John McLachlan is a composer and member of Aosdána. www.johnmclachlan.info
Music critic Tim Rutherford-Johnson's new book on modern composition since 1989 covers a massively broad range of creative musical approaches and techniques, writes John McLachlan, and will inspire a new generation.
John McLachlan attends Crash Ensemble's 9th 'Free State' concert, which offered a range of work from emerging Irish composers.
A night of improvised music hosted by the Diatribe label was experiential, experimental and more, writes John McLachlan.
Alfred Brendel's new book is a reminder of how the really dedicated musician goes about things, writes John McLachlan.
Boulez is alive, writes John McLachlan, but who is engaging with his work?
There is arguably less adventure in classical music recitals today than at the time of Liszt, but not in the case of Joanna MacGregor, writes John McLachlan.
Despite the clichés, music is full of boundaries, writes John McLachlan, and traversing them needs a 'strong musical mind', as in a new recording by composer Karen Power.
After the rejection of repetition by many modernist composers in the mid twentieth century, the extreme repetition of minimalism seemed inevitable. But, writes John McLachlan, composers don't always know when to stop.
The idea of a common language in composition is a thing of the past: the world of contemporary music is now entirely chaotic, the result of individualism, tradition and cosmopolitanism pulling, irreconcilably, against each other. John McLachlan found this world in action at the ISCM World Music Days in Zagreb earlier this year.
A concert in Donegal found unity in the vitality of contemporary Irish composition's diverse strands.
Recent concert and competition jury experiences suggest to John McLachlan that only the best music sparks disagreement, and that mediocre work enjoys consensus.
Composers are afraid of using the basic building blocks of their trade.
Now that we no longer have a common practice in music, novelty moves in different directions and at different speeds, all depending on the context.
Being cut off is a state of mind, writes composer John McLachlan
The challenges facing the funding of the arts go beyond the current economic situation, writes composer John McLachlan.
Promoters of art mislead audiences by suggesting that there is meaning where there is none. Sometimes you just have to trust the artist, writes John McLachlan
ISCM World New Music Days, Visby, Växjö and Gothenburg, Sweden, 24 September – 4 October 2009
How is music written? A short bit, then extended, and soon the whole piece is there? John McLachlan discusses the subtle paths from conception to finished work.
The future of the orchestra is in composers’ hands
The discourse around music serves only to divide us
No discussion of Lithuanian composers can avoid the political dimension
What we can learn from contemporary music festivals in Portugal and Finland
John McLachlan asks if we have what it takes to develop a thriving contemporary music scene.
John McLachlan's regular column on composers and composing
The sixth RTÉ Living Music Festival, featuring Arvo Pärt, took place on 15-18 February 2008 under the artistic direction of composer James McMillan. John McLachlan was there.
John McLachlan reports back from the ISCM World Music Days in Hong Kong.
John McLachlan looks at the achievement of the Crash Ensemble as they celebrate their 10th anniversary.
Composer John McLachlan argues that there is a sixth musical parameter which never gets mentioned in musicology or theory
Terry Riley in Drogheda and Benjamin Dwyer's Guitar Concerto No. 2
We might as well start by stating that this article will not provide any solution to the problem of how to compose in your own historical time. Like an academic character from a David Lodge novel it will instead, ‘merely seek to raise some interesting...
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