New York Philharmonic announced that San Francisco-born composers Anthony Cheung is one of the three composers who will share The Marie-Josée Kravis Prize for New Music at the New York Philharmonic at the request of inaugural recipient Henri Dutilleux. The Kravis Prize for New Music is bestowed every two years for extraordinary artistic endeavor in the field of new music, and French composer Henri Dutilleux was named the first recipient in 2011. Dutilleux decided that he would share the $200,000 award with three composers, each of whom would write a work to be performed by the Orchestra in his honor.
Born in 1982 in San Francisco, Anthony Cheung is a composer and pianist. As a performer and advocate for new music, he is artistic director and pianist of the Talea Ensemble inNew York. His music has been performed by the Ensemble Modern, Frankfurt Radio Symphony Orchestra, Le Nouvel Ensemble Moderne, Linea, Musiques Nouvelles, Chicago Symphonyʼs MusicNOW, Dal Niente, International Contemporary Ensemble, Minnesota Orchestra, French National Orchestras of Lille andLorraine, Orchestra of the League of Composers, and eighth blackbird. Current projects include a Tremplin commission for the Ensemble intercontemporain and a Koussevitzky Foundation commission for the Talea Ensemble, both to premiere in 2012.
Cheung received his bachelor’s degree in music and history from Harvard University and his doctorate from Columbia University, where he taught and served as assistant conductor of the Columbia University Orchestra. Most recently, he was a Junior Fellow at the Harvard Society of Fellows. Cheung will spend the 2012–13 season inRomeas a recipient of the Rome Prize, and he will begin a teaching appointment at theUniversityofChicagoin 2013.
The composer Matt Van Brink posted a very interesting article on NewMusicBox about his participating in this year’s “The Intimacy of Creativity,” a chamber music workshop program in Hong Kong created by Bright Sheng 盛宗亮. Sheng lives in Flushing and has been very active in New York’s music scene. He has done a lot of programs with the Flushing Council on Culture and the Arts. But I didn’t know of this one in Hong Kong.
The program adapts the workshop model common in theater and literary world to the creation of chamber music. Young composers present their works in front of experienced composers and student performers, who in turn give feedback. Van Brink write, “[f]or the composers, the open discussion and rehearsal of our music compelled us to see our own works more objectively, opening the door to revision. For the performers, it was an opportunity to engage and connect with the works, and to pass along that excitement to the audience.”
Someone just sent me this email alert. AAPAC in the email refers to Asian American Performers Action Coalition. AAPAC released a report last month that showed Asian-Americans received only 3 percent of all available roles in the non-profit sector, and only 1.5 percent of all available roles on Broadway in the past five years. The result is hardly surprising to anyone who goes to Broadway shows regularly. The Broadway is quite “White” on stage as well as off. The 80 percent white actors on stage is about the same percentage of audience down stage, according to surveys by The Broadway League. So which is the chicken and which is the egg?
My name is Cleo Gray and I am a Korean American actor (Bat at the Flea Theater) working in New York. I attended AAPAC’s town halls and helped produce the promotional video for the February roundtable with fellow Bat and Asian-American actor Bobby Foley. We were incredibly inspired by the passionate artists in our community and wanted to do our part toward promoting Asian representation in theater. Bobby and I have started a project called Asian and… which is dedicated to millennial Asian-American theater artists creating, producing and promoting new works that tell our stories and show our faces.
We are currently putting together an evening of scenes and readings that would take place late April or early May. The purpose of the evening would be to raise money and awareness for our project Asian and… We are working to potentially commission new plays and mount full productions because we realize that Millennial Asian American stories are not being written and produced as often as they could be, and we’re trying to do something small to help.
We are looking for playwrights that would like to contribute either original short pieces or excerpts from full lengths. We are interested in all kinds of stories. It does not need to be specifically Asian (whatever that means). Our overall goal is to promote representation of Asian Americans, but not in an exclusionary way. We want our stages to truthfully represent the world we actually live in, so scripts with entirely Asian casts/content are not necessary. Diversity is welcome! We of course will need to cast these pieces and are also looking for actors and directors.
If you or someone you know would be interested in being involved please have them e-mail us at projectAsianAnd@gmail.com. We would really appreciate it!
Thanks so much for your time!
Cleo Gray and Bobby Foley
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