Tim Brady is one of the premier composers of might be called the new classical canon for electric guitar. He largely does ensemble work ranging from quartets to groups of 200. Last year I went to his home of Montreal to write about him for Guitar Player and garnered enough additional material for a two part Guitar Moderne interview here and here.
As is typical during this lockdown, Brady and his group, Instruments of Happiness, are offering a remote performance of one of his pieces. He also answered some questions about the process.
Last year, I interviewed James Moore from the Dither Guitar Quartet around the time he released his record performing the entirety of John Zorn’s The Book of Heads. This set me on a path examining the place of the electric guitar in contemporary “classical” music. I recently posted a two-part interview with Tim Brady, where we discussed this fascinating (at least to me) subject. With this month’s release of Dither’s fantastic record, Potential Differences [New Focus Recordings], I deemed it time to talk to one of the Quartet’s founders, Taylor Levine, about how they manage to make the electric guitar sound like a natural vehicle for modern composed music. Again, the conversation ranged wide and so there will be a Part II. Please subscribe to find out when the post goes up.