adding his two cents to the great ‘alt-classical’ ‘debate’ of 2k10. Here’s the rest of the above sentiment:
Alternative used to mean Rage Against the Machine. Later, it meant Limp Bizkit. Is that an admirable trajectory? Today, alt-classical means Alarm Will Sound. Tomorrow, will it mean Bond? It’s very easy (and often very profitable) to take something that gained credibility for being other and monetize it by taking things that are not other and dressing them up as other.
My post from earlier this week that wondered whether a new generation of composition teachers would be more open to the use of popular music /styles / techniques / sounds in the music of their students than the ‘old guard’ created a ripple of chatter and ‘stirred the pot’ a little. Here’s a little recap of the action for Twitter resisters. First to chime in was Gabriel Kahane. Kahane (I’ll use Kahane since he used Sacawa) used his Tumblr to state his position. I made a funny picture. Then Matt Marks, whose comment on a separate post inspired the ‘pot stirring’ post, made a pretty definitive statement on the ‘issue’ / ‘debate’. Then Dennis had had enough.
Should we make more Charles Wuorinen cat picture memes?
Why is every1 talking about ‘alt-classical’?
Is it Anne Midgette‘s fault?
Is it Greg Sandow’s fault?
Is it 8bb‘s fault?
Is it bad to talk about ‘alt-classical’?
Allan Kozinn wrote the following as the first sentence of a recent review:
Trendy ensembles that play accessible, eclectic new music get most of the attention (and listeners) these days, but you have to admire groups like the New York New Music Ensemble for continuing to champion the more rigorous end of the contemporary repertory.
One assumes by “trendy ensembles” he’s talking about any number of ‘bandsembles’ in the indie / alt-classisphere. I’m pretty sure the word “trend” has been used to describe the current new music ‘movement,’ but I think it’s usually been utilized in the ‘this-is-the-way-music-is-moving-in-the-future’ kind of sense and not in the ‘fad’ kind of sense. That’s interesting. Is this whole thing we talk about so much these days just a fad? Will anything relevant, meaningful, and lasting emerge from this ‘trend’ or will the next generation of composers come up with something new to overthrow the ‘relevancy’ many are working overtime to achieve? Will music by composers who are deemed ‘uncompromising’ be the transcendent new music?
R u an ensemble that ‘champions’ music by ‘uncompromising’ and ‘thorny’ composers?
Is it trendy 2 play ‘accessible’ music?
Are new music ‘bandsembles’ that play ‘uncompromising’ music more authentic?
Since trends come and go, when will this ‘accessible’ trend end?
Should ‘alt-classical’ b referred 2 as fad-classical?
Will it ever b trendy 2 play ‘rigorous’ ‘uncompromising’ music?
Who is creating relevant ‘alt-classical’ music?
Can you be ‘uncompromising’ and still play at ‘LPR’?
Would ‘uncompromising’ composers prefer their music be played in ‘uncompromising’ venues instead of ‘mixed use’ ‘spaces’ that serve beer and wine and ‘tapas’?
What is an ‘uncompromising’ venue?
A dungeon?
An operating room?
A dominatrix basement?
Merkin Concert Hall?
Could Charles Wuorinen write an ‘alt-classical’ piece?
If u ‘remixed’ some Wuorinen would he ‘sue ur ass’?
Brian Sacawa is the Curator of the Contemporary Museum's Mobtown Modern music series.
As a saxophonist, Brian has been called many things—most of them good—including "an inventive musician" (The New York Times), "inspired" (The Washington Post), and "brilliant" (Baltimore Sun). His versatile career has led to appearances ranging from Carnegie Hall to Baltimore's Metro Gallery and with ensembles including the Baltimore Symphony, Detroit Symphony, New World Symphony, and St. Petersburg (Russia) Philharmonic.
Brian can be heard on the Grammy-winning album Songs of Innocence and Experience (Naxos) and his critically-acclaimed debut solo recording, American Voices, is available on the Innova record label.
You can learn more about Brian on his website, where you're likely to find out that he also performs in the genre-bending duo Hybrid Groove Project and is a Category 2 bicycle racer for District Velocity Racing p/b The Bike Rack.
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