Those elements of musical experience that touch us most deeply, most lastingly, that change our lives, are below the surface of experience. They are not meant for effortless access. Oh, and how many of our musical love affairs have begun in frustration and anger! How easy it is to say, “That’s not what I call music!”

Michael Steinberg

Excerpt from For the Love of Music: Invitations to Listening (New York: Oxford University Press, 2006) Michael Steinberg and Larry Rothe

About the Fund

I established The Michael Steinberg and Jorja Fleezanis Fund as a memorial to my husband, Michael, who believed deeply in the power of curiosity as the driving force in creating art and understanding it. The most significant gesture of gratitude I could give him was to create a legacy of new works to celebrate his lifelong defense of composers who were bold pioneers, pushing the boundaries of music ever outward. The Fund’s goal is to award an annual commission to an emerging composer who will bring together music and the written word.

Jorja Fleezanis

Board Members
Jorja Fleezanis, Founder (1952-2022)
Mari Carlson, President
Bob Guter, Secretary
John Nuechterlein, Treasurer
John Adams
Shelli Chase
Lydia Choorapuzha
Adele Evidon
Susan Feder
Warren Mack
Deborah O’Grady
Garrick Ohlsson
Karl Paulnack
Edo de Waart

Michael Steinberg presenting the distinguished American composer, Elliott Carter, an award from the MacDowell Colony during the summer of 1983 in New Hampshire.

Michael Steinberg presenting the distinguished American composer, Elliott Carter, an award from the MacDowell Colony during the summer of 1983 in New Hampshire.

 
Michael Steinberg during his tenure as music critic of the Boston Globe between 1964-1976. He dedicated a great deal of ink to music being composed during that period, as well as advocating for many composers of decades earlier who were beginning to…

Michael Steinberg during his tenure as music critic of the Boston Globe between 1964-1976. He dedicated a great deal of ink to music being composed during that period, as well as advocating for many composers of decades earlier who were beginning to be neglected.