Five Things about Blair McMillen

I caught a recital at the Italian Academy at Columbia University (officially the Italian Academy for Advanced Studies in America) last night in NYC. The program was part of the "Music for a New Century" - Works composed since 2000, with pianist Blair McMillen.
1. I thought I might see one or two of the composers at the concert - after all, Blair is the pianist for the DaCapo Players, so I wondered. As I was out front enjoying a cigarillo, Joan Tower showed up with friends, and we chatted. Later, inside, Derek Bermel sat behind me and we chatted - he pointed out Anthony Tommasini and Fred Hersh to me.
2. The program showed no intermission, and really didn't need one - the five pieces were diverse but not terribly long. Blair took some time in between, which was just right. The order was delightful too: Steven Stucky, Barbara White, The new Goldberg variations (including the original aria and 4 new variations by Stanley Walden, Fred Hersh, Mischa Zupko, and Derek Bermel), Marco Stroppa and Joan Tower.
3. Listening to piano works by composers you know is certainly interesting, especially when it is their chamber music or orchestral scores you are familiar. I have new respect for many of them now - hmmm, maybe new insight is a better word, I still respect them.
4. This program is one of the finest treats I've had, and it was free. While the 50 or 60 people in the audience were appreciative and didn't make it less appealing, I'm a little suprised that it wasn't better attended. Why is that?
5. Blair included two encores, "In the rain" by Barbara White, again from her "Reliquary" and "Sexy" from Kyle Gann's "Private Dances" - both short and sweet. It was a fitting end to a rockin' recital.
The next concert is May 2nd, 2007 with Kathleen Supove and Jennifer Choi. Email Rick Whitaker or call him at 212 854 1623 for free tickets (and tell him John Clare sent you!)

Congrats

Classical news - Composer news - Chamber Music news
“Static,” a chamber music work by American composer Sebastian Currier, has earned the 2007 University of Louisville Grawemeyer Award for Music Composition.
The name of the six-movement piece for flute, clarinet, violin, cello and piano reflects “different meanings of the word ‘static,’ which can be a state of quiet balance or the erratic noise between radio stations,” said Marc Satterwhite, a UofL music professor who directs the music award.
“This emotionally complex work explores a huge range of instrumental color within a fairly small ensemble,” Satterwhite said.
Currier, who teaches at Columbia University, studied at the Manhattan and Julliard schools of music. His winning work was commissioned by Copland House of Cortlandt Manor, N.Y., for its resident ensemble, Music from Copland House, with funds from Meet the Composer, a national organization supporting new works by composers.
The ensemble premiered the piece at Columbia’s Miller Theatre in February 2005 and recorded it for Koch International Classics. The work, named winner of the 21st Grawemeyer music prize at a UofL Symphony Orchestra and Wind Symphony concert today in Carnegie Hall, was selected from among 153 nominations worldwide.

About Sebastian Currier
Sebastian Currier’s music has been called “music with a distinctive voice” by the New York Times and “lyrical, colorful, firmly rooted in tradition but absolutely new” by the Washington Post.
A faculty member at Columbia University, Currier lives in Manhattan. He taught at Julliard School of Music from 1992 to 1998 and holds a doctorate in musical arts from Julliard, where he studied with American composer Milton Babbitt.
Currier grew up in a musical family, born in Huntingdon, PA. His mother, Marylin, and his brother, Nathan, are also composers. His father, Robert, was a violist and string teacher.
In 2005, the Berlin Philharmonic presented a full evening of Currier’s chamber music. Last year, he returned to Berlin for the premiere of his work “Broken Minuets,” performed by harpist Marie-Pierre Langlamet and the Oriol Ensemble.
His “Microsymph,” described as a large-scale symphony squeezed into only 10 minutes, was commissioned by the American Composer Orchestra and premiered at Carnegie Hall in New York. The piece, recorded by Frankfurt Radio Orchestra, has been performed by the San Francisco Symphony, Gewandhaus Orchestra, Eos Orchestra and National Symphony Orchestra.
“Aftersong,” a piece he wrote for violinist Anne-Sophie Mutter, has been performed at Carnegie Hall, Symphony Hall in Boston, the Barbican in London and Grosses Festspielhaus in Salzburg.
Currier also has written works using electronic media and video, including “Nightmaze,” a multimedia piece filled with images of strange road signs that loom up along a dark highway. A compact disc of his string quartets recorded by the Cassatt Quartet causes listeners to “think about music itself,” said a New York Times critic.
Among his other compositions are “Verge,” “Crossfade,” “Scarlatti Cadences and Brainstorm,” “Remix,” “Quiet Time” and “Night Mass.”
Currier has received several prestigious music awards, including the Berlin Prize, Rome Prize and an academy award from the American Academy of Arts and Letters. He has held fellowships with Guggenheim and National Endowment for the Arts and residencies with two of the nation’s foremost artist colonies, McDowell and Yaddo.His works are published by Carl Fischer in New York.