Bruce Hodges
Born in Princeton, N.J., Bruce Hodges grew up in Texas among a family of classical music fans and singers, and studied art, violin, and voice. Playlist, age 16: Berio Sinfonia, Reich Violin Phase, Riley A Rainbow in Curved Air, Nancarrow Studies for Player Piano, Partch Castor and Pollux, Kagel Der Schall.
At Antioch College he studied visual art with Jonathan Ahearn and music composition with David Stock, founder of the Pittsburgh New Music Ensemble. Bruce later earned a B.F.A. in drawing and painting from the University of North Texas, where he studied with Henry Whiddon and Claudia Betti. He moved to New York in 1981.
During the 1980s and 1990s he was executive director and board president of the New York Consortium for New Music (Continuum, Da Capo Chamber Players, ModernWorks, The New York New Music Ensemble, Newband, and Speculum Musicae), which from 1991 through 2002 produced Sonic Boom, “considered by some to be the country’s leading contemporary music festival.” (The New Yorker) During the 1990s, he was also president of the board of directors of Ensemble Sospeso, the new music ensemble that presented groundbreaking concerts of works by Pierre Boulez, Elliott Carter, Helmut Lachenmann, Tristan Murail, Wolfgang Rihm, and Iannis Xenakis.
He has interviewed composers Jason Eckardt, Toshio Hosokawa, Olga Neuwirth, and Agata Zubel, among others, for the Miller Theatre at Columbia University, the Look & Listen Festival, and the Austrian Cultural Forum.
A lifelong writer, from 2007 to 2015 Bruce wrote a column on recordings for The Juilliard Journal, and from 2003-2020 he wrote articles for Seen and Heard International (London), and served as its North American editor. Since 2012 he has written for The Strad, also based in London. He has also contributed articles to Lincoln Center, Playbill, New Music Box, London’s Southbank Centre, Strings, and Overtones, the magazine of the Curtis Institute of Music. He currently lives in Philadelphia.
Among wide-ranging interests, Bruce has a deep love for film, photography, contemporary art and architecture, cooking, and New Orleans jazz and food. He has also been known to craft the occasional sonnet.
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In this week's Fanfare, there's no shortcoming of phenomenal performances: The Philadelphia Orchestra plays Mahler's Third Symphony, Tempesta di Mare presents "Stolen," The Chamber Orchestra of Philadelphia plays Beethoven's "Emperor" Concerto, and more. -
The Philadelphia Orchestra made its rededication of Marian Anderson Hall into more than a symbolic gesture, inaugurating the space with inspiring performances that called back to its namesake. -
Fanfare looks ahead, as Mitsuko Uchida performs with The Philadelphia Orchestra, Filament celebrates its first album, and more. -
The stars, the moon and the sun align in Fanfare this week, as Evgeny Kissin performs a piano recital, Arcana New Music Ensemble plays the Music of Moondog, and Variant 6 presents 'Un Bel Sol.' -
For the first century of its existence, Beethoven's Symphony No. 9 could only be experienced live in a concert hall. Its second century has produced a flood of recordings — shaped by, and shaping, the way we listen. -
A light week, concert-wise, means demand is high. But you'll want to know how to stream one of these concerts, and how to join the waitlist. -
Tempesta di Mare, Philadelphia's Baroque Orchestra, performs 'Juditha Triumphans' on March 16, with WRTI's Meg Bragle in the title role. The fascinating history behind Vivaldi's oratorio still carries lessons for us today. -
Featured in Fanfare this week: the Estonian Philharmonic Chamber Choir, organist Nicole Keller, the Philadelphia Youth Orchestra and more. -
In Philadelphia, the coldest part of the year can also serve as a backdrop to some of the year's best musical events. As usual, Fanfare is here to help. -
This week, classical music lovers have a preponderance of excellent options in the Philadelphia area. Let Fanfare be your guide.
