May 1 marks NewMusicBox’s 15th anniversary! To celebrate the occasion, we decided to stop looking forward toward new music for a moment and instead consider the lessons of what we’ve heard so far.
Composer Dave Malloy took NYC musical theater by storm with his Natasha, Pierre & The Great Comet of 1812, but his path to Off-Broadway success began in San Francisco’s experimental theater community—and he’s holding on tightly to that non-traditional approach.
Matt Pakulski, the founder of new Chicago record label FPE, discusses his wide-ranging tastes, his approach to the curation and creation of musical objects, and the label’s first release—an album from Nicole Mitchell’s Black Earth Ensemble.
Neuma catalog items 450-108 and 450-201 are, respectively, a CD and a DVD (whose job is mostly to support multichannel audio; only one piece includes a video component) that together represent a 22-year retrospective of the music of Thomas DeLio.
In this article, I want to expand quality into agency—a thing can only advocate for itself if it can speak. Quality means empowerment–and it requires care.
Mozart Requiem: Undead is the brainchild of Graham Reynolds, Peter Stopchinski, and Brent Baldwin. The trio commissioned Glenn Kotche, Caroline Shaw, DJ Spooky, Adrian Quesada, Kate Moore, Todd Reynolds, Petra Hayden, and Justin Sherburn to “finish” the Requiem based on a computer analysis of the original manuscript.
From an international pool of more than 400 applicants from 37 states and 7 additional countries and ranging in age from 9 to 84, 13 original scores for orchestra have been chosen for readings and performances by the New York Philharmonic and the American Composers Orchestra as part of the inaugural NY Phil Biennial.
You and your librettist (and co-collaborator for most artistic things in your life) decide that the way around the non-performances and non-workshops of your work is to create a small opera company. This totally can be done, you think. You got this.
And then you do it.
There will always be some new music I will never cover and sometimes I feel conflicted about this but there is only so much time. And even if I were able to produce words for everything that passes my way, there would then be a fair amount of neutral or negative criticism, which I think would do a disservice.
Doris Duke Artist Award recipients receive $275,000, and Doris Duke Impact Award recipients receive $80,000. Since commencing in April 2012, the program has awarded a total of $18.1 million to artists in the fields of jazz, dance, and theater.