Podcasts about International Contemporary Ensemble

If we want regenerative farms and food businesses to thrive, we have to talk about money. How do we help them grow without forcing them to sell out their values?That's exactly what Claude Arpels - and Slow Money NYC - is working to solve. Claude has spent years rethinking investment strategies to support regenerative food systems. After a first career in luxury fashion, he pivoted to impact investing, helping farms and food businesses secure the land and capital they need—without compromising their mission.In this episode, Claude breaks down: Why traditional venture capital and private equity push businesses toward environmental and labor exploitation. How Slow Money NYC was created as a response to these challenges. The creative funding tools—like revenue notes—that align investment with long-term sustainability. The role of local investment in building resilient food systems. And much more…More about Claude and Slow Money:After a first career in the fashion and luxury biz, Claude chose to dedicate himself to his interests in food, the environment, social enterprise, and the arts. He has become an impact angel investor, with a focus on local economies and businesses that have a sustainable/regenerative food and agriculture mission. His portfolio of investments includes Brooklyn Grange, Matriark Foods, Raven & Boar, and Edenesque. Claude is the Co-Chair of Slow Money NYC and a founding member of Foodshed Investors New York, which is now part of Investors Circle, whose advisory board he sits on. An important part of Slow Money's work is helping small farms find access to land and capital. As part of this mission, Claude was one of the founding investors in Local Farms Fund and has led several investments in local farm projects.Claude is the Board President of International Contemporary Ensemble, the nation's pre-eminent contemporary music ensemble. Championing the works of emerging and under-represented composers, ICE has developed and performed over 1000 world premieres since its founding in 2001.Agrarian Futures is produced by Alexandre Miller, who also wrote our theme song. This episode was edited by Drew O'Doherty.

On this episode, I'm joined by Chiwoniso Kaitano Executive Director of MacDowell, the nation's first artist residency program. She is the 10th person to lead the organization since 1907. Before joining MacDowell, Chi spent the last four years at the helm of Girl Be Heard, expanding its organizational budget, increasing individual giving by 200 percent, and growing both the staff and board. Prior to Girl Be Heard, she served as executive director of Ifetayo Cultural Arts Academy, a 30-year-old Brooklyn-based arts and culture organization. She is an avid traveler, having lived on three continents. She holds a law degree from the London School of Economics and a master's in international affairs from Columbia University's School for International and Public Affairs. She also serves on the Board of Directors of three New York City-based nonprofits: the International Contemporary Ensemble, The Center for Fiction (formerly The Mercantile Library), and The Jazz Leaders Fellowship of Brooklyn Conservatory of Music. Originally from Zimbabwe, she currently lives in Brooklyn, New York. 

La música de esta compositora nacida en Bilbao en 1984 tiende puentes entre resonancia acústica y electrónica, explora las variaciones microscópicas de los fenómenos sonoros e incorpora sutiles aspectos teatrales e interacciones colaborativas. Vive y enseña en Suiza._____Has escuchadoAnima Mundi: For Two Percussionists and Live Electronics (2016). Neopercusión. Grabación sonora realizada en directo en el Festival Etopia (Zaragoza)I See You: For Amplified String Quartet and Live Video (2021). International Contemporary Ensemble. Grabación sonora realizada en directo en el Sonic Matter Festival (Zúrich), el 2 de diciembre de 2021Milk Spilt on a Stone: para cuarteto de saxofones (2017). Sigma Project. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 10 de febrero de 2023_____Selección bibliográficaFUNDACIÓN JUAN MARCH, Sinergias: arte visual y arte sonoro. [Programa de conciertos]. Celebrado el 10 y 11 de febrero de 2023: [PDF]MAILLIER, Corentin, “Helga Arias: ‘Be Sensitive to Its Environment Involves Going Beyond Sound'”, consultada el 2 de abril de 2022: [Web]Página oficial de la compositora, consultada el 20 de junio de 2023: [Web]RAYBOULD, Natalie, “NON-PIANO, IKLECTIK Arts Lab, London”. Tempo, vol. 71, n.º 282 (2017), pp. 89-90* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

FInd Teaganhttps://persephonephoenix.com/https://www.teaganfaran.comhttp://www.instagram.com/teagbbyAbout TeaganA native of Buffalo, NY, Teagan Faran is a multidisciplinary musician focused on enacting social change through the arts. Faran has collaborated with the International Contemporary Ensemble, Alarm Will Sound, Palaver Strings, and the Cabrillo Festival Orchestra. Recent recording features include albums with Carlos Simon, La Martino Orquesta Típica, and loadbang. She has had compositions featured at the NYSSMA Conference and the Persis Vehar Competition for Excellence. Also active in the world of tango music, she has performed with Victor Lavallén and the Orquesta Escuela de Emilio Balcarce, as well as at festivals across the United States. As a soloist, Faran has performed throughout the United States, Italy, Argentina, Germany, México, and Canada, including appearances with the Buffalo Philharmonic, the Uptown Philharmonic, the Greater Buffalo Youth Orchestra the Ann Arbor Camerata, the Williamsville East Symphonic Orchestra, and the University of Vermont Symphony. Administratively, she has held internship positions in the Marketing and Education Departments of the Buffalo Philharmonic, and Education and Concerts/Touring with Jazz at Lincoln Center. She founded Ann Arbor arts collective Red Shoe Company and worked as a teaching artist with the Kennedy Center, the University Musical Society  and the Sphinx Organization.After graduating from the University of Michigan, Faran moved to Buenos Aires on a Fulbright grant. Faran was also a Turn The Spotlight Fellow, receiving their inaugural Hedwig Holbrook Prize. Faran participated in OneBeat, a fellowship in musical diplomacy, DeeDee Bridgewater's Woodshed Network, and recently graduated from the Manhattan School of Music, where she studied Contemporary Performance. She performs in the electroacoustic duo Persephone & the Phoenix as well as being a certified personal trainer, with a focus on career longevity for performers. Faran currently teaches violin and runs the Electronic Experimentation Lab at DePauw University.Support the show

Mario Diaz de Leon: Things Come & Go Composer/guitarist Mario Diaz de Leon, whose influences range from hardcore punk to Xenakis, and whose masterful integration of electronics with classical instruments is documented here in concerts recorded at Roulette between 2009-22 in solo works and with the Talea and TAK ensembles, International Contemporary Ensemble, and flutist Laura Cocks. https://roulette.org/

Composer/guitarist Mario Diaz de Leon, whose influences range from hardcore punk to Xenakis, and whose masterful integration of electronics with classical instruments is documented here in concerts recorded at Roulette between 2009-22 in solo works and with the Talea and TAK ensembles, International Contemporary Ensemble, and flutist Laura Cocks. Photo: Ebru Yildiz

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Opera is one of the greatest and the most classic art forms. It combines the ingenuity of a great storyline and the elegance of music in one captivating show. As this classic art form continue to become a favorite among enthusiasts, new operas are giving audiences a fresh perspective to shows that feature newly-composed music and storylines that haven't been heard yet. In this episode, Kanma Gupta discusses the process of developing new operas and more! Kamna Gupta is an American Prize-winning conductor experienced in operatic, orchestral, and choral repertoires. In the 2022-23 season, Ms. Gupta will make her Canadian debut with Vancouver Opera conducting Les Pêcheurs de Perles, and will conduct the East Coast premiere of In Our Daughter's Eyes (Du Yun / McQuilken and featuring Nathan Gunn) at Prototype Festival, which received its world premiere under her baton at LA Opera Redcat. In 2022, she made her debut with the International Contemporary Ensemble, and she returned to The Glimmerglass Festival to conduct the world premiere of Jungle Book (Sankaram / O'Rourke). She will also conduct the highly interdisciplinary work The Ritual of Breath is the Right to Resist (Berger / Reily / Francis), premiering at the Hopkins Center for the Arts at Dartmouth. She is also excited to return to Mannes Opera in Fall 2022 to conduct La Calisto, Cavalli's Baroque masterpiece.

Megan Ihnen is a “new music force of nature.” The act of live performance is integral to Megan's work and her performances thrive on elaborate sound worlds and fully-developed dramatic interpretations. Through narrative and non-narrative musical storytelling, she explores the subjects of memory, nostalgia, the perception of time, and relationships. Whether through chamber music, staged recitals, opera, or large ensemble soloist work, she emphasizes the full range of vocal sounds, timbres, colors, and uses that characterize the 21st century voice. Megan is a prolific new music vocalist who has appeared with the International Contemporary Ensemble, Fifth House Ensemble, Latitude49, Great Noise Ensemble, Stone Mason Projects, Rhymes With Opera, SONAR new music, and more. She has sung with many outstanding performers including Nadia Shpachenko, Michael Hall, Gregory Oakes, Nick Zoulek, Hillary LaBonte as well as premiered the work of Mara Gibson, Griffin Candey, Garrett Schumann, Christian Carey, Alan Theisen, Anna Brake, D. Edward Davis, and more. A gifted narrative and non-narrative musical storyteller, Megan's performance work explores the depths of memory, nostalgia, the perception of time, and complex relationships. Ihnen's interpretations of modern and contemporary repertoire have garnered growing acclaim. She is particularly recognized as an excellent recitalist. Her This World of Yes program of contemporary music for voice and saxophone with Alan Theisen explores the themes of pathways, choices, and duality through the work of contemporary composers such as Jessica Rudman, Michael Young, and Michelle McQuade Dewhirst. This World of Yes has been performed across the United States including appearances in Kansas City, New Orleans, Atlanta, Washington D.C., Detroit, and Baltimore. With performances in Washington D.C., Baltimore, Colorado Springs, and Kansas City, Ms. Ihnen has worked with violinist Martha Morrison Muehleisen and Rome Prize winner video artist Karen Yasinsky to take audiences on a profound journey through György Kurtág's Kafka Fragments through video and sound. Finally, Ihnen's Single Words She Once Loved is a performance that centers around the ideas and effects of memory, dementia, and time. It is a deeply personal exploration of the dueling forces of ‘eternal sunshine of the spotless mind' and ‘God gave us memories so that we may have roses in winter'. Single Words She Once Loved features compositions by David Smooke, Ryan Keebaugh, Daniel Felsenfeld, Jeffrey Mumford, and more. Megan has enjoyed performing as part of Tuesdays @ Monk Space, Access Contemporary Music Thirsty Ears Festival, NEXTET, Ethos NewSound, 6:30 Concert Series, International U.S. Navy Saxophone Symposium, SPLICE Festival, Oh My Ears, Second Sunday Concert Series at Boston Sculptors Gallery, Winifred M. Kelley Music Series at Salisbury House, and more. She has appeared with Zeitgeist New Music, ÆPEX Contemporary Performance, Detroit New Music “Strange Beautiful Music Marathon”, Omaha Under the Radar Festival, Works and Process at the Guggenheim Series, Notes on Fiction Series at the Center for Fiction, New Music Gathering, Contemporary Undercurrent of Song Project, American Opera Theatre, Vivre Musicale, UCCS Music/Peak Frequency Creative Arts Collective, Harford Community College Sunday Afternoon Concert Series, and Silver Finch Arts Collective. In the spring of 2017, Megan undertook a fundraising project for her first album, “Sleep Songs: Wordless Lullabies for the Sleepless.” She commissioned over 25 diverse composers from the United States and abroad to write brief, wordless lullabies for mezzo-soprano. Megan has also had recordings on Navona Records, Hoot/Wisdom Recordings, I CARE IF YOU LISTEN Fall 2015 Mixtape, and the CarpeDM Seize Des Moines “Music Mix: Volume III” which was featured at the 2016 SXSW Festival. As a chamber musician, Megan is proud to have trained at the following summer festivals: impuls International Ensemble and Composers Academy for Contemporary Music, Summer Institute for Contemporary Performance Practice (SICPP), Fresh Inc Festival, Bang on a Can Summer Music Festival at MASS MoCA, and MusicX. Her devotion to the proliferation of new music extends beyond the commissioning and performing of music to teaching, workshopping, and mentoring of emerging artists in the field. She also works to increase the visibility and influence of new music through writing on the subject for multiple online and print publications. As a curator, she selected twenty songs for mezzo-soprano and piano for the NewMusicShelf Anthology of New Music. Mezzo-Soprano, Vol. 1 includes works by: Michael Betteridge, Mark Buller, Stephen DeCesare, Douglas Fisk, Matt Frey, Jodi Goble, Ricky Ian Gordon, Cara Haxo, Cameron Lam, Cecilia Livingston, Shona Mackay, Tony Manfredonia, Nicole Murphy, Eric Pazdziora, Frances Pollock, Julia Seeholzer, Alan Thiesen, Dennis Tobenski, Moe Touizrar, and Ed Windels. Megan was honored to receive a Phyllis Bryn-Julson Award for Commitment to and Performance of 20th/21st Century Music in 2009 and a Maryland State Arts Council Individual Artist Award in Classical Music: Solo Performance in 2014. She was an accomplished violist and drama student before pursuing degrees in music and vocal performance from Augustana University and the Peabody Institute of Johns Hopkins University. Ihnen has been a board member for Baltimore Concert Opera and HOWL performing arts ensemble. Megan is a devoted teacher who recently shepherded studios at Drake University Community School of Music, Southwestern Community College School for Music Vocations, and Graceland University before taking on communications roles at Nief-Norf, Live Music Project, and New Music USA. She has also been a resident faculty artist for the UMKC Summer Composition Workshop and the Mostly Modern Festival. In addition to UMKC, Megan has presented her popular masterclasses, workshops, and lectures a Bowling Green State University, Xavier University of Louisiana, New Music Gathering, Iowa Thespian Festival, UNCG Greensboro, and Florida Atlantic University. She was also a Visiting Artist for Louisiana State University for the 2018-2019 academic year. In addition to being an avid podcast listener, Ihnen enjoys drinking good coffee, joking around with her sisters, tweeting about contemporary poetry, and watching Law & Order. She has grand dreams that one day her dog, Hunter, will be the best dog in the neighborhood. She lives in New Orleans, LA and out of her suitcase equally.

Composer Nina Shekhar joins us to chat about her work exploring identity, vulnerability, love, and laughter in her work and her process for exploring such complex aspects of humanity in seemingly mundane experiences, such as the car horns on the streets of India. We talk about how she approaches the business side of a professional career in composition, and how her work as a flutist, saxophonist, and pianist has informed her comfort with a wide array of compositional styles. And we speak about how we can all be more mindful to empower and promote the agency of composers and performers from marginalized communities and avoid the risks of exploiting any individual's otherness. Nina Shekhar is a composer who explores the intersection of identity, vulnerability, love, and laughter to create bold and intensely personal works. Described as “tart and compelling” (New York Times), “vivid” (Washington Post), and “surprises and delights aplenty” (LA Times), her music has been commissioned and performed by leading artists including LA Philharmonic, Albany Symphony, Los Angeles Chamber Orchestra, New World Symphony, Civic Orchestra of Chicago, Eighth Blackbird, International Contemporary Ensemble, JACK Quartet, New York Youth Symphony, Alarm Will Sound, The Crossing, Chamber Music Society of Lincoln Center, ETHEL, violinist Jennifer Koh, saxophonist Timothy McAllister, Ensemble Échappé, Music from Copland House, soprano Tony Arnold, Third Angle New Music, The New York Virtuoso Singers, Left Coast Chamber Ensemble, Lyris Quartet, Ray-Kallay Duo, New Music Detroit, and Kaleidoscope Chamber Orchestra. Her work has been featured by Carnegie Hall, Metropolitan Museum of Art, Walt Disney Concert Hall (LA Phil's Noon to Midnight), Library of Congress, National Gallery of Art, National Sawdust, National Flute Association, North American Saxophone Alliance, I Care If You Listen, WNYC/New Sounds (New York), WFMT (Chicago), and KUSC and KPFK (Los Angeles) radio, ScoreFollower, and New Music Detroit's Strange Beautiful Music. Upcoming events include performances by the New York Philharmonic, LA Philharmonic (joined by soloists Nathalie Joachim and Pamela Z), Minnesota Orchestra, Seattle Symphony, and her Hollywood Bowl debut with the LA Philharmonic. Current projects include commissions for the Grand Rapids Symphony, 45th Parallel Universe Chamber Orchestra (sponsored by GLFCAM), and Youth Orchestra Los Angeles (YOLA) (sponsored by LA Phil and New Music USA). Nina is the recipient of the 2021 Rudolf Nissim Prize, two ASCAP Morton Gould Young Composer Awards (2015 and 2019), and the 2018 ASCAP Foundation Leonard Bernstein Award, funded by the Bernstein family. The transcript for this episode can be found here. For more information about Nina Shekhar, please visit her website, Facebook, and Instagram.

Dr Erica Ball is a contemporary classical music composer, violinist, pianist + educator from Portland Maine, USA and a mother of 2 boys.Erica received her PhD in music composition from the University of Pennsylvania where she studied with Anna Weesner, Jim Primosch, and Jay Reise.Translating everyday life into music is at the heart of Erica whimsical and playful works. Inspired by the natural world, a childhood spent dreaming of becoming a ballerina, and studies of 20th-century American avant-garde music,Erica is equally at home writing lyrical melodies that sweep across an orchestra and collaborating with animators and circus dancers. With an affinity for layered complexity, Erica's music portrays clouds building up on the horizon as a summer thunderstorm approaches or the busy sounds of passengers in a subway station.Erica's music has been performed by numerous ensembles including the Da Capo Chamber Players, the Daedalus Quartet, pianist Blair McMillen, the International Contemporary Ensemble, Network for New Music, and the American Symphony Orchestra. Her works have been heard across the country in Chicago, Boston, New York and Philadelphia, and internationally in Germany and New Zealand. Recent commissions include Riding the EL and The Spotted Lanternfly for Relâche, and a thread run through which was commissioned by a consortium of advanced youth orchestras to be premiered in spring 2020, and now postponed to 2022. In addition to her work as a composer,Erica remains active as a violinist, pianist, and educator with a special interest in bringing contemporary music to new audiences.Today we chat about the lack of representation of women in the classical music canon, the way that arts are undervalued in our culture and how amazing it is to have an artist mother who gets what you do.Connect with Ericawar no more commissioned by Network for New Music9 lives - performed by Daedalus QuartetrévérenceLet's Be Spoken mentorshipRead about Irelands basic wage for artistsPodcast - instagram / websiteErica's music used throughout the episode with permission:

There's a zany book published several years ago by British author and photographer Ben Schott that has “invented words” using the German language. This book — Schottenfreude: German Words for the Human Condition — inspired composer Eric Nathan (who teaches at Brown University) to write an 84-minute magnum opus — Missing Words — that now has its world premiere recording. Released on New Focus Recordings, the album and how it came to be is quite out-of-the-box with a synergistic collaboration between many artists and ensembles such as the Boston Modern Orchestra Project, American Brass Quintet, cellist Parry Karp and pianist Christopher Karp, International Contemporary Ensemble, Neave Trio, and Hub New Music. Both Ben Schott and Eric Nathan join me on the Classical Post podcast to discuss how this project came to be, along with random miscellany that is delivered with witty charm. — Classical Post explores the intersection of classical music, style, and wellness, diving into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

Composer Eric Nathan releases the world premiere recording of Missing Words (2014-2021). Performed by the Boston Modern Orchestra Project, American Brass Quintet, cellist Parry Karp and pianist Christopher Karp, International Contemporary Ensemble, Neave Trio, and Hub New Music, this 84-minute magnum opus is a six-part series inspired by German words invented by writer Ben Schott in his book Schottenfreude (2013) that describe ineffable experiences of contemporary life. The musical works speak to intimate yet shared experiences that range from the tragic and beautiful to the comic and commonplace. With Missing Words, Nathan finds meaning in the phenomena that add color to everyday life. Schott has contributed a foreword for the album and Robert Kirzinger wrote the liner notes.Purchase the music (without talk) at:Eric Nathan: Missing Words (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

“It was 2003, and I came to NYC with Greg Cornelius who is a saxophonist and composer at Bowling Green. And he and I were driving in his Dodge Caravan and I think we were listening to Music for 18 Musicians, and it was raining, and I remember seeing the city lights of New York, and just being overwhelmed with this idea that I need to be here.” Erin Rogers is a saxophonist and composer based in New York City. She is co-artistic director and core member of thingNY, Popebama, New Thread Quartet and Hypercube. Her music has been performed at the Prototype, Ecstatic, and MATA Festivals (NYC), Celebrity Series (Boston), Edmonton Fringe Festival, the Hamburg Elbphilharmonie, Centro Nacional de las Artes (Mexico City), and NYmusikk Bergen (Norway). Rogers is a member of LA super-group WildUp, and performs with the International Contemporary Ensemble, Talea, and Wet Ink. She is a D'Addario Woodwinds Performing Artist and Chamber Music Society of Lincoln Center Teaching Artist. Rogers can be heard on New Focus Recordings, New World Records, Edition Wandelweiser, Gold Bolus, Love Records, INNOVA, New Amsterdam, and Relative Pitch labels. www.erinmrogers.comI have known Erin for a few years now. Specifically, before leaving New Jersey and heading to Bowling Green, OH to start my graduate work, I saw her saxophone quartet, New Thread Quartet, perform at a church in Jersey City, NJ. After the performance, I introduced myself. We ended up on the topic of me going to grad school and it turned out she is a BGSU alum! What little I knew about Bowling Green, and here I am in NJ meeting someone who went through the program and is doing such awesome work! I've been a fan ever since. Erin is so incredibly hard-working, juggling a varied and wide-ranging freelancing career as a composer and performer in NYC. Recently, she released a solo album titled 2,000 miles, which you can purchase on Bandcamp. Our discussion center almost entirely on the making of 2,000 miles, topics like her improvisational/compositional process, the recording process, traveling from NYC to her hometown in Alberta, Canada, the artistic solutions that grew out of being quarantined, and so much more on episode 24 of the Making Noise Podcast. I hope you enjoy it!—-Follow Erin's Work: www.erinmrogers.com Erin's album on Bandcamp: 2,000 Miles Check out some awesome up-coming performances of Erin's (NYC):Dec 2 - Marilyn Shrude 75th Birthday Celebration // New Thread Quartet, Lost Dog, Momenta QuartetDec 11 - Works by Popebama + Rick BurkhardtDec 15 - Hypercube: Works by New York Women ComposersDec 17 - Kathy Supové premieres Constancy // Bargemusic: Here & Now Winter Festival Day 2—-Watch the podcast on YouTubeListen to the podcast on Spotify, Apple Podcasts, Stitcher, iHeartradio, and my website where you can listen to music, purchase scores, and learn how to commission a new piece for your ensemble.

On July 9th the Norfolk Chamber Music Festival will present the world premiere of "Twin Stars: Diamond Variations for Dae'Anna", written in honor of the girlfriend and stepdaughter of the late Philando Castile by Daniel Bernard Roumain. He joins Garrett, alongside pianist Melvin Chen, to talk about the upcoming premiere and continued activism in concert hall spaces. Scott honors the voice of singer Jimmy Scott, and the guys celebrate Queen Latifah, Randall Goosby and several other Black artists. Garrett speaks to avoiding the trivialization of Indigenous land acknowledgments in the final movement. Playlist: Coleridge-Taylor Perkinson - "Blue/s Forms" Queen Latifah - "Simply Beautiful" BLKBOK - "George Floyd and the Struggle for Equality" Rick and Morty - "Human Music" Deniece Williams - "Free" Breland (feat. Keith Urban) - "Throw It Back" Jimmy Scott - "Sycamore Trees" Daniel Bernard Roumain - "Black Man Singing in Echo Mountain" More: Norfolk Chamber Music Festival Presents 'Music From Troubled Times': https://music.yale.edu/concerts-summer-2021-july-9 Downbeat (Diamond Reynolds and Dae'Anna): https://www.youtube.com/watch?v=7oHiQS5qgmo&t=46s Ensemble Evolution, presented by International Contemporary Ensemble: https://www.iceorg.org/ensemble-evolution Meg Quigley Repertoire Sessions, feat. Garrett McQueen and Titus Underwood: https://www.youtube.com/watch?v=DbIzuYzRWjs&t=78s Randall Goosby Solo Album Debut: https://www.nytimes.com/2021/06/25/arts/music/randall-goosby-roots.html Nashville Honors Bianca Paige: https://www.newschannel5.com/news/nashville-renames-street-for-a-drag-queen-who-raised-a-million-dollars-for-hiv-research BLKBOK Inspiring Classical Musicians: https://www.forbes.com/sites/andreazarczynski/2021/06/18/how-detroit-piano-prodigy-blkbok-is-inspiring-classical-musicians/?sh=260016e83815 Pinchas Zukerman Apologizes: https://www.nytimes.com/2021/06/28/arts/music/pinchas-zukerman-violinist-asians.html Four Catholic churches burned down on native land in Canada in last week amid residential school uproar: https://www.independent.co.uk/news/world/americas/catholic-church-canada-fire-pope-b1874954.html

Ike Sturm is a bassist, composer and bandleader in New York City. He is the Music Director for the Jazz Ministry at Saint Peter's Church in Manhattan. He has performed with Alarm Will Sound, the International Contemporary Ensemble, Gene Bertoncini, Ingrid Jensen, Donny McCaslin, Bobby McFerrin, Ben Monder, Maria Schneider and Kenny Wheeler. His large-scale Jazz Mass album received a 4 1/2 star rating from DOWNBEAT magazine and was named among the “Best CDs of the Year.” Ike joins The Playful Musician to discuss his educational ensemble at Saint Peter's Church, Jazz 4 All. We talk about how jazz music is a good fit for churches and Ike shares what it was like growing up with a music icon as a father. We chat how he found his way to the bass, his mentors and musical influences, and how the outdoors influence his music. Ike shares how his playing and writing go hand in hand and how the pandemic has changed his writing process.

IN THIS EPISODE Learn more about NIMAN: www.niman.org Instagram: https://www.instagram.com/niman_assoc/ Donate to ISBM! https://fundraising.fracturedatlas.org/international-society-of-black-musicians Check out our website: https://www.isblackmusicians.com Black Lives in Music Survey https://blim.org.uk/change/ International Contemporary Ensemble’s Afro-Diasporic Opera Forum https://www.iceorg.org/aof Diversity & Belonging – Unsung Keyboard Stories https://gobluebells.wordpress.com/2021/02/22/cfp-westfield2022/ Concertia's Inaugural Emerging Composers Fellowship https://www.representclassical.com/news-1/concertias-new-emerging-composers-fellowship-accepting-applications NIMAN’s Bridge Matrix https://niman.org/our-work/ Black Excellence Nia Franklin https://www.niaimani.com/ Piece of the Week: Evolution - Edward W. Hardy https://www.youtube.com/watch?v=dSVu6hBMMHA

Soprano Tony Arnold joins us to chat about hopping careers from orchestral conductor to international superstar vocalist, her varied interests in how sound is made and how to harness sound to make it into something else, and the way her interests have helped in collaborations with all sorts of instrumentalists and in teaching composers how to help performers lift music off the page . We speak about how she developed the working knowledge necessary to decipher contemporary scores, the close connection between chamber music and contemporary music, and learning how to fit into the deeply intimate and idiomatic language of a string quartet with a long history that no longer required verbal communication. She shares about how her connection to George Crumb deepened on a trip to Charleston, WV and how community- and network-building play in forming long-lasting professional connections. We discuss how the COVID-19 pandemic has exacerbated the impact of digitization on the shaping of the musical world and the importance of separating music-making from money-making as best as one can. Celebrated as a “luminary in the world of chamber music and art song” (Huffington Post), Tony Arnold is internationally acclaimed as a leading proponent of contemporary music in concert and recording, a “convincing, mesmerizing soprano” (Los Angeles Times) who “has a broader gift for conveying the poetry and nuance behind outwardly daunting contemporary scores” (Boston Globe). Her unique blend of vocal virtuosity and communicative warmth, combined with wide-ranging skills in education and leadership were recognized with the 2015 Brandeis Creative Arts Award, given in appreciation of “excellence in the arts and the lives and works of distinguished, active American artists.” Ms. Arnold's extensive chamber music repertory includes major works written for her voice by Georges Aperghis, George Crumb, Brett Dean, Jason Eckardt, Gabriela Lena Frank, Josh Levine, George Lewis, Philippe Manoury, Carlos Sanchez-Gutierrez, Christopher Theofanidis, Ricardo Zohn-Muldoon, and numerous others. She is a member of the intrepid International Contemporary Ensemble, and enjoys regular guest appearances with leading ensembles, presenters and festivals worldwide. With more than thirty discs to her credit, Ms. Arnold has recorded a broad segment of the modern vocal repertory with esteemed chamber music colleagues. Her recording of George Crumb's iconic Ancient Voices of Children (Bridge) received a 2006 Grammy nomination. She is a first-prize laureate of both the Gaudeamus International and the Louise D. McMahon competitions. A graduate of Oberlin College and Northwestern University, Ms. Arnold was twice a fellow of the Aspen Music Festival as both a conductor and singer. She was the 2015-16 Kunkemueller Artist-In-Residence at the Boston Conservatory, and currently serves on the faculty of the Peabody Conservatory and the Tanglewood Music Center. The transcript for this episode can be found here. Resources discussed in this episode: Tony Arnold sings George Crumb's Ancient Voices of Children For more information about Tony Arnold, please visit her website, www.screecher.com.

Erin Rogers is a saxophonist and composer based in New York City. Named a “rising star” (Broadway World), her music has been described as “whimsical, theatrical” (Brooklyn Vegan), “a wild ride” (An Earful), and “so complex, it’s primitive.” (Pittsburgh Post-Gazette). She is co-artistic director of thingNY, Popebama, New Thread Saxophone Quartet, and Hypercube, and has performed with the International Contemporary Ensemble, wildUp, and Talea, at Lincoln Center, Carnegie Hall, Kennedy Center Millennium Stage, the Edmonton Fringe Festival, Resonanzraum (Hamburg), Centro Nacional de las Artes Mexico City, and the Park Avenue Armory. Rogers has been featured on the Ecstatic Music Festival, Prototype Festival, MATA Festival, the Elbphilharmonie’s “Unterdeck”, and NYmusikk Bergen, crossing genres from opera-to-theatre-to-installation-to-silence, through collaborations with Orange Theatre, Panoply Performance Lab, wasteLAnd, Harvestworks, yarn|wire, Experiments-in-Opera, Decoder, Contemporaneous, yarn/wire and Music for Contemplation. She can be heard on New Focus Recordings, New World Records, Edition Wandelweiser, and Gold Bolus labels. Her solo album "Dawntreader” is available on Relative Pitch Records. // erinmrogers.com

Composer Amy Williams joins us to discuss her youth surrounded by amazing composers and performers in her living room and her early professional years embarking on crazy projects like transcribing Conlon Nancarrow's music for piano four-hands with her duo partner Helena Bugallo. She speaks with us about collaborating closely with and tailoring commissions to specific performers and ensembles. We also chat about her role as Artistic Director of New Music on the Point, where she connects superstar performers and composers with young emerging artists, fostering collaborations lasting many years. The compositions of Amy Williams have been presented at renowned contemporary music venues in the United States, Australia, Asia and Europe, including Thailand International Composition Festival, Ars Musica (Belgium), Gaudeamus Music Week (Netherlands), Dresden New Music Days (Germany), Musikhøst (Denmark), Festival Aspekte (Austria), Festival Musica Nova (Brazil), Roulette and Bargemusic (New York), LA County Museum of Art, Piano Spheres (Los Angeles) and Tanglewood Festival of Contemporary Music. Her works have been performed by leading contemporary music soloists and ensembles, including the Pittsburgh Symphony Orchestra, Buffalo Philharmonic Orchestra, JACK Quartet, Ensemble Aleph, Dal Niente, Wet Ink, Talujon, Empyrean Ensemble, Pittsburgh New Music Ensemble, California E.A.R. Unit, Dinosaur Annex, International Contemporary Ensemble, h2 Saxophone Quartet, Bent Frequency, pianists Ursula Oppens, Corey Hamm and Amy Briggs, and bassist Robert Black. Her pieces appear on the Albany, Parma, VDM (Italy), Blue Griffin, Centaur and New Ariel labels. As a member of the Bugallo-Williams Piano Duo, Ms. Williams has performed at important new music festivals and series throughout Europe and the Americas. The Duo has recorded four critically-acclaimed CDs for Wergo (works of Nancarrow, Stravinsky, Varèse/Feldman and Kurtág), as well as appearing on the Neos and Albany labels. Ms. Williams was the recipient of a Howard Foundation Fellowship for 2008-2009, a Fromm Music Foundation Commission in 2009 and a Guggenheim Fellowship in 2015-2016. Ms. Williams has taught at Bennington College and Northwestern University and is currently Associate Professor of Composition at the University of Pittsburgh. She is the Artistic Director of the New Music on the Point Festival in Vermont. Resources discussed in today's episode: George Lewis, A Power Stronger than Itself The musical excerpts heard in today's episode were composed by Conlon Nancarrow and Amy Williams and performed by the Bugallo-Williams Duo and the JACK Quartet. The transcript for today's episode can be found here. For more information about Amy Williams, please visit her at her website.

Allison Loggins-Hull is a composer and producer with roots in classical, urban art pop, hip-hop, electronic programming, and R&B.  The flute duo, Flutronix, she and collaborator Nathalie Joachim founded has been described as  “a unique blend of classical music, hip-hop, electronic programming, and soulful vocals reminiscent of neo-R&B stars like Erykah Badu.” Flutronix has collaborated with an impressive range of artists and ensembles including legendary hip-hop producer Ski Beatz, electronic music sensation Dan Deacon, and the International Contemporary Ensemble. Take a deep dive into Allison Loggins-Hull's fascinating music and genre defying career with Anna and Tarik.

TW: Use of a homophobic slur in a non-derogatory manner. Ryan Muncy is saxophonist of the International Contemporary Ensemble, having been praised for his “amazing virtuosity” (The Chicago Tribune) and ability to "show off the instrument's malleability and freakish extended range as well as its delicacy and refinement" (The Chicago Reader). He is a recipient of the Kranichstein Music Prize awarded at the 46th Darmstadt Summer Courses, a Fulbright Fellowship in France, the Edes Foundation Prize for Emerging Artists, and has participated in the creation of more than 250 new works for the saxophone, highlighted by deeply collaborative relationships with leading artist-creators including Ashley Fure, Tyshawn Sorey, Wang Lu, Marcos Balter, Wojtek Blecharz, and Matana Roberts. Muncy received his doctorate from Northwestern University’s Bienen School of Music, where he studied with Frederick L. Hemke. He studied previously with John Sampen (Bowling Green State University), Jean-Michel Goury (CRR Boulogne-Billancourt), George Wolfe (Ball State University), and Jean-Yves Fourmeau (CNR Cergy-Pontoise). Ryan currently serves on the music faculty of The New School’s College of Performing Arts (Mannes School of Music) in New York City, in addition to his role as the Director of Institutional Giving of the International Contemporary Ensemble. ryanmuncy.com

Greg Ward is a saxophonist and composer that was born in Peoria, IL. Currently based in Chicago, Ward has had the opportunity to perform and record with a varied group of artists like Prefuse 73, Lupe Fiasco, Tortoise, William Parker, Andrew D'Angelo, and Mike Reed. In 2000, Ward began his studies at Northern Illinois University where he worked with Steve Duke, Fareed Haque, Ron Carter, and Joey Sellers. Already interested in composition, having the opportunity to compose for NIU's jazz combos deepened his understanding of the inner-workings of music. Also, working with composer and arranger, Joey Sellers, equipped Ward with some important tools to further explore this new love. Around his sophomore year in college, Ward started spending many nights performing in the jazz clubs of Chicago. Soon, he would meet another one of his mentors, saxophonist, Fred Anderson, who would later select him to host a jam session at the Velvet Lounge for four years. During this time period, Ward experienced much growth as a performer and composer and developed a vibrant community of performers, artists, dancers, and listeners. After graduating from NIU in 2004 with a degree in Jazz Studies/Saxophone Performance, Ward moved to Chicago and took advantage of every opportunity that was offered to him. Composing two pieces for the International Contemporary Ensemble, performing a quartet composition for the Chicago Symphony Orchestra's Chamber Music Series, composing Wings for the Peoria Ballet Company, and being commissioned by the Jazz Institute of Chicago for a new composition, which was performed at the Chicago Jazz Festival in 2009, are just a few of the many experiences that shaped Ward during his years in Chicago. In 2009, Ward decided to move to New York City. Almost immediately after he arrived in NYC, he began working with JazzReach, an NYC-based jazz education organization that shares multi-media programs throughout the US. In 2010, he would produce his first CD as a leader with his Chicago-based band, Fitted Shards. South Side Story received much critical acclaim, including "Recording of the Year" by the Chicago Tribune. Next, in 2011, Ward formed Phonic Juggernaut, which features Damion Reid on drums and Joe Sanders on bass. Together, they recorded and released a CD on Thirsty Ear Recordings that same year. Also, in 2011, Ward composed and performed a commission from the Brazos Valley Symphony Orchestra for a concerto for jazz quartet and string orchestra. In 2012, Ward was selected as one of the two New Music USA Van Lier Fellows. In 2014, he received a commission/residency from the Jazz Gallery and premiered Capturing Sunlight, which was an hour-long work for septet and included a short documentary by Diana Quinones Rivera. The Capturing Sunlight project was inspired by the life and work of Preston Jackson. Recently, Ward has collaborated with another composer, sound designer, and performer, Caleb Willitz. First, they composed the film score for Beresford Bennett's film, Pinch, which was an official selection of the 2015 San Diego Black Film Festival. Second, Ward and Willitz will be releasing an electro-acoustic project, Gaps and Spaces: Synoptic Optiks. Greg Ward WebsiteGreg Ward FacebookIf you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests.For show notes and past guests, please visit dougstonejazz.com/podcast-1Interested in sponsoring the podcast? Please fill out the sponsor formDiscover Doug’s music: dougstonejazz.com/music

This week you can join James Bennett in his conversation with Icelandic composer Anna Thorvaldsdottir about her chamber opera UR_ (which was due to have its US premiere at this year's Mostly Mozart Festival at Lincoln Center which has since been cancelled), the role technology played in this collaboration with International Contemporary Ensemble and Nokia Bell Labs in enhancing the musical experience, what it means to be a composer during a pandemic and of course taking inspiration from nature.    James Bennett, HostLuka Vasić, Assistant ProducerRosa Gollan, ProducerLukas Krohn-Grimberghe, Executive Producer    

(They/Them/Theirs: Anishinaabe, Nipissing First Nation) Olivia Shortt is a Tkarón:to-based multi-disciplinary performing artist. They are a saxophonist, vocalist, noisemaker, improviser, composer, sound designer, curator, and producer.Highlights for Olivia include their film debut playing saxophone & acting in Atom Egoyan’s 2019 film Guest of Honour; their Lincoln Center (NYC) debut with the International Contemporary Ensemble; their Australian debut performing with keyboardist Jacob Abela in Melbourne; and recording an album two kilometres underground with their duo Stereoscope in the SnoLAB (a Neutrino Lab in Northern Ontario, Canada).As a Metcalf Performing Arts Intern in Producing, they were mentored by Brittany Ryan, Producer of Nightswimming and General Manager of Signal Theatre. They have been named a 2020 cohort member of Why Not Theatre's ThisGEN Fellowship in Sound Design and are presenting their work 'ishkwe-ayi'ii' as part Upintheair Theatre's e-Volver festival in June 2020.Their most recent works include 'Mana-Hatta', a musical land acknowledgement created in collaboration with the students of Face The Music in NYC, composition and sound design for plays 'Welcome To My Underworld', as well as 'Brain Storm'. Olivia is currently in the 2019-2021 JACK Studio and is working on a new composition 'the body remembers' to be premiered in 2021 for the quartet.As an activist, they are alumni of the 2018 cohort of the artEquity facilitator training program (New Orleans, LA), as well as the 2019 Toronto Arts Council’s Leaders Lab and was a lead organizer and co-founded the Toronto Creative Music Lab (TCML). www.olivia-shortt.com

Marina Kifferstein is a violinist, composer, and a founding member of TAK ensemble and The Rhythm Method string quartet. She also performs regularly Talea, Wet Ink, and the International Contemporary Ensemble, and is a co-administrator of the Open Improvisations concert series. As a composer her work has been performed across the U.S. and Europe. Marina is currently a DMA candidate at the CUNY Graduate Center. She holds an MM in Contemporary Performance from the Manhattan School of Music, a BM in Violin from Oberlin Conservatory, and a BA in English from Oberlin College. On this episode, Charlotte and Madison interview Marina about TAK's beginnings and about her life outside of TAK. To dive deeper into Marina's work, go to http://marinakifferstein.com To download TAK's most recent album, Oor, go to http://takensemble.bandcamp.com/album/oor

I am very excited to share an interview I did with Rebekah Heller that was conducted in early April. Rebekah is a solo bassoonist based in New York and has been praised for her “flair” and “deftly illuminated” performances by The New York Times. Not only a uniquely dynamic solo and collaborative artist, she is fiercely committed to expanding the modern repertoire for the bassoon and has appeared as soloist with many prestigious orchestras such as The New York Philharmonic and is co-artistic director of the International Contemporary Ensemble. Besides performing she has an active teaching career and teaches at the International Contemporary Ensemble's summer program, Ensemble Evolution, and is also on the bassoon faculty at the Mannes School of Music at The New School College of Performing Arts. We had a fun chat about many topics including contemporary music, commissioning and working with composers, fund-raising, extended technique, covid-19 and share some of our surfing mishaps! To find out more about Rebekah, visit her website: http://www.rebekahheller.com/ To support the podcast, you could consider supporting me here: https://joannesukumaran.bandcamp.com/

Today's podcast is with Du Yun, born and raised in Shanghai, China, and currently based in New York City, works at the intersection of opera, orchestral, theatre, cabaret, musical, oral tradition, public performances, electronics, visual arts, and noise. Her body of work is championed by some of today’s finest performing groups and organizations around the world. Known for her “relentless originality and unflinching social conscience” (The New Yorker), Du Yun’s second opera, Angel’s Bone (libretto by Royce Vavrek), won the 2017 Pulitzer Prize; in 2018 she was named a Guggenheim Fellow; and in 2019, she was nominated for a Grammy Award in the Best Classical Composition category for her work Air Glow. As an avid performer and bandleader (Ok Miss), her onstage persona has been described by the New York Times as “an indie pop diva with an avant-garde edge.” Du Yun is Professor of Composition at the Peabody Institute, and Distinguished Visiting Professor at the Shanghai Conservatory of Music. A community champion, Du Yun was a founding member of the International Contemporary Ensemble; served as the Artistic Director of MATA Festival (2014-2018); conceived the Pan Asia Sounding Festival (National Sawdust); and founded FutureTradition, a global initiative that illuminates the provenance lineages of folk art and uses these structures to build cross-regional collaborations from the ground up. In 2018, Du Yun was named one of 38 Great Immigrants by the Carnegie Foundation, and in 2019 the Beijing Music Festival named her “Artist of the Year.” Sweet Land is now available for on-demand streaming. Please consider watching so the company can honor their contracts to pay their cast, musicians and the crew, due to the cancellation of half of the run. Thank you! I hope we are all doing well. https://www.facebook.com/1059549730/posts/10219045691467428/?sfnsn=mo

Haitian-American composer Nathalie Joachim is the co-artistic director and flutist of the Grammy-winning contemporary chamber ensemble Eighth Blackbird, and one half of the art-pop duo, Flutronix. She's worked with Bryce Dessner, Bonnie “Prince” Billy, Richard Reed Parry, Miguel Zenón, and the International Contemporary Ensemble as well. Her latest, with Chicago-based string ensemble Spektral Quartet, is "Fanm d’Ayiti" (Women of Haiti), a joyous and magic-infused work celebrating Haitian song, and how women are "the driving force of life, of politics, and social change." (Joachim, in an interview with I Care If You Listen.) Joachim and the quartet play some of "Fanm d’Ayiti," in-studio. - Caryn Havlik Watch the session here:  

Podcast THE TALKING CURE: Conversations with Jedediah Wheeler Augusta Read Thomas, composer of The Auditions, commissioned by Montclair State University and Peak Performances talks about her collaboration with choreographer, Troy Schumacher for the Martha Graham Dance Company. This new work has been designed to resonate with Graham's classic, Appalachian Spring, which turns 75 this year. “America's foremost new-music group” (Alex Ross), the International Contemporary Ensemble joins the Graham Company for these world-class renditions of new music by Thomas and the original Pulitzer Prize–winning score for Appalachian Spring by Aaron Copland. More: https://www.peakperfs.org/event/the-auditions/2019-11-14/ Produced Peak Performances and the Office of Arts and Cultural Programing at Montclair State University Artistic Director, Jedediah Wheeler Producer, Natalie Marx Recorded on July 31, 2019 at WMSC Radio

Saxophonist Ryan Muncy is at the forefront of new music, collaborating closely with many of today's most cutting edge composers and ensembles. He received a Doctor of Music degree from Northwestern University in 2012 and has been a crucial member of many of today's most important ensembles such as the International Contemporary Ensemble, Talea, Ensemble Dal Niente, Wet Ink and others. For today's talk we get into it, discussing all matters sax and Ryan's work for the past two decades.

From an audience choir, to the sound-world of a country waterhole, to the digital cutting and fusing of sound, three Australian women composers make their mark.

From an audience choir, to the sound-world of a country waterhole, to the digital cutting and fusing of sound, three Australian women composers make their mark.

Joining us this week is Ross Karre: a per­cus­sionist, arts admin­is­trator, and inter­media artist. He works with a variety of media and prac­tices ranging from con­tem­po­rary clas­sical music to exper­i­mental mul­ti­media per­for­mance incor­po­rating video, sound, lighting, and the­ater. He has played per­cus­sion with the Inter­na­tional Con­tem­po­rary Ensemble (ICE) since 2011 where he is the co-artistic director.Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and hello, banter and IRS scam4:00 In Plain Air at Christ Church Philadelphia11:14 Co-Artistic Director?19:25 Any tips for people who are hesitent towards contemporary percussion ?26:44 Some thoughts on experimental music31:13 Ben: some recent sad news in percussion: Ellie Mannette & Vida Chenoweth38:40 Casey: What's the sound?  Acoustic Levitation45:35 What has been the most unusal question you've used with the International Contemporary Ensemble?54:54 Podcast speed trivia

Rebekah Heller is an astounding bassoonist, who has been with the International Contemporary Ensemble for the past 10 plus years. She has recently stepped up as their artistic director, while maintaining an incredibly rich and exciting concert and recording schedule. She's also my neighbor and a super nice & fun person. For today's talk we cover a lot of ground in a short period of time: Oberlin, the Lower East Side, bassoon and her stellar new solo record, Metafagote. Today is a fun talk with an exceptional musician.

On episode 1.7 we talk to composer Anna Thorvaldsdottir about her work In the Light of Air, which will be performed by the International Contemporary Ensemble at the upcoming Big Ears Festival. We also discuss the music scene in her homeland of Iceland. Our Deep Cut is Rued Langgaard's Music of the Spheres, a stunning work for orchestra and choir that was about fifty years ahead of its time.

BBC Radio 3’s Sara Mohr-Pietsch chats with festival featured composer Anna Thorvaldsdottir about her involvement in Spitalfields Music Festival 2017. Sara Mohr-Pietsch in Conversation is presented by Sara Mohr-Pietsch and produced by Freya Hellier. Credits: Anna Thorvaldsdottir: In the Light of Air. International Contemporary Ensemble with Anna Thorvaldsdottir. Label: Sono Luminus. Release date: 2015 Thank you to the generous support of The Landmark Trust who have kindly supported Spitalfields Music by making 13 Princelet Street available for festival use.

Lisa Lee! Chicago social justice visionary, former Director of Jane Addam's Hull-House and current Director of the University of Illinois Chicago's School of Art and Art History! Hell yes. Recorded at the Oakland Museum at Open Engagement 2016. Here is the UIC bio... Lisa Yun Lee is the Director of the School of Art & Art History, a visiting curator at the Jane Addams Hull-House Museum, and a member of the Art History, Museum and Exhibition Studies, and Gender and Women's Studies faculty at the University of Illinois at Chicago. Lisa is also the co-founder of The Public Square at the Illinois Humanities Council, an organization dedicated to creating spaces for dialogue and dissent and for reinvigorating civil society. She has published a book on Frankfurt School philosopher Theodor Adorno titled, Dialectics of the Body: Corporeality in the Philosophy of Theodor Adorno (Routledge, 2004), and researches and writes about museums and diversity, cultural and environmental sustainability, and spaces for fostering radically democratic practices. Lisa received her BA in Religion from Bryn Mawr College, and a PhD in German Studies from Duke University. She is the Co-Chair of the Executive Committee of the Institute for Research on Race and Public Policy at UIC, and she serves on the national boards of the American Alliance of Museums, Imagining America: Artists & Scholars in Public Life, the Ms. Magazine Adviory Board, and the boards of Rebuild Foundation, the National Public Housing Museum, Young Chicago Authors, 3Arts, and the International Contemporary Ensemble.

Upptakt New York - självsvåldiga nedslag i musiklivet i en av världens musikaliska huvudstäder. Möt det nya hos Claire Chase, flöjt, Marilyn Nonken, piano, performer Du Yun och Rebekah Heller, fagott. I Upptakt New York görs självsvåldiga nedslag i musiklivet i en av världens musikaliska huvudstäder. Konstnärliga ledaren för International Contemporary Ensemble, soloflöjtisten Claire Chase, pendlar mellan Lincoln Center i New Yorks Uptown och små musikskolor på den mexikanska landsbygden. - Vi arkiverar musik av den allra senaste generationen levande tonsättare, berättar hon och gläder sig åt att de vattentäta skotten mellan noterad nutida musik och experimenterande musik försvinner. Tonsättaren och performern Du Yun lever numera i New York. - I Shanghai studerade vi västerländska, vita, döda mästare: Bach, Chopin, Beethoven, Mozart, Bartok och Stravinskij. I New York experimenterar jag med den kinesiska cittran zheng för att kunna jobba med mikrotonalitet, säger Du Yun som känner sig ödmjuk inför att inpå bara kroppen uppleva frihet och demokrati.   Marilyn Nonken är en av de främsta uttolkarna av superkomplexa, pinfärska pianonoter. Till henne skriver bl a Tristan Murail musik. Hur skiljer sig den allra färskaste, mest nyskrivna musiken från tidigare nutida musik? - Jo, unga tonsättare idag sammanför delar ur olika traditioner, som tidigare var helt åtskiljda, säger Marilyn Nonken, som I sina recitals vill ge plats för kontemplation.   Unga solofagottisten Rebekah Heller bröt sig loss från födelsestaden Wanakena med 80 innevånare. Nu bor hon i 9-miljonersstaden New York och växlar mellan traditionellt orkesterpartitur och experimenterande fagottklanger, helst tonsatta av de yngsta, nu levande tonsättarna.   Låtlista: Untitled In CoF Minor A Valentine To Sherwood Anderson Mikhail/Gertrude Stein Mikhail. Gertrude Stein. DJ Spooky Remix Utgiven med boken Sound Unbound Star Spangled John Stafford Smith JIMI HENDRIX The Best of Woodstock [LIVE] Atlantic... Cat No:SD 500-2 Air Glow Du Yun Du Yun. New York Trumpet Ensemble Liveinspelning. Festival of New Trumpet of New York Eagle Song Hopi Indians in Arizona Phonograph cylinder recording Hopi Indians in Arizona Live do you be Meredith Monk Meredith Monk Do You Be ECM New Series 1336 831 782-2 Donna Lee Charlie Parker Charlie Parker All Stars The Original Bird Savoy Jazz Records ZD 71854 North American Spirituals Michael Finnissy Marilyn Nonken, piano American Spirituals CRI CD877 Echoes White Veil Jason Eckardt Marilyn Nonken American Spirituals CRI CD877 Vox Balaenae George Crumb Claire Chase, flöjt Liveinspelning. Caprice No 24 a la Claire Paganini Claire Chase, flöjt Liveinspelning.  Linea Dombra Magnus Lindberg Daniel Lippel, gitarr. International Contemporary Ensemble Abandoned Time New Focus Recordings FCR104  Obliteration (utdrag) Du Yun Du Yun, voice and Chinese zither and electronics, Jeremy Nissan and John Mannion, both on electronics Written for the Internacional Festival Cervantino 2007 Acoustic Free Improv Du Yun Du Yun, zheng Liveinspelning Vicissitudes No.3 Du Yun Radio Kamer Filharmonie of The Netherlands Liveinspelning i-Goh-do Du Yun Du Yun, sång Privat inspelning Music for Bassoon and Electronics Joshua Parmenter Rebekah Heller, fagott Liveinspelning Macunaima Francisco Mignone Rebekah Heller, fagott Liveinspelning

Du Yun vann 2017 års Pulitzerpris för den experimentella enaktsoperan "Angel's Bone", om trafficking. Tidigare vinnare är Aaron Copland, Charles Ives, Ellen Taaffe Zwilich, John Adams och Steve Reich. New York bär på ett omfattande musikaliskt arv och är än idag en viktig grogrund för ny musik. New York är en smältdegel där olika kulturer, attityder, avantgardister och briljanta musiker möts och skapar ny musik. Ett riktigt eldorado för en musikälskare! 2017 års Pulitzerpristagare Du Yun föddes i Shanghai men har bott i New York i många år. Hennes opera Angel's Bone hade världspremiär 2016 vid Prototype festival i New York. Här kan ni lyssna på mezzosopranen Abigail Fischer i Mrs. X.E.'s Spegelscen: https://www.youtube.com/watch?v=1uTyGH93J9Y&feature=youtu.be   Du Yun är vid tiden för denna intervju kompositionslärare vid State University of New York, Purchase College. Hon börjar spela piano vid fyra års ålder och övar diciplinerat åtta timmar om dagen. Redan som elvaåring blir hon tonsättare och tar senare examen vid konservatoriet i Shanghai. Hon influeras av västerländsk klassisk musik, men även av pop från Japan, Korea och Hongkong. Att flytta från Shanghai till New York blir ingen större kulturchock för Du Yun. Shanghai liknar New York, hon är uppvuxen efter kulturrevolutionen i Kina och hon tar senare sin doktorsgrad i musik på Harvarduniversitetet i USA. -Jag är mycket förtjust i att vara mittemellan, och det har att göra med att jag är invandrare. Man säger ju om invandrare att de är delade i två halvor. Jag älskar känslan av anonymitet, att ingen egentligen bryr sig om dig när du går på gatorna i New York. Och friheten - på fyra timmar kan du vara i London och efter tretton timmar kan du landa i Kina, säger Du Yun. Hennes musik har kallats en mix av Björk och Iva Bittová med inslag av en tidig Yoko Ono. Du Yun är även musiker och performer och på egensinnig CD:n Shark in You - Hajen i dig hon sjunger själv, spelar elektroniska instrument och den 21-strängade kinesiska traditionella cittran zheng. Du Yun skriver även musik till International Contemporary Ensemble där hon spelar den 21-strängade kinesiska cittran zheng. - Att stå på scen och uppträda är underbart analogt. Du använder din kropp; dina fingrar och din röst! Jag behöver känna denna köttsliga närhet till musiken. Det där påtagliga. Att vara personlig är bästa sättet att vara universell, säger Du Yun.   Vi möter även pianisten och tonsättaren Beata Moon, som föds i USA med koreanska föräldrar. Beata Moon är ett musikaliskt underbarn. Hon spelar piano från fem års ålder och har sitt första framträdande med en orkester som 8-åring. -Mina koreanska rötter tvingar mig nästan att spela piano. Och jag ifrågasatter aldrig detta utan inleder mina masterstudier i piano vid Julliard School of Music i New York, berättar Beata Moon. I förstaden till Chicago är hennes familj de enda asiaterna och hon är varit förföljd av rasisiska glåpord. På Julliard, i det mångkulturella New York, däremot, finns det massor av asiatiska musiker vilket är bekräftande för henne. Beata Moon hoppar ändå av de klassiska pianostudierna för att finna sig själv i musiken. Bl a försörjer hon sig genom att undervisa barn i Bronx och genom att ackompanjera modern dans. Hon skall improvisera vid pianot.  -Jag har inte improviserat en enda ton i mitt liv, utan är van vid att läsa från notpappret. Så det är en ny erfarenhet, skrattar Beata Moon. Nu är hon tonsättare, pianist och musikpedagog för barn och ungdomar. Hennes fjärde CD är på gång. Beata Moon vill kommunicera med tonal och tillgänglig musik. På plattan Earthshine finns hennes första Stråkkvartett och på Piano Works hittar du Beata Moons första Pianosonat bland mycket annat. Hon vill kommunicera med all slags musik. Dock inte koreansk.   Låtlista: I Love New York  Madonna Air Glow Du Yun Du Yun. New York Trumpet Ensemble Liveinspelning. Festival of New Trumpet of New York Shark in You Du Yun Du Yun, m fl Shark in You New Focus Recordings FCR 118 Guernica, Vivace Beata Moon Beata Moon, piano solo Earthshine Bibimbop Records B0006J8EY4 Moon_ In Transit - 4. Leonard Street Beata Moon Beata Moon, piano Piano Works NAXOS 8.570347 String Quartet, Scherzo Beata Moon Corigliano Quartet Earthshine Bibimbop Records B0006J8EY4 Illusions-Marimba solo, Tenderly Beata Moon Makoto Nakura, marimba Earthshine Bibimbop Records B0006J8EY4 Beata Moon Nursery Beata Moon, piano Piano Works NAXOS 8.570347 String Quartet, Suspended Beata Moon Corigliano Quartet Earthshine Bibimbop Records B0006J8EY4 Acoustic Free Improv Du Yun Du Yun, zheng Liveinspelning Air Glow Du Yun Du Yun, New York Trumpet Ensemble Liveinspelning. Festival of New Trumpet of New York The Gray _ Du Yun Du Yun, m fl. Shark in You New Focus Recordings FCR 118 Miranda Du Yun Du Yun, m fl Shark in You   New Focus Recordings FCR 118 (if you say so ) Du Yun Du Yun, m fl Shark in You 2011 New Focus Recordings FCR 118 Panacea Du Yun Du Yun, m fl Shark in You 2011 New Focus Recordings FCR 118

This week’s Meet the Composer Bonus Track is a world premiere recording of Anna Thorvaldsdottir’s piano work Scape. Scape, like many of Anna’s works, uses extended techniques to create unique, otherworldly textures. For this piece, Anna demands quite a bit of playing INSIDE the instrument, as well as a few somewhat unconventional preparations to the instrument itself. Prepared piano basically means a piano with stuff in it, screws, thimbles, tin foil, pieces of paper, the type of thing that’ll make a piano technician start to sweat. The first couple people to do this type of thing were crazy Americans, Henry Cowell and John Cage. Definitely take a moment to check those guys out, if you have a sec. Anna, very much in keeping with her timbral language, uses these techniques to carve out massive swaths of sonic texture, creating a huge universe in a relatively limited time frame. A couple weeks ago, Cory Smythe, pianist for the International Contemporary Ensemble, stopped by the Q2 Music studios to create the beautiful world premiere recording. –Nadia Sirota

Q2 Music celebrated the launch of its inaugural podcast, Meet the Composer, on Tuesday, June 24 at 7 pm with a music party and live video webcast in The Greene Space at WQXR.  Hosted by Nadia Sirota, the evening included interviews with all five members of Season One of Meet the Composer, including the two most recent Pulitzer Prize winners, John Luther Adams (2014) and Caroline Shaw (2013), as well as fellow innovators Andrew Norman, Marcos Balter, and Donnacha Dennehy. The concert featured a star-studded array of dynamic, award-winning performers: flutist and International Contemporary Ensemble artistic director Claire Chase performs Balter's Pessoa; Hotel Elefant performs Adams's Red Arc/Blue Veil; Attacca String Quartet performs excerpts from Norman's Peculiar Strokes; Cellist Hannah Collins performs Shaw's in manus tuas; and Bang on a Can All-Star pianist Vicky Chow, cellist Ashley Bathgate and violinist Todd Reynolds perform Dennehy's Bulb. Watch video of the entire show: Q2 Music’s Meet the Composer pays homage to the landmark show of the same name hosted by Tim Page for WNYC in the mid to late '80s. Thanks to New Music USA for their flexibility with the use of the “Meet The Composer” name, which became famous though their legacy organization founded by composer John Duffy.

John Adams, Zosha di Castri and Claire Chase talk about the International Contemporary Ensemble. For captions, transcript, and more information visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5952&loclr=ytb

Bryan Jacobs is a New York based composer and guitarist. His music has been performed by ensembles such as the Cleveland Chamber Symphony, The McGill Contemporary Music Ensemble, Wet Ink, International Contemporary Ensemble, Talea Ensemble, and Ensemble Pamplemousse. He has had performances at Festival Ai-maako (Chile), La Muse en Festival (Paris, France), Festival Archipel (Geneva, Switzerland), as well as numerous other music festivals in Canada and the United States. You can check out more of his music at www.bryanjacobsmusic.com.In our conversation we talk about his original plans to become an organic farmer, how he reduces the difference between conception and reality in his compositions, and the need for composers to hide their methods and influences in their own works.

Reiko is a German composer and performer based in New York. He has been commissioned by the Wet Ink Ensemble, International Contemporary Ensemble, and the Dresden Chamber Choir . He is also a professor in composition and theory at the Manhattan School of Music. You can listen to more of his works at www.reiko-fueting.de.In our chat we discuss how he ended up living in New York, the use of historical music in his own compositions, and how his past professors have influenced his approach to teaching. The piece played in this interview is a solo violin piece titled tanz.tanz, and was performed by Miranda Cuckson.

Composer and percussionist Nathan Davis joins us this time on Contempora. Nathan is a member of the renown International Contemporary Ensemble and the NY Times describes his work as "music that deals deftly and poetically with timbre and sonority." As a percussionist, Nathan has performed music from around the world and he sometimes incorporates these musical traditions into his writing. We explore a work that does just that, his thrilling duo, Kebyar Untai, for hammered dulcimer and amplified cello.

The year 2012 supplied plenty of headline-making moments in classical music. There was the infamous marimba ring tone at the New York Philharmonic, the opera singer with the controversial tattoos, the composer accused of plagiarism, and cellos booted off airplanes. It was a tough year for American orchestras and a good year for entrepreneurship. In this podcast, three highly opinionated critics give us their reviews of 2012: Anne Midgette, classical music critic of the Washington Post; Steve Smith, a classical music critic for the New York Times and music editor at Time Out New York; and Heidi Waleson, a classical music critic for the Wall Street Journal. Below are excerpts of some of their comments. Surprises Heidi: David Lang's love fail, written for the female vocal quartet Anonymous 4 (right). “It was a beautifully haunting, Medieval-Modern, strange modern take on the Tristan Und Isolde story, which was semi-staged at BAM. It was actually a stunningly beautiful piece.” Anne: “One of my favorite moments was a very local moment...The University of Maryland [orchestra] came out dressed in street clothes with their instruments and began moving around the stage as they played Debussy’s Afternoon of a Faun. It was a wonderful example of what could be done with orchestras if they think a little outside the box.” Steve: “The reason I categorized David T. Little’s opera Dog Days as a big surprise is frankly I didn’t know that he had this in him...He was out at Montclair State University’s Peak Performances series with a full evening-length opera based on an apocalyptic story by Judy Budnitz…There were terrifying things about it and absolutely joyous things about it but in the end I thought, here’s a team that has actually moved opera forward.” Listen to the opera on Q2 Music. Trends Heidi: On interesting new operas showing up outside of major producing companies: “I thought, maybe if people from the regular producing opera companies actually see [Dog Days], maybe somebody will get an idea that this is actually the sort of thing that can happen in the opera house.” Anne: “There’s no question that some of the most exciting stuff in opera is going on in smaller spaces – and some of the most innovative thinking." Steve: On entrepreneurship in classical music: “People confronted with a certain stodginess or intractability in major companies are just putting on the shows themselves, or doing the kind of programming they feel ought to exist. I’m thinking about ICE, the International Contemporary Ensemble, whose founder Claire Chase won a MacArthur this year, which was richly deserved.” Disappointments & Low Points Heidi: “It was the Metropolitan Opera Ring – and I’m sure I’ll have a lot of company in that one. It took a lot of hits and for good reason. It was just a very big elaborate backdrop of a set for a not very stimulating concept.” [Right: A scene from Die Walküre (Photo: Ken Howard)] Anne: “The problem with some of the concepts that are applied to operas – and I’m a great defender of innovation in opera direction – but a lot of times you think up this great idea and a lot of times the opera isn’t actually about that there’s only so far you can go with the idea.” Steve: "What perturbed me is you basically still have to go out of town, even if it’s just crossing the river to New Jersey, to hear what’s really happening and what’s really interesting in the operatic sphere period." Anne: On American Orchestras: “While it’s both tragic and deplorable that there have been so many lockouts, strikes, seasons disrupted – the Minnesota Orchestra, really one of the exciting orchestras in the country is still not playing – all of this was foreseeable. The managements seem to be acting as if ‘oh my goodness, all of the sudden we’re having these financial crises.’ All of those difficult moments have come home to roost.” High Points Steve: What many of the year's most exciting productions this year had in common was the producer Beth Morrison, "who is enabling a lot of really exciting work that’s going on right now. Beth Morrison Productions is involved in a lot of these things – in staged concerts, in grassroots opera. She has been a real bolt of vitality and innovation that has been much needed and is having a great impact.” Anne: On the John Cage Centennial: “I’m not a big fan of artist centennials. In classical music they’re rammed down our throats, these anniversaries. But with all of the festivals and activities and concerts, it really allowed a new perspective on Cage...It was a centennial and an anniversary that for me really made a big difference.” Heidi: The Juilliard Historical Performance Program under its new director Robert Mealy (above): "You just don't get a big orchestra of American players playing who can play this in this really stylistically correct and distinct way" (after hearing a concert of excerpts from two Rameau ballets). BONUS TRACK: Predictions for 2013: Weigh in: Give us your reviews of the best and worst of 2012 below.

New York, stad med ständig Klang! Del 3 Podd. New York bär på ett omfattande musikaliskt arv och är än idag en viktig grogrund för ny musik. New York är en smältdegel där olika kulturer, attityder, avantgardister och briljanta musiker möts och skapar ny musik. Ett riktigt eldorado för en musikkanal som P2! Vi möter Shanghaifödda New York-tonsättaren Du Yun sjunger på egensinnig CD:n Shark in You. En mix av Yoko Ono och Laurie Anderson. Du Yun skriver även musik till International Contemporary Ensemble där hon spelar den 21-strängade kinesiska cittran zheng. Som elev vid den legendariska Juilliard School of Music hoppade Beata Moon av de klassiska pianostudierna för att finna sig själv. I förstaden till Chicago var hennes familj de enda asiaterna. Hon hade då ingen relation till koreansk musik. Nu är hon tonsättare och vill kommunicera med all slags musik. Dock inte koeransk. Manus och produktion: Birgitta Tollan.

I Musikmagasinet Klang: Upptakt New York gör Birgitta Tollan självsvåldiga nedslag i musiklivet i en av världens musikaliska huvudstäder. Möt Marilyn Nonken, en av de främsta uttolkarna av superkomplexa, pinfärska pianonoter. Till henne skriver bl a Tristan Murail musik. Tonsättaren och performern Du Yun bytte Shanghai mot New York och mixar den kinesiska cittran zheng med elektronik. Konstnärlige ledaren för International Contemporary Ensemble, soloflöjtisten Claire Chase, pendlar mellan Lincoln Center i New York och små musikskolor på den mexikanska landsbygden. -Vi arkiverar musik av den allra senaste generationen levande tonsättare, berättar hon. Unga solofagottisten Rebekah Heller bröt sig loss från födelsestaden Wanakena med 80 innevånare. Nu bor hon i 9-miljoners staden New York och växlar mellan traditionellt orkesterpartitur och experimenterande fagottklanger. Producent, manus och produktion: Birgitta Tollan. Poddversion.

I Musikmagasinet Klang: Upptakt New York gör Birgitta Tollan självsvåldiga nedslag i musiklivet i en av världens musikaliska huvudstäder. Möt Marilyn Nonken, en av de främsta uttolkarna av superkomplexa, pinfärska pianonoter. Till henne skriver bl a Tristan Murail musik. Tonsättaren och performern Du Yun bytte Shanghai mot New York och mixar den kinesiska cittran zheng med elektronik. Konstnärlige ledaren för International Contemporary Ensemble, soloflöjtisten Claire Chase, pendlar mellan Lincoln Center i New York och små musikskolor på den mexikanska landsbygden. -Vi arkiverar musik av den allra senaste generationen levande tonsättare, berättar hon. Unga solofagottisten Rebekah Heller bröt sig loss från födelsestaden Wanakena med 80 innevånare. Nu bor hon i 9-miljoners staden New York och växlar mellan traditionellt orkesterpartitur och experimenterande fagottklanger.

Peter Evans es un trompetista de cualidades excepcionales. Su asombrosa técnica está al servicio de una música de continua exploración que ejercita junto a clásicos de la improvisación libre como Agustí Fernández, Mats Gustafsson o Evan Parker, con el cuarteto Mostly Other People Do The Killing o en contextos de Música Contemporánea con el International Contemporary Ensemble. Toda la información y derechos: http://www.elclubdejazz.com

Peter Evans es un trompetista de cualidades excepcionales. Su asombrosa técnica está al servicio de una música de continua exploración que ejercita junto a clásicos de la improvisación libre como Agustí Fernández, Mats Gustafsson o Evan Parker, con el cuarteto Mostly Other People Do The Killing o en contextos de Música Contemporánea con el International Contemporary Ensemble. Toda la información y derechos: http://www.elclubdejazz.com