Pulitzer outlier gets publishing deal

Pulitzer outlier gets publishing deal


norman lebrecht

January 10, 2020

The composer Du Yun, winner of the 2017 Pulitzer Prize for music, has been signed by Schirmer

From the press release:

G. Schirmer, Inc. is pleased to announce a worldwide publishing administration agreement with composer, performer, activist, curator, and educator Du Yun. Winner of the 2017 Pulitzer Prize for her bold, harrowing opera Angel’s Bone, Du Yun’s catalog of staged and concert works reflect her omnivorous creativity and wide-ranging artistic interests.

In 2020, Du Yun will have several high-profile world premieres. Sweet Land, premiering February 29-March 15 in Los Angeles, is a collaboration with pioneering opera company The Industry. The creative team, led by MacArthur Fellow Yuval Sharon, describes the immersive production as “a grotesque historical pageant that disrupts the dominant narrative of American identity.”…
Du Yun has also become a sought-after curator and programmer, via her own FutureTradition initiative and relationships with existing festivals and presenters. In 2019, she worked with the Southbank Centre and Ultima Festival to create programming involving her own work and that of various collaborators. Future curatorial engagements include the LA Phil Green Umbrella Series (March 2020), the Göteborg Art Sounds Festival (Sweden, October 2020), the centennial Donaueschingen Festival in 2021, and a FutureTradition Festival with China’s new media partners. This summer Du Yun will be a mentor for Internationales Musikinstitut Darmstadt, and in 2020-2022, for Forecast, an interdisciplinary mentorship program in Berlin, as well as “Sounds Now,” a Creative Europe Cooperation Project by leading European Contemporary Music Festivals.


  • Caranome says:

    “describes the immersive production as “a grotesque historical pageant that disrupts the dominant narrative of American identity.”…

    The “music” is bound to be as horrible, turgid and forgettable as this woke topic suggests. Modern “composers”, forget about asserting your distorted sense of moral superiority and fashion in lecturing us about sexual harassment, racism, sexual trafficing, heterosexual intolerance, white supremacy ad nauseam; write great, hummable opera about boy falls in love with the beautiful but wrong woman, the parents object, and everyone dies in the end. The audience will be happy, you will make some money, and maybe your composition will still be played after the debut.

    • Brian says:

      Have you actually heard her music?

      It’s worth noting that Verdi’s operas often dealt with social-political themes. So did Beethoven’s Fidelio and numerous operas by Russian composers. Though I must admit, your concern about “heterosexual intolerance” is a new one to me.

      • Bruce says:

        Who needs to hear the music if you already know what you think?

      • Caranome says:

        yes, they did. But their music was, and is, listenable, some even glorious and masterpieces. the modern muck will NEVER be listenable, and most will be forgotten in few years, if not already.

      • Robert Holmén says:

        “Have you actually heard her music? ”

        The excerpts in the video above do indeed sound awful. Maybe one has to be there.

  • John Borstlap says:

    In these difficult times for serious music, publishers are forced to go where the money goes.






    Whatever the lady tries to do, it remains within the entirely outdated and empty ‘aesthetics’ of the sixties, which ‘liberated’ themselves from music. She wraps her empty products in ‘themes’ so that people who have no idea about whatever music, get the impression they are about something.

    But worse: this lady, who shows such an ignorance of what a musical tradition is, who shamelessly reveals her embarrassing lack of any musical talent in her flimsy nonsensical attempts, has the ambition to create ‘an open connection and in-depth dialogue platform for world culture’:


    In other words: infecting all non-Western musical cultures with Western modernist anti-tradition tradition, i.e. anti-cultural destruction, like the sorry globalisation which has already done so much damage to local cultures. It’s all ‘newspeak’: you turn words and meanings into their opposite and sell enslavement as liberation, destruction as enrichment, and empty-headed nonsense as cultural development.

    The synthesis of different musical cultures is a specialist enterprise which can only be carried-out by musically-gifted people with deep roots in more than one culture, like the Chinese/American composer Bright Sheng, or by Western composers with an unusual imaginative perception like Olivier Messiaen. But THIS nonsense is mere surfing on trendy nonsense, ‘supported’ by the decline of culture in the USA.