Jeffrey Milarsky on Young Composers | Juilliard Snapshot

[upbeat jazz music]
♫ ♫ ♫ Well, it’s very, very interesting. I feel a lot of it is the same, because I think composers that are writing new pieces are often treated and approached… approached in a way where it feels like it doesn’t have tradition. Right? So a composer is commissioned to write a new piece, and it’s being performed by so-and-so symphony orchestra. They have three hours of rehearsal, and they’re on stage with a miraculous orchestra and that’s it. And the experience is–can be– absolutely stunning and wonderful. The difference here at Juilliard is that, again, I sort of insisted upon if I’ll do this, I’m happy to do it, but I want to have six rehearsals for this concert like any other orchestra concert. Because I want the experience for the composers to be real to see the travel between when we first start as awkward as it may be or as wonderful as it may be and we were going to have this trajectory of, “You’re going to see how music really does live from the moment of conception to the moment of release into the audience audiences ears if you will.” And I love the concept that they can, they can change things along the way. We can change things along the way. I can suggest things in my experience of doing these things: maybe for this effect you might try this. Sometimes it works. sometimes it doesn’t work. I love being that conduit right in the middle of this sort of organic process, which is really important. And it’s also important for the orchestra to see…the players…to see this working, living, breathing mechanism between conductor, composer, especially the orchestra, and that it’s a pliable, movable, living organism. Right? Music doesn’t live in a box; it lives in the reality, and it lives in our ears and minds and our imagination. It is not just right or wrong, black or white, on or off. There’s so many levels of that, and that excites me a lot. [upbeat jazz music]
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