For most of a century, listeners knew new music—a.k.a. contemporary classical—as those inscrutable bleepy-bloopy pieces deliberately positioned in the middle of orchestral programs so audience members couldn’t avoid them. But now, instead of being classical music’s egghead cousin, new music is more the quirky little sister, a persona created, at least in Chicago, by a youth-energized new community of performers and composers who are having fun. And they want you to, too.
Synesthetes, take note: Music sounds better with a beer.
In the classical music world, the word “power” doesn’t come up much, seeing as it’s not tripping off violinists’ tongues in conjunction with “amplifier,” “chord,” or “ballad.” But the charisma, perseverance, and musicianship it takes to climb an artistic mountain qualify as real power. Here’s who in Chicago has an eye trained on that summit now.
To accompany its March cover package on powerful Chicagoans, Chicago magazine asked its culture critics to pick the next generation of power brokers in their fields. Here’s my contribution for classical and new music, a post that set my personal record for Facebook likes.