For many young students there is an ingrained belief that classical music is not a part of mainstream culture. It isn’t “hip” or “new.” They find it boring. But do you know what isn’t “old and irrelevant”? New music—by definition, no less!
Among the first-prize winners in 13 separate award categories (ranging from educational folios to piano and guitar solos to choral and full orchestra scores) were publications containing music by Eric Ewazen, William Bolcom, and Mohammed Fairouz.
As the NY Phil Biennial continues, with events every day through this Saturday, I’ve begun to realize how many new pieces and how many composers I’ve heard over the last week or so. My rough count comes to 56 people, with only one name appearing on more than one program.
In December 2013 I gave away many of my possessions, moved out of my apartment in Chicago, and set out on the darkest day of the year—abutted in nearly every direction by sleet and snowstorms—to drive to the west.
ASCAP and the League of American Orchestras present the awards each year to orchestras of all sizes for programs that challenge the audience, build the repertoire, and increase interest in the music of our time.
When Caroline Shaw is the senior composer on your program, you know you’re dealing with new music, so I was quite curious to see what SOLI had programmed for the show.
In the alternate universe I often wish I lived in, Azure Carter and Alan Sondheim’s “Making Boys” (from their new album Avatar Woman) would be a Top 40 hit. In the real one I do live in, it sounds like what might have happened if Jacqueline Humbert sang Robert Ashley’s songs with Eugene Chadbourne.
Beyond exploring our ever-evolving relationship to the natural world over tens of thousands of years, deep ecology, and humorous battle stories, 314 miles into my walk there have been a number of practical concerns and adjustments to make in my remote, mobile residency.
For the inaugural NY Phil Biennial, a large initiative devoted to the newest of the new, the Philharmonic borrowed a concept that is generally associated with the visual arts: the exhibition.
Would a “classical music ESPN” work in bridging the gap between our great musical institutions and every cable-subscribing home in America? By leveling the media playing field, could classical music once again compete for the attention of American households?