Glenn Branca has had a deep and lasting impact on several music scenes, but he was never really a part of any of them. With Theoretical Girls, he created a new kind of punk rock music that came to be known as No Wave. Later on, he redefined what a symphony could be. Making music that was more visceral and louder than anything in the new music scene, he even frightened John Cage. Thirty years later, he’s still making waves.
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.
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.
All of Corey Dargel’s output could potentially appeal to an extremely broad audience, even his most outré experiments in empathy. At the same time, his seemingly simple early songs are filled with embedded complexities and reward with focused listening time and again. Like many other difficult to categorize music creators of his generation, Dargel consistently defies classification.
Sometimes a composer’s personality can speak volumes about the music she or he writes. Tranquility mixed with pointed curiosity fits both the outward persona of Janice Giteck as well as the character of her work. Her compositions, which focus on chamber music but also include orchestral works and film scores, combine the rigor of Western European musical training with a meld of Buddhist, Hasidic, Javanese, and African influences.
Bernard Rands navigates a variety of dualities both in his music and in his personal life. For someone approaching 80-years old, he is amazingly youthful and vigorous. Though he is steadfast in his routines, he’s constantly seeking and engaging with new ideas not only from music but also from art and literature. And all of this inevitably shows up in his own music.