William Bolcom

"Tangos, fandangos, waltzes, even snatches of ragtime and jazz pepper Bolcom's musical pastiche" 

Bolcom's "Piano Trio (2014, written for the Delphi) moved fluidly among modernist styles with massive dark textures in the opening of the piece to Gershwin-like bluesy harmony at the start of the slow movement."

The New York Times and New York Classical Review praised the world premiere of William Bolcom’s Trombone Concerto, featuring the Philharmonic’s principal trombonist, Joseph Alessi.

Larry Palmer writes in the March 2016 issue of The Diapason on Bolcom's works for solo harpsichord, including Le Fantome du Clavecin and The Vicarage Garden.

On www.voix-des-arts.com, critic Joseph Newsome names new Bolcom CD the Best New Music Recording of 2015.

Guy Livingston talks with conductor Dennis Russell Davies, publisher Evan Hause, and Bill Bolcom himself about McTeague. Is this tragic opera Dadaist? Or a darker version of Broadway? Or a new genre? 

Interview June 10, 2014 - Bill discusses the creative or compositional process from beginning to end with a few stories in between! He also mentions current and upcoming projects including the Grant Park Festival.

An Interview in Two Parts - France Musique

On March 13, 2014 William Bolcom was interviewed by one of France's leading music critics, Renaud Machart,  in the studio of France Musique in Paris. 

Eastman School of Music, Rochester, New York, September 27, 2013 

Speech given at the EROI (Eastman Rochester Organ Initiative) Festival

I’ll bet I am one of a very small percentage of non-organists in this room, if not the only one.  Having known and worked with organists for a long time, and even having once been invited to a Calgary convention to judge organ playing, I feel like a welcome guest among you.   Organists constitute a large and, at least in my experience, collegial group. 

by William Bolcom 
August 2013 

It is well known that small audiences are commonplace nowadays in orchestral concerts. It’s pleasant to talk about outreach programs as possible solutions to audience indifference, but one of the most used outreach efforts in the last several decades was the increase in “pops” programs, which have rarely reaped the hoped-for financial benefits (and were tough on orchestral morale). Something more fundamental to the orchestra’s existence needs to be addressed. We need not only to rethink the orchestra’s position in society; it might be a good time to rethink the makeup of the orchestra itself.