Working with Choreographers
Over the years I have discovered that working with choreographers and dancers is challenging not only from a technical standpoint, but also that the various limitations force me into artistic directions that I would have never explored otherwise. Now that I’m working with “emerging” composers, I try to ensure that they get those same opportunities during their studies.
Yo Dawg, I Heard You Like Brooklyn
This has been a dense couple of weeks for new music concerts in Los Angeles. A coincidence of timing (or is it?) means that LA Phil’s Brooklyn Festival overlaps with two Southern California-themed festivals, Hear Now and The LA Composers Project.
Sounds Heard: Simone Dinnerstein / Tift Merritt—Night
The collaborative album Night, which pairs classical pianist Simone Dinnerstein with rootsy singer-songwriter Tift Merritt, is a smorgasbord of songs cherry-picked from various corners of history and culture. It is an interesting and revealing sonic journal of a musical partnership in which both artists embrace elements of risk and experimentation.
Fast Forward Austin 2013
The goals of Fast Forward Austin are to provide a forum for local and national performers of new music, to explore new performance spaces, and to enhance educational opportunities for underserved communities. With a pentient for variety and an eye on the visual, this year’s show built on past accomplishments and added a half dozen commissions to boot.
New England’s Prospect: Auslesen
Not surprisingly, Paul Fromm made the production of new music into something resembling the wine business. He took the same approach to music that he did to wine: cultivate relationships with the producers, invest up front, and endeavor to get the subsequent delivery, whatever the quality of the vintage, into the marketplace.
Eric Nathan and Dan Visconti to Head to Rome
Composers Eric Nathan and Dan Visconti were named the two musical composition winners in the annual Rome Prize competition during a formal ceremony at the Metropolitan Club in New York City on Thursday, April 18, 2013.
Caroline Shaw is different in many ways from previous Pulitzer Prize winners, but it is the sense of enjoyment in being a part of something bigger than oneself that, in my humble opinion, makes her stand out.
Chorale and Fugue
Music is at once the most anti-social and social of the arts, the solitary pursuit of proficiency—practice, composition, study—only manifested in extroverted gestures directed towards and among collaborators and audience. Trust and generosity are, in music, not really sentimental qualities. They’re the currency, the supply chain, the raw materials.