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International Contemporary Ensemble

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  • About
    • About
    • Commitment to Equity
    • Staff & Artists
    • Board of Directors & Advisors
    • Land Acknowledgement
    • ALBUMS
    • Press
    • News & Updates
    • Resources
    • Careers
  • Initiatives
    • Call For ____ 2024
    • Ensemble Evolution 2024
    • PROGRAMS
    • Digitice
    • TUES@7
    • New Music Virtual Town Hall Meetings
    • Afro-Diasporic Opera Forum
  • Events
    • Upcoming Events
    • Past Events
    • Calendar View
  • Support
    • Donate
    • Support our new HQ in Downtown Brooklyn
    • Supporters
    • Legacy Giving
    • 20th Anniversary
    • In Memory of Ryan Muncy
  • Contact

International contemporary
News & updates


archive

Featured
Mar 12, 2025
An Update from ICE
Mar 12, 2025
Mar 12, 2025
Nov 19, 2024
On the Power of Cultural Exchanges
Nov 19, 2024
Nov 19, 2024
Oct 22, 2024
Announcing the new members of the International Contemporary Ensemble!
Oct 22, 2024
Oct 22, 2024
Aug 19, 2024
Announcing our 2024-25 Season!
Aug 19, 2024
Aug 19, 2024
Aug 5, 2024
Announcing our Call For ____ Composers!
Aug 5, 2024
Aug 5, 2024
Feb 13, 2024
The New York Times: International Contemporary Ensemble at Carnegie Hall
Feb 13, 2024
Feb 13, 2024
Feb 5, 2024
Shout out in The New Yorker!
Feb 5, 2024
Feb 5, 2024
Jan 16, 2024
WQXR Feature!
Jan 16, 2024
Jan 16, 2024
Jan 12, 2024
Congratulations to George Lewis on this feature!
Jan 12, 2024
Jan 12, 2024
Dec 4, 2023
Afterword in the New York Times!
Dec 4, 2023
Dec 4, 2023

Afterword in the New York Times!

December 04, 2023

CONGRATULATIONS to George Lewis on this New York Times feature!

“George Lewis’s recent chamber and orchestral scores have been action-packed thrill rides, full of lovingly crafted dissonances and exciting collisions of rhythmic contour. But his foray into opera, “Afterword: An Opera in Two Acts,” is less traditionally dramatic. That’s intentional.

In the liner notes for this finely produced live recording, Lewis — a scholar, computer music specialist and trombonist — talks about the conceptual influence of Anthony Braxton’s operas. In those works, singers are not bound to representations of a single character from one act to the next. And so it is in “Afterword,” in which three singers rotate roles to depict the formation and development of the Association for the Advancement of Creative Musicians, a pathbreaking experimental music community.” — New York Times

You can read the article here, and purchase and listen to Afterword, An Opera at the link below.

More information
← Congratulations to George Lewis on this feature!Afterword: An Opera in Two Acts by George Lewis →
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