Things have been pretty quiet over at the S21 Naxos blog for awhile but there is a terrific post up now by Collin Rae, Naxos of America’s Marketing and Special Projects Manager, who recently started a series of email discussions with composers, which have been posted on PMS #286 Appreciation Society, the Naxos of America blog. This discussion with composer David Lang yielded some interesting answers— including a list of terrific musical
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First, a quick introduction and thank you are in order. My name is James Holt and I am a composer living in New York. I started a podcast where I interview musicians specializing in performing contemporary music, and I ask them about their experiences with composers. Simple. I want to thank Sequenza21 for inviting me to come on the site every couple weeks as a recurring feature to tell
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According to the FB post of composer Lanie Fefferman, Patelson’s Music Store in NYC is closing as of 4/18. I’m assuming this is not a faux rumor, and if I’m creating a false run on Patelson’s inventory, I apologize. Anyway, many of us grew up in a time where including a trip to Patelson’s, even if just for browsing scores, was de rigeur anytime we were in Manhattan. I’d go there all the time from NJ, and back
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Keys to the Future will present an evening of Minimalist solo and duo piano works on Sunday, April 5 7:30PM, at Le Poisson Rouge (158 Bleecker Street, between Thompson and Sullivan).
Pianists Stephen Gosling, Blair McMillen, Lisa Moore, Molly Morkoski and Joseph Rubenstein will present a wide range of Minimalist solo and duo works, including Steve Reich’s seminal Piano Phase (1967) and John Adams’ Hallelujah
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As Anthony Cornicello reported on Saturday, William Paterson University of New Jersey is letting Peter Jarvis go from their faculty. Sequenza 21 last reported about Jarvis just weeks ago, announcing a concert on which he was premiering pieces by several faculty composers at TCNJ, another small institution in the New Jersey state college system. This type of activity, supporting the work of area composers through dedicated, well-prepared
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Interpretations continues its twentieth season of provocative programming in New York City. Founded and curated by baritone Thomas Buckner in 1989, Interpretations focuses on the relationship between contemporary composers from both jazz and classical backgrounds and their interpreters, whether the composers themselves or performers who specialize in new music. To celebrate, Jerry Bowles has invited the artists involved
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BLISS 91 comp.tape Read the rest of this entry
HOW TO BECOME A MILLIONAIRE? comp.tape
PRIVATE SOUNDS comp. tape
QFVDLO ? n° 8 comp. tape
PASSIONS ORGANIQUES comp. tapes
ATTENTION A MARIANNE T. comp. tape
L.G. MAIR-anything
CHUCK VAN ZYL-CALLISTO,any tapes
As for the time being i’m searching for resource material i would appreciate any scans or photocopies of late 70’s/early 80s fanzines on experimental/industrial/punk/DIY stuff.Especially i would appreciate
“The Philadelphia-based noise rock collective Temple of Bon Matin sounds like early Hawkwind jamming with Glenn Branca’s guitar orchestra, to the accompaniment of an extremely busy construction site. Their near-atonal freakouts are as challenging and uncompromising as rock music gets, but they have enough dynamics and compositional ideas to make their records more than simple exercises in repetition and annoyance. Read the rest of this entry
The heart of Temple of Bon Matin
BLISS 91 comp.tape Read the rest of this entry
HOW TO BECOME A MILLIONAIRE? comp.tape
PRIVATE SOUNDS comp. tape
QFVDLO ? n° 8 comp. tape
PASSIONS ORGANIQUES comp. tapes
ATTENTION A MARIANNE T. comp. tape
L.G. MAIR-anything
CHUCK VAN ZYL-CALLISTO,any tapes
As for the time being i’m searching for resource material i would appreciate any scans or photocopies of late 70’s/early 80s fanzines on experimental/industrial/punk/DIY stuff.Especially i would appreciate
“The Evolution Control Committee (The ECC) is an experimental music band based in San Francisco. The ECC was founded by Mark Gunderson (a.k.a. TradeMark G.) in Columbus, Ohio, in 1987. It typically uses uncleared and illegal samples from various sources as a form of protest against copyright law. The ECC also produces numerous audio experiments, such as the disfiguring of compact discs in live performance, known as “CDestruction”, and has produced
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