George Lewis is one of the most formidable figures in modern music: a composer of international renown, a legendary improvising trombonist, a computer-music pioneer, a professor at Columbia, a stalwart of the Black avant-garde collective known as the Association for the Advancement of Creative Musicians. Yet a routine encomium to Lewis’s achievements and influence would ignore the import of his scholarly writings, which resist the usual narratives of individual genius. His 2008 book, “A Power Stronger Than Itself: The AACM and American Experimental Music,” is a riveting portrait of communal originality, with the author assuming a background role. Let’s simply say, then, that this genially authoritative figure deserves an extended round of applause. At the age of seventy-one, he is at the height of his productivity; he had seven premières in 2023, in New York, Vienna, and points in between. In a December concert at the Park Avenue Armory, the International Contemporary Ensemble, of which Lewis is the artistic director, played his music on a double bill with a performance by the composer-pianist Amina Claudine Myers, another A.A.C.M. veteran. The ensemble has also recorded “Afterword,” Lewis’s first opera. His second, “Comet/Poppea,” arrives in June, in Los Angeles.
Denne historien er fra January 15, 2024-utgaven av The New Yorker.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent ? Logg på
Denne historien er fra January 15, 2024-utgaven av The New Yorker.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
GET IT TOGETHER
In the beginning was the mob, and the mob was bad. In Gibbon’s 1776 “Decline and Fall of the Roman Empire,” the Roman mob makes regular appearances, usually at the instigation of a demagogue, loudly demanding to be placated with free food and entertainment (“bread and circuses”), and, though they don’t get to rule, they sometimes get to choose who will.
GAINING CONTROL
The frenemies who fought to bring contraception to this country.
REBELS WITH A CAUSE
In the new FX/Hulu series “Say Nothing,” life as an armed revolutionary during the Troubles has—at least at first—an air of glamour.
AGAINST THE CURRENT
\"Give Me Carmelita Tropicana!,\" at Soho Rep, and \"Gatz,\" at the Public.
METAMORPHOSIS
The director Marielle Heller explores the feral side of child rearing.
THE BIG SPIN
A district attorney's office investigates how its prosecutors picked death-penalty juries.
THIS ELECTION JUST PROVES WHAT I ALREADY BELIEVED
I hate to say I told you so, but here we are. Kamala Harris’s loss will go down in history as a catastrophe that could have easily been avoided if more people had thought whatever I happen to think.
HOLD YOUR TONGUE
Can the world's most populous country protect its languages?
A LONG WAY HOME
Ordinarily, I hate staying at someone's house, but when Hugh and I visited his friend Mary in Maine we had no other choice.
YULE RULES
“Christmas Eve in Miller’s Point.”