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.
I’ve been thinking a lot about this over the last two weeks because I felt that this was an unrealistic route to change. Here are some reasons why I think that the statement isn’t sufficient to address the problem of unpaid gigs.
Selected from a pool of over 80 applicants from across the country, Dan Visconti will be given the opportunity to work directly with the California Symphony and its music director Donato Cabrera over three consecutive years to create, rehearse, premiere, and record three major orchestra compositions, one each season.
I believe that this merry band of students has the power to change the music world as we know it, but I fear the “bump” when they leave this environment and explore college options. Will the post-secondary world continue to foster their leadership potential? How will these “over-educated” young composers approach the college experience?
There’s a lot of blame to spread around for our music appreciation downgrade, but I think there’s a single phenomenon that’s working harder than all the others: the constant bombardment of music functioning as an aspect of an environment.
The more you listen to Lumen, an extremely expansive two-CD set culled from twenty years of recordings of music by Philadelphia-area composer/pianist Adam Berenson, the less aware you are of whether the music was composed a priori or improvised on the spot.
I probably met Seymour in New York City sometime in the mid 1940s. Even then, Seymour made quite an impression as he walked into a room—a large, cheerful man swinging his cello at the end of his arm. As a musician, Seymour was remarkable to work with. Seymour could articulate and explain the structural intent of a given piece of music, and his playing was void of vanity.
Fair trade ethical consumption has gone mainstream when it comes to certain products. Wouldn’t music fans follow a similar path if it was laid out for them?
What is the best option for a student who has received a solid and complete education, academically and musically, through their pre-college years? Is there anything that will really fit the bill, or will these young students stimulate a new approach to compositional study on the college/conservatory level?
Mr. Ficklin humbly acknowledges that his analysis is “unscientific,” so allow me to correct his impression that music publishers have been fickle in their support [of composers and contemporary opera]. Their presence has been continuing and ardent.