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?
Carlos Simon, recipient of the $15K 2016 ACO Underwood Commission, was chosen from seven finalists during ACO’s 25th Underwood New Music Readings on June 13-14, 2016. Simon won the top prize with his work Plagues of Egypt.
Eleanor Cory gets inspiration from listening to a wide variety of music as well as attending poetry readings and her music thrives from creating sonic dialogues between elements that don’t immediately seem to belong together.
Tune in to this page to watch the Bang on a Can live stream from 4-10 PM on Saturday, July 30, 2016.
When we elevate a certain kind of craft and its formal concerns above all else, this kind of gatekeeping doesn’t just hurt young composers, it also shuts out other potential voices, marginalized voices, voices that could bring new life to new music. It is completely inimical to the spirit of creativity that should animate and drive us.
CMA will distribute a total of $483,100 to 21 ensembles for the creation of new works. A total of $272,000 was awarded to nine jazz ensembles through the New Jazz Works program. Plus twelve grants totaling $211,100 have been awarded through the Classical Commissioning program.
Was that Jefferson Friedman or Jason Freeman or Joshua Fried? Did you mean Hahn Rowe or Huang Ruo? Did I really just say Larry Polansky when I meant Paul Lansky?
We have all, at one time or another, had to come to terms with Milton Babbitt’s music, with his ideas about music, and with the place he helped define for composers. Anyone who can make us question the way forward so profoundly is helping us become ourselves, whether we like it or not. Even people who—to put it kindly—were not fond of Milton owe him a debt of gratitude.