The Kennedy Center and Washington Performing Arts announce SHIFT: A Festival of American Orchestras, a three-year festival celebrating North American orchestras which will begin in the spring of 2017.
When we perform with care for the holistic audience experience as well as care for the composer’s works, we can create a “social act” that is akin to magic.
The data for three new NEA reports have, for the first time, enabled the NEA to show a comprehensive view of a single year (2012) in the life of the arts and cultural sector from three different angles: supply, demand, and motivations for consumer behavior.
Too often we live only by a temporal, horizontal axis in which we over-analyze, live within our heads, and lose connection with the earth and with our bodies. Being in touch with silence reinforces access to our inner selves and serves to reinvigorate connections with the earth and our identities.
The Columbia University School of the Arts has announced that John Luther Adams is the newest recipient of the William Schuman Award, a direct, unrestricted grant of $50,000, which is one of the largest given to an American composer.
We as musicians have a responsibility to respond to the world around us, to give the people a song to raise their spirits and fuel the fight in their hearts.
The Foundation for Contemporary Arts (FCA), a nonprofit arts organization founded by John Cage and Jasper Johns, has announced that composer Eve Beglarian is the recipient of their third annual Robert Rauschenberg Award which includes an unrestricted cash prize of $35,000.
Few of these works can be experienced in their entirety, but that is partly the point; they act as a corrective to our uniquely modern assumption that—given advances in travel, communications, and media technology—we can know the whole world.
I recently saw a huge banner on the side of one of Tallinn’s major shopping centers promoting an upcoming concert by the Estonian Philharmonic Chamber Choir featuring works by Carlo Gesualdo, Salvatore Sciarrino, György Ligeti, J.S. Bach, and a premiere by Helena Tulve. I have a hard time imagining a similar advertisement hanging on the Prudential Center in Boston.
For Daron Hagen, working on an opera is so immersive that his life can be fairly neatly divided into chapters corresponding to each of the operas he has written. Nowadays, even though he is principally concerned with being a father, opera continues to inspire him, in part because he sees parallels between writing opera and parenting.