Updates from richardmitnick Toggle Comment Threads | Keyboard Shortcuts

  • richardmitnick 2:04 PM on December 8, 2018 Permalink | Reply
    Tags: , , , Light itself becomes the theme- and an integral part of the year-end religious celebrations   

    From Hearts of Space: “PGM 1130 ‘TOWARD THE LIGHT'” 

    Music From the Hearts of Space

    From Hearts of Space


    Stephen Hill
    About this program from Hearts of Space Stephen Hill tells us:
    INTRO : In the waning days of November and early days of December, we leave behind the trials and tribulations of the year past and focus on the annual rituals of the holiday season. In the shortest days and longest nights of the year, light itself becomes the theme, and an integral part of the year-end religious celebrations.

    Whether it’s traditional, commercial or spiritual, the music of the season takes on a festive, energetic air, culminating in the dazzling celebrations of the new year. It’s a time for generosity, optimism, and hope.

    On this transmission of Hearts of Space, we celebrate the spirit of the season, on a journey called TOWARD THE LIGHT.
    MATTHEW STEWART
    Cave of Stars 05:22 >
    : A WORLD BATHED IN SUNLIGHT ; Spotted Peccary SPM-3101; 2016
    : Info: http://www.spottedpeccary.com

    SUBDREAM
    Almost Awaken 09:28 >
    : STARSEED ; Synphaera SYN03; 2016
    : Info: http://www.synphaera.bandcamp.com

    FORT FAIRFIELD
    The Sky, Full of Birds 14:21 >
    : PRENZLAUER BERG ; Acustronica AT040; 2013
    : Info: http://www.acustronica.com/fort-fairfield.html

    DAVID HELPLING
    Promise 19:18 >
    : SLEEPING ON THE EDGE OF THE WORLD ; Spotted Peccary SPM-0802; 1999
    : Info: http://www.spottedpeccary.com

    TRENTEMOLLER
    Miss You 23:26 >
    : THE LAST RESORT ; Poker Flat Recordings PFRCD18; 2006
    : Info: http://www.pokerflat-recordings.com; http://www.trentemoller.com

    JUTA TAKAHASHI
    Bright Waters 28:28 >
    : ANGEL ; Lunisolar LR009; 2012
    : Info: http://www.jutatakahashi.com

    STEVE ROACH & ROBERT LOGAN
    Moment’s Notice 35:03 >
    : SECOND NATURE ; Projekt PRO327; 2016
    : Info: http://www.projekt.com

    BRIAN ENO
    Lux 1 51:35 >
    : LUX ; Opal/Warp WARPCD231; 2012
    : Info: http://www.warp.net; http://www.brian-eno.net

    MAX RICHTER
    Path 19 (Yet Frailest) 58:59 >
    : FROM SLEEP ; Deutsche Gramophon 479 5257 GH; 2015
    : Info: http://www.deutschegrammophon.com

    PRODUCED BY : Steve Davis and Stephen Hill

    From the program:
    1

    Enjoy Hearts of Space in a variety of ways on your iPhone and many phones in the ANDROID system

    The weekly program is FREE on Sunday

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.

    Stem Education Coalition

    [caption id="attachment_7638" align="alignnone" width="300"] John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 4:04 PM on December 7, 2018 Permalink | Reply
    Tags: , The sale of the year.   

    From Innova: “It’s here!! The innova sale of the year. 30% off all physical product (CDs, vinyl, books) in our catalog; with direct from publisher discount!!!!” 


    From Innova
    Innova is the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    It’s here!! The innova sale of the year. 30% off all physical product (CDs, vinyl, books) in our catalog; with direct from publisher discount!!!!”

    Just enter discount code Acf30 at checkout.

    https://www.innova.mu/catalog/all

    Please visit the above site.

    See the full article here .

    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.

    Stem Education Coalition

    The story of innova® Recordings begins in 1982, when it was founded by the Minnesota Composers Forum (now the American Composers Forum) as a way to document the McKnight Composer Fellowship winners. In its early years, innova produced several sampler LPs featuring the works of a range of Minnesota composers, many of whom have since achieved national prominence, including Eric Stokes, Libby Larsen, Paul Schoenfield, Steve Tibbetts, and Steven Paulus. With the advent of the compact disc, innova began releasing selected highlights from the top ensembles (the Dale Warland Singers, the Saint Paul Chamber Orchestra, the Alexander String Quartet, and others) that had been on the Composers Forum concert seasons.

    Over its first ten years, innova built up a broad distribution network, far beyond the Forum’s own membership circles, and in 1994, the label — always looking for ways to be of service to the new music community — opened its doors to artists who had their own finished masters and were looking for a helping hand in reaching a wider audience. Thus was born the Recording Assistance Program, an exceptionally artist-friendly business model that has allowed the label to grow to one of the most substantial in the nation. In recognition of the career benefits innova can bestow on its artists, the McKnight Foundation endowed it with a $1 million fund in 2002. Interest from that allows the label to keep costs relatively low to artists (who also keep 100% of sales income) and subsidize administrative costs so each title can receive greater bang for the buck.

    In the last decade, the label’s catalog has grown from 70 to over 550 titles, with innova producing 24-30 releases a year encompassing diverse genres, concepts, and approaches — all somehow non-conformist, individualistic, and groundbreaking. Original works receiving their recording debuts (Joseph Bertolozzi’s Tower Music, Robert Moran’s Trinity Requiem, The Crossings’ Seven Responses, Kenji Bunch’s The Snow Queen) sit next to reissues of long out-of-print classics (Talking Drums’ Some Day Catch Some Day Down, William Bolcom’s Open House) and definitive career retrospectives (archives of recordings by Harry Partch and Henry Brant). Bold reimaginings of classics (Darryl Brenzel’s The Re(w)-Rite of Spring, Grand Valley State University New Music Ensemble’s In C Remixed and Music for 18 Musicians) collide with expansive cultural time capsules (The NYFA Collection: 30 Years of New York New Music, Sonic Circuits Electronic Music Festival). Exploratory new music (Mari Kimura’s Voyage Apollonian, Maya Beiser’s Provenance and TranceClassical, and ETHEL’s Documerica) mingles with modern twists on traditional music (Arcomusical’s MeiaMeia, ETHEL’s The River, and Emanuele Arciuli’s Walk in Beauty) and hangs out with lo-fi garage pop (R. Stevie Moore’s Nevertheless Optimistic). Field recordings from Vietnam (Stilling Time), Cuba (Habanera), and Belize (Lebeha Boys) cohabit with career collections of music by PRISM Quartet, Zeitgeist, Society for New Music, Fred Ho, Mark Applebaum, Barry Schrader, Andrew Violette, Eleanor Hovda, Robert Moran, Steven Miller, and many more. Not only does innova march to the beat of a different drum (the non-profit, artist centered philosophy, in this case), but the different drummer herself (and not just Susie Ibarra) is likely on the roster of artists.

    innova albums and artists have been nominated for – and won – Pulitzers, Grammies, and Emmies. They have received plaudits from publications from the New York Times to Czech Republic’s His Voice magazine, from the Wire in London to the Los Angeles Times, Italy’s Kathodik and everywhere in between.

    Major grants over the years from the National Endowment for the Arts (2001, 2003, 2004, 2008, 2010) and the New York State Music Fund (2007) have boosted the label’s growth, reputation, and visibility. In 2009 innova partnered with Naxos USA distribution to expand its reach even further and is constantly adapting to changing needs and embracing new technologies. Philip Blackburn took over the directorship of the label from Homer Lambrecht in 1996 and has been joined by Chris Campbell (2003) as Operations Director, and Publicist, Tim Igel (2017-, taking the baton from Steve McPherson (2010-16)).

    In 2012 innova was awarded the prestigious Laurel Leaf Award from the American Composers Alliance “for its excellent support of the full range of contemporary American music.”

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 2:40 PM on December 7, 2018 Permalink | Reply
    Tags: Barre Phillips double bass, ECM on VINYL, , , Marcin Wasilewski piano; Slawomir Kurkiewicz double bass; Michal Miskiewicz drums, Mark Turner tenor saxophone; Ethan Iverson piano, , Shai Maestro piano; Jorge Roeder double bass; Ofri Nehemya drums, Wadada Leo Smith trumpet; Bill Frisell guitar; Andrew Cyrille drums, Wolfgang Muthspiel guitar; Ambrose Akinmusire trumpet; Brad Mehldau piano; Larry Grenadier double bass; Eric Harland drums   

    From ECM: “NOW AVAILABLE ON VINYL” 

    New from From ECM

    From ECM which might just be the finest recording company in the world.

    1

    1
    Wadada Leo Smith trumpet; Bill Frisell guitar; Andrew Cyrille drums
    Lebroba featuring Andrew Cyrille, Bill Frisell and Wadada Leo Smith brings together three of creative music’s independent thinkers, players of enduring influence. A generous leader, Cyrille gives plenty of room to his cohorts, and all three musicians bring in compositions. In his own pieces Cyrille rarely puts the focus on the drums, preferring to play melodically and interactively, sensitive to pitch and to space – his priority today is an elliptical style in which meter is implied rather than stated.

    Listen/Buy

    3

    Wolfgang Muthspiel guitar; Ambrose Akinmusire trumpet; Brad Mehldau piano; Larry Grenadier double bass; Eric Harland drums

    Muthspiel’s “lyrical and painterly style” has won him many admirers. Where The River Goes carries the story forward from the highly-acclaimed 2016 recording Rising Grace. Featuring a cast of heavyweight talent (Mehldau, Akinmusire, Grenadier, Harland), this is much more than an “all-star” gathering. The group plays as an ensemble with its own distinct identity, evident both in the interpretation of Muthspiel’s pieces and in the collective playing.

    LISTEN / BUY

    4

    Shai Maestro piano; Jorge Roeder double bass; Ofri Nehemya drums

    The first ECM leader date for Shai Maestro features the gifted pianist fronting his superlative trio in a program predominantly of characteristically thoughtful Maestro originals. “Hearing the Shai Maestro Trio is like awakening to a new world”, All About Jazz has suggested. “Expressions of joy, introspective thoughts and heightened intensity all come to the fore.” Maestro’s differentiated touch is special; he can convey a range of fleeting emotions in a single phrase.
    LISTEN / BUY

    5
    Mark Turner tenor saxophone; Ethan Iverson piano
    This album marks the recording debut of Turner and Iverson in duo. Years after their first meeting at NYC jam sessions, and following much individual success (Turner as a leader and in demand sideman, and Iverson in hit trio The Bad Plus) they re-connected as part of the exhilarating and widely-lauded Billy Hart Quartet. On Temporary Kings, they explore aesthetic common ground that embodies the heightened intimacy of modernist chamber music in a program of predominantly original compositions.
    LISTEN / BUY

    6
    Barre Phillips double bass

    Barre Phillips was the first musician to record an album of solo double bass, back in 1968, and he has always been an absolute master of the solo idiom. In March 2017, Barre recorded what he says will be his last solo album, the final chapter of this journey: it is a beautiful and moving musical statement. All the qualities we associate with his playing are here in abundance – questing adventurousness, melodic invention, textural richness, developmental logic, and deep soulfulness.
    LISTEN / BUY

    7

    Marcin Wasilewski piano; Slawomir Kurkiewicz double bass; Michal Miskiewicz drums

    This live recording captures the trio in energetic, extroverted mode, fanning the flames of their previously recorded repertoire and drawing on the decades-long deep understanding the musicians have established over a quarter century of shared musical endeavor. As UK magazine Jazz Journal has noted, “Wasilewski’s music celebrates a vast dynamic range, from the most deftly struck pianistic delicacies to gloriously intense emotional exuberance, all within a marvelously melodic concept.”
    LISTEN / BUY

    8

    Jakob Bro guitar; Thomas Morgan double bass; Joey Baron drums 

    This poetically attuned group follows its ECM studio album of Streams (2016) – which The New York Times lauded as “ravishing”- with an album recorded live over two nights in New York City. Bay of Rainbows rolls on waves of contemplative emotion, with gradually enveloping lyricism the lodestar. Recast intimately and elastically for trio, the pieces are illustrative of Bro and company’s ability to push and pull the music into mesmerizing new shapes, onstage and in the moment.
    LISTEN / BUY

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 3:11 PM on December 6, 2018 Permalink | Reply
    Tags: ,   

    From Eighth Blackbird: “New Year, New Program in Big Sky, MT” 

    From Eighth Blackbird

    January 19, 7:30pm | Warren Miller Performing Arts Center

    1

    Our first concert of the new year will be in the gorgeous mountains of Big Sky, Montana. Join us on Saturday, January 19 at 7:30pm, for a program featuring music by Bryce Dessner, Jessie Marino, Sarah Kirkland Snider, Holly Harrison, and an old favorite by David Lang (super fun video included above), as well as a Blackbird Creative Lab-commissioned work by alumnus Viet Cuong.

    Tickets

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.

    Stem Education Coalition


    Nathalie Joachim, flutes • Michael J. Maccaferri, clarinets • Yvonne Lam, violin & viola •
    Nick Photinos, cello • Matthew Duvall, percussion • Lisa Kaplan, piano

    Eighth Blackbird is “one of the smartest, most dynamic contemporary classical ensembles on the planet” (Chicago Tribune). Launched by six entrepreneurial Oberlin Conservatory undergraduates in 1996, this Chicago-based super-group has earned its status as “a brand-name…defined by adventure, vibrancy and quality….known for performing from memory, employing choreography and collaborations with theater artists, lighting designers and even puppetry artists” (Detroit Free Press).

    Eighth Blackbird’s mission—moving music forward through innovative performance, advocating for new music by living composers, and creating a legacy of guiding an emerging generation of musicians —extends beyond recording and touring to curation and education. The ensemble served as Music Director of the 2009 Ojai Music Festival, has held residencies at the Curtis Institute of Music and at the University of Chicago, and holds an ongoing Ensemble-in-Residence position at the University of Richmond. The 2015-16 season featured a pioneering residency at Chicago’s Museum of Contemporary Art: a living installation with open rehearsals, performances, guest artists, and public talks. In 2017, Eighth Blackbird launched its boldest initiative yet with the creation of Blackbird Creative Laboratory, a tuition-free, two-week summer workshop and performance festival for performers and composers in Ojai, CA.

    Eighth Blackbird’s members hail from the Great Lakes, Keystone, Golden, Empire and Bay states. The name “Eighth Blackbird” derives from the eighth stanza of Wallace Stevens’s evocative, imagistic poem, Thirteen Ways of Looking at a Blackbird: “I know noble accents / And lucid, inescapable rhythms; / But I know, too, / That the blackbird is involved / In what I know.”

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 3:01 PM on December 6, 2018 Permalink | Reply
    Tags: Jeanine Tesori—Holding Center Stage,   

    From NEWMUSICBOX: “Jeanine Tesori—Holding Center Stage” 

    New Music USA


    From NEWMUSICBOX

    December 1, 2018
    Frank J. Oteri

    1

    Video presentations and photography by Molly Sheridan
    Transcription by Julia Lu

    Having the opportunity to spend an hour talking with Jeanine Tesori is very hard to do these days. Having just finished working with Tazewell Thompson on Blue, an extremely timely opera about the aftermath of an African-American teenager being killed by the police which premieres next summer at Glimmerglass, she’s been on-call all week for Steven Spielberg’s new screen adaptation of Leonard Bernstein’s West Side Story and, on the Saturday we did manage to catch up with her in her composing studio at New York City Center, she was about to fly to London where a new production of her 2004 musical Caroline, or Change is about to open that’s running in the West End through February 9. Following its run earlier this year in Los Angeles, a New York production is in the works for her latest musical Soft Power, a collaboration with David Henry Hwang that takes place 100 years in the future after China has become the dominant world power as a result of the 2016 American presidential election. Plus, she’s way behind starting work on her Metropolitan Opera commission.

    See the full article here.


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    At NEWMUSICUSA, we see ourselves first and foremost as advocates. Our mission is to support and promote new music created in the United States. We do that in many ways, fostering connections, deepening knowledge, encouraging appreciation, and providing financial support. In recognition of the possibility and power inherent in the virtual world, we’ve worked to build a strong internet platform to serve our constituency. And that constituency is broad and diverse, from composers and performers to presenters and producers, casual listeners to die-hard fans. We’re truly committed to serving the WHOLE new music community.

    As we go about our work, we make a point of not defining too precisely what we mean by new music. To define is to limit. It’s a spectacular time for musical creativity in part because so much music is being made that isn’t bound by conventional limitations of style or genre or background. The music that we hear being created in such abundance all around us is definition enough. We simply want it to flourish.

    We’re fortunate to have as our legacy the history of previous decades of good works done by the American Music Center and Meet The Composer, the two great organizations that merged to form us in 2011. Their legacies have also brought a small financial endowment that mostly helps support our grantmaking. But we’re not a foundation. We depend decisively each year on the generosity of so many institutions and individuals around the country who are dedicated as we are to the advancement of new music and are devoted to supporting our work.

    New Music USA is part of an international community of advocates for the arts. We’re members of the Performing Arts Alliance, the International Association of Music Information Centres, and the International Society for Contemporary Music. Those partnerships help us represent the interests of our constituents at every level.

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 1:44 PM on December 6, 2018 Permalink | Reply
    Tags: "SolstICE Celebration, ,   

    From International Contemporary Ensemble: “SolstICE Celebration” 


    From International Contemporary Ensemble

    1
    Sunday, December 16, 2018
    at 3:00 PM

    Areté
    67 West St, #103
    Brooklyn, NY 11222

    Free Event
    Tickets

    These 12 albums are so big and bold, they deserve a SIX HOUR PARTY to celebrate! Join us to celebrate albums featuring members of the International Contemporary Ensemble, including those released on our own record label, Tundra.

    *Performances every hour! Plus time to listen to tracks from albums, drink, eat, and enjoy each other’s company.

    *This party isn’t just about celebrating ICE, it’s to also celebrate all of you—our ICE family! From going to concerts to making a donation, everyone’s icey love has made what the ensemble is today.

    *So…let’s party together to celebrate 12 albums from the last 12 months of 2018 as we count down to the shortest day of the year—the Winter SolstICE!

    Featuring ICE members:
    Rebekah Heller, bassoon
    Claire Chase, flute
    Ross Karre, percussion
    Nathan Davis, percussion
    Levy Lorenzo, percussion & electronics
    Josh Modney, violin
    Jacob Greenberg, harmonium
    Joshua Rubin, clarinet
    Isabel Gleicher, flute
    Dan Lippel, guitar
    Ryan Muncy, saxophone

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.

    Stem Education Coalition

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate
    Alice Teyssier, flute*

    • ICE musician

    Artists

    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 1:29 PM on December 6, 2018 Permalink | Reply
    Tags: , New School’s College of Performing Arts, Philip Glass Institute, The Philip Glass Ensemble   

    From Lisa Bielawa: THE NEW SCHOOL’S COLLEGE OF PERFORMING ARTS LAUNCHES THE PHILIP GLASS INSTITUTE, A LANDMARK PARTNERSHIP CELEBRATING GLASS’S INDELIBLE CONTRIBUTIONS TO ART AND CULTURE 

    From Lisa Bielawa

    Lisa Bielawa to be inaugural Composer-in-Residence and Chief Curator of the Institute.

    The Philip Glass Ensemble will also debut as Ensemble-in-Residence at The New School with a concert on January 6th, 2019 at 4:30 pm.

    Philip Glass by Timothy Judd

    Lisa Bielawa – Daniel Clark

    New York, December 5, 2018 – The New School’s College of Performing Arts (CoPA) today announced a landmark partnership with the Philip Glass Ensemble (PGE) and long-time PGE member, Lisa Bielawa, around the work of Philip Glass, one of the world’s preeminent composers, musicians, and authors, to form a new learning and creative center. Building on Glass’s enduring contributions to modern culture, the Philip Glass Institute (PGI) will offer students, faculty, and the public the opportunity to immerse themselves in the work of Philip Glass, other important artists within his circle, and the work of the iconic Philip Glass Ensemble. Renowned composer and long-time vocalist for the PGE Lisa Bielawa will become the inaugural Composer-in-Residence and Chief Curator of the Philip Glass Institute.

    The institute will launch with a performance by the Philip Glass Ensemble and a panel discussion with Glass, Bielawa, and Richard Kessler, Executive Dean of CoPA on January 6, 2019 at 4:30 pm, at The New School’s Tishman Auditorium. The event will also include a performance of an excerpt from Bielawa’s made-for-TV opera, Vireo, which will be workshopped for live performance at the Institute in spring 2020.

    Peerless in his originality as a composer and musician, Glass’s work has been instrumental in breaking down barriers across genres. His work includes the groundbreaking opera Einstein on the Beach, Music in Twelve Parts, and Academy Award-nominated scores for three films. Glass has captivated audiences worldwide with his bold artistic vision, which fuses a truly original musical language and an unparalleled collaborative practice, all in a singular entrepreneurial spirit.

    The idea for the Philip Glass Institute originated between Glass and Bielawa, who both felt that The New School would be the ideal setting for such an institute. Subsequently, Bielawa approached Kessler about the future of the Philip Glass Ensemble, Philip’s legacy, the continuation of his work, along with her own work, and how this all might work together under a single umbrella. Both Kessler and Bielawa were struck by the ways in which Glass has built community throughout his career, a practice that Bielawa has honored in her own work and life as well. Together, Glass, Bielawa, and Kessler were drawn toward creating an institute to further that ethos.

    “I can think of no better home for the Philip Glass Institute and the Philip Glass Ensemble than The New School’s College of Performing Arts,” said Kessler. “Over the past century, The New School has been a home to John Cage, Henry Cowell, Martha Graham, Aaron Copland, the Fluxus Movement, and scores of trailblazing artists and scholars. Today, the original, highly influential, and beloved work of Philip Glass will become accessible for a long time to come to new generations of students and audiences through this exciting new partnership.”

    “I am very pleased about the Philip Glass Institute at The New School,” Glass said. “My own legacy flourished in a wide garden of music going on all at the same time. In my lifetime I was contemporaneous with all kinds of music, and I rejoiced in it…In terms of range and variety of modern music, it is important to be unafflicted by prejudice. The music stands by itself. At the new PGI we can prioritize a curriculum which doesn’t require critical approval of any period or style…Young composers need to be true to their voices. ‘Coming up’ can be very independent, and this is what will be guiding our work at The New School.”

    As the inaugural Composer-in-Residence and Chief Curator of the Philip Glass Institute, Bielawa will serve not just to preserve Glass’s legacy, but to further it by creating new works, curating concerts, and creating new courses and curricula that build on the ethos and vision of Philip Glass. Bielawa, an award-winning multidisciplinary artist-composer, is a 2009 Rome Prize winner in Musical Composition and recipient of the 2017 Music Award from the American Academy of Arts & Letters.

    “It is a huge honor and pleasure to spearhead this new initiative at The New School, which has a long history of charting new territory in the way that artists share their work and lives with the next generation,” said Bielawa. “The Philip Glass Institute is a new and lasting way to celebrate Philip’s ethos: an NYC incubator for the sharing of ideas, among a multi-generational community of composers, performers, and music industry professionals.”

    The Philip Glass Institute at The New School will create new learning opportunities rooted in Glass’s contributions to modern musical and cultural life. Students across CoPA’s three schools — Mannes School of Music, School of Jazz and Contemporary Music, and School of Drama — will learn composition, sound design, musicology, and arts management, among other disciplines, from members of the Philip Glass Ensemble and CoPA faculty who are frequent collaborators with Glass, including Matt Haimovitz, Jennifer Koh, Bob Hurwitz, and Dennis Russell Davies.

    As Ensemble in Residence, the Philip Glass Ensemble will base its extensive touring and performance operations out of The New School. Recognized as the premier performers of Glass’s compositions, the Ensemble has been exclusively devoted to performing Glass’s iconic works in some of the world’s most prestigious music festivals and concert venues. At The New School, the group will integrate its rigorous practice-performance methodology into CoPA’s innovative curriculum, hosting workshops, leading masterclasses, and welcoming the public to select rehearsals. This first-of-its-kind residency at CoPA will be instrumental in preparing students to succeed in the 21st century musical landscape.

    Philip Glass Institute Launch Event
    Sunday, January 6, 2019, 4:30-5:30pm
    The New School’s Tishman Auditorium
    63 5th Ave., New York, NY 10003
    Admission is free, RSVPs required. RSVP here.
    Press RSVPs: Will Wilbur – wilburw@newschool.edu

    The Philip Glass Institute will launch with a performance by the Philip Glass Ensemble and a panel discussion with Philip Glass; Lisa Bielawa, Composer-in-Residence and Chief Curator of the Philip Glass Institute; and Richard Kessler, Executive Dean of The New School’s College of Performing Arts. The event will also include a performance of an excerpt from Bielawa’s made-for-TV opera, Vireo, which will be workshopped for live performance at the institute in spring 2020.

    The Philip Glass Ensemble
    Established by composer Philip Glass, the Philip Glass Ensemble (PGE) held its first performance in May 1969 at the Whitney Museum of American Art in New York City. Since its inception, the Ensemble has been exclusively devoted to performing Glass’s iconic works. The members of the PGE are recognized as the premier performers of Philip Glass’s compositions and the group has performed on four continents in some of the world’s most prestigious music festivals and concert venues.

    The PGE is continuing into the future as a performing and educating organization, exclusively performing Philip Glass’s catalog of music written or arranged for the PGE, using the authentic performance practice that the members of the Ensemble have developed over their decades of touring and recording with Glass. The Ensemble is eager to help the next generation of musicians learn this tradition during their touring activities and at their home base in New York City.

    Philip Glass
    Born in Baltimore, Maryland, Philip Glass is a graduate of the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and, while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. By 1974, Glass had a number of innovative projects creating a large collection of new music for The Philip Glass Ensemble and for the Mabou Mines Theater Company. This period culminated in Music in Twelve Parts and the landmark opera Einstein on the Beach, for which he collaborated with Robert Wilson. Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra and film. His scores have received Academy Award nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). In the past few years several new works were unveiled including an opera on the death of Walt Disney, The Perfect American (co-commissioned by Teatro Real, Madrid and the English National Opera), a new touring production of Einstein, the publication of Glass’s memoir, Words Without Music, by Liveright Books, and the premiere of the revised version of Glass’ opera Appomattox, in collaboration with librettist Christopher Hampton, by the Washington National Opera in November 2015.

    Glass celebrated his 80th birthday on January 31, 2017 with the world premiere of Symphony No. 11 at Carnegie Hall. His 80th birthday season featured programming around the globe, including the U.S. premieres of operas The Trial and The Perfect American, and world premieres of several new works, including Piano Concerto No. 3, String Quartet No. 8, and Glass’ first Piano Quintet.

    In 2015, Glass received the U.S. National Medal of Arts and the 11th Glenn Gould Prize. He was honored with the Richard and Barbara Debs Composer’s Chair from Carnegie Hall for the 2017-2018 season. Glass will receive the 41st Kennedy Center Honors in December 2018.

    On January 10th, 2019, the Los Angeles Philharmonic will present the world premiere of Glass’ Symphony No. 12, based on David Bowie’s album Lodger and a completion of three symphonies based on Bowie’s Berlin Trilogy. Glass continues to perform solo piano and chamber music evenings with world renowned musicians, and regularly appears with the Philip Glass Ensemble.

    Lisa Bielawa

    Composer-vocalist Lisa Bielawa is a 2009 Rome Prize winner in Musical Composition. She takes inspiration for her work from literary sources and close artistic collaborations. Gramophone reports, “Bielawa is gaining gale force as a composer, churning out impeccably groomed works that at once evoke the layered precision of Vermeer and the conscious recklessness of Jackson Pollock.” Her music has been described as “ruminative, pointillistic and harmonically slightly tart,” by The New York Times, and “fluid and arresting … at once dramatic and probing,” by The San Francisco Chronicle. She is the recipient of the 2017 Music Award from the American Academy of Arts & Letters.

    Lisa Bielawa recently completed her unprecedented, made-for-TV-and-online opera Vireo:The Spiritual Biography of a Witch’s Accuser with librettist Erik Ehn and director Charles Otte. Vireo was produced as part of Bielawa’s artist residency at Grand Central Art Center in Santa Ana, California and in partnership with KCET and Single Cel. The opera was filmed in 12 parts at locations across the country – Alcatraz Island, a monastery on the Hudson River, a studio in Downtown LA, an abandoned train station in Oakland, and the California Redwoods – and featured over 350 musicians in support of its core cast, including soprano Deborah Voigt, Kronos Quartet, violinist Jennifer Koh, San Francisco Girls Chorus, cellist Joshua Roman, Alarm Will Sound, PRISM Saxophone Quartet, American Contemporary Music Ensemble (ACME), and many others. All 12 episodes were broadcast on KCET’s Emmy® award-winning arts and culture series Artbound, as well as online for free, on-demand streaming, which was a first for the network. The Los Angeles Times called Vireo an opera, “unlike any you have seen before, in content and in form,” and San Francisco Classical Voice described it as, “poetic and fantastical, visually stunning and relentlessly abstract.”

    Lisa Bielawa’s music is frequently performed throughout the US and abroad. Two of her works received their world premieres at the 2016 NY PHIL BIENNIAL: My Outstretched Hand by The Knights, San Francisco Girls Chorus, and Brooklyn Youth Chorus, which was recently given a second performance at The Kennedy Center; and Vireo Caprice by violinist Jennifer Koh at National Sawdust. The Seattle Chamber Music Society recently commissioned and premiered Bielawa’s Fictional Migrations for flute, horn, and piano, which The Seattle Times called, “sophisticated, propulsive, complex, and often beautiful.” In December 2016, the Orlando Philharmonic performed the world premiere of Bielawa’s Drama/Self Pity for orchestra and in January 2017, The Kennedy Center presented two of her works with Bielawa as soloist as part of their KC Jukebox series. Recent highlights also include performances of Start for piano and chamber orchestra by pianist Andrew Armstrong and the Orchestra of the League of Composers; 50 Measures for Aaron by SOLI Chamber Ensemble; One Atom of Faith by violinist Rebecca Fischer of the Chiara String Quartet; The Trojan Women by the String Orchestra of New York City; and Insomnia Etudes, commissioned for the Klein Competition.

    Other performance highlights include Bielawa’s The Trojan Women at Le Poisson Rouge; a Radio France commission for Ensemble Variances titled Cri Selon Cri; a residency at John Zorn’s The Stone; and the world premieres of Hypermelodia at The Rivers School Conservatory, Rondolette by the string quartet Brooklyn Rider and pianist Bruce Levingston, Double Duet by the Washington Saxophone Quartet (with subsequent performances by the PRISM Quartet), Graffiti dell’amante by Bielawa with the Chicago Chamber Musicians in Chicago and with Brooklyn Rider in New York and Rome, The Project of Collecting Clouds at Town Hall in Seattle by cellist Joshua Roman and chamber ensemble, Double Violin Concerto and In medias res by the Boston Modern Orchestra Project, The Right Weather by American Composers Orchestra and pianist Andrew Armstrong at Carnegie Hall, and The Lay of the Love and Death at Lincoln Center’s Alice Tully Hall.

    Bielawa’s music can be found outside the concert hall as well, with two major works written for performance in public spaces. Chance Encounter is a piece comprising songs and arias constructed of speech overheard in transient public spaces, which was premiered by soprano Susan Narucki and The Knights in Lower Manhattan’s Seward Park. A project of Creative Capital, the 35-minute work for roving soprano and chamber ensemble has since been performed at the Whitney Museum of American Art in New York, in Vancouver, Venice, and in Rome on the banks of the Tiber River in partnership with urban placemaker Robert Hammond, a founder of The High Line in New York. Bielawa’s latest work for performance in public places is Airfield Broadcasts, a massive 60-minute work for hundreds of musicians that premiered on the tarmac of the former Tempelhof Airport in Berlin (Tempelhof Broadcast, May 2013) and was also performed at Crissy Field in San Francisco (Crissy Broadcast, October 2013). Bielawa turns these former airfields into vast musical canvases, as professional, amateur and student musicians execute a spatial symphony. Students at the Usdan Summer Camp for the Arts recently performed a section from Airfield Broadcasts as part of Bielawa’s artist residency there.

    Bielawa’s latest album, The Lay of the Love, was released on Innova in June 2015 and features performances by baritone Jesse Blumberg; soprano Sadie Dawkins Rosales; pianists Jocelyn Dueck, Benjamin Hochman and Evelyne Luest; violinist Colin Jacobsen; cellist Eric Jacobsen; clarinetist Anthony McGill; and flutist Lance Suzuki. The centerpiece of the album is Bielawa’s 25-minute work The Lay of the Love and Death, based on the text of Rainer Maria Rilke’s epic poem, The Lay of the Love and Death of Cornet Christopher Rilke. Bielawa’s discography also includes A Handful of World (Tzadik); The Trojan Women on a disc entitled First Takes (TROY); Hildegurls: Electric Ordo Virtutum, (Innova); The Trojan Women in a version for string quartet performed by the Miami String Quartet on The NYFA Collection (Innova); In medias res (BMOP/sound), a double-disc set of Bielawa’s solo and orchestral works; the world premiere recording of Chance Encounter (Orange Mountain Music), and Elegy-Portrait on pianist Bruce Levingston’s 2011 album, Heart Shadow (Sono Luminus).

    Born in San Francisco into a musical family, Lisa Bielawa played the violin and piano, sang, and wrote music from early childhood. She moved to New York two weeks after receiving her B.A. in Literature in 1990 from Yale University, and became an active participant in New York musical life. She began touring as the vocalist with the Philip Glass Ensemble in 1992, and has also premiered and toured works by John Zorn, Anthony Braxton, and Michael Gordon. In 1997 she co-founded the MATA Festival, which celebrates the work of young composers. Bielawa was appointed Artistic Director of the acclaimed San Francisco Girls Chorus in 2013 and recently completed her residency at Grand Central Art Center in Santa Ana, California. In 2016, Bielawa was awarded grants from New York Foundation for the Arts, the MAP Fund, and New Music USA.

    The New School:
    Will Wilbur
    212-229-5667 x 3990
    wilburw@newschool.edu

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 1:00 PM on December 6, 2018 Permalink | Reply
    Tags: , , panSonus, ,   

    From NEWMUSICUSA: “panSonus NYC Premiere Concert” 

    From NEWMUSICUSA

    1
    Saturday, December 15, 2018
    at 7:30 PM

    St. John’s in the Village
    224 Waverly Place
    New York, NY 10014

    $10—20

    Tickets

    Comprised of New York-based musicians Jon Clancy (Westfield, NJ) and Amber Evans (Brisbane, AUS), panSonus is an interdisciplinary duo that seeks to promote and collaborate in the creation of new and experimental works for combinations of voice, percussion, theatre, and electronics, that transcend their respective traditional practices. Through their work, the duo curates uniquely engaging and visceral performance experiences through works that heighten awareness of corporeal, spacial, and material resonance, and advocates for thoughtful, inclusive, and conceptual programming practices.

    Program:

    Sarah HENNIES || Psalm 3 (2009) for woodblock
    Bethany YOUNGE & Kayleigh BUTCHER || Her Disappearance (2015) for two voices extended by 5′ PVC pipe
    Allessandro PERINI || Three Studies for Two Voices (2017) for two performers and embedded electronics*
    Andrea L. SCARTAZZINI || Aura (2000) for obscured vocalist and percussionist*

    – intermission –

    Daniel TACKE || Abend (2009) for voice and percussion**
    Kate SOPER || III. The Crito [from IPSA DIXIT] (2013) for vocalist playing percussion and speaking percussionist
    Sarah HENNIES || Flourish (2013) for vibraphone (two players)

    • US Premiere

    ** NYC Premiere

    Doors open at 7pm
    Tickets: $20 Adult / $15 Student / $10 Early Bird

    See the full article here .

    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.

    Stem Education Coalition

    At NEWMUSICUSA we see ourselves first and foremost as advocates. Our mission is to support and promote new music created in the United States. We do that in many ways, fostering connections, deepening knowledge, encouraging appreciation, and providing financial support. In recognition of the possibility and power inherent in the virtual world, we’ve worked to build a strong internet platform to serve our constituency. And that constituency is broad and diverse, from composers and performers to presenters and producers, casual listeners to die-hard fans. We’re truly committed to serving the WHOLE new music community.

    As we go about our work, we make a point of not defining too precisely what we mean by new music. To define is to limit. It’s a spectacular time for musical creativity in part because so much music is being made that isn’t bound by conventional limitations of style or genre or background. The music that we hear being created in such abundance all around us is definition enough. We simply want it to flourish.

    We’re fortunate to have as our legacy the history of previous decades of good works done by the American Music Center and Meet The Composer, the two great organizations that merged to form us in 2011. Their legacies have also brought a small financial endowment that mostly helps support our grantmaking. But we’re not a foundation. We depend decisively each year on the generosity of so many institutions and individuals around the country who are dedicated as we are to the advancement of new music and are devoted to supporting our work.

    New Music USA is part of an international community of advocates for the arts. We’re members of the Performing Arts Alliance, the International Association of Music Information Centres, and the International Society for Contemporary Music. Those partnerships help us represent the interests of our constituents at every level.

    No matter how far ranging our networks, our focus is always solidly on what brings these many constituents and communities together in the first place: the music. When someone uses our platform to listen to something new, recommend a favorite to a friend, or to seek financial assistance or information to support the creation or performance of new work, the whole community is strengthened. Together we’re helping new music reach new ears every day.
    Our Vision

    We envision in the United States a thriving, interconnected new music community that is available to and impactful for a broad constituency of people.
    Our Mission

    New Music USA supports and promotes new music created in the United States. We use the power of virtual networks and people to foster connection, deepen knowledge, encourage appreciation, and provide financial support for a diverse constituency of practitioners and appreciators, both within the United States and beyond.

    Our Values
    We believe in the fundamental importance of creative artists and their work.
    We espouse a broad, inclusive understanding of the term “new music.”
    We uphold and embrace principles of inclusivity and equitable treatment in all of our activity and across our nation’s broadly diverse population in terms of gender, race, age, location, national origin, sexual orientation, religion, socio-economic status and artistic practice.

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 11:36 AM on December 6, 2018 Permalink | Reply
    Tags: , , Larry Fuller Trio, Merry TubaChristmas, Messiaen: The Complete Vingt regards sur l'enfant-Jésus,   

    From Toledo Museum of Art: “Upcoming Music Performances at TMA” 

    From Toledo Museum of Art

    1
    FREE It’s Friday! Music
    Larry Fuller Trio
    Dec. 7: 6:30 p.m., GlasSalon
    Toledo native Larry Fuller returns to town with his piano trio for an evening of jazz in the GlasSalon.

    Check out the Larry Fuller Trio performing their song “Mojo”.

    2
    FREE Merry TubaChristmas
    Dec. 9: 1 p.m., Peristyle Theater
    TubaChristmas is a music concert held in cities worldwide that celebrates those who play, teach and compose music for instruments in the tuba family. Merry TubaChristmas is presented by The University of Toledo Department of Music & Toledo Museum of Art.

    3
    Great Performances:
    Messiaen: The Complete Vingt regards sur l’enfant-Jésus
    Dec. 9: 2 p.m., GlasSalon
    Organized by pianist Isabelle O’Connell (Grand Band), this concert features O’Connell, Blair McMillen, Laura Melton, and Stephanie Titus performing Olivier Messiaen’s complete Vingt regards sur l’enfant-Jésus, a two-hour, 20 movement work that Messiaen completed in 1944.
    Purchase Tickets

    See the full article here .

    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.

    Stem Education Coalition

    Since its founding in 1901, the Toledo Museum of Art has earned a global reputation for the quality of our collection, our innovative and extensive education programs, and our architecturally significant campus.
    And thanks to the benevolence of its founders, as well as the continued support of its members, TMA remains a privately endowed, non-profit institution and opens its collection to the public, free of charge.

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 3:44 PM on December 5, 2018 Permalink | Reply
    Tags: ,   

    From NEWMUSICBOX: “Composers Collaborate!” 

    New Music USA


    From NEWMUSICBOX

    December 5, 2018
    Don DiNicola

    1
    Image by rawpixel @ Unsplash

    In the beginning of August 2018, I was in Montpelier, Vermont, preparing to give a talk to the students enrolled in the Vermont College of Fine Arts MFA in Music Composition Program. My talk was titled, “How Many Hats Can a Composer Wear Successfully?”. I looked out at my colleagues in the room. I knew what the response would be: one of beleaguered pride, the pride of a warrior who knows the score and has survived despite the odds against him or her. In that moment, I realized that I didn’t really want to talk about how many hats we wear as a badge of pride. The point I really wanted to bring home was how much we lose when we choose to write, arrange, perform, and produce in our own solitary creative bubble.

    See the full article here.


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.

    Stem Education Coalition

    At NEWMUSICUSA, we see ourselves first and foremost as advocates. Our mission is to support and promote new music created in the United States. We do that in many ways, fostering connections, deepening knowledge, encouraging appreciation, and providing financial support. In recognition of the possibility and power inherent in the virtual world, we’ve worked to build a strong internet platform to serve our constituency. And that constituency is broad and diverse, from composers and performers to presenters and producers, casual listeners to die-hard fans. We’re truly committed to serving the WHOLE new music community.

    As we go about our work, we make a point of not defining too precisely what we mean by new music. To define is to limit. It’s a spectacular time for musical creativity in part because so much music is being made that isn’t bound by conventional limitations of style or genre or background. The music that we hear being created in such abundance all around us is definition enough. We simply want it to flourish.

    We’re fortunate to have as our legacy the history of previous decades of good works done by the American Music Center and Meet The Composer, the two great organizations that merged to form us in 2011. Their legacies have also brought a small financial endowment that mostly helps support our grantmaking. But we’re not a foundation. We depend decisively each year on the generosity of so many institutions and individuals around the country who are dedicated as we are to the advancement of new music and are devoted to supporting our work.

    New Music USA is part of an international community of advocates for the arts. We’re members of the Performing Arts Alliance, the International Association of Music Information Centres, and the International Society for Contemporary Music. Those partnerships help us represent the interests of our constituents at every level.

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
c
Compose new post
j
Next post/Next comment
k
Previous post/Previous comment
r
Reply
e
Edit
o
Show/Hide comments
t
Go to top
l
Go to login
h
Show/Hide help
shift + esc
Cancel
%d bloggers like this: