Andrew Norman

Tuesday, June 15, 2010

I have never been more stuck than I was in the winter of 2008. My writing came to a grinding halt in January and for a long time this piece languished on my desk, a mess of musical fragments that refused to cohere. It was not until the following May, when I saw a copy of Kurt Vonnegut's Slaughterhouse-Five and remembered one of its iconic sentences, that I had a breakthrough realization. The sentence was this: "Billy Pilgrim has come unstuck in time," and the realization was that the lack of coherence in my ideas was to be embraced and explored, not overcome.

Comments [12]

Paola Prestini

Tuesday, June 15, 2010

Oceanic Verses, originally commissioned by Carnegie Hall and recently performed by the New York City Opera on VOX, is an operatic tableau of rituals that pays homage to Italian folk music of different times and regions—from Genoa to Salento and Sardinia. With a nod to the great contemporary Italian singers Fabrizio D’Andre and Roberto Licci, the work aims to create a world music of the Mediterranean people, a tribute through Prestini’s musical lens.

Comments [18]

Sean Shepherd

Tuesday, June 15, 2010

I chose these excerpts from my Octet (completed in 2008) and my sextet Lumens (completed in 2006) in an attempt at broad contrast: fast vs. slow, soft vs. loud, lyrical vs. punctuated.  But when I listened to what I had selected, I was more struck by the similarities in the pieces than by the differences. Both are final sections of longer pieces for medium-sized chamber forces, both are for standard, time-tested ensembles, and both are, in the end, full of contrast in and of themselves. Each has plenty of soft, fast, and lyrical, and each has plenty more.

Comments [12]

Cynthia Wong

Tuesday, June 15, 2010

I remember reading a poem about a person who, while dreaming, unlocked certain life truths, only to forget them upon waking.  This moment, in which one is suspended in wonderment in the face of mysterious yet daunting absence, when one is armed only with the power of questioning and the knowledge of no longer knowing—this is the moment that opens the piece.  It is from this sense of loss that all else springs: the restless uncertainty of the first movement; the meditative stillness of the second; and the muted madness of the third.

Comments [73]

Selection Process

Monday, June 14, 2010

We start with 60 composers. In October we will announce 4 commissions. In the meantime, we want to hear from you! Who has moved you? Whose work have you found compelling? Who would you be interested in having compose for the Orpheus Chamber Orchestra's upcoming season? Let us know.

Comments [18]

Nominating Panel

Wednesday, May 12, 2010

See who's helping narrowing down the vast field of talented composers for Project 440.

Comments [9]