I was supposed to run a contest promoting the premiere of Magnus Lindberg’s Kraft tonight at the NYPhil but I forgot (that’ll teach them to do business with a card-carrying member of the Medicare set) so this is a makeup.  I have tickets for the October 12 performance for the first person who can tell me the name of American composer whose Second Symphony is based on a single lyrical motif and explain what in the hell this has to do with Magnus Lindberg.  I also have a pair for the first person to correctly identify the Helsinki hotel at

There are a couple of posts over at our new sister ship Chamber Musician Today that cry out for comment.  Alas, the folks who visit there so far seem to be a bit more shy than the S21 gang so I’d like to recruit some of you to run over and stir up some trouble.  In New Rules for Classical Musicians, violinist Marjorie Kransberg-Talvi argues that it is unrealistic to expect struggling big city music organizations to pay the same salaries and maintain the same work rules they’ve had in better times.  The Detroit Symphony strike, she says, is simply hastening

Dear Jerry: I am extremely interested in educating myself on the trends in new “downtown” as well as much “uptown” music (e.g. the music, methods and processes of; yourself, David Lang, Meredith Monk, Nico Muhly, Toru Takemitsu, Steve Reich, Morton Feldman, Carl Ruggles, Charles Ives, Lou Harrison), and I am in search of resources online to meet this end.  I want to know them the way you do, or the way a composition professor would.  The online resources of which I am aware are The New Grove Dictionary, Music Theory Spectrum, The Society For Music Theory, and Sequenza21.com. I have

If you haven’t checked out Chamber Musician Today, the latest, greatest (and only) new addition to the Sequenza21 family, you’re missing some really good stuff. Some very talented people have signed up already and have added their blogs to the daily content flow and it’s starting to look like a web community for musicians and composers with real potential. If you were to run over there right now, for example, you could read a report from the Native American Composers Apprentice Project in Moab, Utah from Ralph Farris, violist of the terrific contemporary string quartet Ethel or a post by

Chamber Music America and ASCAP team up each year to present awards for Adventurous Programming to honor U.S.-based professional ensembles, presenters, and festivals that have “…demonstrated a commitment to contemporary chamber music through adventurous, distinctive programming.” Ensembles (contemporary, mixed repertory, and Jazz) and presenting organizations (contemporary, mixed genre, and jazz) are considered.   The awards will be presented during the next CMA National Conference in New York City, January 13-16, 2011. Each recipient will receive a $500 award and a plaque. This year’s deadline is October 1, 2010.  (This is an in-office deadline, not a postmark date).  For more information

The catalog for New York City Opera’s 2010-2011 arrived by post yesterday and, as usual, the Met’s poor cousin on perpetual life support has cobbled together a few interesting-looking programs to accompany the usual Donizetti and Strauss crowdpleasers. There is the long-delayed premier of A Quiet Place, Leonard Bernstein’s final stage work, the New York premiere of Seance on a Wet Afternoon, the first opera of Stephen Schwartz who did the Broadway hits Wicked, Godspell and Pippin, and–most intriguing of all–an evening called Monodramas–three one acts by John Zorn, Morton Feldman and Arnold Schoenberg. But, what caught my eye was

Fanfare, please.  From the creators of Sequenza21 comes a new web community–Chamber Musician Today.  Something like that anyway.  Go over and register and you’ll find there are lots of neat things you can do there.  You can blog directly on the site whenever you feel like it, you can post concerts and announcements to the Calendar page, you can review a CD, comment, add a profile, even add your existing blog feed to the Autopost and the software will automatically pull in your last 10 posts and all new ones.  The ones that are on target (i.e., have something to

                Xin Wang & Alvin Crawford in the 2008 world premiere of Sanctuary Song, presented by Tapestry & Theatre Direct in association with Luminato. Turns out the Hartford Opera Theater folks are not the only group that creates short operas through a collaborative process. In fact, they may have “borrowed” the idea from a Toronto-based organization called Tapestry New Opera, which has been holding an annual Composer-Librettist Laboratory (known affectionately as the LibLab) every year since 1995. LibLab is also the model for the English National Opera Studio’s All In Opera, as well

Montana native Christopher Stark has won American Composers Orchestra’s 2010 Underwood Commission, earning him a $15,000 purse for a work to be premiered by ACO in a future season. Chosen from seven finalists during ACO’s 19th annual Underwood New Music Readings on May 21 and 22, Stark won the top prize with his work Ignatian Exercises. Born in 1980, Christopher Stark spent his formative years in rural western Montana. His music is deeply rooted in the American West, always seeking to capture the expansive energy of Montana’s quintessential American landscape. In addition to ACO, he has worked with ensembles such