Composer/performer collaborations may run in both directions at once: input from performers can help composers create more easily interpretive, idiomatic work, and composers can bring interpretive clarity to hard to parse scores while writing with their collaborators in mind.
New music has been as much about challenging modes of listening and perception as anything else. What is most wonderful to me about the park experience was that all modes of listening are available simultaneously.
Los Angeles is a place where cultural dichotomies are magnified, and the rift between American and European musical priorities illustrated by the experiences of émigré composers of the ’30s and ’40s offers a powerful case in point. This was a collision of worlds which never fully resolved or came to an agreeable integration, reflecting some of the fundamental fragmentation of Los Angeles.
For ensembles of composer/performers, neither the tight, goal-oriented schedules of summer festivals nor the creative isolation of writers colonies fit. At Avaloch, both Triplepoint Trio and Invisible Anatomy were able to stretch their legs creatively while being inspired by the diverse community around them.
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.