For composer Andrew Norman, the process of composing feels like a tug-of-war between opposing forces. From start to finish, he is constantly questioning, and pushing back on his own ideas in his efforts to create meaningful musical experiences for performers and for audiences. He revels in the visceral experiences of music making, and thoughtfully challenges performers to bring their own ideas to the interpretation of his music.
While Eric Nathan doesn’t have a secret strategy for garnering so many compositional accolades (top awards from ASCAP, BMI, and SCI, the Rome Prize and a recent commission premiered at the ISCM World New Music Days), he is extremely pragmatic. But there’s also something of an element of whimsy as well as a deep love for visual art that fuels his creative process.
What could a Hardanger fiddle player and a computer programmer possibly have in common? For Dan Trueman, an expert in both areas, it’s all just technology. And whether the eventual expression of his ideas requires old instruments or the invention of new ones, he is more concerned that the tools employed offer musicians the most engaging musical experience possible.
An award-winning traditional performer and educator in her native country of Vietnam, Vo has found a particular freedom in the myriad genres and styles of music that surround her here in America—an influence that has filtered into both her musical ideas and the instruments and techniques she uses to communicate them.
When you visit Kenneth Kirschner’s über-minimalist single-page website, you get a clearer sense of how central the free distribution of his work is to him. No program notes are offered, no composer bio included. Just select a track and experience the music. “I think, being an experimental composer, it’s about encouraging a listener to take risks.”