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Posts tagged 'Los Angeles Philharmonic'

Annie Gosfield's "The War of the Worlds" Premieres at LA Phil

On November 12th and 18th, PSNY composer Annie Gosfield's new multi-location opera, The War of the Worlds, will premiere at the Walt Disney Concert Hall, as well as three remote "siren sites" situated throughout Downtown LA. Performed by the LA Phil New Music Group, The War of the Worlds is directed by Yuval Sharon, and is co-produced by The Industry and Now Art. It will be narrated by Sigourney Weaver, whose voice will reverberate throughout downtown LA via three revamped WWII-era sirens, broadcasting her narration and the orchestra's music. 

The War of the Worlds takes its name and libretto from Orson Welles' 1938 radio broadcast, which blurred the lines between news reporting and storytelling. Through Yuval's libretto and direction, Gosfield updates this drama's focus on media, technology, and broadcasting by placing three of the main characters at remote "siren" locations interspersed througout the city, as well as incorporating radio sounds into her composition. Gosfield has worked extensively with radios in her compositional work, including Long Waves and Random Pulses, for violin and jammed radio signals. Check it out below.

The War of the Worlds will be published by PSNY after its premiere. Check back soon for the full score!  

New Works from Richard Carrick, Anthony Cheung, and Christopher Cerrone

On October 27th, Richard Carrick will see the world premiere of his new work, sandstone(s), at the Pacific Rim Festival in Santa Cruz, CA. Pairing flute, violin, and cello with traditional Korean instruments, sandstone(s) is inspired by the temporary, unstable structures created by sand, which the composer explored making at Kenya's Diani Beach during his residence in Rwanda in 2016. Sandstone(s), which will be published by PSNY, is inspired by Carrick's involvement with different iterations of traditional Korean pansori, which he has explored in his solo violin work Seongeum, published by PSNY. It will be premiered by the New York New Music Ensemble alongside the Gugak Contemporary Orchestra of Seoul. For a taste of Carrick's relationship with traditional Korean music, check out a recording of Seongeum below.

On November 18th, Anthony Cheung, in collaboration with Wang Lu, will see a new work for solo piano premiered by Joel Fan at the Open Source Music Festival at New York's Abrons Art Center. A few weeks later on November 29, the Longleash piano trio will perform a new version of Cheung's 2006 work, Flyaway Detours, in addition to the US premiere of Ann Cleare's 93 Million Miles Away. To get a sense of Cheung's writing for solo piano, check out his performance of his own work, Running the (full) Gamut), from 2008.

In addition to performances of his work across the country, Christopher Cerrone will see the world premiere of his new string quartet, can't and won't, on December 7th at Walt Disney Concert Hall. Co-Commissioned by the LA Phil and the Calder Quartet, this new work is Cerrone's second string quartet, after 2016's How to Breathe Underwater, which was originally written for male voice, bass clarinet, trumpet, trombone, and electroincs, in 2011.

Andrew Norman in the PSNY Greenroom



PSNY recently sat down in the Greenroom with Andrew Norman
to discuss his first opera—A Trip to the Moon—which is set to premiere at the Berlin Philharmonic, conducted by Sir Simon Rattle, on June 17th. Inspired by George Méliès' 1902 silent film A Trip to the Moon, Norman has written a work that deftly combines his compositional intensity with idiomatic vocal writing, creating an opera ostensibly for children that retains a much wider scope. Co-commissioned by the Berlin Philharmonic, the London Symphony Orchestra, and the Los Angeles Philharmonic, A Trip to the Moon will have its UK premiere on July 9 and US premiere on March 2, 2018. 

In developing the work, Norman comments, 

What appealed to me the most about this story was the fact that I could use it to explore how communities deal with the 'other' in their midst. This is, of course, timely in all sorts of ways all over the world.  I was deeply affected by contemporary events while writing the opera, and in many ways this project is a response to the devastating rhetoric of fear, anger, and hate toward the other that I see welling up in so many places.

Check out the full discussion, along with a sampling of Norman's other works, here.

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