Featuring selections by Jem Cohen, Keith Connolly, Britton Powell, Alan Courtis, Byron Westbrook, and more.
The pioneering photographer releases an album of synth and piano works.
“Activism always involves a kind of coalition building, but the kind of community art is capable of building extends further, to the dead and the unborn.”
I’ve been working with the concept of remixing my own classical compositions for a number of years.
“In the coy manner of Yoko Ono, we were instructed: ‘Listen.’ (No duh.)”
“Everyone comes together, then they just go to sleep. It’s an anti-rave.”
Words Without Music is a sustained performance with fascinating scenes and a lucid text.
Guillaume de Machaut meets Bone Thugs-N-Harmony through black metal.
One way to understand the work of Erik Satie is to imagine a place somewhere between two opposite artistic poles: James McNeill Whistler and Robert Filliou.
Nick Hallett witnesses the collision of two individuated music universes. The result continues to play out during several events starting this month.
Uniting three works of opera that span over 100 years, Michael Counts curates, directs, and designs his vision Monodramas for the New York City Opera. He speaks with musician John Zorn about the scale and challenges of the stage.
If you stripped radiant joy of all associations to sentimentality, you might hear the work of composer Nico Muhly on speaks volumes, his first CD.
The Silence Before Bach opens with a white screen, as if signaling a departure from the darkness of cinema into the light and divinely inspired world of Johann Sebastian Bach.
“My dream was a synchronized sound of present, absent, and distant musicians choreographed across the audience via the elaborate placement and movements of the performers in the whole building.”
Artist William Wegman has been an early music aficionado since he was a graduate student in the mid-‘60s. when he met George Steel, the Miller Theatre’s impresario who started the encyclopedic Composer Portrait Series, they had plenty to discuss.
Mauricio Kagel’s seminar in Aix-en-Provence, France, in the summer of 1981, sponsored by the organization Centre Acanthes, was a turning point in my life.
Haitian classical guitarist Frantz Casseus came to New York with the ambition to compose a distinct music, fusing the European classical tradition with Haitian folk elements.
I heard my first Julia Wolfe work, performed by the Spit Orchestra, in the early nineties.
Gustav Mahler is reimagined as wholly postmodern, combining jazz improvisors, DJ and cantor in a collision that transcends kitsch.
—I have an abrasion in my eardrum, I tell my friend C.