Ever-Expanding Access into the Minds of Today's Most Brilliant, Colorful and Idiosyncratic Composers
We here at Q2 Music will always strive to bring you the best and brightest in new-music. But now we are beginning to explore the spaces between the music. You will now be able to hear the voices of the composers themselves as they provide exclusive, concise introductions to subsequent music.
Q2 Music affirms its commitment to enshrining the insights and wisdom of today's composers. We will archive these introductions online and continue to add more composers to the mix both in-stream and online. Check back as we look to add more of your favorite composers to this page!
John Luther Adams | Timothy Andres | Mason Bates | Derek Bermel | Tyondai Braxton | Martin Bresnick | Gavin Bryars | Caleb Burhans | Elliott Carter | Chou Wen-chung | Jacob Cooper | John Corigliano | Sebastian Currier | David Del Tredici | Avner Dorman | Osvaldo Golijov | Michael Gordon | Judd Greenstein | JacobTV | Scott Johnson | Aaron Jay Kernis | Phil Kline | David Lang | Lowell Liebermann | Ingram Marshall | Missy Mazzoli | Meredith Monk | Paul Moravec | Nico Muhly | Angélica Negrón | Per Nørgård | Paola Prestini | Steve Reich | Poul Ruders | Esa-Pekka Salonen | Morton Subotnick | Michael Torke | Peteris Vasks
Recently in Composer Portals
Saturday, April 28, 2012
There's hardly a DJ alive who hasn't slowed a vocal down, or sped it up, to fit another beat, while keeping it in the same key. This landscape is the place where composer Jacob Cooper calls home.
Wednesday, April 11, 2012
Born in 1985, Timothy Andres (occasionally billed, somewhat insouciantly, as “Timo”) works in the post-dogmatic era of contemporary American composition. This means, among other things, that Andres feels as much at home recomposing (and playing) Mozart’s “Coronation” Piano Concerto as he does taking part in a street performance of Mauricio Kagel’s Eine Brise (for 111 bicyclists).
Monday, April 09, 2012
Sitting at the crossroads of installation art, extended vocal technique and non-score-based rehearsal processes is one of America’s late-20th century masters: Meredith Monk.
Wednesday, April 04, 2012
"Lowell Liebermann," wrote one critic, "has achieved a reputation of writing some of the most melancholy, even gloomy, music on the planet." Why was this, the writer wanted to know—had something terrible happened to him that wasn't hinted at in his biography?
Monday, March 19, 2012
Morton Subotnick has almost as many pioneering credits to his name as he does compositional ones. A leader of the San Francisco Tape Center in the '60s – a place where Terry Riley, Pauline Oliveros and many others took some of their earliest aesthetic steps – Subotnick has consulted (or commissioned) the building of synthesizers from the ground up, and also recorded the first electronic-music album meant just for listening, instead of live-performance miming. (So radical!)
Wednesday, March 14, 2012
Composer/guitarist Scott Johnson is an inventor of a technique of generating a piece of music based on recorded speech and approximating it with musical notes.
Sunday, March 11, 2012
Some of Ingram Marshall's earliest recordings are of solo, semi-improvised performances, playing an Indonesian flute and singing falsetto to an accompaniment of prerecorded electronics and live tape delays. They are mesmerizing—thick, swelling, fragrant clouds of music.
Wednesday, February 22, 2012
While it is true that Tyondai Braxton's father is the revered composer and improviser Anthony Braxton, their music might as well come from two different planets (neither of which is Earth). Light-years away from his father's liberated, happily baffling ensemble experiments, Braxton fils sounds more like a long-lost son of Zappa, his compositions as gaily colored, as rigidly constructed, and as outrageously, extravagantly pop as a life-size sculpture in Lego blocks.
Wednesday, February 22, 2012
The Bang on a Can collective—Michael Gordon, wife Julia Wolfe, and fellow Martin Bresnick student David Lang—took a shared fascination with modernist dissonance, minimalist process, and rock volume, and turned it into a new kind of New York institution. They founded festivals and a record label, and collectively composed evening-length works like the oratorio Lost Objects (2001) and the opera Carbon Copy Building (1999).
Thursday, February 16, 2012
Phil Kline is a composer of the Bang on a Can generation, championed by that collective and sharing with them good deal of common aesthetic ground, fusing an experimental sensibility and minimalist processes with rock sonics and vigor.
Tuesday, February 14, 2012
Like many of his contemporaries, Sebastian Currier approaches classical music with a sort of double-consciousness—infatuated with its traditions, but well aware of its limitations. Is rock music to blame?
Thursday, February 09, 2012
Angélica Negrón's music is a whisper. A young composer, she has crafted a small oeuvre of concert works, each suffused with a kind of compassion, as if regarding something very small and delicate, but without condescension. She samples tiny noises, seemingly trivial sounds, and turns them into music.
Monday, February 06, 2012
Perhaps only an artist with Missy Mazzoli's self-evident clarity of purpose could have raised vacillation to an art form. Her early mentor Meredith Monk toys with handfuls of pitches, making slight variations, but playfully as well as meditatively. It's the tension created by the relentless forward motion of Mazzoli's music, that ticking pulse, that gives the music the sense of a choked-up faltering between pitches.
Sunday, February 05, 2012
You'd be forgiven for thinking that, despite his unassuming physical presence, Aaron Jay Kernis is some kind of extrovert. Listen to these titles: 100 Greatest Dance Hits, New Era Dance, Too Hot Toccata, Superstar Etudes.
Saturday, February 04, 2012
For decades, rising composers, young composers working in aesthetics not yet embraced by the mainstream institutions of classical music—concert halls, symphony orchestras, universities—have had to find audiences by building and leading their own, brand new institutions. Paola Prestini has helped to build and lead VisionIntoArt, a multimedia performing arts collective, building bridges between the worlds of music, film, dance, theater, and poetry.
Friday, February 03, 2012
Few composers personify New York's young new-music scene in quite the same way as Judd Greenstein. As a composer, he has been commissioned by the ETHEL string quartet and by the Minnesota Orchestra. New Amsterdam, the label he co-founded with composers Sarah Kirkland Snider and William Brittelle, serves as an umbrella for many of the city's most celebrated young composers and ensembles, including his own NOW Ensemble of new-music virtuosos. In 2011, he inaugurated the Ecstatic Music Festival, bringing together indie rock, jazz and classical music for a series of cross-genre concerts and collaborations.
Wednesday, February 01, 2012
With the attention Paul Moravec received after his Tempest Fantasy won the Pulitzer Prize for music, one might have hoped that this would have put to rest the tired dialectics suggesting that tonality and complexity.
Monday, October 17, 2011
After his clarinet was stolen from a Paris phone booth, Derek Bermel explains, he gave up busking to become a goatherd in the south of the country. He has studied the music of Yemen in Jerusalem, the music of Thrace in Bulgaria, choro music in Brazil, and in Ghana the music of a xylophone-like instument called the gyil, and conducted a choir of emotionally disturbed boys at a residential center in New York City.
Monday, October 10, 2011
Nico Muhly has already managed to build not one, but around three or four careers for himself as a composer. With his work on movie scores and indie-rock albums, he has one toe inching towards pop-culture recognition, while keeping one foot firmly in the classical mainstream with a substantial body of pieces composed for the likes of the New York Philharmonic and the English National Opera.
Saturday, October 01, 2011
With very few sudden, radical changes — just a handful of constant elements smoothly, gradually building and developing — the way that Steve Reich's musical language has come together, over his decades-long career, actually resembles the structure of his own music.