American Modern Ensemble Competition

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

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

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

Organizational Awareness Week

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

Among the highlights of the weekend:

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

Among the not-so-highlights of the weekend:

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

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

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

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