Composer Blogs@Sequenza21.com
Composer/keyboardist/producer Elodie Lauten creates operas, music for dance and theatre, orchestral, chamber and instrumental music. Not a household name, she is however widely recognized by historians as a leading figure of post-minimalism and a force on the new music scene, with 20 releases on a number of labels.

Her opera Waking in New York, Portrait of Allen Ginsberg was presented by the New York City Opera (2004 VOX and Friends) in May 2004, after being released on 4Tay, following three well-received productions. OrfReo, a new opera for Baroque ensemble was premiered at Merkin Hall by the Queen's Chamber Band, whose New Music Alive CD (released on Capstone in 2004) includes Lauten's The Architect. The Orfreo CD was released in December 2004 on Studio 21. In September 2004 Lauten was composer-in-residence at Hope College, MI. Lauten's Symphony 2001, was premiered in February 2003 by the SEM Orchestra in New York. In 1999, Lauten's Deus ex Machina Cycle for voices and Baroque ensemble (4Tay) received strong critical acclaim in the US and Europe. Lauten's Variations On The Orange Cycle (Lovely Music, 1998) was included in Chamber Music America's list of 100 best works of the 20th century.

Born in Paris, France, she was classically trained as a pianist since age 7. She received a Master's in composition from New York University where she studied Western composition with Dinu Ghezzo and Indian classical music with Ahkmal Parwez. Daughter of jazz pianist/drummer Errol Parker, she is also a fluent improviser. She became an American citizen in 1984 and has lived in New York since the early seventies

Visit Elodie Lauten's Web Site
Monday, March 21, 2005
On not being a critic

MUSIC UNDERGROUND is about ideas, about philosophy, about relating to what is happening from an outsider/insider point of view. I donít review music events - let alone the fact that I am unable to attend most of them, even the ones I like the best. I might mention the occurrence of certain events as they strike me for their significance; I might qualify certain events as uptown or downtown or underground, but I am not a critic. I do not make comments on another composerís music. I am glad that many composers are writing and I think it is a positive manifestation of freedom of expression. But I am not in the category of those who Ďtear each other apartí. This goes against my ethics and I will not stand being called a critic when all I am doing is expressing ideas and attempting to take part in a zeitgeist.