was a finalist for the Pulitzer Prize in Music — a rare honor in itself, and a confirmation of the esteem with which his work is held. But that doesn't mean he had any expectations for this year's award.
"I'm still sitting here shocked beyond belief," he told NPR Music on Monday afternoon, about an hour after his compositionSorey, 43, is a feverishly prolific creative force who maintains overlapping profiles in the realms of both improvisational music and classical new music. In that sense he carries on a tradition best exemplified by musicians likewas a finalist for the Pulitzer in 2013.
"Wadada tends to avoid the word 'ballad' when referring to something at a slow tempo," Sorey says."He instead calls it 'Adagio.' So I chose the title for that reason, but also because of the way that Wadada phrases and plays such beautiful, melodic figures — things that take time to develop. I wanted to honor his expressive timing, his pacing. And I always talk about allowing things to happen. Wadada really is classic with that impulse.
The emphasis on low-end fundamentals suggests a genuflection to Smith, as does the calmly expansive range of dynamic markings, from triple piano . Organized in three movements but unfolding in a single continuous flow, Sorey's piece has the deep sonorities and accretive power that has characterized much of his writing. It reflects the floaty influence of Feldman as well as the patient irresolution of living heroes like Lewis and Smith.at Atlanta Symphony Hall last year.
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