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Tag Archives: Michael Colgrass
This week, we are inspired by the recent premiere of Karlheinz Stockhausen’s gargantuan Mittwoch aus Licht. Why did it take so long to be premiered? How do we think about works that flirt with the border between “impossible” and “really, really hard”?
Timothy Rutherford-Johnson: “Mittwoch—the Reviews”
We agree that musicians have a responsibility to know certain details about the music we make, but how much can we reasonably expect of audiences? Should they know or care about the same trivia that musicians do? Tim wins arguments on the blog of a Pulitzer-winning composer (hint: not Dave).
Topics include Rob Deemer’s book project, Jeremy Denk and David Lang talk baseball the value of originality (whatever that is), the future of (batonless) orchestras, a new book of graphic notation, new music-rowboat style, and American experimental music.
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This week’s panel:
This week’s topics include:
- Rob Deemer talks about researching his book project (and sits in for Nate on the panel).
- Peanuts and crackerjacks and new music and metaphors. David Lang and Jeremy Denk share a little batting practice over new music.
- Michael Colgrass ponders the value of originality in music.
- The Gaurdian’s Tom Service imagines a world without (as many) batons.
- NPR’s Deceptive Cadence blogs about Theresa Sauer’s collection of graphic scores.
- The panel discusses a concert of new music in Central Park is best heard from a rowboat.
- The panel helps Colin Holter prepare to teach a continuing education class on American experimental music from 1910-1945. He would appreciate any advice you can offer.
Pick of the week: