A chat with British-born, New York-based composer Anna Clyne about musical life on both sides of the pond, the unique places she finds her electronic sounds, and how writing for the orchestra is not so different from writing for the studio.
Freedom guides how Ornette Coleman has been making his music for over a half a century, and it’s also how he leads his life.
Deeply influenced by Asian and Middle Eastern timbres and acting styles, Seattle-based composer Garrett Fisher has created nearly a dozen mixed-media stage shows which integrate his own myriad influences along with those of his many collaborators.
If ever there was a spokesperson who could clearly describe what this field is to folks who are not a part of it and get them excited to learn more about it, it’s Jennifer Higdon.
Chris Tignor stops by to talk about his electronic chamber ensemble’s new album, Nor’easter, just out on New Albion.
The Fiery Furnaces: Indie rockers Matthew and Eleanor Friedberger are clearly kindred spirits of the new music community.
Composer John Morton has taken the timbre of the plucked metal tines of a music box and—by juxtaposing them, electronically processing them, and physically altering them—discovered a very personal vernacular.
Charles Wuorinen’s diatribes are still as polemical as ever, but he brings a passion and conviction to all of his arguments, and his remarkably prolific six-decade output as a composer is artistically and intellectually rich as well as often entertaining.
Marin Alsop: A New Perspective
An American conductor makes a persuasive case for having a new perspective, exploring American music and contemporary music, and getting audiences interested in a broad range of ideas.
It’s hard to imagine two ensembles as different as eighth blackbird and ICE. But both formed at Oberlin, both are devoted exclusively to new music, and both are really successful at it.