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We hear from the composer whose oratorio was stopped in mid-flow

Nathan Currier cannot comment on his current lawsuit against the Brooklyn Phil, but he’d like to share the following information:



I had a Symphony premiered with the Simon Bolivar Orchestra this past season, called Hildegard’s Symphony, which also has an environmental theme (albeit somewhat less explicit), as in the oratorio. Here’s a link to the video:

Coming from the other side of my life, yet deeply related to the material behind the oratorio – if in somewhat complex ways – is my my most recent article in Huffington Post, which just appeared two days ago. The single quote from me in the article you cited the other day, in which I said that my oratorio is becoming “more relevant by the day,” is, I suppose, explicated somewhat in the details you will find in this most recent HuffPost piece, found here.

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  1. Nathan Currier is the brother of another American composer, Sebastian Currier, whose “Clockwork” for violin and piano (1989) I enjoyed playing very much. I’m looking forward to getting to know Nathan Currier’s work better.

  2. PK Miller says:

    Still can’t figure out why they did not do one full run-through of the work, beginning to end sans interruption or stopping to get a sense of the time. Hate to resort to a hackneyed cliché but it’s a lose-lose situation.

  3. Visit both links- good music, good activism.

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