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Information Regarding COVID-19

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Please note:

  • All materials from canceled or completed performances should be returned to our Verona, New Jersey library only.
  • Please do not return materials to our New York office. Unfortunately, we cannot be responsible for lost materials that are returned to our New York office while it is closed. If materials are lost, we will have to charge the full replacement value.

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Ann Cleare Featured in Symphony Magazine

PSNY Composer Ann Cleare has been featured on the cover of Symphony Magazine, published by the League of American Orchestras, in a feature article on Emerging Composers. Also mentioned in the article, written by NewMusicBox's Frank Oteri, are Timo Andres, Adrian Knight, Chris Cerrone, and Hannah Lash

The ELISION Ensemble and the Rté National Symphony Orchestra will premeire Ann's work for bass clarinet, trumpet, trombone, and orchestra, to another of that other, as well as phosphors (.of either), for orchestra, on February 12th at the National Concert Hall in Dublin, Ireland. ELISION will perform a version of to another of that other for solo instruments following this performance. On the same day, Elision performs Ann's Paranoid Oneiroid at the Kevin Barry Room at the National Concert Hall. And two days later, February 14th, Ann will present a lecture on her recent works at University College Cork's Department of Music.

In addition to this exciting performance activity in Ireland, Ann will also see her composition on magnetic fields published by PSNY. This work divides a large ensemble into three chamber groups, which Cleare describes as "two different kinetic whirlwinds, and a box of light." Using the concept of the magnetic field to spatially arrange these miniature ensembles, this work explores a metaphor of "current" through its communication in melody, with a continuo solo violin channeling this piece's electric energy. Listen to a sample here: 

Employing a similarly spatial metaphor to other works such as phosphors (.of either), On Magnetic Fields encounters the orchestra as segmented groups, each enacting a different characterization of the piece's overall structure, each seemingly containing its own compositional will. In both works, each "island" of instrumentalists combines to form an archipelago of intricacy, a sonic exploration of texture, timbre, and motion.  

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