Violinist Hillary Hahn and composer Hauschka teamed up for an exciting collaborative album, made more complicated in a live setting.
Philip Glass plays a free concert tonight, and apart from the price, it's worth making it out since Glass is sounding great these days
As she enters her eighth decade, experimental composer Pauline Oliveros is having her cultural moment, complete with a rave review in Pitchfork
The Darmstadt Insitute, run by Nick Hallett and Zach Layton, presents an open-minded selection of avant-garde works through June
You can trust David Byrne's ear on this one. Mikel Rouse (his first name is pronounced like "Michael") has made dozens of great records since coming to New York. The New York Public Library for the Performing Arts acquired his archive in 2010—making it the easiest place for the public to see video recordings of Rouse's modern operas, like Dennis Cleveland, that have played at Lincoln Center and the Brooklyn Academy of Music in recent decades.
Terry Riley, playing a couple of shows this weekend in New York, talks about giving up self-publishing and his recent works
Next week, the 83-year-old avant-garde pianist is scheduled to play two different solo concerts —one each at Harlem Stage and Brooklyn’s Issue Project Room—which will be his first performances in his hometown since 2009. And while both of those dates have already sold out, a variety of other celebratory events have been scheduled around the margins of Taylor’s reemergence, suggesting that theaters and promoters and individuals were just waiting for an opportunity to celebrate the musician.
While it’s useful for consumers and musicians alike to have a citywide infrastructure that can support both a composer like Missy Mazzoli as well as a band like Buke and Gase (who also have a new single out), it can also, at times, feel rather exquisitely figured out before you get to the show. Or, put another way, precisely un-Whitman-like in its sense of being a matter of minds already settled, rather than engaged with in an active process of collective self-discovery. Braxton, though, isn’t in a totally figured-out place—nor does he report any pressure or hurry to get there.
Tatsuya Yoshida is the drummer of the long-running Japanese noise-rock duo Ruins. For three decades, his principal band has pounded its gospel of rhythmically complex, quasi-improvised thrash across the globe. (The duo collaborated memorably with British free-improvisational guitar hero Derek Bailey in the late 90s.) But it would take the Asphalt Orchestra—the Bang On A Can house “marching band”—to commission a suite of music by Yoshida to bring into Alice Tully Hall’s Starr Theater.