Photographer and patron Betty Freeman, who has been something of a Nadezhda von Meck to composers ranging from Harry Partch and John Cage to La Monte Young and Kaija Saariaho as well as numerous visual artists, talks about what music she funds and why.
Guitarist Gary Lucas has been one of the most in-demand in the realm of experimental rock for decades. Perhaps best known for his stint with Captain Beefheart and the Magic Band, Lucas was also the electric guitarist for the European premiere of Leonard Bernstein’s Mass. Lucas talks about Beefheart and Lenny as well as his numerous fascinating solo projects.
Shortly after learning that Lewis Spratlan had won the 2000 Pulitzer Prize in Music for part of an opera that had been completed in 1978 but was only performed in a concert version this past year, we trekked up to Amherst to talk to him about it.
Members of the board of directors of the American Music Personnel in Public Radio–Outgoing President Beverley Ervine (WOSU-FM, Columbus OH), Chris Kohtz (WGUC-FM, Cincinnati OH), Boyce Lancaster (WOSU), Robert J. Lurtsema (WGBH-FM, Boston MA), Deanne Poulos (KBAQ-FM, Phoenix AZ), and Lois Reitzes (WABE-FM, Atlanta GA)–get grilled about broadcasting the music of American composers.
Although she is active as a vocalist, dancer, director, choreographer, and filmmaker, Meredith Monk explains that she considers herself first and foremost a composer.
A few months after his 92nd birthday, Elliott Carter invited us into his home to talk about what was already his tenth decade immersed in the new music scene.
Arnold Broido (Chairman and Past-President of Theodore Presser Company and Chairman of the International Confederation of Music Publishers) and his son, Tom Broido (Presser’s current President) describe the current state of music publishing and how that impacts the publication of new music.
Composer and Clarinetist Don Byron continues to defy expectations with every album and concert appearance he is associated with–whether his departure point is jazz, klezmer, hip-hop, contemporary classical music, or some strange hybrid that is somehow both all and none of the above.
The legendary American educational philosopher Maxine Greene (b. 1917) met with Hollis Headrick (Executive Director, The Center for Arts Education), Polly Kahn (Director of Education, New York Philharmonic), Richard Kessler, and Frank J. Oteri to discuss the role new music could p[lay in arts education.