Evan Ziporyn
writes that "in an age of trends and fashions, movements and anti-movements, genre and sub-genres,
Julia Wolfe's life and work defy easy categorization.
On the surface, she seems the quintessential composer for the 90s—New York-based, politically aware, and, don't forget, female—and in fact her career has been appropriately meteoric.
In the last few years she has sprung into the consciousness of the musical cognoscenti through a few startlingly individual and unforgettable works for orchestra, string quartet, large brass ensemble, six pianos, and chamber ensemble, and she is now rightly regarded as one of the key musical voices of her generation.
Given all this, one would ordinarily expect something post-minimal or pre-millennial, something filled with fin-de-siecle hipness, something befitting the "latest thing."
But when one hears her music, the catch-phrases immediately become inadequate and simplistic."
Join Sospeso for the first American retrospective of the work
of this delightful composer.
|
photo:
red poppy
|
|
the talujon percussion
quartet guest
artists calvin
weirsma
violin
stephen
gosling
piano
alan
pierson conductor
|
|
|
|
|
|
the vermeer room
(1989)
for chamber orchestra
tell me
everything (1994)
for chamber orchestra
my lips from
speaking (1993)
for six pianos
mink stole
(1999)
for violin and piano
new work (2002 | world
premiere)
for four drumsets
|
|
|
|
|
|
