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    Organization

    The Boston New Music Initiative, Inc.

    P.O. Box 380285
    Cambridge , MA 02236
    617-744-9607

    Website: bostonnewmusic.org


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    The Boston New Music Initiative, Inc. is a 501(c)(3) non-profit organization dedicated to maintaining an international network of composers, performers, conductors, directors, and champions of music in order to generate new music concerts, compositions, collaborations, and commissions. Incorporated in 2010, the organization aims to advance the careers of its members in the field of new music by serving as a resource for networking,...

    The Boston New Music Initiative, Inc. is a 501(c)(3) non-profit organization dedicated to maintaining an international network of composers, performers, conductors, directors, and champions of music in order to generate new music concerts, compositions, collaborations, and commissions. Incorporated in 2010, the organization aims to advance the careers of its members in the field of new music by serving as a resource for networking, commissioning, collaboration, and programming.


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    Media Reviews


    • Article: Running Start, Surprising Moments in New Works
      The Boston Music Intelligencer - Oct 02, 2011
      By Stefanie Lubkowski

      Boston New Music Initiative’s concert on October 1 at Northeastern University showcased quality of performers and accomplishments of composers. Ian Dicke’s Assembly Line gave a running start with driven jazz and popular rhythms. I would have preferre… Expand

      Boston New Music Initiative’s concert on October 1 at Northeastern University showcased quality of performers and accomplishments of composers. Ian Dicke’s Assembly Line gave a running start with driven jazz and popular rhythms. I would have preferred foregrounded mysterious aspects of Kirsten Volness’s Sleeping in the Forest, though violinist Lilit Hartunian delivered captivating, luxurious tone. Percussionist Jeff Stern performed Kyong Mee Choi’s Sublimation with impressive timbral detail; nevertheless, the piece lacked cohesion. Clifton Callender’s Metamorphoses reiterated another combination of acoustic and electronic sounds. Pretty, lyrical elements of Garrett Byrnes Villanelle dominated, without much surprise. Michael Gandolfi’s As Above provided a satisfying sense of direction and some surprising moments. Kimberly Soby milked Chris Arrell’s Argot for its beauty and fascination, even during sections with sparse, agitated orchestration. Collapse

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