Profiles

Julian Wachner: Transcending the Sacred and the Profane

Julian Wachner sitting in front of Trinity Wall Street altar.

Composer, conductor, and Trinity Church music director Julian Wachner believes that all music is meant to induce a transformative experience upon the listener and believes that changing listeners lives through music is a “moral responsibility of the compositional craft and the performative craft as well.”

Daron Hagen: The Human Element

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For Daron Hagen, working on an opera is so immersive that his life can be fairly neatly divided into chapters corresponding to each of the operas he has written. Nowadays, even though he is principally concerned with being a father, opera continues to inspire him, in part because he sees parallels between writing opera and parenting.

Ken Thomson: Energized Complexities

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Thomson’s often-complex work is carefully designed and communicates powerfully in live performance without exhausting the audience. We chat with him off stage about how he navigates multiple projects and genres while keeping listeners on the edge of their seats.

Paul Dresher: Intense Beauty, Visceral Energy, and Sonic Curiosity

Paul Dresher

Paul Dresher has done work in at least three distinct musical streams with equal vigor and equally significant results. But whether he’s creating a fully notated piece of post-minimalist chamber music, a poly-stylistic score for an intense musical theater work, or an idiosyncratic experiment for one-of-a kind instruments of his own design, he’s always operating with the same basic assumptions about his audience.

Susan Alcorn: Fearless Slides

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Composer, improviser, and pedal steel guitarist Susan Alcorn came up playing country and western music, but her ear eventually led her down a decidedly more singular experimental path. “You’ve got be naked in your mind to be able to play and express yourself—you have to be naked and fearless and that’s not easy, especially the older you get.”

Laurie Spiegel: Grassroots Technologist

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Electronic music pioneer Laurie Spiegel sees a lot of common ground between the seemingly oppositional aesthetics of folk traditions and the digital realm. But whether she’s creating a computer-realized algorithmic composition, crafting a short piano piece or orchestral score, or jamming on a guitar or a banjo, the most important element in all of her music making is emotional engagement.

Lainie Fefferman: Strength In Numbers

Lainie Fefferman

“I like things that are minimal, unexpectedly simple, and surprisingly powerful… In math and music I think it’s really striking how you can take these tiny little ideas, and they can explain huge reactions.”

Paola Prestini: Following Her Vision

Paola Prestini

Paola Prestini combines wild imagination and controlled practicality on an almost molecular level—it’s as if both are fused together in her DNA. Whether she’s talking about her own multimedia operas or VisionIntoArt, the interdisciplinary arts production company she co-founded 15 years ago, she tends to think big but she always manages to make it happen.

Du Yun: No Safety Net

Du Yun

Unlike composers who grew up in the United States where just about any kind of music seems part of our tradition, Shanghai-born Du Yun approaches all traditions as somehow exotic, whether classical, pop, avant-garde, or even the traditional Chinese music that deeply influences so many other Chinese émigré composers.

“Which of these Aaron Jay Kernises am I?”

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An orchestra sensation at age 23. Published by 30. Then a Pulitzer Prize and a Grawemeyer. Now a biography. What’s left after someone writes up the story of your life? Aaron Jay Kernis just keeps on going, continuing to balance composing, teaching, and raising a family.

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