John Schaefer

John Schaefer appears in the following:

A Creepy Christmas To All, And To All A Dark Night

Monday, December 03, 2012

John Schaefer recalls the Christmas song that scared the holiday cheer out of him.

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How '30 Rock' Made Me A Child Star

Friday, November 30, 2012

John Schaefer explains how his baby photo was beamed into millions of homes on a recent episode of '30 Rock.'

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The Internet Radio Fairness Act, Explained... Sort Of

Wednesday, November 21, 2012

A bill before Congress is both controversial and really, really boring. John Schaefer explains.

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New York Philharmonic Premieres Akiho, Norman and Vaclavik

Tuesday, November 20, 2012

On Tuesday, Dec. 25 at 8 pm, Q2 Music presents the webcast premiere of the next installment in the New York Philharmonic's new-music series, CONTACT!, featuring works by Andy Akiho, Andrew Norman, Jude Vaclavik and the late Jacob Druckman.


That Song in Your Post-Election Heart

Wednesday, November 07, 2012

Songs of joy, and music of mourning: Regardless of which presidential candidate you backed yesterday, your heart is, no doubt, singing a happy or sad song today. If you haven't picked out a playlist yet, John Schaeffer, host of WNYC's Soundcheck, has some suggestions for you.

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Memories Of Elliott Carter

Tuesday, November 06, 2012

News of Elliott Carter's death yesterday is on the front page of today's New York Times. But three years ago, Elliott Carter had been all over the TV news. This was not because of a great new piece he'd written, or to celebrate his Pulitzer Prizes in Music (yes, that's right, prizes -- plural). 

No, Elliott Carter's great, newsworthy achievement was living to be 100 years old. To be present at your own centennial concert at Carnegie Hall was a story too good to pass up. 

A year later, speaking to Carter at the annual League Of Composers concert at Miller Theater, I found him to be somewhat bemused by the whole thing. But he laughed when I introduced the event as the start of "Elliott Carter, the next hundred years." A year after that, he regaled us with tales of the founding of the League: Aaron Copland and he had competing composers organizations, an idea the young Carter found "silly." Last year, in 2011, Carter's hearing was dramatically worse, so he came prepared with something he wanted to say about the particular piece being performed that night. "After that," he told me, "you can ask me your crazy questions." I always thought this was just an expression, but I swear, there was an actual twinkle in his eyes when he said this. 

Elliott Carter wrote music that for most listeners is impenetrable. I don't mean this either as a putdown or as some kind of sniffy "Oh you wouldn't understand" defense of his work. It's a simple fact, one that Carter was fine with. His music was challenging, intellectual, and uncompromising. Yet he was a very funny guy. 

Carter wasn't at this year's League Of Composers concert, but he was at the NY Philharmonic's Contact series, conductor Alan Gilbert's new music events, so I got to talk to him then. By this point he was wheelchair bound, but still sharp as a tack. So there, in the august Metropolitan Museum of Art, surrounded by the distinguished musicians of the New York Philharmonic, I decided it was time for one of my crazy questions.

"I am not the only person who thinks that your works since you turned 90 are the best works of your career," I said. This, by the way, was true; I'd said it backstage to clarinetist Virgil Blackwell, Carter's assistant and the dedicatee of a recent Carter piece, and Blackwell had immediately agreed. "What have you been doing different since then?" Without missing a beat, he answered, "Well, I spent 90 years learning how to be Elliott Carter. I guess I've just gotten good at it." 

Not bad for a 103-year-old. 

Carter's recent music is so finely distilled, without a single extraneous note, that it becomes somewhat easier to hear the lyricism that has been lurking under the thorny exterior of his music. But that doesn't mean you should ignore the works of his youth, which in Carter's case means his mid 70s. The work that converted me was the piano piece "Night Fantasies," from the early 1980s. 


I was not supposed to like Elliott Carter. He represented the old school, the dissonant, academic style that my heroes, Philip Glass and Steve Reich, were fighting against. But "Night Fantasies" is a brilliant depiction of an unsettled night, full of fleeting dreamlike images, spiky but atmospheric.   

Tonight, I will be glued to the television, watching the election returns roll in. But I will make some time late this afternoon, maybe after the sun goes down, to listen to "Night Fantasies" again. If you're curious about this major figure in American music, maybe you should too.

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After The Storm: You Pick The Music

Thursday, November 01, 2012

Join Soundcheck host John Schaefer this Thursday from 9-11 p.m. ET for our special broadcast, "After The Storm: You Pick The Music."

On-Demand Audio: The Brooklyn Philharmonic's Season Preview

Thursday, October 25, 2012

On Thursday Q2 Music presented a live audio stream of the season-opening concert of the Brooklyn Philharmonic with world premieres from Ted Hearne, Kendall Williams, Matt Marks and more.

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On-Demand Audio: Vijay Iyer and Missy Mazzoli's Victoire

Wednesday, October 24, 2012

This October, Q2 Music partnered with WNYC's New Sounds Live to present the eclectic composer-pianist Vijay Iyer in an exciting double billing with composer's Missy Mazzoli's all-female band, Victoire. Hear the show at 8 pm tonight on New York Now.


Listen Live: Antibalas and Ted Leo

Tuesday, October 23, 2012

On Tuesday, October 23 at 8 pm, ET, Q2 Music present a live audio webcast of the dynamic, 12-piece Afrobeat ensemble Antibalas and the songwriter and multi-instrumentalist Ted Leo interpreting the music of Hugh Masekela.


New Season: Music

Friday, October 19, 2012

John Schaefer, host of WNYC's Soundcheck and New Sounds, previews some music choices for the fall season, including Soundcheck's own CMJ showcase tonight.

Got a new Fall music pick of your own? What shows and albums are you looking forward to? Post your picks here!

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The Greene Space

Soundcheck CMJ Showcase

Friday, October 19, 2012

7:00 PM

The annual CMJ Music Marathon will once again invade NYC from October 16 – 20, 2012 with performances from MNDRDave Hill, Debo Band and The Luyas.

Phoning It In: More Songs About Telephones

Tuesday, October 09, 2012

The telephone may no longer be our primary means of communication, but it remains a favorite topic for songwriters. 

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If I Had A Half-Million Dollars...

Tuesday, October 02, 2012

The MacArthur Fellowships, or "Genius Awards," offer recognition -- and a pile of cash. If you were to win, what would you do with the money? 

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Lessons From 'Einstein'

Monday, September 24, 2012

The opera Einstein On The Beach hit the stage for only the fourth time in its history.  John Schaefer wonders if there will ever be a fifth. 

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Hava Nagila: The Song We Love To Hate

Monday, September 24, 2012

John Schaefer recalls a vain attempt to keep a wedding music staple out of his reception. 

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The Master And Margarita, And Music

Tuesday, September 18, 2012

Patti Smith's new album is named after a character from the famed Russian novel, The Master And Margarita, putting her in some surprising musical company. Hear five songs inspired by characters from the book. 

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Soundcheck Returns Tonight At 9 P.M. ET!

Monday, September 17, 2012

We’ve spent the summer months in the Soundcheck Workshop.  Now it’s time to show you what we’ve been building. 

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Soundcheck with John Schaefer (2002)

Sunday, September 09, 2012

In this episode of Soundcheck from 2002, the composer discusses some of the odd jobs he has held throughout his career,  the development of the new music scene in New York, and how he defined success for himself along the way.


The Leonard Lopate Show (2002) and New Sounds with John Schaefer (1985)

Saturday, September 08, 2012

Today’s archival Glass interviews feature an appearance on The Leonard Lopate Show from 2002 about Koyaanisqatsi and an episode of New Sounds from 1985, in which the composer talks about scoring Mishima.