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Masterworks software guerillas4/15/2023 Uptown composers, cerebral members of the avant-garde guild, clustered around Columbia and dreamed of taking curtain calls at Lincoln Center. Thirty years ago, the American contemporary music world was a macrocosm of Manhattan geography. Little of that description would have made much sense to me in 1988 when I too arrived in New York, eager to become a professional composer. She may not stay long, but for now, this crowded, competitive, crushingly expensive metropolis is the place she needs to be. Even from a distance, she saw that the existence of the Bleecker Street venue and the composer-run label meant that New York had a place for musicians like her, who assemble their tastes from a global menu rather than a teacher’s dogmas. You might run into her this weekend at the joint tenth-anniversary celebrations for two institutions that drew her to the city: (Le) Poisson Rouge and New Amsterdam Records. She’s got a playlist full of Latin hip-hop and early minimalism and Iranian kamancheh music and for a while she played bass in a punk bluegrass band. Maybe she’s a singer or a cellist, or both, and also a whiz with the editing software on her laptop. I don’t know her name, but a young composer has just shown up in New York. Photo: George Etheredge/The New York Times/Redux, Getty, Courtesy of Judd Greenstein Clockwise from upper left: Bang on a Can founders Lang, Wolfe, and Gordon (Le) Poisson Rouge Judd Greenstein, composer and co-founder of New Amsterdam Records and composer Milton Babbitt.
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