by Jarrett Hoffman
During the COVID-19 pandemic, performers and presenters have grappled with cancellations by giving virtual performances and releasing videos from the past.
Composers have been flying a little more under the radar — and in a way, that’s natural. “Sheltering in place isn’t that much different than being on deadline for a piece,” Oberlin Conservatory professor Stephen Hartke wrote by email. Cleveland Institute of Music professor Keith Fitch agreed: “A quarantined composer is not so different from a non-quarantined composer.”
Hartke and Fitch are two of the eight composers — including professors, freelancers, and young professionals — who agreed to share their thoughts for this article. After establishing that all things considered, they’re healthy and well, we delved into how — or whether — the pandemic has impacted their writing.
For Yolanda Kondonassis, premiering a new concerto is an on-going project. 
In a Northeast Ohio music world recently energized amid multiple anniversary seasons, ensembles have faced the challenge of honoring their histories while plunging headlong into the future. Leave it to No Exit new music ensemble, ten years young this season, to prove itself among the most forward-thinking of all. In a concert of world premieres on Saturday, February 16, the chamber collective played a program defined more by promise than by pomp.
There’s nothing quite like Stravinsky’s 
It’s an epic feeling when three superheroes, from separate stories and with their own distinct powers, team up. The real-life, artsy, and Cleveland-related parallel to that? A collaboration next week among three prominent local institutions from three different disciplines.
Since 2014, the Grammy Award-winning Cleveland Chamber Symphony has sponsored 
In a recent concert by the Cleveland Institute of Music’s New Music Ensemble, Keith Fitch — CIM’s composition department chair, and the ensemble’s director — demonstrated his penchant for effective curation. His own new composition,