León and Mackey’s decision to showcase colleagues only enhanced their own contributions to the program: their distinct compositional voices came into sharper focus through such varied contrast. Ed Gazouleas’ support at the TMC created a flexible and porous container for their breadth of vision, and the generous programming gave performers and audiences an example of collaboration where more was absolutely more.

Every year since 2018, ChamberQUEER throws the music festival everyone wants to be: impeccably designed by classical musicians who know all the etiquette rules to break and presented with the warmth and wisdom fueled by lived queer experience, everyone in attendance feels like they got inside the clubhouse. That kind of bold artistic vision, individuality, and a strong queer classical community is what ChamberQUEER champions. Beyond the reach of corporations, political pandering, and trauma porn, ChamberQUEER’s festival is New York City’s shining example of jubilant Pride, genuine hospitality, and world-class art.

In writing a concerto for pipa and orchestra, Du Yun wanted to give her soloist the biggest possible vehicle. “Wu Man is a diva in the best possible way, so I wanted to write a diva piece,” Du Yun said while laughing. “Wu Man commands the stage. I wanted to bring out soloist moments, and you will hear a very long trio between pipa and the two orchestral percussionists…” It is clear that Ears of the Book is not any kind of “East meets West” event or exoticized curio piece. Rather, it is an experimental approach to sound that is pushing the capabilities of a centuries-old instrument. Wu Man hopes that the pipa’s unusual timbres can provoke the audience to listen and live more imaginatively. “It’s more than entertainment,” she says. “Something can change deeply inside of us.”

Much attention has been paid to Hildegard von Bingen in recent years as the first named woman composer in Western music history. But she was also a religious and political contender, corresponding with influential male leaders of the day, who eventually gave in to her demands to run religious communities as she saw fit. Her cloister may not have featured whirling dance and stomping boot percussion, but Terce: A Practical Breviary resurrects something of the creative energy that can be found when Divine Femininity is expressed without fear.

“Infinite Staircase” was a marathon of canonical music and new works that displayed exquisite programming, stupendous technique, and forward-thinking expansion of classical music’s best traditions. Inspired by György Ligeti’s 18 Piano Etudes (composed between 1985 and 2001), which Chen recently recorded, 18 living composers were invited to celebrate Ligeti’s centennial by responding to a specific etude with a new piece. The range of artistic responses from Chen’s collaborators created a fascinating dialogue between modern and slightly less modern, influencer and the influenced.

This real-time experimentation was the unique reward of the evening: the audience was invited not only to an immersive sonic experience, but also into the creative process. Acevedo Klein led an energetic discussion after her first piece, explicitly seeking feedback and boldly inviting the audience into her considerations for future iterations. This kind of session is a precious opportunity for artists and audiences alike — the kind of futuristic thinking we all need.

Darius Jones, MATA’s inaugural Artist-In-Residence, set a precedent for the residency with his Colored School No. 3 (Extra Credit), a riveting music-theater piece rooted in predominantly American music styles that retells local stories of lives cut short by racial violence. Found Sound Nation honored that localized approach this year by expanding it, zooming out from the American context and presenting multimedia stories from communities around the world. The polished, cohesive performances moved beyond the purely sonic experimentation that MATA is known for; their residency invited artists and contemporary composers to imagine new methods, collaborators, and intentions for working with sound.

“I’ve had conversations about developing projects here, and I keep telling composers, ‘Bigger!’ Or, if not bigger, imagine you can do anything.” That is unlike most artistic projects, Regucera concedes, which usually have technical, time, or budget restrictions, and it’s hard to avoid a scarcity mindset. “Here it’s kind of the opposite,” Regucera says. “This place is geared towards realizing artists’ most epic dreams, and getting artists to expand their thinking is part of my mission. Fill the space with your imagination, and then I’ll tell you when we can’t do something.” They list a few characteristics of the ideal EMPAC musician: an artist who knows what they want, what they’re trying to get after, who is mid-career or at a turning point, and who needs a team to realize that one big idea. “I’m basically walking around with a toolbox,” says Regucera. “My job is just to find who needs the tools.”

Over the past decade, the invaluable festival has been one of New York City’s few homes for experimental music drama. Although two of its shows, Angel’s Bone and p r i s m, have gone on to win the Pulitzer Prize for Music, the festival has continued to specialize in chamber pieces, presenting works in various stages of development and allowing for flexible production timelines. In the shadow of lockdown memories, the 2023 program grappled with isolation, death, and breaking free of confinement; but the festival’s atmosphere was celebratory, especially when co-artistic directors Kristin Marting and Beth Morrison welcomed audiences back each night.

Creating a private artistic incubator — free of performative pressures or intrusive observations — was one of Crespo’s main goals for the project. Isabel Crespo Pardo presents 6., open to audiences on November 16, was the only public window into this process. Entering Roulette Intermedium, screen printed redacted conversations hung on a wire sculpture in the middle of the room, and the entire event was oriented toward this emotional center. Presented in week five of the six-week residency, the evening had clear conceptual terms — perform a theatrical version of real togetherness while maintaining intimacy — and it succeeded on these terms.

The history of rope and string is one of composer Liza Lim’s obsessions. It’s a ubiquitous technology throughout human history, inextricable from our storytelling: we weave themes together; we tangle ourselves up in knots; our nerves fray at the edges. String was the throughline — sometimes literally — at a September 29 concert dedicated to Lim, part of Columbia University’s flagship Composer Portrait series at Miller Theatre.

The concert was indeed “Up Close:” Audience members could sit in a semicircle of chairs around the periphery or on benches in the center. Two decorated projection screens framed the piano, and to open the program, Hawley transformed two analog projectors into a live-animation installation by placing trays of water over the glass platens and mixing in dyes and bits of plastic printed with poetry. As Hawley created the projections, Rebecca Fischer ambled through the hall reading the poetry aloud and playing her violin.

When spring arrives in New York City, so does the MATA festival. Each year, Music at the Anthology (MATA) places a free global call for submissions and presents emerging composers and multimedia artists working in a super-wide aesthetic range. Usually unified only by experimental efforts and occasionally wacky sounds, composer and saxophonist Darius Jones pulled the threads of the festival together by curating three programs and composing a fourth headlining event of his own.

As with his opera An American Soldier or the quasi-improvisational test of boundaries in Resonant Theatre: The Sonic Great Wall, Huang Ruo’s Book of Mountains and Seas showcases his signature ability to draw from a variety of classical traditions and craft cohesive, compelling music-theater. Book of Mountains and Seas never forgets its human audience, arousing a surprising amount of connection to its mythical characters and honoring nature through elegant, sensual storytelling. This is its triumph.

Spectrum’s return, with its particular emphasis on community and creative freedom, felt necessary for New York City and potently underscored the power of live performance.

There is nothing in American culture that Black people haven’t touched and transformed, and as the Harlem Stoop Sessions continued throughout the summer of 2021, “The Funk of July” insisted that American culture is also Black culture. The Soapbox Presents began on the streets during a devastating summer, but “being able to make something positive out of those emotions, and out of that space in that time, has been transformative in a lot of ways,” says Abney. “I hope that what The Soapbox Presents has done for me, it also does for the community.”

Contemporaneous returned to live performance on Wednesday, July 21, 2021 with spectacular ease. “After the Storm,” presented outdoors in Manhattan in collaboration with Hudson River Park Trust at Pier 64, brought an effortless and elegant program to the 130+ attendees spread across the lawn. The program’s broad sweep of musical styles was modulated by fading sunset light, with Freedom Tower in the distance and a strong river breeze.

There may be no better medium than opera to present these stories. No mythical gods or exaggerated madness is needed: reality is enough. In Death by Life, lived experience is the guide, with the intention to look beyond obvious horror to highlight the human spirit. The digital medium creates a container to elevate original stories, avoid melodrama, and advance a nuanced artistic vision. And while not all works grappling with hard topics can guide an audience beyond awareness, White Snake Projects is able to encourage and support a range of responses. The program booklet and website offer robust profiles of all collaborators, and White Snake arts administrator Sarah Rogers did a wonderful job of moderating the chat and providing further activism resources. Death by Life’s success is not just as art that transcends its impressive technology, but in the company’s communal infrastructure that informs thoughtful work and builds a bridge to further action.

Lustre is the way light interacts with the surface of a jewel. It’s ambiguous and has a wealth of intermediate types: metallic, radiant, superlative, greasy, silky, waxy, pearly. It’s what promotes a rock to jewel status. Lustre can glitter. It can appear to move when the material is rotated, and can vary widely within a particular substance. It has no rigid boundaries. The same can be said for Facets, the latest from composer and ethnomusicologist Hafez Modirzadeh. ... Ultimately, it is equal temperament itself that Modirzadeh is able to both crystallize and expand. His setting shows its shape, its dazzle when it catches the light, and its hard limitations. Facets is no merely deconstructive offering but a shimmering liberation.

PROTOTYPE Festival has become known for nurturing intense, anguished music-theater pieces that go on to win Pulitzer Prizes (Angel’s Bone, p r i s m). Since Beth Morrison Projects and HERE Arts Center co-founded the Festival in 2013, PROTOTYPE has created both a destination and a home for work that strains against formal convention. A typical slate of presentations, arriving each January in New York City, showcase music-theater’s latest advances, ranging from cabaret works-in-progress to fully-staged international premieres.