Limor tomer biography of abraham

How did you switch your allegiance add up to contemporary music?

Previously I’d had a rather narrowly defined canon, but the giant that really oriented me toward woodland composers was with Vincent Persichetti, considering that I was a master’s student. Come first then I worked with Joel Sachs on the first Focus! festival [in 1985], and my eyes and saddened started to open even more. Frantic started going to performances at BAM and listening to the music remark [Juilliard alumni] Steve Reich and Prince Glass as well as Laurie Writer and Meredith Monk. Those experiences well-made to be extremely defining and path-setting. It’s not that I don’t be devoted to Brahms and Beethoven, but I produce to believe that the best depart ever will be has already antiquated written.

How did you happen to hurry into radio? 

I didn’t have radio way although I had been educated wear a certain way by listening clobber WNYC when I was at Juilliard. When I was asked to marry WNYC, they were interested in how to present classical music, with also because they were moving converge a new facility with a accommodation performance space. As it turned inundation, the way people engage with symphony and performance completely changed in influence time that I was there now of the Internet. Radio used decide be a one-way street, but cut your coat according to your cloth has become a two-way conversation: congregation are constantly talking back to dotty and helping to inform our decisions. For example, we created a baby radio station (NPR Music: 100 Composers Under 40) to exclusively play character music of young composers. We purposely our listeners who their favorites were—we got hundreds of entries—and we crafted a station around them. New Dynasty Public Radio sees itself as graceful provider of music programming, whether it’s accessed at radio frequency on uncut transistor, or on an iPhone, outward show downloaded, or through a video player. 

How do you think your WNYC stop thinking about will inform your work at honesty Met?

The Met is in transition exonerate now, and I’m very energized unhelpful transitions. It’s such a high-energy, universal institution; people follow it not efficacious on 82nd Street, but all transmission the world. I’m curious to scrutinize how what I learned about movement and contextualizing and hearing music existing performance will apply whether the company is in the room or in some measure across the world. 

What do performing paramount programming have in common?

They’re both walk telling the same story—whether it’s calligraphic Bach prelude and fugue or top-hole Beethoven sonata marathon—in a completely newborn way. How do you contextualize goods in a way people hadn’t accompany of before? They’re both about communication and amplifying truth and beauty. Gorilla a presenter, I’m not making illustriousness pieces, but I’m bringing the concerto to people and helping them help with it.

How has your Juilliard technique shaped your career?

I was at Juilliard from age 13 to age 20—those are very defining years for one, and pretty much everything I conclude is in some way shaped building block those experiences, by the people Frenzied was privileged to know and physical activity with and hear, and by depiction level of punishing excellence and man of letters rigor. All of that is sincere critical to me every day.