Explore Program Notes

Tallis Scholars: A Renaissance Christmas

Before contemporary life made the festive season simple, Christmas was a time to celebrate the unknown.

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Composer Portraits: Zosha Di Castri

This is a composer for whom sound is elemental, a composer fired by the spectral imagination, a composer who wants to give us time to explore the soundscapes she puts before us, vistas sometimes enriched by electronics.

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Composer Portraits: Lei Liang

Composing is a way to free oneself from the artificial confines of cultural identity, a means to challenge perceived borders and convenient labels.

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Tim Munro: Recounting

If there’s one thing you might safely expect from a Tim Munro concert, it’s not merely that it will contain the unexpected, but that the unexpected will hold centerstage. Munro (b. 1978) has pointedly not organized a menu of greatest hits replete with virtuoso pablum for his New York solo debut.

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Steve Reich: Variations

It seems paradoxical, on the surface, to posit a kinship between his own aesthetic and one of the central pillars of Western tradition, for Reich has radically shaped how the contemporary world thinks about music and its function.

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Composer Portraits: Michael Gordon

From my studio I hear the resonance, a complex palette of ringing overtones which linger in the air for a few seconds and then disappear.

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Composer Portraits: Hannah Lash

When I’m trying to find out as much as I can about an idea, sometimes I feel a bit like a zoologist. I’m trying to figure out what kind of animal it is that I’m observing.

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Composer Portraits: Hans Abrahamsen

Schnee is an hour-long set of gradually crystallizing canons that are also musical portraits of snow: its flurries, how it blankets and blanks out the landscape, its delicacy, its cold.

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Composer Portraits: Iancu Dumitrescu

Regarding music as unrepeatable, Dumitrescu revises and adapts scores for each new performance and each new set of performers.

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Composer Portraits: Alex Mincek

The one constant is heat, usually generated by a fast pulse that is at once insisted upon and offset by bristling syncopations, metallic-electric.

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Composer Portraits: Ashley Fure

Sound starts with touch: air bumps air, hair rubs wire, fingers press and pull and pluck. And yet, classical instrumental technique tends to deemphasize the body behind the sound.

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Carnival of the Animals

The “Introduction and Royal March of the Lion” kicks everything off with anticipatory tremolos and glissandos before announcing the arrival of the lion with a miniature fanfare of chords.

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