While the myriad details that are crammed into Sebastian Currier’s scores are reminiscent of the elaborate layers found in the Romantic music of the 19th century, and his detailed conceptualizations for pieces seem as thoroughly plotted as those of a post-War total serialist, Currier writes music that very much belongs to our own less certain times.
When Lembit Beecher was named composer-in-residence with the Opera Company of Philadelphia (in collaboration with Gotham Chamber Opera and Music-Theatre Group of New York) in 2011, he didn’t bring a large portfolio of operatic work with him to the brand new three-year program. An instinct and affection for storytelling, however, already infused his compositions.
A wide spectrum of guitarists have responded to the siren call of the $100 Guitar Project. No curatorial bar was set, no stylistic walls erected. It has been a community exercise, each musician encouraged to come to the project without preconceived ideas and to simply explore whatever the guitar suggests to them.
Many ingredients go into Judith Shatin’s music. While it is informed by a deep sense of musical history, it is just as much a by-product of her profound desire to search for new sounds. It is also deeply inspired by history itself, but not as an artifact. Rather it is something that is malleable and very much alive, something that we in the present can continue to engage with to better understand ourselves.
When Zoë Keating takes the stage, her charismatic presence—a perfect balance of focused performer and welcoming MC—exerts a magnetic attraction. She is a composer who, with a chair, her cello, a bit of software, and some amplification, conjures an entire orchestra of sound out of the timbres of this one instrument.