Death sucks, not for the person who dies—it’s mostly a rational solution—but for the people who live on with the absence of a favorite living, breathing creature. There is a creepy scrawled note on my desk with “call Charlie” crossed off. For the past few years, we had been talking about making another Liberation Music Orchestra album.
Selected from a pool of over 80 applicants from across the country, Dan Visconti will be given the opportunity to work directly with the California Symphony and its music director Donato Cabrera over three consecutive years to create, rehearse, premiere, and record three major orchestra compositions, one each season.
I believe that this merry band of students has the power to change the music world as we know it, but I fear the “bump” when they leave this environment and explore college options. Will the post-secondary world continue to foster their leadership potential? How will these “over-educated” young composers approach the college experience?
I probably met Seymour in New York City sometime in the mid 1940s. Even then, Seymour made quite an impression as he walked into a room—a large, cheerful man swinging his cello at the end of his arm. As a musician, Seymour was remarkable to work with. Seymour could articulate and explain the structural intent of a given piece of music, and his playing was void of vanity.
What is the best option for a student who has received a solid and complete education, academically and musically, through their pre-college years? Is there anything that will really fit the bill, or will these young students stimulate a new approach to compositional study on the college/conservatory level?