Joel SachsPhoto Nanette Melville, copyright 2001 Joel Sachs, founder and conductor of the New Juilliard Ensemble, has been recognized with Columbia‘s 2002 Ditson Conductor’s Award for his commitment to the performance of American works. He joins a list of recipients that includes Leonard Bernstein, Eugene Ormandy, JoAnn Falletta, Michael Tilson Thomas, and James DePreist. […]
Augusta Read Thomas, CSO Composer-in-ResidenceCourtesy Northwestern University Archive In what is believed to be a first for an American orchestra, the Chicago Symphony Orchestra has received a major gift to endow a composer-in-residence chair. CSO Trustee Cynthia Sargent and her sister, Governing Member Sally Hands, made the contribution that will endow the chair for a […]
Yesterday President Bush requested a $117 million budget appropriation for the National Endowment for the Arts in Fiscal Year 2003. Though most media attention has been given to the political debate surrounding the President’s proposed increases in defense spending and resulting cuts in other areas, this year’s NEA request represents a $12 million increase over […]
One of the beautiful things about music is that it can mean almost anything, or nothing at all.
Last minute contract talks between the American Composers Orchestra and the American Federation of Musicians Local 802.
Ronald PereraPhoto by M. Richard Fish, photographer, Smith College Most composers of vocal music, whether they are composing songs, chamber music with voice, or opera or music theater, are setting to music words that are not their own. My own approach is, in effect, to make another’s words my own. That is, in choosing a […]
Gwyneth WalkerPhoto by Christian Wideawake When I set poetry to music, I focus on the central images in the poem. To me, poetry is not words. It is the images that the words create. And thus, with the musical setting, it is important that the images in the poetry translate into musical imagery. Often, the […]
Language Removal Services Many people would say, not altogether erroneously, that our approach to setting words to music is rather heavy-handed; we just get rid of them. But, instead, I would characterize what we do as the process of finding the music within, inside, and underneath the words themselves. We take for granted that there […]
Corey DargelPhoto by Tei Blow Some composers believe that they can “interpret” a poem by setting it to music. They assume that the reader/listener must be guided through the poem and directed toward a certain emotional response in order to appreciate the words. This approach follows an established, Euro-centric hierarchy, in which the composer assumes […]