Tod Machover was in Princeton on February 26th, 2018, to work with the Westminster Symphonic Choir, one of the three choirs that will be performing in the premiere of “Philadelphia Voices.” He posted on his Facebook page: “It was amazing to hear the melodies and harmonies of PHILADELPHIA VOICES come to life through the powerful, articulate and sensitive singing of these very talented musicians, conducted by the brilliant Joe Miller. I was also able to spend time with some of the creative and intelligent music students at Westminster Choir College, majoring in composition, conducting, music theory and education, and all other music-related fields–a much more extensive program than I had realized. What a great group of collaborators, and it is truly exciting to be working with them to prepare the premiere of this new piece.”
Wonderful interview with Tonya Matthews – director of the Michigan Science Center, PhD in biology, and truly brilliant poet and performance artist – on the occasion of the PBS premiere of the Dennis Scholl/Marlin Johnson documentary on the SYMPHONY IN D project. Tonya speaks beautifully about her work and about describing Detroit in words and music. Read the full interview here: THIS FRIDAY at 8 PM | Symphony in D, A Symphony by Detroit for Detroit
Composer Tod Machover visits the National Constitution Center on Constitution Day, September 17, 2017, for his newest city symphony project, “Philadelphia Voices.” His objective: to collect sounds that capture the spirit of the place that gave birth to American democracy. Add your voice to the project by downloading the Philadelphia Voices app!
Download in the iTunes Store
Download in Google Play Store
For your listening pleasure, here’s an excellent version of the “Symphony in D” recording. And here’s a new press release just out about the symphony and Tod Machover’s “Composer of the Year” award.
“Imagination is the strongest tool we have. The reason that we make music is of course to reach our audiences, but also to change the world, and nothing less than that is worth doing.” -Tod Machover
Symphony in D, the symphony written for and by the people of Detroit, premiered November 20 and 21 by the Detroit Symphony Orchestra and was lauded by the press for its uniqueness of sound and for bringing vast numbers of people from all different communities together through music and technology. Anticipated by nearly every local publication and a great many nationally and internationally, the “love letter to Detroit” (Hyperallergic) was commissioned by the DSO and conducted by Leonard Slatkin, resulting in “big, amassing smorgasbords that invariably proved exhilarating” (Musical America) and “made Mahler’s Symphony of a Thousand look like a chamber piece” (Classical Voice North America). Read articles from TheNew York Times, BBC World Service, Associated Press, USA Today, andMusical America….
Musical America 2015 honorees from left: Mark Padmore, Jennifer Koh, Gil Rose, Tod Machover and Yannick Nézet-Séguin.
Named 2016 Composer of the Year by Musical America, Tod Machover has captivated audiences worldwide with innovative musical technologies of his own invention and brilliant, passionate scores. Machover, alongside the other outstanding Musical America awardees, was honored at a ceremony at Carnegie Hall on December 8. Mark Swed, music critic at the Los Angeles Times, describes Machover as “the true futurist,” his work as “a vast network of musical neurons enthusiastically making connections between musical traditions, past and present, not normally joined,” in his feature article written for Musical America.
Reposted from the Lucerne Festival website
Contemporary music: something meant only for the “happy few”? Tod Machover provides evidence to the contrary. In his Symphony for Lucerne, which will be premiered by the LUCERNE FESTIVAL ACADEMY Orchestra, he has created a sonic portrait of the city from the sounds and noises of Lucerne – while closely collaborating with its residents in the composition process. This American composer has also broken new ground in the field of music and technology as evidenced by his research at the MIT Media Laboratory in Boston. He has developed a novel composition program that allows children and young people in Lucerne to write their own pieces under his guidance. Machover also experiments with electronically enhanced “hyperinstruments” in works such as Hyperstring Trilogyand Fensadense, his new composition for LUCERNE FESTIVAL Young Performance, which is the Festival’s special workshop devoted to the concert forms of tomorrow.
23 August | Tribute to Boulez 6
Machover Re-Structures for Two Pianos and Live Electronics (world premiere)
29 August | Late Night 3
LUCERNE FESTIVAL ACADEMY Ensemble
Machover Hyperstring Trilogy
5 September | Symphony Concert 24
LUCERNE FESTIVAL ACADEMY Orchestra | Matthias Pintscher
Machover A Symphony for Lucerne (world premiere)
12 September | Young – Family Concert 2
LUCERNE FESTIVAL Young Performance
Machover Fensadense for Hyperinstruments and Interactive Electronics (world premiere)
12 September | Late Night 5
LUCERNE FESTIVAL Young Performance
Machover Fensadense for Hyperinstruments and Interactive Electronics
Further information can be found at www.sinfoniefürluzern.ch.
Interesting interview on WGBH TV’s “Open Studio” about the VOCAL VIBRATIONS project, including footage from the Cambridge, Massachusetts, installation open through March 21. The interview is from 6:00-14:40 at http://tinyurl.com/OpenStudioTod, followed by a cool chat with Justin Hayward of the Moody Blues who happens to be a friend, a really lovely guy, and is still touring after all these years!!
Download Vocal Vibrations music here.
Check out this terrific interview Barbara Seisel did with Tod Machover about his recently premiered flute concerto, “Breathless.” The article, temporarily available online to nonsubscribers, provides an in-depth look at how the piece was created. Tod talks about how he collaborated with flutist Carol Wincenc, and how he thought about using electronics, how the three-movement work is constructed, and more. Here’s a gem:
In writing the piece I thought a lot about meeting Carol at 16 and trying to reconcile classical, electronic and rock music influences and also remembering back to high school. It’s one of the big moments of your life – you’re going to leave home and go out and make a life for yourself. It’s extremely anxiety producing for many people. I know for me, I felt that everything was possible, that everything I love should be able to find a place in what my life becomes. I really believed that at 16! When I was putting Breathless together it all of sudden struck me that my younger daughter is now exactly the same age as I was when was when I was at Aspen. I’m seeing this feeling again though her eyes now, as she is planning college, how she’s going to pull together all the things that she cares about and that connection in time was really powerful for me. So I think this idea of looking back and remembering how this precious friendship started and what the world felt like then and seeing it again through my daughter is very meaningful.
Read the full article here: Interview with Tod Machover: A composer’s process. By Barbara Siesel
Listen to Breathless here.