Day-dreaming drifting time is the luxury that I have out on the trail. Instead of my usual pattern of working on four or five things at once, I work on just one piece, mulling things over sometimes for days before actually writing them down. I’m not distracted by emails or petty bickering on social media.
Though Zwilich, Brouwer, and Shatin are only three of many distinguished female composers, they serve as important models of the different ways a successful career as a female composer can look. Each composer has something wildly different to offer to the contemporary music scene with new CD releases.
What lessons can we as fans, musicians, and members of presenting institutions learn from the Metropolitan Opera’s situation? Can we prevent this from happening in our home institutions?
Not being exactly what one wants to hear seems like a pretty thin rationale for judging whether a piece of music succeeds or doesn’t.
This week marks the Disquiet Junto’s 134th composition challenge and the assignment takes things in a fresh direction: score an already-filmed dance piece. The visual movement is complete, but its sound has yet to be crafted in response.
The ensemble chose to perform their selection of Ashley’s works continuously without a break, sometimes even simultaneously. Boundaries were blurred—not just between the pieces themselves, but also between music and theater, between audience and performer, between performance and life.
Improvisation offers valuable educational applications and allows students to get their feet wet in the world of new music without being tied down to some of the technical challenges inherent in much modern repertoire.
Whether inspired by history, Biblical texts, or purely sonic ideas, Baltimore-based composer James Lee III’s music explores a landscape rich in color and rhythmic texture.
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.
This selection of chamber works composed between 1993 and 2008 suggest that Becker has an “on/off” switch resulting in either intensely energetic music, or in work of concentrated repose. There isn’t a lot in-between, but clearly such extremes suit the composer.