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.
Video from Saturday night’s spectacular premiere of FENSADENSE at the LUCERNE FESTIVAL. This segment (shot by me at the back of the hall with my iPhone 6…so not Oliver T. Becker quality:) is substantial (about 9 minutes long) and goes from the middle of our version of Hey Jude (including a saturated freak-out) through the first part of FENSADENSE. The brilliant performers, all alumni from the Lucerne Festival Academy, are Péter Szűcs (bass clarinet), Jack Adler-Mckean (tuba), Lucia Carro Veiga (percussion), Cecilia Bercovich (viola), Holly Nelson (violin), Emilio Guarino (double bass), Justin Lepard (cello), Michael Mahnig (piano), Marina Kifferstein (violin) and Rozenn Le Trionnaire (clarinet). Enjoy!!!!
LUCERNE FESTIVAL ACADEMY Orchestra | Conductor Matthias Pintscher
Tod Machover (* 1953)
A symphony for Lucerne
Commissioned by LUCERNE FESTIVAL | premiere
Wonderful new (short) video about the Hyperscore workshops we are doing in Lucerne as part of the EINE SINFONIE FUER LUZERN project that premieres at this summer’s LUCERNE FESTIVAL. Amazing young people from around the city are working on original compositions that reflect aspects of Lucerne. These will be transcribed for instruments (some transcriptions by the students themselves, a first!), and featured in their own “40-minute Concert” and also incorporated into my Symphony. Check out the clip to see how the process works, and to see how great these young people are…..and how exciting and fresh their music is. Recorded at Jugendmusikschule, Luzern.
A DVD of Dallas Opera’s highly successful 2014 production of Tod Machover’s robotic opera, Death and the Powers, is available beginning April 22 through the MIT Media Lab. Only a limited number of copies are on sale and can be purchased at CD Baby here.
Death and the Powers received its world premiere September 24, 2010 at L’Opéra de Monte-Carlo – Salle Garnier. In addition to the Dallas Opera production, Machover’s opera has been performed at Chicago Opera Theater and at Boston’s Majestic Theater, a joint production with Harvard’s American Repertory Theater and the MIT Media Lab. The work was named a 2012 Pulitzer Prize Finalist in Music for both its score and the innovative technology created by Machover and his Opera of the Future Group at the MIT Media Lab.
“Death and the Powers doesn’t point the way to a new era of opera. It’s there. Now.” Philadelphia Inquirer
“Passionate intensity. Full-bodied arias in a post-organic world.” Wall Street Journal
For more reviews of Death and the Powers, click here.