One of today’s leading composers, ignored by major labels
Album Of The WeekFrom the Lebrecht Album of the Week:
Given her decade-long success and her emergence as the first woman to clutch a Metropolitan Opera commission, it is vaguely surprising to find that Missy Mazzoli’s only recordings until now have been on a non-export hometown label…
Read on here.
And here.
En francais ici.
Bravo, BIS, on taking the leap; may it lead to much wider recognition of Mazzoli’s music.
Nobody can afford recording contemporary music with American orchestras. Their union dictated fees forbid that. Unless there are sponsors.
Their union fees are the reason Americans can make a living off being an orchestral musician, unlike in many other countries…
Missy Mazzoli is not ignored by the major labels, she is ignored by the audiences. Her music might be interesting to some live, however it’s not the kind of music that sells many copies.
Forget the labels. How was Missy Mazzoli treated by the CSO and the Italian Stallion, which were supposedly her sponsors?
Not as a composer of her caliber should have deserved… according to this insightful piece by The Telegraph.
https://www.telegraph.co.uk/music/classical-music/curious-case-invisible-contemporary-composer/
Ms Mazzoli should have never accepted to work at the CSO. That was a mistake and career limiting move, in my view. But she is young, and her talent will ultimately prevail.
It’s simple, she’s a DEI composer whose career is artificial, promoted from the top down, and who has very few actual listeners.
Azica Records (Cleveland, OH) released Missy’s “Quartet for Queen Mab” in 2021. Performed by the Aeolus Quartet. Great piece!
https://open.spotify.com/track/51gLRlpHHeeUt1Y8gWbTVg?si=3de0a6f3d7ad4459