Among the many perks of New York City concert-going, consistent exposure to new music by young composers is difficult to top. Many of these composers are establishing themselves as concert hall (or nightclub) mainstays, and collectively have begun redefining our conceptions – and flattening our preconceptions – of what contemporary classical music actually means today.
This week Nadia Sirota explores the far corners of vocal music, from secular choral music to songs of lament.
Among the many perks of New York City concert-going, consistent exposure to new music by young composers is difficult to top. Many of these composers are establishing themselves as concert hall (or nightclub) mainstays, and collectively have begun redefining our conceptions – and flattening our preconceptions – of what contemporary classical music actually means today.
