Hutcherson had his own distinct tone and sound on the vibes, very different from the prominent mallet players of the day, but as a composer and musical philosopher he was also one of the most important conceptualizers of music in the last half of the 20th century.
Composer and trumpeter Wadada Leo Smith has received the Hammer Museum’s 2016 Mohn Award for Career Achievement “honoring brilliance and resilience.”
Subjectivity isn’t actually a matter of taste. It’s a matter of expectation. When it comes to art and artistic renderings, there is, unfortunately, often a disconnect between what an artist is presenting and what an audience believes their price of admission is buying.
Composer/performer collaborations may run in both directions at once: input from performers can help composers create more easily interpretive, idiomatic work, and composers can bring interpretive clarity to hard to parse scores while writing with their collaborators in mind.
New music has been as much about challenging modes of listening and perception as anything else. What is most wonderful to me about the park experience was that all modes of listening are available simultaneously.
Los Angeles is a place where cultural dichotomies are magnified, and the rift between American and European musical priorities illustrated by the experiences of émigré composers of the ’30s and ’40s offers a powerful case in point. This was a collision of worlds which never fully resolved or came to an agreeable integration, reflecting some of the fundamental fragmentation of Los Angeles.
For ensembles of composer/performers, neither the tight, goal-oriented schedules of summer festivals nor the creative isolation of writers colonies fit. At Avaloch, both Triplepoint Trio and Invisible Anatomy were able to stretch their legs creatively while being inspired by the diverse community around them.
A collaborative conversation at Hunter College’s Ida K. Lang Recital Hall featuring some of the most prolific and interesting composers, librettists, and singers working in New York’s new opera scene.
It’s hard now to find a week in which you can’t hear something new—really new—in Los Angeles. Perhaps like many composers who grew up grumbling about its pop culture backdrop and who are now witnessing the flowering of an LA new music community, I am wondering: how did we get here?
How can taking part in a close dialogue over the genesis of a piece lead to more sustained and flexible partnerships between composers and performers? How can being in an idyllic natural setting, surrounded by other interesting musicians and away from one’s normal routine, impact creative work? Is it important to be friends?