Orchestra Summit 2006
No one denies that we all want performances of new orchestral work that composers, musicians, and their audiences will look to with pride and satisfaction. Six key industry players discuss ways of reaching that goal and the hurdles that remain in our path.
Words seem to flow effortlessly from composer and essayist Ned Rorem, as do frequently biting comments, which we discovered when we spoke with him shortly after the world premiere of his opera, Our Town.
Daniel Bernard Roumain and Bill T. Jones simultaneously operate inside and outside the cultural mainstream.
The Unexpected Importance of Yes
Joan La Barbara discusses her compositional motivations and demonstrates her battery of vocal techniques.
Tobias Picker and Mark Adamo revel in the staggering resources of the world’s most opulent art form.
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.