The Openly Gay Black Avant-Garde Composer Who Taught With Morton Feldman And Enraged John Cage

Julius Eastman studied piano with the great Mieczyslaw Horszowski at Curtis, got denied tenure at Buffalo, improvised an aria during Bach’s Christmas Oratorio, frequented S&M clubs, drove away his friends – and wrote extraordinary music with unorthodox notation and titles so provocative that they couldn’t be printed in programs.

Why Composers Are Drawn To Write Symphonies, Even In 2015

James MacMillan: “The symphonic tradition, and Beethoven’s monumental impact on it, is an imposing legacy which looms like a giant ghost over the shoulder of any living composer foolhardy enough to consider adding to it. Some turn away in terror and even disdain … Others can’t help themselves. Perhaps not fully knowing what writing a symphony ‘means’ any more, some of us are drawn towards it like moths flapping around a candle flame. We might get burned.”

Composer Peter Maxwell Davies Says His Cancer Has Returned – And He Completed An Opera Despite The Chemo

In 2013, he was diagnosed with an aggressive form of leukemia and given roughly six weeks to live, but successfully completed his treatment and continued to work. Late this summer, he learned that the cancer had returned. Despite the difficulties of chemotherapy, Davies finished work on the score of a new children’s opera to be conducted by Simon Rattle.

The Boston Lyric Opera Is Looking For A Good New Home

“Punctuating a week of high drama on the city’s performing-arts scene, Boston Lyric Opera has decided that it will not renew its lease at the Citi Shubert Theatre, its home for nearly two decades. Next fall it will move its productions to a temporary venue, one yet to be announced. This is a seismic development for New England’s largest opera company.”

The Steinway From Queens That Had A Great Night In Havana

“On the left side of the makeshift wobbly stage, Lang Lang, China’s fresh-faced piano prodigy, stroked the keys meticulously as Chucho Valdés, one of Cuba’s music superstars, struck heavier tones on a second piano positioned to the right. At center stage, standing before the Cuban National Symphony Orchestra with her baton raised high, Marin Alsop, the American conductor, unified the ensemble.”