1. Much is made in the music press of violinist Hilary Hahn's stunning technique, impeccable poise, and unshakable intonation. In that picture of perfection, however, one of her most striking character traits—her seemingly insatiable curiosity—can get a bit lost. Still, though she doesn't flaunt her boundary pushing with unusual concert dress or radical interpretive choices, she resolutely pursues her own interests with care and focus.

    Read the full interview: newmusicbox.org/?p=9756

    Video presentation by Molly Sheridan

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  2. What would happen if Sun Ra, Link Wray, and Stockhausen made a recording together and had King Tubby do a dub mix of it all? Well, it might sound a little like the musical universe of guitarist and composer Roger Kleier.

    Read the full article: newmusicbox.org/?p=9545

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  3. Eve Beglarian’s omnivorous eclecticism has its roots in something that is arguably even more telling about her as a creator—it all emanates from a profound love both for language and for sound in and of itself. For her, language is sound, and sound is also language.

    Read the full article: newmusicbox.org/?p=9177

    Video presentation by Molly Sheridan

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  4. Classically trained violinists are, generally speaking, a focused breed accustomed to long hours in the practice room refining a phrase down to static perfection. This is perhaps what makes the Oberlin and Juilliard-trained violinist Jennifer Choi's seemingly voracious appetite to try new things so striking. From Brahms to improv to serving as the concertmaster for the pit orchestra of South Pacific, Choi seems unable, or at least unwilling, to sit still.

    Read the full article: newmusicbox.org/?p=8475

    Video presentation by Molly Sheridan

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  5. Whether it is an orchestral work or a composition for chamber ensemble, Pierre Jalbert professes his affection for musical forms both large and small, and especially enjoys the back-and-forth of creating a work for large forces immediately followed by a smaller one. His music is vibrant, lushly scored, and tautly constructed with thoughtfulness and precision. His early exposure to liturgical music gave him an appreciation for the sense of "suspended time" it creates, and his compositions often contrast this type of slow music with highly syncopated, bustling material that propels the work forward.

    The full article is available at: newmusicbox.org/?p=8060

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