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19 Feb  

Picking up on some of the themes from Judith Bingham's fascinating post I recently did an interview for the American Music Centre's NewMusicBox site and I was somewhat surprised to hear the interviewer Frank J Oteri tell me that despite my never having returned to the US until 3 years ago (having been born there and left at the grand age of 6 weeks old), that there was something distinctly American in my sound-world - the article is titled "Accidental American".

I acknowledged to Frank that, like a lot of the US scene, I am happy to be open to a wide range of other cultures and musics from around the world; but on reflection, whilst I have loved klezmer, gypsy music and Eastern European folk music since childhood, British folk traditions have never held such an intense interest. I wonder if I am like my good friend who, as a Spanish composer based in London incorporated Spanish folk idioms into his writing, but then when he moved back to Spain these suddenly vanished completely from his music. In other words, if I didn't live in the UK perhaps I would take a deeper interest in its traditions. Perhaps, as Judith implies, it's to do with craving things that are not - for whatever reason - part of our daily lives?



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31 Jan  

New music enthusiast Bob Schneider draws my attention to the soundSCAPE New Music Festival 2010. This composers and performers exchange takes place between 14-25 July 2010  at Lake Maggiore in the beautiful Italain Alps. It is an opportunity for  composers to get their works premiered. Special features this year include a composer-in-residence fellowship and creating violin and guitar duets, to be performed by Duo46. Application deadline is March 31,2010. For details, visit http://www.soundscapefestival.org



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8 Jan  

Ahead of his 50th birthday concert on Sunday 7 February 2010 at the Queen Elizabeth Hall, the London Sinfonietta has produced a new podcast profiling composer George Benjamin.

Sara Mohr-Pietsch talks to the composer about his life’s work, influences and compositional styles highlighting the music that has brought him international renown.


(via http://www.londonsinfonietta.org.uk/audio/london-sinfonietta-podcast-7-george-benjamin)


For a further overview of Benjamin's work see our feature article by Gavin Thomas



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7 Jan  

The good folks over at Sequenza 21 have been fortunate enough to link up with world-renowned violinist Hilary Hahn, to do a series of composer interviews. In the latest video, Hilary interviews composer David Lang, who's Little Match Girl Passion won the Pulitzer Prize 2008 (which you can listen to at the Carnegie Hall website  )

David talks about his creative process, how in his training he felt your duty was to push all your composer colleagues under buses, and how, despite winning the Pulitzer, he is on the whole not in favour of competitions. It's a fascinating insight into one of the US's most prominent composers.

 


Video Part 2
Video Part 3



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14 Dec  

"To understand all is to forgive all, the French saying goes. In "Zoli," a novel about the Gypsies of Eastern Europe, Colum McCann imagines a deeper, darker watchword for this immemorially wandering and persecuted people: to be understood, even in part, is to be violated and destroyed." NY Times review of Zoli by Colum McCann

One of the fascinating themes of the novel Zoli (and I promise all this does relate to composing!), is the difference in attitudes between the Western/White attitude to the meaning and permanence of culture; and that of the Gypsies. Where the non-Gypsy protagonists in the story attempt to 'save for posterity' Zoli's brilliance as a poet and singer, the Gypsies find this very notion absurd and eventually outcast Zoli for what they see as her betrayal of their culture by allowing her words to be written down. At the end of the novel Zoli sends a message to her English/Czech former-lover and documenter who has spent lovesick years trying to find her again. The one thing she has to say to him after all this time is "nothing is ever fully understood" - that the white man's impulse to attempt to understand and document everything is doomed to failure. Culture and meaning are impermanent, incorporeal, impossible to capture. Indeed, like a quantum particle, the very act of looking changes their meaning.


Whilst I am a composer whose method of expression is tied completely to writing down my music, I can't help feeling us 21st Century composers fall far too far into the very trap the book so beautifully portrays. When we fetishize every last detail of how a note should be played, we are trying to turn music into something it is not. Our compositions are not physical, quantifiable things, however much spotlessly perfect CD recordings and Sibelius midi playbacks might lead us to believe they are. The meaning of a piece is passed by a performer from paper to the vibrating air the same intangible way friendship is sustained - through trust and respect, thoughtfulness, attention and understanding. Those are things you can't notate. A good musician will bring those things to your score however many dots and lines you add to a note. And in the spirit of friendship I believe it's important to give that trust back to the player as much as you can. If you love someone, set them free...



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25 Nov  

Welcome to the new look Composition:Today site  Whilst still maintaining many of the old features, such as the jobs and competitions listsing, the concert listings, the showcase pages, soundbank and interviews, we're launching a brand new feature which we hope will become the central focus of the site - a joint-blog run which will be edited by a distinguished collection of composers.We're delighted and excited to announce the following composers have agreed to join us on this new adventure: 

Colin Matthews
Arlene Sierra
Judith Bingham
Elena Langer
Oscar Bettison
Graham Lynch
Jim Aitchison
Scott Good
Ian Wilson
David Bruce


 



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