News to start your week!
The Oscars happened Sunday night – and Mica Levi was nominated for best film score for Jackie. In recognition of her nomination, The New Yorker has a profile of the musician and composer.
Also in The New Yorker, Alex Ross explores Kate Soper’s new work and “philosophy-opera” Ipsa Dexit which was recently presented by Wet Ink (a contemporary music ensemble) in New York City. Read on about this complex and sophisticated work here.
Women’s History Month is quickly approaching, and with it comes the Women Composers Festival of Hartford! The lineup this year of performers, presenters, and composers is outstanding as always – an event not to be missed! Tickets are on sale now!
The Boston Classical Review offers their review of the world premiere of Sophia Gubaidulina’s Triple Concerto as performed by the Boston Symphony Orchestra. Read on here. Also, on the same event, the Boston Musical Intelligencer, This was an big event (in terms of gender equity issues) since it the BSO’s ONLY female composer of the season (although this fact was not observed by either online journal). And here is discussion of is the 85-year old composer being awarded an honorary degree at the New England Conservatory.
NPR’s Deceptive Cadence featured a new choral work by Pulitzer Prize winning composer Caroline Shaw as performed The Crossing, a Philadelphia based choir with a new album of contemporary choral works. The concept for album is based off of several cantatas by Buxtahude, known as the Membra Jesu nostri patientis sanctissima, with contemporary composers exploring the same themes. The new album was released on February 24, but listen to a taste of Shaw’s contribution below!