Steve Elman
What I’ve learned from three years of research and listening is that the piano concerto is an ideal vehicle with which individual composers can experiment
Read MoreMore composers who followed their own distinctive paths when they incorporated jazz into their piano concertos.
Read MoreMore composers who followed their own distinctive paths when they incorporated jazz into their piano concertos.
Read MoreThis first group of mavericks all have their roots in the 1920s, but they demonstrate that George Gershwin’s way wasn’t the only way.
Read MoreNew York and Paris both respected innovation, but Paris demanded that the new have a certain style.
Read MoreThere are still some places where the genius of George Gershwin is underappreciated, and regrettably, they include most of the concert halls in his home country.
Read MoreMy data might be depressing for anyone who wants a lot of novelty in the concert hall. But I found that some orchestras are taking more risks than the pessimists say.
Read MoreThe writing is on the wall, and it’s not just a warning to the composer who trifles with the idea of writing a JIPC. It’s a warning to everyone who takes music seriously.
Read MoreThe media tools now available have brought us closer than ever to getting the amusements we want as soon as we want them, which puts all forms of art music at a serious disadvantage.
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Fuse Music Commentary Series: Jazz and the Piano Concerto — A Real Tradition, but of What?
The tradition of hybrids is there, for anyone who chooses to use it. Our modern media world makes that tradition accessible in hitherto unimaginable ways.
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