Sentence examples for current composer from inspiring English sources
While some contemporary composers view the symphony orchestra as archaic, Mr. Lindberg (the Philharmonic's current composer in residence) has called it "his favorite instrument" and "the perfect typewriter where you have all the keys".
It does so in "Three Generations," a series of four concerts at Zankel Hall (March 30, April 6, April 19, and April 26) curated by Reich, Carnegie's current composer chair.
March 20 2015 Visits to Carnegie Hall by this bright and brilliant American orchestra, directed by the universally admired David Robertson, are always welcome; its next concert intersects with the hall's season-long emphasis on the music of its current composer chair, Meredith Monk.
The French composer Bruno Mantovani – definitely not to be confused with the Italian popular conductor Mantovani, he of the saccharine strings – is one of the young lions of French music and the subject of the last of the BBC National Orchestra of Wales' current composer portraits.
Mr. Rouse, the Philharmonic's current composer in residence, drew inspiration from Edgar Allan Poe's short story "The Masque of the Red Death," in which a group of aristocrats try to escape a raging epidemic by shutting themselves in a castle where they hold a masked ball, realizing only too late that among the guests is the Red Death, who finally holds "illimitable dominion over all".
The other name in circulation was that of Esa-Pekka Salonen, the Philharmonic's current composer-in-residence.
"Otisk," a work for orchestra by Krystof Maratka, Caramoor's current composer-in-residence, will have its world premiere at the Aug. 14 concert.
Gilbert and the full Philharmonic will give the world première of the Symphony No. 4 by its current composer-in-residence, Christopher Rouse, at Avery Fisher Hall (June 5 and June 7).
"Obviously, current composers need to be encouraged to create their works, and they should be getting royalties," Mr. Golan said.
Bartok and Stravinsky, not Beethoven, then become the new standard repertory, and current composers like Peter Eotvos, this year's special guest here, feed from the bosoms of Varèse or Messiaen, not Haydn.
Presentations by current composers could do this, but no one move would better symbolise a new beginning than moving the wonderful Hear and Now programme from its graveyard slot of 10pm on Saturday and repeating it (rather than Composer of the Week) most weekdays.
