Following up on Alex Ross’ post about the New York Philharmonic’s 2011-’12 season, which mentioned the lack of representation of American composers on the Contact! series and women composers throughout the schedule, we asked Sequenza 21 readers to share their lists of American women composers that the Philharmonic should consider programming (more comments/lists welcome). Here’s my own take. I’ve compiled three chamber orchestra programs for the Contact! concerts and one for the regular subscription series: all consisting entirely of living women composers. One features American music and the other programs have a more diverse array of nationalities. I hasten to
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American Music Center, Composers, Contemporary Classical, File Under?, Media, Orchestras, Women composers
Yesterday, Alex Ross wrote a short essay on The Rest is Noise about next season’s offerings at the New York Philharmonic. After discussing several highlights, including Stockhausen’s Gruppen at the Park Avenue Armory, the NYPO’s first presentation of a piece by Philip Glass (!), and a new work by John Corigliano, he pointed out some curious omissions. Ross wrote,”The Contact! series will elicit new works from Alexandre Lunsqui, Yann Robin, and Michael Jarrell. The series has no American music this year, nor is there any music by women in the entire season.” Like Ross, I’m very excited by some of
Read moreThe first student composers’ concert of the new year at the University of Michigan took place last Monday, January 31st. Although brief, this evening of premieres and experiments was just as potent, moving and successful as the other student-run new music events I’ve shared with the Sequenza21. Offering a diverse menu of solo, chamber and electronic compositions, Monday’s concert made yet another statement toward the rich and vast musical community operating in Ann Arbor, Michigan. The evening opened in grand style with Wil Pertz’ The Drink of the Wise #25 Origins (Ti), an aleatoric piece for 16 players divided into
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Canada, Chamber Music, Classical Music, Composers, Contemporary Classical, Film Music, Interviews, Orchestras, Portland, Twentieth Century Composer
The job requirements of a working composer are elusive, perhaps especially for composition students enrolled in University degree programs that fail to provide graduates with the interpersonal and business skills necessary for survival outside the walls of academia. One student composer told me recently: “We are all being trained to teach.”Woody Allen famously said: “Those who can’t do, teach. Those who can’t teach, teach gym.” But those who compose and don’t teach do find ways to sustain themselves and their passion for music through a variety of collaborative and creative means, some perhaps less “traditional” than others. With this in
Read moreA few people asked me which works would I would recommend to serve as a starter course for Milton Babbitt’s work. That’s a tricky one: I’d say String Quartets Nos. 2 & 6 Partitions Around the Horn Piano Concerti Philomel All Set. Any other suggested Babbitt samplers out there? Here’s a wonderful essay in remembrance of Milton by David Rakowski. Over at my blog File Under ? , I’ve shared some of my own memories of Milton.
Read moreComposers Concordance is hosting a Composers Play Composers Marathon tonight featuring 21 participants. Peter Jarvis has sent word that, in honor of Milton Babbitt’s recent passing, he’ll be performing Milton’s Homily for snare drum on the event. The organizers have shared more details in a promotional video (below). Tickets are $20, but you get a free beverage along with a dynamic evening of music-making. Sunday, January 30 · 7:00pm – 10:00pm Drom 85 Avenue A (between 5th & 6th Sts.) New York, NY Director: Sound Liberation Co-director: Composers Concordance (& CC Records) International Street Cannibals
Read moreComposer Paul Lansky writes at his Facebook page: “I’m sorry to report that Milton Babbitt died this morning at age 94. He was a great and important composer, and a dear friend, colleague and teacher.” Whether as a pillar of strength, or a pillar to push in opposition to, Babbitt was one of the most dominant presences in American classical music these past 50 years. As news and appreciations pop up, we’ll try to give you links. Meantime, there’s this wonderfully human interview from just about 10 years ago, with NewMusicBox’s Frank J. Oteri.
Read moreHouston, TX – There’s no question that Houston’s proponents of contemporary music are enthusiastically embracing creative marketing concepts and alternative venues for performances in an effort to expand and educate a new century of audiences. In an un-zoned city like Houston, I find that musicians and audiences will happily cross so-called genre and cultural boundaries especially if there’s promise of a good time (Texas barbecue can help too, but that’ll be another entry…). Much to my delight, I am seeing familiar faces when I’m out at performances of new music be it in a gallery in the Third Ward, a
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Awards, Choral Music, Commissions, Composers, Contemporary Classical, San Francisco, Women composers
When the 2010 Composer Collaboration Awards call for proposals went out on May 10, 2010, music presenters, ensembles, and composers all over the San Francisco Bay Area called, paged, and emailed one another, then got together to put their dream projects down on paper in time for the deadline. Today the staff and Boards of six organizations, their chosen composers, and their artistic collaborators are popping champagne corks and dancing around their offices. They’ve received $75,000 each from the Wallace Alexander Gerbode Foundation and the William and Flora Hewlett Foundation, to make six world premieres. Cabrillo Festival of Contemporary Music
Read more[Ed. note – Welcome our newest contributor out in the City of Angels, Paul Bailey. Paul is a composer, trombonist and teacher, leader of the Paul Bailey Ensemble, and a good friend to boot. Paul’s own work draws quite a bit on music and culture outside both the standard university and powdered-wig crowd, has a deep dislike of pretention, and has no problem calling them like he hears them.] For the last week I have been at a loss for what to say about the music presented by the Argento Chamber Ensemble at their concert January 10th at the Zipper Hall “Monday
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