For Braxton was part of the Huddersfield Contemporary Music Festival. An interview with the musicians behind the event is available:
In addition, the concert will see the first performance of The Braxton Project by ELISION ensemble and John Butcher, an innovative assemblage of Braxton music and inspiration that connects his compositions, musical language and improvisation with new music created by the performers. Timothy O’Dwyer, ELISION saxophonist and curator of The Braxton Project explains more about the unique work:
An interview and profile of Lucier from the Wesleyan Argus:
Professor Alvin Lucier may be the most famous professor here that you’ve never heard of. Through his groundbreaking compositions, Lucier has become a world-renowned composer and is hailed as a genius in the experimental music genre.
However, Lucier’s path to experimental music was not a planned one. Though he grew up in a musical house dreaming of becoming a composer, he was not initially inspired by experimental music.
A review from NYTimes.com:
The wonder of Meredith Monk is that having created a musical language and theatrical style, she has been able to stretch and refine them with just about every work. Her recent music, including “Songs of Ascension,” a collaboration with the video artist Ann Hamilton, which opened at the BAM Harvey Theater on Wednesday, sounds nothing like the assertive pieces she wrote and sang in the 1980s. Yet enough musical DNA remains, in the form of idiosyncratic warbling and interlocking rhythms, that you would not mistake it for anyone else’s work.
NewMusicBox interviews Ms. Crispell.
When pianist Marilyn Crispell was already in her late twenties, jazz arrived like a spiritual revelation and pushed her through the ensuing decades as smoothly and swiftly as a line of falling dominoes. From Boston to Woodstock, from the Creative Music Studio to the Braxton Quartet and then beyond, Crispell has explored a rich catalog of music both alone and in the company of some of the field’s most talented artists. For a musical trajectory that began behind a piano at the Peabody Conservatory in 1960s Baltimore, it may not have been the most obvious career path, but it’s also not one Crispell seems to have had any doubts about following.