When working with young composers preparing a composition to be read for the first time by orchestral musicians, I have a very simple premise. The best shot a composer has at a successful premiere is to have:
excellent musical ideas, 2. cast within thoughtfully engraved parts.
This post is one of a series on composer Florence Price.
Below is a timeline of some of the major events of the life of Florence Beatrice Price with many linked sources allowing the reader to explore further.
This is one of the most informative and educational videos on any musical topic that I have ever seen. Youtuber Vihart has condensed many hours of information into the densest half hour explainer on serialism one could imagine.
A year before my first Boulez performance, I wrote an essay about what it's like to listen to Boulez in 2009.
...upon repeated hearing, this music does indeed open itself up to the listener. It slowly, reticently yawns forth its secrets to the hearer in unexpected ways. His output is by no means monolithic either, with very thorny yet electric piano sonatas and sometimes breathless long-distance sprints like Sur Incises (cue the linked clip to 4:15 to hear this ‘long-distance sprint’), contrasted by eerily celestial portions of Pli selon Pli and the richly colorful ‘folds’ of the aforementioned Le Marteau.
The most obvious concrete benchmark for quality is the demonstration of compositional craft. Here are some elements and composers that can be recognized for their innovation and/or mastery.