by Melanie Wong Cutting Edge Concerts New Music Festival has brought the contemporary music of living composers together with New York audiences since its inception in 1998. Last week CECNMF […]
by Aristea Mellos It is widely believed that a great work of art should be able to withstand reappropriation and reinterpretation, and, if possible, grow from the experience. This philosophy
Aaron Copland. Samuel Barber. John Adams. And now, Caroline Shaw. Shaw, 30, today joined the elite fraternity of American composers to win the Pulitzer Prize for Music for her Partita for
by Michael Cirigliano II Despite being only two hours away on the Metro-North Railroad, the Yale School of Music is often glossed over by its Manhattan-based brethren when it comes
As (le) Poisson Rouge discovered five years ago, people like a little alcohol with their classical/contemporary music. So, when I heard Sugar Vendil's Nouveau Classical Project was doing a show Friday
by Melanie Wong In accordance with their self-proclaimed mission to reach new audiences and change America’s “stuffy” and “elitist” perception of opera, nonprofit organization Opera on Tap presented their first original opera,
Last weekend's edition of CONTACT!, the NY Phil's new-music series, leaned older and more establishment than in the recent past. Which is both good and bad: on the one hand, you know
by David Artavia Transatlantic Ensemble’s Friday night performance at (le) Poisson Rouge might have created a new dictionary entry for "classical music." It doesn’t need to be played for white-haired
By Pete M and Melanie Wong Photo credit: Richard Termine, New York Times Last week, the Los Angeles Philharmonic returned to Avery Fisher Hall for a two-night run as part of Lincoln Center's
