Buffalo Philharmonic EarShot New Music Readings: Composer Q&A - Jay Hurst
Jay Hurst is one of the composers selected to participate in ACO's Buffalo Philharmonic EarShot New Music Readings on February 10 and 11. His piece Still Lives explores the contradiction of interconnectedness and isolation created by technology in two contrasting movements. Read the full program note for Still Lives here.
SoundAdvice is posting a running Q&A with Jay to share his EarShot experience.
composer Jay Hurst
American Composers Orchestra: What preparations are you making ahead of the readings with the Buffalo Philharmonic Orchestra?
Jay Hurst:A large part of my preparation has been figuring out how I can help to keep the rehearsals running as efficiently as possible. My job in preparing the score was to make sure the notation was as clear, concise, and as question-free as possible – but, just in case, I’ve been going through the score with a fine-toothed comb, anticipating any and all possible points in the piece where there may be questions from the conductor or the orchestra. Time is a valuable commodity in these reading situations, so the faster I can help answer any technical questions about notation or technique, the quicker the performers can begin to really dig into the piece and make music.
ACO: What was your reaction to finding out your piece had been selected for the Buffalo Philharmonic EarShot New Music Readings?
JH: Totally elated! You know, it’s difficult enough for young composers to have one of their pieces performed and heard, especially if they decide to go and write a piece for orchestra. But to have a group of size and stature like the BPO spend the time to read and perform your first full-fledged orchestra piece is a dream come true. I feel honored and privileged to be a part of the EarShot Readings this year and I can’t wait to work with such high-caliber composers and performers.
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American Composers Orchestra is grateful to the many organizations that make its programs possible including Arthur F. & Alice E. Adams Charitable Fund, Altman Foundation, Amphion Foundation, Benevity, Aaron Copland Fund for Music, BMI Foundation, BMI, Inc., Charity Navigator's Giving Basket, Cheswatyr Foundation, Edward T. Cone Foundation, Communities Foundation of Texas, The Gladys Krieble Delmas Foundation, Alice M. Ditson Fund of Columbia University, Fan Fox and Leslie R. Samuels Foundation, Ford Foundation’s Good Neighbor Committee, Give Lively, Francis B. Goelet Charitable Trust, Fromm Music Foundation, Steven R. Gerber Trust, G. Schirmer/Wise Music Foundation, The Hearst Foundation, Howard Gilman Foundation, The Adele and John Gray Endowment Fund, Jephson Educational Trusts, Jerome Foundation, MacMillan Family Foundation, Mellon Foundation, New Music USA’s Organization Fund, The New York Community Trust (Musical Arts Fund, Clara Lewisohn Rossin Trust, and Edward and Sally Van Lier Fund), Pacific Harmony Foundation, Paypal Giving Fund, Rexford Fund, Sphinx Venture Fund, TD Charitable Foundation, Turrell Fund, UKOGF Foundation, Virginia B. Toulmin Foundation.
Corporate gifts to match employee contributions are made by Goldman Sachs, Deutsche Bank, Triton Container International Incorporated of North America, and Neiman Marcus.
Public funds are provided by the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, Office of Brooklyn Borough President Reynoso, and the National Endowment for the Arts.
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