Profiles

Eleanor Cory: What I Really Want To Do

Eleanor Cory in Straus Park, NYC

Eleanor Cory gets inspiration from listening to a wide variety of music as well as attending poetry readings and her music thrives from creating sonic dialogues between elements that don’t immediately seem to belong together.

John King: It All Becomes Music

John King standing against a wall covered with a few branches.

John King composed 14 pieces last year which clock in at more than six hours. But that’s just the tip of the iceberg. To date he has created well over 200 works in a staggering array of styles and formats–from 28 string quartets and 7 experimental operas to electric guitar solos, orchestra pieces, canons for chorus, and even a few Baroque imitations and a North Indian classical raga exposition. What ties most of his work together is a commitment to indeterminate processes.

Mary Ellen Childs: Engaging All the Senses

Mary Ellen Childs

While the music of Mary Ellen Childs has a distinctive and recognizable sound, she has long been interested in engaging the other senses as well–whether it’s presenting live music for string quartet along with an immersive video projection, creating extremely tactile percussion works that are as much about choreography as they are about rhythm, or finding ways to merge listening and olfactory perception.

Paul Moravec: The Whole Range of Human Emotion

Paul Moravec in Central Park

Shakespeare’s plays, a novel by Stephen King, and personal letters from American soldiers written in wartime have all served as inspiration for compositions by Paul Moravec. However, when he is composing more abstract instrumental works, like his extremely beautiful Violin Concerto, Moravec claims there is always “a kind of musical narrative” at work even if it does not have a precise verbal meaning.

Jessie Montgomery: Conjuring Memories

Jessie Montgomery standing against a red wall.

Although she grew up in a very culturally diverse New York City neighborhood that has also long been a hotbed for artistic experimentation and rebellion, composer/violinist Jessie Montgomery most strongly identifies with European classical music.

Muhal Richard Abrams: Think All, Focus One

Muhal Richard Abrams sitting in front of the New Music USA mural (created by the staff at New Music USA in 2015)

To Muhal Richard Abrams, there are no boundaries. Any label we put on something—fixed composition vs. spontaneous improvisation, group vs. individual, even old music vs. new music—is artificial and limits possibilities. From his vantage point, all dualities are contained within each other.

Saad Haddad: It’s Not Going to Be Exact

Saad Haddad

Though born, raised, and compositionally trained in Southern California and currently pursuing a master’s degree at Juilliard under the tutelage of John Corigliano, 23-year-old Saad Haddad has been focused on creating music that incorporates traditional Middle Eastern musical aesthetics. But he is not at all dogmatic in his transfer of Arabic music theory to pieces that are designed to be interpreted by musicians trained in Western classical music and performed for its usual audiences.

Missy Mazzoli: Communication, Intimacy, and Vulnerability

Missy Mazzoli in her composition studio.

Whether she is writing for orchestra, chorus, solo piano, an opera, or her own indie-rock inspired chamber ensemble Victoire, Missy Mazzoli is still “asking the same questions” and “finding different answers to the question of how to bring an intimate, vulnerable, human experience to a situation.”

Daniel Wohl: The Seamless Ideal

Daniel Wohl

Wohl’s talent for seamless integration of acoustic and electronic timbres generated significant buzz after the 2013 release of his album Corps Exquis, and it is praise that will likely only cling more tightly in the wake of his full-length follow-up Holographic.

Page 1 of 3312345Last »