Daoud A. Haroon, and Meshell Ndegeocello are among the 34 newly announced United States Artists Fellows. Each will receive an award of $50,000.
I asked my friend and colleague Andrew Tham to join me in attempting to create a new kind of concert review: one that embraced, rather than attempted to deny, our subjectivity; one that could be a bit rough around the edges. What follows is the story of our experience of the Chicago Wandelweiser Festival.
Currently director of composition at Shenandoah Conservatory and composer-in-residence with Opera Philadelphia, Little’s complete catalog is now represented worldwide by Boosey & Hawkes.
Julia Adolphe and Melody Eötvös will each receive a $15,000 orchestral commission as part of a new program administered by The League of American Orchestras and EarShot to provide commissions and premieres for scores composed by women.
We are appalled to see the orchestra’s supremely talented players locked out from playing their concerts while at the same time being asked to accept painful salary cuts and submitting to the reduction in the size and quality of their ensemble.
A 60-minute tour de force, performed completely from memory and without pause, Colombine’s Paradise Theatre is a stunning display of physical and musical virtuosity on the part of its performers.