Backstage Pass: Diving into Carnegie Hall


“[I want to see participants] daring to be optimistic…It’s not very fashionable to be optimistic, it’s fashionable to be a pessimist, to be disenfranchised.  I don’t find that very interesting. I find it much more interesting, much more difficult, but much more interesting to be idealistic about things. And to…and to dream.” – Claire Chase

Nuts and Bolts Music dives deep into the machine of Carnegie Hall. I’m here at the Creating New Music workshop of the world-renowned arts presenters’ Weill Music Institute, the large outreach arm that leverages Carnegie to incubate new ideas for exposing the arts to youth and to the public. As a nationwide leader in the field of nonprofit-based arts education, Weill has the power to make programming decisions that reverberate widely. So what are the values that its chosen artists in residence find most salient to pass on to the next generation? We interview composers David Lang and Nicholas Deyoe, flutist and co-founder of ICE  (International Contemporary Ensemble) Claire Chase, the Weill artist training program team, new music ensemble gnarwhallaby, and other young musicians from the artist training workshop, to tease out what it means to play new music in this very peculiar landscape of 2013.

Music Featured: Pauline Oliveros’ Thirteen Changes, performed by members of ICE 11/17/2013
Nicholas Deyoe’s Lullaby 4, recorded by gnarwhallaby at Carroll Studios 11/17/2013

Thanks to Mark Swed of the LA times for his help in creating this feature, David Lang for letting me be a part of “this ridiculous thing,” and International Contemporary Ensemble (ICE) for their transparent knowledge.


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