Minnesota Orchestra Composers Institute

Please check out my new writeup for NewMusicBox about the upcoming institute and concert next week. Also, a live twitter feed will be available from my tweet.

American Modern Ensemble Competition

I am delighted to find out today that the American Modern Ensemble selected my work Three Preludes for Violin and Cello (2007) for their performance on November 3rd, 2009 at the Galapagos Art Space in Brooklyn.

In addition to the concert they gave just a week ago, the roster of works by living composers speaks to their efforts and is among the most diverse list that I have recently seen. Their efforts to promote American Music are rare these days and much needed.

Anyhow, more info on this to come but in the meantime, you can checkout the post on their website:http://www.americanmodernensemble.org/competition.htm

Organizational Awareness Week

This week and next, virtually anyone who is "almost famous" in what is called classical music and the hard-working individuals who represent them, descend down upon New York (or around the corner if you live here) for annual performing arts conferences. Last week it was Conductors Guild and Association of Performing Arts Presenters, and next it is Chamber Music America (CMA). It was my first time attending these events, though I vaguely remember running across a similar conference for what the marketing folks like to call "World Music" years ago with my friend Matt while we were still incarcerated at Jailyard.

Among the highlights of the weekend:

• Opportunity to meet Jamie Bernstein, daughter of Leonard Bernstein
  
• A Good round table discussion at APAP about the state of new music, and how "new" is starting to equate to "cool, hip, and young" in adventurous programming chamber and orchestral institutions alike (research brought to by the institute of "DUH!")
• So many complimentary contemporary conductor's scores that I developed a muscle problem in my shoulder from carrying them all home

Among the not-so-highlights of the weekend:

• a slightly strange, if not downright bizarre, opening presentation at the Conductor's Guild by the 60X60 fellow, who tried to introduce the idea of orchestra 60X60 (where 60 one-minute compositions are strung together into a continuous hour...) to a crowd of not-so-happy conductors. The best part was when the conductors figured out that the compositions were all by different composers and by that time it was "awkward turtle solo"
  
• rubber chicken
• a New York Phil. rehearsal where Olli Mustonen rehearsed a Mozart concerto
• more rubber chicken

To my surprise, I ran into the fabulous Bridget Kibbey and Lucas Ligeti who happened upon a discussion at APAP. Both events included a double-appearance by the talented Daniel Roumain (a.k.a. DBR), who I saw at both Conductor's Guild and APAP.

In addition to performing types, I also ran into an old acquaintance the delightful Frank J. Oteri who is the Founding Editor of NewMusicBox and a composer in his own right. His company at these events made them more than worthwhile with lively discussions including topics such as Elliot Carter, composer gossip, and the peculiarities of mircotonal keyboards.

So that sums it up, I suppose. In the end, I appreciate that I went if not to learn a little more about the peculiar mechanics of the stranger-than-life industry of classical music. Strike that, music.

John Adam's Dr. Atomic

Looking back on this November, the best concert experience was attending John Adam's Dr. Atomic on November 6th. Aside from the surprise that the composer himself was in the house, the cast shined brilliantly. Gerald Finley was as amazing as everyone had pronounced, yet I was still surprised by the sheer power of his sound, which carried markedly further than the other cast members. The orchestra stood out as well, with what appeared to be terribly difficult timpani solos, executed with flair.

As a composer I often measure the success of my own performances by the reaction from the audience. Judging by the audience that night, it was an unequivocal success. It was great to see how intensely engaged the audience was with the show. Considering all of the weak attempts at contemporary opera these days, with tepid plots and music that plods along as if the composer is running out of ink, Dr. Atomic is a beacon of hope for opera written today: full of passion, focus, and a desire to reach the heart of the story.

The libretto, by Peter Sellars, likewise held the narrative together marvelously well, bringing in poignant historical references (the Native-American's presence and the Oppenheimer reading list, to name a few) with dignity and intellectual reflection. The co-decision to end the opera the way it did, certainly will be read many different ways, but was probably the only ending the opera could have successfully executed.

So, if you happen to have the chance to see this opera when it comes along again, don't miss it!

SofIA To Be Featured At New York City Electrouacoustic Music Festival 2009

SofIA To Be Featured At New York City Electrouacoustic Music Festival 2009

SofIA planning resumes and we will be an ensemble featured at the NYCEMF Festival April 2-4 in 2009. I look forward to performing with Juraj at this event since it should be a well attended festival with good exposure. Because of his recent appointment at Yale, for the Post-Doctorate in electroacoustic music, we have had to shift our plans, though probably for the better. In addition to this project, we have begun to look at long term options, with the consideration of bringing new members into the group.

The newly formed ensemble "X-Band" led by the brother/sister duo Jason and Rachel Calloway commissioned me for a song cycle to be performed in concerts next season. I enjoyed working with Rachel so much on the trip to Turkey that it would be a pleasure to write for her again. Now the challenge of finding the right text!