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International contemporary
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Featured
March 12, 2025
An Update from ICE
March 12, 2025
March 12, 2025
November 19, 2024
On the Power of Cultural Exchanges
November 19, 2024
November 19, 2024
October 22, 2024
Announcing the new members of the International Contemporary Ensemble!
October 22, 2024
October 22, 2024
August 19, 2024
Announcing our 2024-25 Season!
August 19, 2024
August 19, 2024
August 5, 2024
Announcing our Call For ____ Composers!
August 5, 2024
August 5, 2024
February 13, 2024
The New York Times: International Contemporary Ensemble at Carnegie Hall
February 13, 2024
February 13, 2024
February 5, 2024
Shout out in The New Yorker!
February 5, 2024
February 5, 2024
January 16, 2024
WQXR Feature!
January 16, 2024
January 16, 2024
January 12, 2024
Congratulations to George Lewis on this feature!
January 12, 2024
January 12, 2024
December 4, 2023
Afterword in the New York Times!
December 4, 2023
December 4, 2023

Photo by Maurice Weiss

Post-Genre / Hearing Voices: A Conversation with George Lewis

October 04, 2023

by Rob Shepherd / Published October 1, 2023

While many organizations present contemporary classical music, the International Contemporary Ensemble has stood out since its founding twenty-two years ago. The Ensemble’s success has come largely due to its stated goal of cultivating a musical ecosystem that honors diversity while focusing on equity, belonging, and cultural responsiveness. The organization’s openness and consideration of all musical ideas starkly contrast a status quo that often marginalizes or outright ignores the compositional thoughts of anyone other than a white man. Emphasizing increased inclusiveness and diversity allows the Ensemble to present more compelling pieces than most. This ethos also partly explains the group’s April 2022 selection of George Lewis as its most recent Artistic Director. Although all previous holders of the designation came from artists within the Ensemble’s ranks, Lewis – a composer at the front lines of musical decolonization and representation of Afrodiasporic voices – was a natural choice for the role despite his outsider status. Indeed, the Ensemble’s performance at Roulette Intermedium on October 5, 2023, George Lewis: Hearing Voices, is built upon the composer’s continued explorations of how decolonized music may sound. 

Read the entire article HERE

← On Curating / A Multi-Layered Approach to Equity in the New Music Field by Jennifer KesslerNew Book: Composing While Black by George Lewis →
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