The New York Philharmonic has announced its 2015-16 season. The principal news is that Esa-Pekka Salonen is beginning a term as composer-in-residence, presiding over a Messiaen series in March of next year and introducing a new large-scale orchestral piece the following June, as part of the second edition of the Biennial. Also notable: the première of an Andrew Norman piano concerto on Dec. 10, 2015.... Some meaty offerings at this summer's Lincoln Center Festival: the celebrated MusikFabrik production of Partch's Delusion of the Fury, a Danny Elfman / Tim Burton evening, a Yarn/Wire program including works of Misato Mochizuki, Raphaël Cendo, and Tristan Murail, and the Cleveland Orchestra playing Strauss's Daphne.... The Detroit Symphony has announced a raft of premières for 2015-16: Mohammed Fairouz, Gabriela Lena Frank, Aaron Jay Kernis, Tod Machover, Sarah Kirkland Snider, and Leonard Slatkin.... Not to be outdone, the Cincinnati Symphony is giving seven world premières next season: works of Sebastian Currier, Thierry Escaich, Zhou Tian, Gunther Schuller (his Symphonic Triptych), Jonathan Bailey Holland, Kristin Kuster, and T.J. Cole.... Vulnicura, the new album by Björk, has appeared a couple of months ahead of schedule. Ann Powers has an overnight review. Björk will have a retrospective at MoMA in March.... The oboe's James Austin Smith has a new disc entitled Distance; he will give a related concert at Tenri on Jan. 27 ... Mozart in the Jungle, the classical-music TV show, has inevitably stirred critical debate: Zachary Woolfe is pro, Anne Midgette is con.... Rebecca Saunders has received the Mauricio Kagel Music Prize. In Februrary, Munich's Musica Viva will give the first performance of her trumpet concerto, with Marco Blaauw as soloist.... A happy sight: Allan Kozinn, late of the New York Times, writing about classical music, at length, in the Wall Street Journal. The topic is the New Music Gathering in San Francisco.
Leon Wieseltier: "Every technology is used before it is completely understood. There is always a lag between an innovation and the apprehension of its consequences. We are living in that lag, and it is a right time to keep our heads and reflect."
I hardly know what to say in response to Sasha Frere-Jones's sweet and generous words in this farewell New Yorker blog post, so I will simply say thanks. By the way, this blog arose very directly from an envy of Sasha's.
The 2015-16 season announcements have begun to trickle in. Of particular interest is Jake Heggie's Great Scott, at the Dallas Opera, next October. I mentioned this opera-about-opera in my profile of Joyce DiDonato; she will play the title character, an American diva returning home for the world première of a lost bel-canto work entitled Rosa Dolorosa, Daughter of Pompeii. Complications ensue... As Michael Cooper reports in the Times, a decision is pending on the assets of New York City Opera. Of the proposed plans for a "renaissance," only BAM's strikes me as plausible.... Kyle Gann has been posting previews of his hotly anticipated book about the Ives Concord Sonata. Congratulations to Kyle on the completion of his First Symphony, modestly subtitled the "Implausible." .... If your neighborhood falls strangely quiet this week, the reason may be that all the contemporary-music types have gone to San Francisco for the New Music Gatheringat the San Francisco Conservatory of Music. Such luminaries as Claire Chase, Sarah Cahill, and the Kronos are taking lead roles in three days of performances, talks, discussions, and demonstrations .... Ekmeles sings Johnston, Cage, Tenney, Evan Johnson, Matthew Ricketts, Andrew Waggoner, and Aaron Cassidy at NYC's DiMenna Center on Jan. 23.... Some tickets remain for late performances of Bora Yoon's Sunken Cathedral, part of this year's Prototype Festival. Most of the rest is, I believe, sold out.... The resurgent LA Opera, pursuing a Beaumarchais theme, presents ¡Figaro! (90210) Jan. 16-18 and then turns to Corigliano's Ghosts of Versailles, with The Barber of Seville and the full Figaro to follow later in the season.... The music department of The New Yorker is disconsolate at the departure of its pop-music magus, Sasha Frere-Jones. In a little over a decade, he revolutionized music coverage at the magazine. May he flourish at a site promisingly entitled Genius.