Mason Bates/DJ Masonic in Symphony

My Symphony magazine article on orchestral composer/DJ Mason Bates is now online: “Mason Bates, or someone like him, was bound to appear sooner or later….” Also, my profile of composer Melissa Hui is out in the current Chamber Music magazine, but not, alas, online.

And on a minor note, student flutist Sarah Elia performed my solo flute piece Desert Flowers tonight at Bard College. It hadn’t been heard publicly (that I know of) since 1989. I was 23 when I wrote it. Carter was president at the time. Sarah did a lovely job.

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Comments

  1. says

    Elliott Carter?
    KG replies: Yes. But the information on that most interesting period has recently been reclassified. Please forget I said anything.

  2. says

    In the 1980s that all changed. Punk guitarists started working with minimalist drones, classical composers played rock clubs, symphonies for electric guitars appeared.
    Didn’t the first and third happen in the 70s? No Pussyfooting was recorded in, I think, 1972 or 73, though it didn’t come out until later (not that Fripp or Eno is a punk guitarist), and, say, Anthony Moore was making cabaret-pop with Slapp Happy and releasing minimalistic albums like Secrets of the Blue Bag under his own name. Fred Frith’s “No Birds” from Guitar Solos is primarily drone-based.

    And earlier still, Benny Goodman recorded clarinet concertos, and the “third stream” phenomenon.
    KG replies: Well, Glenn Branca’s First Symphony appeared in 1981. If you just want examples of classical and pop influencing each other, you can go back a long ways. Perhaps pop musicians started borrowing from classicals well before it started flowing the other way.

  3. says

    Perhaps pop musicians started borrowing from classicals well before it started flowing the other way.
    I suspect that’s so—rock and jazz both have their purists, but they also accomodate a lot of syncretism. The impression I get in the classical world is that the purists are running the asylum.