First performance in 1,000 years: ‘lost’ songs from the Middle Ages are brought back to life

“An ancient song repertory will be heard for the first time in 1,000 years this week after being ‘reconstructed’ by a Cambridge researcher and a world-class performer of medieval music”

See more at: http://www.cam.ac.uk/research/news/first-performance-in-1000-years-lost-songs-from-the-middle-ages-are-brought-back-to-life-0#sthash.D7QTEiRd.dpuf

New Version of ‘Appalachian Spring’ Completes What Copland Began

When Aaron Copland composed the ballet Appalachian Spring for Martha Graham’s eponymous company which was to be premiered at the Library of Congress in Washington, D.C., he wrote the work for a 13-piece chamber orchestra. The orchestra pit in the library’s auditorium couldn’t accommodate a larger group of musicians. Read about a new full-orchestral version here. 

How National Symphony targets young audiences: With driving electronica

It’s rare for an orchestra to devote a whole performance to works by a single composer — even rarer for that composer to be living, and onstage. Mason Bates, the Kennedy Center’s composer-in-residence, was the focus of the second concert in the National Symphony Orchestra’s new “Declassified” series, which offers a shorter, late-night performance of music that specifically, earnestly and even a little desperately targets a younger generation. Read the article at the Washington Post.

Asking Whether Copland’s Abstruse Works are the Exception or the Rule

When Gustavo Dudamel and the Los Angeles Philharmonic visited “The Late Show With Stephen Colbert” last month, it was only natural that they performed Aaron Copland’s “Fanfare for the Common Man” (1942). Is there any work more emblematic of the dean of American music than the stirring “Fanfare,” which Mr. Colbert called “one of the most powerful American melodies”?  Read the article at the New York Times.