Although Ellen Taaffe Zwilich has received more accolades than most living composers—the first woman to receive the Pulitzer Prize for Music and the first composer chair at Carnegie Hall, as well as the only living composer ever mentioned in a Peanuts® comic strip—she believes that the pinnacle of success is hearing a wonderful performance of one of her compositions.
Claiming Chaya Czernowin as an American composer is somewhat disingenuous. Although she currently resides in the United States where she is the Walter Bigelow Rosen Professor of Music at Harvard University and holds degrees from Bard College and the University of California, San Diego, the Haifa-born Czernowin has spent a great part of her life in many other places.
Composer/librettist Stephen Schwartz and lead soprano Lauren Flanigan describe how they came to work together on Séance on a Wet Afternoon. Read the interview…
Coming to the USA from Serbia not only jump started Aleksandra Vrebalov’s compositional career early on, it also transformed her and led her to write deeply emotional music which, even though it clearly echoes the centuries-old traditions of her native land, she probably would not and could not have composed had she stayed there.
In many cases, the aural images John Luther Adams creates can be directly traced to the powerful natural world that surrounds him in his home state of Alaska, a landscape that has undeniably left its imprint on his work. More broadly, however, Adams uses composition as a way to explore and understand the world around him, regardless of borders real and imagined.
Gamelan Son of Lion founder Barbara Benary’s generous approach to music-making is akin to parenthood. Read the interview…
As a co-founder of the New Amsterdam record label and the NOW Ensemble, composer Judd Greenstein thinks deeply about the changes he wants to see in the field and dedicates his time and talents to putting them into action. He is by turns idealistic and pragmatic, motivated by a desire to challenge artists and audiences, but also to keep pace with economic and social developments. “The world that we as composers and performers were operating in expanded exponentially,” Greenstein explains. “Now the conversation is with everyone.”