Fred Ho’s mission is to create the music and fight the political battles that others cannot or will not pursue.
Whether standing center stage under the spotlights or sitting just across a table while chatting over coffee, American bass baritone Eric Owens only has to utter a few lines to have his audience completely entranced.
Maria Schneider creates extremely beautiful music, but it’s full of beneath-the-surface complexities.
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Robert Dick is a “musician who happens to play the flute,” with full complementary skills in composition and improvisation.
Matmos (a.k.a. M. C. Schmidt and Drew Daniel) sits at an intersection where musique concrète, experimental improv, electronic, and pop sensibilities freely rub elbows. We asked for their recipe for making music. Read the interview…
The list of guest artists gracing Gabriel Kahane’s new self-titled album reads like a Who’s Who of great indie/classical/pop/chamber wherever-you-want-to-file-it performers, musicians linked by a shared creative impulse.
Rhys Chatham has forged a unique musical path that is part punk rock, part contemporary classical music, yet somehow neither.
The intense physicality that causes Peter Evans to produce such formidable spittle is backed up by his prodigious technique.
Despite having a career that has spanned five decades, two continents, and 15 symphonies, Gloria Coates remains a largely unknown quantity on these shores after years of success in Europe. It would seem, however, that the Atlantic tides are turning.
Ken Ueno is a man comfortable with a gear shift—a composer of music that thrills with its interior complexity in one case and probes the ear deeply with a simple overtone vocal line in the next. He is also as likely to pick up the inspiration for his work inside a candy store and a childhood memory as in the text of Calvino, Beckett, or Joyce.