Prizing the Pulitzer

Exploring the prestige and controversies of the Prize with Music from Copland House

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Monday, July 25, 2011

This week on The New Canon, we chat with Caramoor's Michael Barrett plus Music From Copland House's Derek Bermel and Michael Boriskin. Join the conversation in the window below or via Twitter with the hashtag #q2new. Want to get a head start? Leave your questions in the comments below and we'll address them at the top of the chat.

The Pulitzer Prize carries as much prestige as it does controversy, from journalism to drama to literature. The award for music has also earned its share of outcry, particularly when the non-classical compositions of Wynton Marsalis and Ornette Coleman took home the honor in 1997 and 2007, respectively. At this year's Caramoor Festival, the Music From Copland House ensemble explores this further playing works by Pulitzer laureates and nominees, with the festival's chief executive and general director Michael Barrett also performing.

With one performance down on Friday, July 22 and one to go on Sunday, July 31, we catch Barrett along with Music From Copland House members Derek Bermel and Michael Boriskin to pose the question: What makes a work of music great? And are awards like the Pulitzer a barometer of that greatness? In addition to hearing a work written by Bermel that harkens in no small part to Copland, we'll hear the most recent Pulitzer winning work to be recorded (Jennifer Higdon's Violin Concerto) and also hear the Music from Copland House play a work by Pulitzer nominee John Musto.

Hosted by:

Olivia Giovetti

Comments [2]

Lauren Katzowitz Shenfield from Croton-on-Hudson, NY

How and to what extent has the Prize affected the careers of winners?

Jul. 25 2011 04:04 PM
Bob McCauley

As a composer who lives in Houston, Texas, do you think there will ever be a day where composers routinely outside of the New York, Philadelphia, and Chicago area will ever receive a Pulitzer Prize?

Jul. 24 2011 10:19 PM

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