New York Arts > Kirsten Volness
The so-called “major” institutions in New York have not been entirely oblivious to the music that is being written now, for example Alan Gilbert’s New York Philharmonic and Lincoln Center, although they seem to be flagging somewhat in the past season or two. It was demoralizing to see the superb Tully Scope Festival, which did an admirable job of surveying and balancing the most important trends in music as it is practised today, from Les Arts Florissants to Tyondai Braxton, vanish after one season. It has fallen to smaller, younger organizations to make the music of our own time and place heard. ICE (International Contemporary Ensemble), now ten years old, is perhaps the most visible of these, and it is to the credit of both Lincoln Center and the young virtuosi of ICE that they maintain a presence a various Lincoln Center series, like Mostly Mozart and White Lights. (But I still wish they’d resurrect Tully Scope—perhaps with a more attractive name!) We can only count ourselves lucky that a symbiosis exists between the larger, older organizations and upstarts like ICE, and that they make the effort to bring their work to a larger audience, but it is clear where the leadership lies.