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
Sunday, October 09, 2005
The Scene according to NMC

The New Music Calendar is a good indicator of what events are taking place in New York, and this October, the scene according to NMC shows that a large percentage of new music concerts include Bach, Schubert, Liszt, Bartok and the unavoidable Mozart, as well as 20th century staples like Schoenberg, Berio, Davidovsky, Carter, Stravisnky, Ligeti and Webern. Now that Interpretations has turned jazzy, there is even less exposure for post-classic music. The old-new-generation is still well represented with Philip Glass who is doing something every season, and John Adams who seems to be everywhere lately. Meanwhile, newcomer Corey Dargel seems to have earned his place on the scene. James Tenney is having two pieces performed at Manhattan School of Music on November 9. Fred Hersch appreared at the Princeton Institute for Advanced Study – curiously, his program title With and Without Words is similar to one of mine from 1995, (With or Without Words). In addition, many new, foreign, unfamiliar names appear on the programs.

There is very little female representation. Women get the less-glamorous school and church gigs – Eve Beglarian and Elizabeth Brown at Manhattan School of Music, Laura Kaminsky and Mary Jane Leach at Fifth Ave Presbyterian (Oct 28), Augusta Reade Thomas at Madison Ave Prebyterian (Oct 30 afternoon), Tina Davidson at the Society for Ethical Culture, in a festival of spiritual music offsetting Halloween on October 29-30. As usual, Roulette has the best female-to-male ratio, with Zeena Parkins, Nicole Zaray, Monika Heidemann. The Composers’ Ensemble at Princeton presents no work by women whatsoever.

Generally, concerts are fewer than in the past. The scene seems to be unfocused. It is good to present music from all over the world, in addition, but not instead of music by local composers and by women. Also there is way too much straight old classical music being performed. How are we supposed to evolve?