Just as he can roll up his sleeves and be completely down to earth when interacting with musicians, National Symphony Orchestra Music Director Leonard Slatkin also doesn’t worry about the rank of anyone who might be sitting in the audience—even the president.
Raz Mesinai: Evading Genre, Escaping Geography
Whether he’s using a palette of electronic or acoustic sounds, notating, improvising, or at work in the studio, Mesinai has a story to tell.
Matthew Shipp: Leaving the Door Open
One of jazz’s top pianists talks about why his music is jazz and why it also isn’t.
Made in America
Joan Tower begins the biggest premiere marathon in new music history.
The Melting Point?
Brian Ferneyhough and Esa-Pekka Salonen are reshaping American music, but neither is sure he’s an American composer.
Call it the “mutt” aesthetic—Steve Mackey does, being a dog lover—but it just might be the voice of this generation.
Whether combining serialism and minimalism, reconceptualizing microtonality or ragtime, or re-assembling an Elvis recording, James Tenney’s music continues to push limits while bridging opposition.
Take three genre-defying composers, mix with a talented band of musicians and a small army of patrons willing to write modest personal checks, and you just might hear something remarkable.
A portrait of a composer still searching for new ideas and still finding them.
I’m a huge fan of Stephen Scott’s work, so I had a million questions to ask him about minute details of how this music is conceived and executed. This talk gets very detailed—sort of an everything you ever wanted to know about the insides of a piano and weren’t afraid to ask approach—and, as such, is a bit of an indulgence. But I think it’s an indulgence worth indulging. Listen to the music and watch the video, and you’ll find yourself asking some of the questions I did.