Archive for the ‘Composing’ Category

The (Mostly) Empty Horizon, or, Is Anyone Looking for Something to Play?

Sunday, February 12th, 2023

I was updating the News page on my website, which I hadn’t done in a while, and I realized that there wasn’t all that much to say: the horizon is mostly empty at the moment. While this would be frightening if I were a full-time composer, and honestly isn’t a great feeling for this part-time composer, I’ve accepted over the past couple of decades that composing work and performances of that work both come in fairly cyclical ways, and the storm of managing multiple projects and deadlines occasionally gives way to clear skies. In some ways, I’m reaping what was sown in March 2020: I decided to slow down my work on composing new music in order to make sure that I was focusing on what my family might need during the pandemic, while at the same time, lots of performances were postponed or cancelled. The postponed performances have now mostly been presented, but lots of people still aren’t back in their “normal” groove, and at least a few of my collaborators find themselves in different positions in life than three years ago. I took about two years to really get back into a composing routine, and even so, I haven’t been putting as much time in as I was pre-pandemic. My output has slowed, and I haven’t worked as hard on the “softer” side of the work in building connections and showing my face (we’ll see if my experiment with leaving social media last year will ultimately doom my composition career).

You get energy out of a system when you put energy in, and I truthfully have been putting less energy in over the last couple of years. It isn’t that I’m no longer interested in composition: it’s just that, as for everyone else, life has been in the way. I recently listened back to a podcast interview I gave to Kendall Halman six years ago when I was in a really different kind of place, and I don’t recognize everything about myself (unsurprisingly). I don’t know that I like the guy in the podcast better, exactly, but I was honestly more assured about my place in the music ecosystem.

So, I’ve been trying to do better: submitting to more out-of-town opportunities, for one thing, although outside of the conference circuit, which I haven’t really done since 2020, I’ve never had much luck here. My sense is that most opportunities online are simply deluged by applications, so getting picked for even one is like winning the lottery. A couple of these over the years have gone my way, and it’s always gratifying, even when the only thing you get is the performance and maybe a recording or video, but my sense is that building one-on-one relationships with performers is a better way to go.

So this post: I’m going to put two lists here, and I might even decide to break radio silence on social media and share this post there: I have no idea if anyone ever looks at this blog besides me, and in some ways, I’ve felt for more than a decade that I’ve been shouting into the void with it.

If you’re interested in anything from either of these lists, use the contact form on my website.

List 1 is pieces that are ready to go, but that I think are underplayed, or which have not even had a premiere.

Orchestra: As we all know, getting performances of orchestral music is really darn hard, but if you’re looking for something, I probably have it for you.

  1. I happen to think 2015’s …into the suggestive waters… is a really good piece for small orchestra that audiences can really enjoy, if they have the chance to hear it. It’s only had one performance, but if you think you might want to change that, give it a listen.
  2. My 2014 Concerto for Piano and Orchestra has had two performances, and if you’re a pianist looking for an exciting 20-minute piece, look no further.
  3. If string orchestra is more your style, my three-movement Suite for String Orchestra from 2012 pays homage to three of my favorite compositional influences; it’s had a few performances, but it’s due for a revival, and can be done by as few as nine players.
  4. Gamer Troll Loses Control had a good premiere in 2021, and is the same instrumentation as Saint-Saens’ Carnival of the Animals. About nine minutes long, it is a tone poem based on an original fairy-tale.

Band/Large Wind Ensemble: Once upon a time, I was actually afraid to be “just” a band composer, and I knew I was wrong to feel that way. Here are a few gems:

  1. One of my relatively few works from 2020, Majestic Fanfare is for symphonic brass ensemble. The commissioning group, Ohio Valley Majestic Brass, played it around in 2021-2022, but because of the nature of their gigs, I didn’t get a recording to share.
  2. The last work I had premiered pre-pandemic was Mysterious Marvels for concert band (one cancelled performance was never rescheduled). It’s had one performance, and is ripe for more (it’s probably a grade 4.5 or 5).
  3. I’ve played the solo part in 2005’s Homo sapiens trombonensis twice, and I’d love to see another trombonist pick it up. The solo part is for an advanced player (but not as hard as the Creston Fantasy), and the band part is probably a grade 5.

Choral and Vocal Music: I have two a cappella choral pieces from the last few years.

  1. Christmas Eve from 2021 had a great set of premiere performances by Choral Spectrum that year. It’s about 3 minutes long, for SATB with a few divisi, as you can see in the score-follow video that I’ve linked.
  2. A piece that is currently orphaned is my setting of Yeats’ Aedh Wishes for the Cloths of Heaven from 2019. Some choirs have expressed interest, but no luck yet. It’s about five minutes, for SSAATTBB.
  3. And I Live With the Fiction That I Never Get Mad, for baritone and piano, is a long standalone song that had a premiere in 2019. I’m particularly proud of my approach in this piece, and if a baritone is looking for repertoire that addresses the impact that media can have on our lives, this might be for you.

Chamber and Solo Music: The most orphans live here, I suppose, along with a few pieces that need a second hearing.

  1. Child’s Play from 2020 for bass clarinet duo needs a premiere. It’s about 10 minutes long, uses a few multiphonics, and is inspired by the short story of the same name by Alice Munro. I’d be up to rework this piece for another instrumentation if there’s interest.
  2. Gamer Troll Loses Control (also listed in Orchestra) had a good premiere in 2021, and is the same instrumentation as Saint-Saens’ Carnival of the Animals. About nine minutes long, it’s a tone poem based on an original fairy-tale, itself based on children’s artwork.
  3. Duo Capriccio is a set of variations on *that* theme by Paganini for flute and clarinet, if you need something to give variety to your recital. It had a premiere in South Dakota in 2018, and I think it should go out there again.
  4. Autumn Fantasy from 2016, eight minutes in one movement for alto clarinet and piano, is another orphan of the collaborative process that has never had a premiere as far as I know. I’d be up for reworking this for bass clarinet, or English horn, or some other woodwind.
  5. Meditation for cello and piano is a ten-minute, one movement piece from 2015 that had a great premiere, but needs to get out there more: it’s one of my favorites from the 2010s, and is inspired by the writings of Marcus Aurelius.
  6. One more orphan is my 2009 Piano Trio, which had a reading session, so I have a good recording, but never a public premiere, and I think the piece deserves one. It’s about 8 minutes in one movement.

I have many more pieces for solo piano and other solo instruments with and without piano, ranging in difficulty from fairly short and simple to college-recital or professional level. Why not go check out my Works List and see what might be there for you!

List 2 is pieces that I’ve been thinking about or dreaming about, often for decades… if you’ve ever been interested in playing my music, but wondered when I’d get around to writing for your instrument or ensemble, now is probably a great time to reach out.

  1. Music for worship. My faith is an important part of my life, but I don’t always get the chance to combine it with my compositional work. I’m not talking about contemporary Christian music here: that stuff is fine, but it’s not my bag. Let me write for your choir, organist, brass ensemble, soloists, or some combination. Anything from an offertory to a full cantata is something I’d be up to discuss.
  2. String quartet. I wrote a student piece string quartet based on some favorite children’s books back in 2006, but I’d love the chance to do something more serious and extended for the ensemble.
  3. Choral and vocal music. Yes, please! If you have poetry that you want set, or if you are a poet, or you just want a new piece for you or your chorus, reach out. I haven’t had enough chances to write for voices, but I love to do it when I can.
  4. Trombone ensemble. How have I not written for trombone quartet or octet or choir before?
  5. Band or orchestra music. Definitely something that I won’t write (usually) without a guarantee of a performance, even though I love to do it: it’s just too much work otherwise. It would be cool to take another crack at creating a silent film score like I did in 2013 for Georges Melies’ Voyage Dans La Lune. Really big bucket list piece: I have half of a forty-minute symphony written based on the chorale tune Old Hundredth (the Doxology in many churches).
  6. Similar vein: fanfares! So much fun to write, and so exciting to put together, and I love pushing the idea of what a festive, bright, piece can be. Let me write your concert opener!
  7. Percussion music. I’m tired of being intimidated by the cool kids in the back of the room. I want to tackle percussion ensemble, but I want to do it as a collaboration with players who will guide me through the process.
  8. I’d love to collaborate on more dance projects. I’ve conducted for ballet, and had one of my works, Martian Dances, form the basis for some beautiful choreography. I’m a terrible dancer, but I can provide a good beat.
  9. I’m often inspired by science, especially space. Let’s write a cool piece about the Universe, or nature, or the human brain, or DNA. What are you into?
  10. I’m always game to write more piano music. Piano was my first instrument, although never my best. I’d love to write a second piano sonata, or a suite of pieces based on Lake Erie and its shoreline here in Northeast Ohio, or something inspired by whatever inspires you!
  11. Solo instrument with piano. There are a few standard instruments in this combination that I’ve never tackled, and I’d be up for that, plus I’d be happy to return to any that I’ve already done. What about: viola, euphonium, double-bass, horn, trumpet, trombone, tuba, saxophone, English horn?
  12. Any sort of ongoing project that results in multiple pieces and performances. I don’t know–hit me up! Multimedia isn’t really my thing, but I’m happy to collaborate with non-musicians.
  13. Whatever chamber ensemble you’re a part of, no matter how weird. I’m always happy to help build someone’s repertoire!

So… this took longer than I expected, but maybe something will come of it, and if you don’t work with me for whatever reason, find another living composer and work with them! It’s good for our art form!

Back with Beowulf

Sunday, October 9th, 2022

A few weeks back, I had an exchange with my Lakeland colleague Natalie Hopper after reading Seamus Heaney’s translation of Beowulf over the summer. I immediately thought, “hey, this would make a good blog post,” after not posting anything since March. So I jumped over to the old website, and quickly discovered that there was A Problem, and I was unable to log in. Fast forward eight crazy weeks of teaching and parenting, and I was able to get things worked out with my hosting service, so now I give you my take on Beowulf, translation, transcription, and arranging.

In music, we have something similar to translation, namely arranging or transcribing music originally for one ensemble to be playable by a different ensemble, say, taking a piece written for organ and turning into something for concert band. It’s been done throughout the ages, by just about everyone: Bach reworked his own music, along with music by people like Vivaldi, into new combinations, and Beethoven actually paid a good number of his bills during the economic inflation of the Napoleonic Wars with arrangements of all sorts of folksongs. If you’re learning to orchestrate, making arrangements and transcriptions is a time-honored way of doing it. Some of the first orchestra music I ever had performed was an assignment for an undergraduate class to arrange a Bach keyboard fugue for the students we had available in the class.

I actually came to composition through arranging and transcribing other people’s music, mostly for the students I was teaching when I was a K-12 teacher… the list of composers I’ve arranged is long and distinguished, and includes the Gypsy Kings, K.C. and JoJo, the Beatles, Bach (of course), the Moody Blues, Dave Brubeck, Debussy, Schubert. I lived in Macon, Georgia for a while, and I knew the personnel manager with the Macon Symphony Orchestra, which led to doing some arranging for them, including a whole evening of Otis Redding songs for rock band and orchestra, with Otis Redding’s grandson as the vocalist. That one paid for Becky’s and my honeymoon. By that point, I had also started composing: it isn’t a big stretch from having to come up with an intro, an outro, or a transition, to writing a piece “based on” an existing tune, to just writing a whole new “freely composed” piece. 

I completely get Heaney’s moment of discovering one little nugget and then working out the rest: that’s pretty much my experience much of the time. “Oh, this line would be great for clarinet,” or “I can hear this combination here in the accompaniment.” Then, there’s a certain about of just workmanship that happens, what my dad’s woodcarving teacher used to call “moving wood.” Inevitably, there are the places where things don’t quite line up, and you have to get clever and creative. Music notation software makes the process so much more bearable… I don’t think I would be a composer if I had to do everything by hand.

I guess another equivalent in writing would be rehashing old stories. I took a creative writing course in college, and the prof had us take one of the stories we admired from our anthology and type a few pages into the computer just to see how it looked… many of my classmates realized that their writing was far too small compared to that year’s Best American Short Stories (especially the frat boy who wrote a four-page ripoff of Reservoir Dogs). He also had us attempt a style copy: mine was Shirley Jackson’s “The Lottery.” We were on quarters, so all this, plus writing our stories, plus critiquing our classmates’ work fit into 10 weeks!

I had a big arranging moment this summer: The Cincinnati Symphony Orchestra performed my arrangement of Florence Price’s Adoration, which was originally for organ. This is the composer equivalent to starting for the Guardians (having an original work performed by them would be like starting for the Yankees or Red Sox). At any rate, it’s The Show. A conductor I’ve worked with (as arranger and composer) hired me to create two versions of the piece during the lockdown: one for ten musicians, and another for small orchestra. Then, he was named the Cincinnati Symphony’s diversity fellow, and he called me up for a third, new arrangement, “worthy of the Cincinnati Symphony.” I was able to write for a larger orchestra (really, I could have gone as big as I wanted, but I fit my requirements to the other music on the concert) and also write with a full-time professional group in mind. It was actually quite a lot of pressure to make sure absolutely everything was right—there’s no time to figure out how to fix something that isn’t working, because rehearsal on this relatively simple piece consisted of a couple of run-throughs in the two days before the concert: that’s all they needed, and their time is collectively worth about $1000 a minute. This is an extremely savvy group who has played everything​ worth playing, along with tons of arrangements for pops concerts: they would know immediately if I had screwed up or if I was worth their time, and not just by the sound, but by the look of the printed parts I was providing. So that’s how I spent my Spring Break last year.

In June, the kids and I drove down to Cincinnati to hear the thing: because of copyright laws and union rules, I wouldn’t be getting a copy of the recording (this annoys the crap out of composers, but it’s for everyone’s own good). So we had to be there, and they did comp our tickets. This wasn’t a subscription concert—it was at a great big megachurch in the suburbs as part of the orchestra’s community outreach program. The results of my work and the CSO’s playing were splendid: all the effects I had hoped for were there, and they all made sense, and I think I did justice to the composer’s intentions (Florence Price’s story is heartbreaking, as shouldn’t be a surprise for an African-American woman who died in the 1950s). My kids were amazed, and they proceeded to tell everyone around us that I was behind that music. Overall a good weekend. Since then, I’ve sold that sheet music three times, which is selling like hotcakes for me, to orchestras in Philadelphia, Atlanta, and Mankato, Minnesota—another conductor has picked up the piece and programmed it this fall, and I hope Antoine finds space to use it again.

I went to college at the University of Cincinnati, and my trombone teacher was the principal trombonist for the Cincinnati Symphony Orchestra (he’s long-retired now). I’ve probably heard that orchestra in concert more times than any other, so their sound and their approach is basically what I hear when I compose or play trombone. It awes me to think that something I arranged is now in their library, waiting for the next time they need it. I haven’t seen my royalty statement for it yet, but I think it will probably be a chunk…

So, I guess I’m back now.

Springtime Projects Old and New

Saturday, March 26th, 2022

The kids and I have both had our Spring Break, and since they didn’t happen at the same time, I didn’t end up travelling, although Becky took the kids to Mansfield for a couple of days this week. Lakeland’s Jazz Festival returned partly in-person last weekend, with live performances, but we won’t have adjudication of high school bands again until next year. I played fourth trombone with the Lakeland Civic Jazz Orchestra on their concert last Sunday, something I haven’t done in a very long time, since I was the regular bass trombonist with the second jazz ensemble at CCM in my first two years of college, where I met my first composition teacher, Wes Flinn (who I am currently serving as a partial sabbatical replacement for… so many connections).

I have five or so performances of my work coming up this Spring as musical life comes back together post-COVID.

COVID ruined three big events that I had planned: two trips (one to Germany and one to South Carolina) and a performance. We made the South Carolina trip a year late in 2021, and the Germany trip is on a longer-term hold, but might happen in 2023. The performance cancellation that stung was the Cleveland Chamber Symphony’s premiere of a new chamber orchestra version of Martian Dances, the piece that gives its name to my web domain and that I once considered to be my “signature” composition; if nothing else, it was my first mature composition, and the first major piece I wrote while in graduate school, where we played it several times. The original version is scored for the unlikely septet of flute, clarinet, trombone, viola, double bass, marimba, and harpsichord, and eked out two-and-a-half performances in 2005 at Ohio State. I reworked it a few years later for a Pierrot-plus-viola-and-marimba ensemble, but that version has never been performed. This latest version is for a large chamber orchestra: single winds, harp, piano, and strings, and will have its first hearing on April 22 at Baldwin Wallace University, with a dance performed by Verb Ballets. A big night for me.

Not only does Martian Dances hold a special significance for me, having a performance by the Cleveland Chamber Symphony takes me another step closer to being a “Cleveland” composer. The ensemble was founded by local legend Edwin London, and has played music by both local and non-local artists for decades. I even have a recording of them performing Donald Harris’ Mermaid Variations, commissioned by the ensemble. A lustruous recording of a colorful and appealing piece, it would have been recorded around the same time that I first heard Don’s music, a performance of his Symphony in Two Movements by the Columbus Symphony Orchestra when I was a senior in high school.

I’ve programmed my own work with the Lakeland Civic Orchestra on Sunday, April 24, when we will give the second performance of The Lovely Soul of Lakeland, which I wrote for the College’s 50th anniversary in 2017-2018. I think it’s important that a college have concert music associated with its songs, and Lakeland’s alma mater, The Soul of Lakeland College, provided excellent material for this project. It seemed like this year, with our return from COVID to live performance, was an appropriate time for this piece to make an appearance, on a program of short works featuring the various components of the orchestra and shared with the Lakeland Civic Band.

On May 6, the Lakeland Civic Flute Choir, directed by Judith Elias, will perform Nod a Don, my palindromic piece for eight flutes commissioned by Katherine Borst Jones in honor of Donald McGinnis, a mentor and inspiration to both of us, on his 95th birthday. This will be the second performance of this work in Cleveland, after the Greater Cleveland Flute Society’s performance a few years ago. Lakeland’s flutes have been rehearsing it during their Thursday morning rehearsals, and at least once I’ve had the pleasure of walking by the auditorium doors to hear my music coming out at me.

Also in May, on the 15th, I will have a composition featured on the thirtieth installment of the Cleveland Composers Guild’s Creativity: Learning Through Experience. In this case, a short piano piece for Nathan Hill, a student of Coren Estin Mino.

Then in June, something that for me is a huge deal. My frequent collaborator, Antoine Clark, asked me in 2020 for arrangements for small orchestra and chamber ensemble of Florence B. Price’s Adoration, for the college and chamber orchestras that he conducts. I created them, and they had their premieres, and Lakeland also performed the small orchestra version in 2021. Then this fall, Antoine called again, and asked for a large orchestra transcription of the same piece, this time for no less than the Cincinnati Symphony Orchestra. Antoine and I are both alumni of the University of Cincinnati, and my trombone teacher Tony Chipurn was the principal trombonist of the Cincinnati Symphony. It would be a close count, but it’s possible that I’ve seen them in concert more than any other orchestra, and certainly saw them very frequently during my formative musical years. The sound of their Telarc recordings from the 80s and 90s is also burned into my head, whether as the Cincinnati Symphony, or as the Cincinnati Pops. So, I’ve been working on a transcription of the Price that involves all my knowledge of orchestral writing, and honors Price’s talents and music, and the tradition of an orchestra that I admire. The premiere is on a community concert in Cincinnati on June 11.

I’m still struggling with what my composing looks like, post-COVID. Getting out of my early-morning habit was a good idea for many reasons, but it hasn’t been good for my creative productivity, and there are projects I want to pursue, but don’t feel like I have time for right now. My 6am composing was for a long time a badge of honor, but I don’t see how it would fit our current schedule and my current responsibilities: or, I’m just being lazy and too in the habit of staying up late. Next fall, Noah and Melia will ride the same buses to and from school, so there is the possibility of a reset and a reconsideration of my routine, and I aim to have this worked out by then: there is more music to be written, and that music needs time to be worked on.

Playwriting with Tecia Delores Wilson

Friday, October 22nd, 2021

Lakeland hosted playwright Tecia Delores Wilson for a workshop earlier this week, and I treated myself to attending as a midterm reward. Her approach of devised theater was intriguing. I signed up for the workshop for several reasons that involve my work: composition also deals with dramatic ideas; I may someday collaborate with a poet or librettist and need to understand some of that process; I have, over the last several years, written a play about some of my experiences. Devised theater could play into many of these needs for me, although not as directly as I had expected, as it turns out.

For a writer, it is tempting to start from words, but devised theater, as we experienced the process on Tuesday, begins with movement, and goes from movement to story. It was almost as much about dance as it was about language, which is many ways made it more relevant to my creative work.

In an email later with Jamie DeMonte, I expressed an idea I hadn’t really mused on before: while we tend to “silo” the arts into writing, theater, music, visual arts, dance… the reality is that they often lie more on a continuum, and that one can impact the other. I’ve blogged here before about people like woodcarver Spirit Williams and writer Kiersi Burkhart and how their ideas about working in other forms have impacted my own working process, but it’s also fascinating to see how those “disparate” arts themselves can be work that is neither-nor, or both, or all.

Effort-Shapes and Ideas from Architecture

Sunday, October 3rd, 2021

I’m amazed that it’s October already.

I was feeling very behind on some things for work and school, and my wife, Becky, got tired of my grumpiness about it and gave me the incredible gift of time last week: she took time off from her job so that she could be around and give me some relief from some parenting duties. I took advantage of that time to get back into my morning composing routine: waking up an hour ahead of everyone else to work. It feels good to be back on it. Plus, I was able to work ahead on some of the things I normally do on Fridays and clear the decks for most of a full day of composing this week. It felt good: too good… because it had me thinking about how it might work if I did that every week, and spent that day just building my composition business. It seems possible, but risky, but possibly very rewarding.

I suddenly find myself with multiple projects. Last month, Ted Williams of Choral Spectrum contacted me asking for Christmas music. There is a history there: eighteen years ago when I was living on the West Side of Cleveland, I joined that ensemble, starting the same concert cycle that Ted did. They performed one of the pieces that I submitted as part of my grad school applications, and I haven’t done a great job keeping in touch, but I’ve been in contact with Ted now and then. I found a nice, short poem by Ella Higginson called “Christmas Eve,” and suggested it as an original piece. I finished it this week, after creating a draft in my parents’ dining room in September, and rehearsals will start on Monday, for premiere performances in December.

Next, I’m returning to the first piece I wrote after graduate school, the fourth in my series of sonatinas for woodwind instrument and piano, in this case, oboe. There is a connection to that same time with Choral Spectrum, because I used the bassoon piece, the first in the series, as a part of grad school applications as well, including a recording with fellow Spectrum member Andrew Bertoni on the piano part. I’m now reworking the oboe piece, which has never been performed, for Justine Myers, and we are hoping for a performance on a Cleveland Composers Guild concert this spring. As I was working on both these pieces, I had advice from Donald Harris in my mind: “let the music breathe.”

Then, to the carillon project, I suppose. Last summer, Guild members had a tour of the McGaffin Carillon with George Leggiero for a collaboration that will feature our compositions for the instrument this fall. Fall is here, so I need to get started on mine.

After that, it will be the band piece I’m writing in memory of Chuck Frank for the Lakeland Civic Band . I have an idea for a wordless vocal soloist and Heidi Skok is on board, so while that part will be cued in the instrumental parts, it will be a great way to feature one of our great local musicians.

And then… I want to return to the symphony. Delayed first by COVID, now just by my procrastination.

The amazing thing is that these projects represent the fruits of a decade or more of collaboration, networking, and community-building. My goal since returning to Ohio has been to become a Cleveland composer, and I feel like I have achieved that, at least at the moment.

Now to the title of this post:

Two ideas for analytical or compositional tools came over my transom this week.

The first was when I went to observe Scott Posey’s Acting I class as part of my duties as a College Credit Plus faculty liaison. I had watched him work with his students at Lake Catholic before, but he started his class with a warm-up and review of something called “effort-shapes,” coming from Laban movement theory. This was immediately highly suggestive to me as a way to think about the physical expression suggested by a passage or piece of music. I also wonder if there is any similarity or connection to Dalcroze eurhythmics, which I have never had the chance to study.

The second is from a YouTube video. I’ve been watching architecture videos by Stewart Hicks lately, and his video on Francis Cheng’s Form, Space, and Order really struck me. Where  Laban seems to suggest itself as a tool for medium-scale analysis, Cheng’s five basic building plans (centralized, linear, radial, clustered, and grid) are highly suggestive of ways to understand the overall structure of a larger piece. Of the standard forms, fugue would be centralized; sonata would be regular; rondo would be radial; variations would be radial or clustered?; and something with a repeated bass or harmonic progression would be grid. Perhaps? Something to consider… Orchestrating or arranging for large ensemble often feels like working with a grid as well. Penderecki’s Threnody suggests a clustered approach; while Lutoslawski’s Fourth Symphony is more radial. Intriguing set of possibilities.

Then, yesterday, we went to Cedar Point. My approach to fun at theme parks is a little different than most people’s, I suppose, but I enjoy looking at how the place works, and at how people interact there and flow throw the space. I find that standing in line for rides gives plenty of time to watch how those rides work, and how people interface with them, and to think about what I’m seeing. Recently, one of my contacts on Twitter posted Baudrillard’s thoughts on Disneyland, and that was running through my head. While Cedar Point is in many ways a theme park in search of a theme (beyond, as Noah and I discovered, “Eat. Ride. Repeat”), it functions in much the same way Disneyland does on a technical level. This may not be true from a cultural standpoint, though. Disneyland also does not have nearly the history and layers that Cedar Point does, where there is an 80-year head start and any number of callbacks (such as the Blue Streak roller coaster) to earlier eras of American pleasure-seeking. I’ve decided that I’m going to have to read Simulacra and Simulation.

Writing for the Fine Arts Association

Friday, July 16th, 2021

I’m currently wrapping up a commission from the Fine Arts Association for a concert their faculty will be presenting next month. The second half of the program will be Camille Saint-Saens’ Carnival of the Animals, so the instrumentation of my piece is the same: flute, clarinet, percussionist, two pianos, and string quintet. The resulting piece is about nine minutes long, and has turned into a tone-poem called Gamer Troll Loses Control.

This piece is my heftiest composition since the start of COVID, when I deliberately backed away from composing to focus on other things that needed to be done. Teaching almost completely online meant I had more computer time in my life than I needed, and I was loath to add to that. Additionally, I made the decision to forego my early-morning composing routine and add an extra opportunity for sleep to help keep my immune system in good condition in the event of illness. So, since March 2020, I’ve written a short piano piece, Power Play, two arrangements for small orchestra of Florence Price’s Adoration, a short piece, Mind, Body, and Soul for the Ekklesia Reed Quintet, and a bass clarinet duo, Child’s Play, for Just This. I put two long-awaited projects on hold: Thomas Lempner and I have been discussing a Carmen Fantasy for baritone saxophone, but other than listening through the opera and some score study, I haven’t got started on it yet, and of course, the symphony, which was stalled before COVID hit, and while I’ve listened through the Sibelius playback a couple of times, I haven’t done any work on it.

But I think about composing a lot. I’ve been studying Tchaikovsky’s The Seasons at the piano, and thinking more and more about a “yearlong” cycle of pieces about Lake Erie. Going to the bluffs here in Willowick has become one of my regular activities, and this project may be in the future. I’m also planning to write a new piece for concert band for the Lakeland Civic Band in memory of their founding director Charles Frank, to be premiered on a memorial concert for him. And, I’m starting to want to write a second piano sonata–partly inspired by Richard Danielpour’s American Mosaic for Simone Dinnerstein. I’m still not ready to write my COVID piece–which isn’t surprising. My experience of the pandemic has been of routine, and waiting, not of personally momentous events, and for that I’m thankful. I’m not saying I need to be personally impacted by the virus before I can write about it–but I’m not interested in writing for the sake of writing about it, which would feel forced and inauthentic. It may be some time, and I may never write a COVID piece.

So, in late Spring, Michael Lund Ziegler, director of education at the Fine Arts Association (FAA), called to ask if I would contribute to the first in their series of concerts for 2021-2022, and I agreed (I will appear on my own recital this winter, performing Twenty Views of the Trombone). We quickly finalized the instrumentation, which will mostly be provided by the FAA faculty, with Michael conducting. I suggested that we base the piece in some form on student work–this would bring together the music and visual arts sides of the FAA, and highlight the students, who are the reason that the FAA exists in the first place. We brought Melissa Sextella into the conversation. It was, fortuitously, near the end of the term, and several of her classes had final projects that could be helpful in generating some possible characters. She sent me four wonderful images, and I started thinking about what a piece about these characters might look like, and I contacted several of the artists to pick their brains. The kids were very helpful–down to the five-year-old creator of “Greenie Meanie,” a grumpy octopus on the lookout for walleye.

Then I went on vacation. We spent a week in Charleston, South Carolina, and I brought manuscript paper, but didn’t touch it. I did make a note in my travel journal that I was leaning toward a single-movement structure rather than a suite of pieces: and that has worked out. The result is more Till Eulenspiegel than Pictures at an Exhibition. I also decided to make references to Carnival of the Animals, since the two pieces will be paired at the premiere, and having the same forces, may be performed together down the road (in fact, I already have some interest in just that).

Upon returning home, I decided to start by writing a story. I decided on a fairy tale: Gamer Troll wakes up one morning and can’t find his video game controller. There are echoes of Band Camp 1993 in this inciting incident, for anyone who is reading this who happened to be there, although the ending is completely different. Being fairly stupid, as trolls are, Gamer Troll trudges to the beach, meeting some wacky surreal birds, is swept out to sea where he is almost eaten, saved by a mermaid princess, and sent back to the beach. He trudges back home to his parents’ cave, where he flops down on the couch to discover that his controller was in his pocket the whole time. The moral, in troll-like fashion, is, “It’s always the last place you look, because when you find it, you stop looking.”

Read the whole story here. I have to say I think it came out pretty well, and I read it to Melia, age seven, as a bedtime story, and it proved satisfactory for that purpose. Maybe I have a career as a children’s author?

Finally, it was time to write the music. My story was too in-depth to depict every nuance in music, at least not in nine minutes, but the highlights are there. I’ve never written a true tone-poem like this that attempted to adhere closely to a narrative and express it to the extent possible, but I started with a few sketches of motives (Gamer Troll saying “No controller, no games,” a combination of Saint-Saens’ chickens and cuckoo for the wacky birds). Conveniently, lots of rippling water and bubble music, and my two giant waves are in homage to John Luther Adams’ Become Ocean. The percussionist will add to Saint-Saens xylophone and glass harmonica (I assume that will be glockenspiel) with a snare drum and suspended cymbal. I didn’t study the Saint-Saens in great depth, and my piece is much more of an ensemble piece, where Carnival is more a piano duo with some obbligato parts. My pianist colleagues will have their hands full with Saint-Saens anyway, so they don’t need a second virtuoso piece. It was tempting to consistently have one instrument play each character, but I didn’t want to limit the roles: while Gamer Troll is featured continuously, the other characters are not, and the ensemble is too small to reserve one or more instruments for short sections.

I’m currently wrapping up layout and part extraction, and I’m looking forward to rehearsals and the premiere in the third week of August. Here is information on that (you have to scroll down past all the theater productions).

 

Not Dead from COVID-19 Yet

Friday, July 3rd, 2020

My last post was in November 2019, and what a half-year it has been.

Much of my life so far has been untouched by history. Plenty of history has happened since 1976, of course, but the great events have almost never caused any real disruption. 1989 happened somewhere else, to older people. 2001 was a shock, and horrific, but it, and the wars that followed, happened mostly to other people. 2008 may have caused Becky and I to stay longer in Oklahoma than we had planned, but then again, it may not have, and my career has not significantly suffered.

COVID-19, however, has touched us. Luckily, we have not contracted the disease, although that remains a possibility. Early on, I told myself that our family would be lucky to come through this without that happening, and while survival rates seem high, the risk that I will lose a family member to this, or die of it myself, is not zero.

It began at the end of last year, when I began to hear the news stories on the radio about the new virus in Wuhan, China. I remember in particular one day listening to it in the car while getting the kids from school. Donald Trump’s impeachment trial was happening at the same time, of course, and that failed attempt was a bigger story at the moment. The holidays happened more or less normally, although it was Becky’s first year since we’ve been married working retail, but at some point one of my contacts on Twitter whose husband is an epidemiologist posted a thread about just how serious COVID seemed to be, and I got to thinking. This would have been by about February or so.

I’ve read about epidemics and pandemics. In college, I read Laurie Garrett’s The Coming Plague, and discussed it at dinner with friends, horrifying my girlfriend, but fascinating at least one other person at the table. I read Anthony Fauci’s book a year or so ago. I watched Ebola unfold in 2014, and breathed a sigh of relief that it stayed far away from us. COVID-19 seemed to be unfolding the same way as SARS or MERS–new, but containable. But I still kept my ear to the ground.

My parents went to Hawaii around Valentines Day, just as the first cases were started to happen in this country. They were able to return with no problem, but soon others would not. At the grocery store, I began to put a little extra in the cart every week. Our finances allowed it easily, and my contact on Twitter suggested that this would be an effective measure: buy a little bit now without stressing the system, and avoid some of the panic buying that might happen when the system started to come under stress. Pasta. Pizza supplies. Breakfast and lunch. Over-the-counter medications that we use regularly. Cleaning supplies. And toilet paper. We still are ahead on toilet paper, and never really got behind, because I bought a package a week for most of February, and have kept our supply at about a hundred rolls on hand since then. All things that would keep and that we would use anyway, so it wasn’t really an extra expense, just money that we would spend now and not later.

I continued to teach my classes as normal, and rehearse the orchestra, up until Spring Break. Sunday, March 8 was our first concert of 2020, and it went well. We collected music as usual and planned to see each other after break. I had performances of my music on February 6 and March 1, with several more slated for the spring.

Spring Break proceeded apace. As usual, my break was not at the same time as Noah’s and Melia’s, which meant some quiet time at home and some couples time with Becky. Meanwhile, more people were getting sick, and things were starting to change.

March 11, the day that I’m told is the day that most Americans started to be impacted, was the day that I had agreed to judge the annual student concerto competition at Mentor High School. The orchestra director, Matt Yoke, ran the competition, and as usual, my co-judge was Terri Herschmann, retired choir director. I waited in the car for a few minutes, listening to what had become Ohio Governor Mike DeWine’s daily press briefing on COVID-19, but went into the school before it was over. By the time we were done judging, he had made the announcement that Ohio public schools would be closing for three weeks, starting the following Monday. Matt, Terri, and I weren’t sure what this meant–we thought that it might mean that our judging would be for nought, since it would limit the time the orchestra would have to rehearse the winners’ pieces. The closure included my job at Lakeland, so child care would not be a problem for us the way it has been for so many other people. Noah and Melia would have a week of online classes–hastily thrown together–then a week of their Spring Break, and then would finish online. Lakeland extended its Spring Break by a week so that instructors could prepare to finish the term as best we could completely online.

That night, Becky and I decided that I should go to the grocery store for a few extra things. I decided to use the Giant Eagle in Willoughby, since it is a larger store than the one here in Willowick, and a trip to the local Wal-Mart seemed like insanity–I still haven’t been back to Wal-Mart, where we were shopping regularly until March. The American supermarket is designed to suggest plenty and abundance, and that night it was clear just how worried people were, as key items were out. Toilet paper, of course. Eggs were nearly gone. Bottled water was cleared from the shelves, but I noticed two large pallets of it when I finally got to the check-out. What I remember most was the line: the store was packed, and I waited for over an hour, during which time I called my parents and told them that they shouldn’t worry about trying to come for my birthday that weekend as we had planned. Prices were normal, and most customers seemed frazzled, but not agitated to the point of making themselves worrisome. My cashier was a young woman who had come to work from school, and it was about 9pm by the time she rang me up. I thanked her for being there, and told her I hoped she was able to go home soon.

The next two days I wrapped up a few loose ends, trying to get ready for what might come next. I made sure that my second term class was ready to start, knowing that it would begin on time on March 14, so that I would have time to figure something out for my formerly-in-person classes. I voted early at the county board of elections for the Ohio primary on March 17 (which was eventually postponed), but I wanted to make sure that I voted for our local school levy. In general, there was the feeling of deliberateness and urgency to get things done, but also a calm-before-the-storm sense. The Board of Elections was a busy place, but no busier than I would expect on an early-voting day. On March 14, we had my birthday dinner, and I chose Mexican food. The restaurant was fairly empty for a Saturday night, and I spent a few weeks feeling bad that I picked it, since I’m the only one who really likes it, and it was our last meal out for quite some time.

Becky worked for the first couple of weeks that the kids and I were off, and then Ulta closed, and for several weeks, we saw only each other and the essential workers with whom we came into contact. We have been very fortunate so far that our finances have been unimpacted. We were able to save most of our income tax refund, as well as our stimulus check, and although it’s possible we will still need that money, our bank account is currently more flush than it has ever been.

We worked together to help Noah and Melia complete their schoolwork, with Becky and I tag-teaming the kids once she was home. The three of us all had to complete work with just one computer, although not everything the kids needed to do was online, as their teachers had sent math books and other materials home. I would put in about 2 hours a day on my online work, which I kept to a relative minimum, thinking that my students were mostly taking my course to fulfill a general education requirement, and certainly had other priorities. In the end, I didn’t fail many students: certainly not more than I would have in a typical semester, even with some students being unable to re-engage with the newly-online courses. I was very lenient, and if someone was passing before Spring Break, I tried to give them a passing grade for the term. After my work, we would begin on the kids’ work for the day. This would extend well into the afternoon at first, but once Becky was home, it would take much longer. We had a disused tablet that we found would work to access much of the kids’ work, which also helped, although the result is that Melia has claimed it for herself and become a tablet junkie, something we tried to avoid for a long time.

Online schooling was not ideal, by any sense, but it also showed just how much of the school day is used for non-instructional time, and how much more quickly learning can happen individually. It also showed me where some deficiencies lay. Noah was behind in math, and, to my thinking, at risk of falling further back, and so this summer we have embarked on a review of fourth-grade math. Piano and trombone lessons also moved online. Noah’s teacher continued to work with him, although the process was frustrating for him. I stayed in the room for lessons to act as a tech person–I used binder clips to attach my phone to the music stand to get the right angle, and we used the now-ubiquitous Zoom app for both piano and trombone with a degree of success. Mrs. Rita (Cyvas-Kliorys) even arranged for a virtual recital at the end of the term, but she has now taken the summer off–it must have been exhausting with a studio her size.

For the seven weeks that Becky was completely off from Ulta, we stayed home almost all the time. I took the kids outside every day for at least an hour, and within a week or so, the weather was pleasant enough to ride bicycles (although occasionally with winter coats on). Melia had not mastered her two-wheeler by the end of last summer, but this spring she was ready, and has taken to it. The three of us have gone on two extended bike rides of about eight miles. The Richland County B&O Trail, the Ohio & Erie Towpath Trail, and the Cleveland Metroparks have all been destination rides, but we’ve also been around much of the neighborhood. We’re now at a point where the kids are a little more resistant to the bike riding, but I tell them that their father needs to do it, and we go all the same, and after a few hundred yards, they are all in.

I planned three meals a day at home, with a once-a-week carry-out or drive-thru meal. I suffered “breakfast for dinner,” which isn’t my favorite M.O., but is beloved of our kids, and we invented the “smorgasbord” dinner of popcorn, pepperoni, cheese, fruit, and hummus that has become a favorite for Melia. We instituted a nightly movie night for much of the lockdown, with most movies taking two nights. With Becky back at work from early May, we’ve gotten out of this habit, with later dinners. I got out of the habit of reading to the kids every night, but last week picked up a copy of The Hobbit with a gift card I received for Father’s Day, and we’ve started it back up.

My reading has been way off pace. Too much time on Twitter, perhaps, but also missing the three or four karate classes, dance class, and piano lesson, and Cub Scout meeting each week where I can sit and read while the kids do their thing. By the end of June, I had read only 20 books, 6 off my book-a-week goal. I have also been studying German through the DuoLingo app, and am almost through that course, so there is reading time lost as well.

Cub Scouts ended after a socially-distanced Pinewood Derby on March 15. Noah’s den leaders were phoning it in this year at any rate, and I haven’t heard from them at all. Summer camp was cancelled, a real disappointment to Noah, and by extension, for us–last year’s camp was one of the great experiences of his life so far.

I made the decision to prioritize sleep and limit my computer time, so while I had started sketching a brass fanfare commissioned by the Ohio Valley Majestic Brass in the days before the lockdown, I put my composing aside until the end of the school year. I had been in a slump since stalling out on my symphony at any rate, and some time away made sense. Since May, I have been back at it, and I completed the fanfare and received payment for it last week. I’m also most of the way through a short suite for the local Ekklesia Reed Quintet, called Mind, Body, and Soul. After that, I’ve promised a big band chart to Ed Michaels for next season, and then, I suppose, there will be the symphony. I haven’t opened those files since November.

Several performances of my work had to be cancelled. The Cleveland Chamber Symphony had been slated to play a new chamber orchestra version of Martian Dances in April, and the Lakeland Civic Band was scheduled for a second performance of Mysterious Marvels on my birthday, but the concert was cancelled. Lady Glides on the Moon was down for two performances in Illinois this spring, but I haven’t heard anything about them since, and the Cleveland Composers Guild has morphed this year’s Junior Concert into an online presentation, which will, at least, include a short piece I’ve written for guitar. In mid-March, when it became clear that we were cancelling our remaining three concerts for the season, I began sending out a “piece of the day” for the Composers Guild, sending music by our members to the membership and posting to social media. This has been popular among our membership, and a great opportunity for me to get to know the work of my colleagues, and to just stay connected to the composing world. I’ve had ideas about what I might do in the way of collaborations or getting work out there, but it just hasn’t happened yet. I would love to make videos of Twenty Views of the Trombone, for instance, but I just don’t have the right equipment. I tried to record and video a part for a band piece by a student composer I know on Twitter, but I’m not completely sure that I was able to create something usable.

I haven’t heard any live music since those auditions at Mentor High School, other than Noah’s and my practicing. I had one concert remaining on my Cleveland Orchestra subscription, and of course ended up donating my ticket. It will be good to get back to that.

Noah and I were planning a trip to Germany in April to spend ten days with my brother and his family. I hadn’t been there since 2001, and Noah had never been at all. That trip was in the works for months–we had our passports and flights booked, of course, and it would have been an exquisite experience that I was very excited to give my son.  We had planned our spring around it, and even bought new luggage, and it still stings every time I think about it. One result, though, is that Nate and I have done a better job being in touch.

Since Christmas, we’ve only seen my parents one time–to meet in a Wendy’s parking lot and have lunch in separate cars on Mother’s Day. Since then, we’ve seen my in-laws several times, but my parents have decided to stay locked down as much as possible, and declined to meet us on Father’s Day. Hopefully, this will mean many more opportunities to see them when this is all over.

I feel like I’ve handled things remarkably well, given that all of this started during my annual winter slump. It has forced me to focus on practicalities and on taking care of my family, and myself. My diet has never been great, but I haven’t succumbed to the temptation to eat nothing but junk food, although our ice cream consumption is up, and for the first couple of weeks, I was buying Easter chocolate like mad. The regular outdoors time has been good for the kids and me, and we mostly get along. I thrive on routine, so a daily shower, exercise, work and artistic goals have all been critical.

That said, I am nervous about the future. We are in contract negotiations, and I don’t think that will be good news, as college enrollment is down for the fall. I scheduled my usual in-person classes as hybrid in-person/online, and they are not filling, meaning that I will likely end up taking from adjuncts to make load, my nightmare scenario, and a particularly bleak prospect that it would pain me to inflict on people I consider my colleagues and friends at a time when it will be difficult for them to find other work in the field. Yesterday came the announcement that K-12 schools will reopen with in-person instruction in the fall, and this makes me nervous, amidst the current surge in cases of COVID-19 and with no news of a vaccine. Tonight, Melia woke me up at 4am having had a nightmare, and after I put her back to bed, I was unable to get back to sleep myself: once the birds started chirping, I decided to come write this post, which I’ve been meaning to do. My first truly sleepless night of this era, and really, in a long time.

Becky’s long-running insomnia continues, although she seems to be sleeping better for having to go to work. She injured her shoulder, and has an arthroscopy scheduled for later this month, but meanwhile is in even more pain than usual. I have been giving her at least one massage a day for years now.

Noah goes through times when he is anxious, restless, and discontented with the state of affairs. He is resourceful, though, and has found ways to occupy himself. He has built a large layout of Legos based on the Normandy beach of the D-Day invasion, and has been studying World War 2 to try to make it realistic, inspired by a stop-motion animation that he found on YouTube. Melia has been reporting chronic stomach pain, and has a doctor’s visit scheduled. The kids have become closer, and somewhat more self-reliant, as I typically leave them to their own devices after breakfast while I work for an hour or two. A year ago, they would have required much more direct supervision, and I would have had to be scrupulous about waking up early to work before breakfast–today is an anomaly.

We press on then, and for all my apocalyptic visions of a pandemic, fueled by books and movies, history’s touch on our has been relatively light thus far, and for that I am thankful. I am planning to ramp up my grocery spending again, as our March stockpile is looking a little depleted, and cases are on the rise again. The Germany trip is postponed indefinitely, as is the vacation to South Carolina we had planned. School will resume in some fashion, as will musical life, and I can only hope that we are lucky to be observers of the worst.

The Symphony: In a Stall

Wednesday, November 27th, 2019

In aviation, a stall is a dreaded moment: an airplane climbs at too steep an angle, and doesn’t have sufficient thrust to maintain airspeed over the wings, loses lift, and begins to fall out of the sky. This is a problem so basic that even working on Aviation Merit Badge as a Scout (where the national BSA policy was that you wouldn’t actually leave the ground), I found myself in a simulator and put the simulated plane into a simulated stall within seconds of taking to the simulated sky. Stalls happen for a number of reasons, including pilot error, and every pilot needs to know how to correct (and avoid) them.

In writing my symphony, I am in the process of drafting the second movement, and I find myself in a stall. Late September and the first part of October, as detailed in my previous post, saw me composing a first movement in a white heat–consistently getting up early for my 6-7am timeslot, taking advantage of days when more time was available, working through a plan–both for work and for the form of the piece–that I was very happy with. It was my usual productive fall–I’ve seen this before, and I’ve mentioned my season-correlated cyclic energy levels. The months of September and October are important–I am rested from summer break, the days are getting shorter, but they are often sunny. After my blog post on October 20, I deliberately took some time away from the symphony, though. I knew that I was only at the beginning of a long journey, and that it is important to let the project rest and marinate from time to time. After a week, though, it seemed like enough, and I dove into the second movement: my first sketches are dated October 30, and I proudly wrote “Reformation Day” at the top of my outline for the second movement.

For the first part of November, all was going well, although I notice that my work on the sketches doesn’t reflect every day. My musical language in this movement is different, and I made the decision to incorporate some quotations from a piece that I wrote for my father’s aunt, Nancy Turner Sturdivant, who passed away this month (I wasn’t close to her, but I admired her, and she was very special to my father; there should be a blog post on her). I have also been working with string glissandi and some use of the kind of controlled aleatory. Not a piece that goes easily into Sibelius, and not a piece that, frankly, matches well with the first movement I was so excited about. About a week ago, in a fit of procrastination, I went back to the first movement and listened again, and now I’m worried that, in order for what I’m doing in the second movement to make sense, the first movement will require some major revisions.

Self-care is a word that gets thrown around a lot by composers, and I’ve been trying to make sure that I give myself time and space to do good composing on this project–my dream project of a quarter-century. I pretend that my work and my composing are two different worlds: my job at Lakeland Community College is a very good one, but there is no expectation in it that I be a composer (a conductor, yes, but not a composer). As the semester pushes forward, my job changes: I add an online class during the second 8-weeks of the term, more work is due in the full-term classes, the end-of-semester tasks begin to loom, and the things that were started earlier in the semester have to be wrapped up. Just as I know my seasonal rhythm, after thirteen years on the semester plan, I know this rhythm as well. My job isn’t especially stressful (at least not the way I work), but it requires mental energy that comes from a limited supply, and when things ramp up there (an orchestra concert in November, with another looming on December 9; my post-tenure review due; switching over to my 2nd 8-weeks classes; beginning to think about Spring semester), it starts to impinge on my creative work.

Then there is the reality of family life. Becky is under tremendous stress right now. In October, she accepted a promotion in her job at Ulta Beauty to a full-time management position. I whole-heartedly support this, but it has meant a different schedule, as she is now opening and closing the store at times, and just working more hours. Is October the best time to take on additional responsibilities in a retail environment? Maybe, maybe not. I don’t think she is struggling at work in any way, but it is still a source of stress, and she feels that she is pushing herself, just as I am pushing myself in writing this symphony. On top of it, her parents are in the process of downsizing, and it hasn’t been an easy process for anyone, which compounds her stress at work.

So now I find myself taking time away from the piece: days when I find something else to do with my hour; mornings when I hit the snooze bar and lose part of my hour; mornings when my hour isn’t productive because I’m too tired from staying up late to support Becky or just to read a science fiction novel. I am in a stall at the moment.

Like the pilot facing a stall, I have seen these things coming: I knew that Becky’s job would shift some things at home onto me. I knew that the workload at Lakeland would shift as the semester progresses. I knew that my fall energy would fade and that the excitement of beginning this project wouldn’t last. This was completely predictable.

  • Just as any pilot is trained to break out a stall, I have an idea of what to do:
  • Allow myself the time away, firm in the knowledge that the work will be there when I come back to it, and that there is plenty of time: the better part of two years before the final piece needs to be ready for a November 2021 premiere.
  • Get more sleep. Going to bed much after 10pm means that my 6am composition slot is not a healthy habit. For a few weeks, I wonder if I ought to make a rule that I’m not getting up early if I go to bed late and stick to it.
  • Change up the routine: I have this opportunity coming with the end of the semester. I have a couple of weeks where I may not have to rely on my 6am hour as much. As good a thing as it is, some of my best work happens when I am able to break out of the 6am slot and compose in other times and places.
  • Exercise. I can’t get the sunlight I was getting earlier this semester, but I can at least get my body moving.
  • Diet. Halloween put a temporary end to my attempts to lower my refined sugar consumption. Since then, it has been a cookie or a piece of candy whenever I feel like it, and that can’t continue. I’ve gotten into a 2:30pm diet cola habit at work, too, and I need to break out of that.
  • Confidence in my training. I know that I can write this piece. I know that I know what to do to keep going in the face of a loss of lift.

I can pull out of this stall.

The Symphony: A Golden Spike Moment

Sunday, October 20th, 2019

In May 1869, the Transcontinental Railroad was completed, working from both ends simultaneously, with a golden spike at Promontory Point, Utah. This morning, I had my own Golden Spike Moment as I completed the first rough draft of the first movement of my first symphony.

I decided to write a symphony earlier this year, from an inspiration I had several years ago. The hymn “Praise God from Whom All Blessings Flow,” which our church sings to the tune Old Hundredth nearly every Sunday as the Doxology, struck me one Sunday as an interesting possibility, and each Sunday, as we sang it again, I was pulled closer to it, thinking about what an extended meditation on that hymn might be like. While it isn’t perfectly ecumenical, it is a broad acknowledgement of a Creator God who loves us and wants us to be happy.

Earlier this year, I was in a difficult place creatively. My mid-winter depressive tendencies seemed to strike especially hard, and must difficultly, I had only one small project with a specific deadline (a piece that I was very happy with as it turned out). Despite a promising start to 2019 in terms of performances, nothing specific loomed on the horizon either, and creatively, I felt stuck, with no specific reason to continue. I even failed to complete another piece in time for the call for scores for which I envisioned it, which turned out to be a real missed opportunity. I was wondering if I had a future as a composer. This doldrum lasted well into the summer, and a fanfare commission which should have been done in a matter of weeks dragged on, actually interfering with the symphony project. Part of me was wondering if I had a future as a composer at all.

For several years, I have been telling myself that I would write a symphony for 2021, the year I turn 45: my last attempt was a false start when I was composing my doctoral graduation piece at age 30–that piece ended up being Five Rhythmic Etudes, and the tale is cautionary, because despite a strong premiere of the outer movements, I have never heard the complete piece. Would a full-scale symphony find a place on anyone’s program? As the director of the Lakeland Civic Orchestra, I knew that if I tailored the work to their strengths, we could perform it.

In May of this year, I cast the die: doubling down on my uncertainty, I wrote a commissioning agreement, as I usually do for my compositions, only this time, I commissioned myself, for a forty-minute symphony based on Old Hundredth to be delivered in time for a November 2021 performance. The goal seemed far enough away to be possible, and I didn’t tell anyone at first. If this is my final work as a composer, then I have accomplished most of what I hoped I would do when I started writing music: I have dreamed of composing a symphony for about 30 years now.

The next step was to take the large goal and set smaller ones:

Date Goal
September 1, 2019 Planning and Sketching Completed
November 1, 2019 1st Movement Short Score
January 1, 2020 2nd Movement Short Score
April 1, 2020 3rd Movement Short Score
July 1, 2020 4th Movement Short Score
September 1, 2020 1st Movement Orchestrated
November 1, 2020 2nd Movement Orchestrated
January 1, 2021 3rd Movement Orchestrated
March 1, 2021 4th Movement Orchestrated
June 1, 2021 Full Score Finalized
August 1, 2021 Parts to Orchestra
o/a November 7, 2021 Premiere Performance

This in hand, I relaxed, and here was a mistake. My depression continued into the summer, in part because a course I had planned to teach was cancelled for low enrollment, and I just wasn’t putting the time in. I was staying up late at night and sleeping through my early-morning composing sessions, finding it difficult to get back on track. A week turned into a month, and by August 15, I had nothing sketched. I also had a fanfare for the Lakeland Civic Band that was still undone. With the start of classes at Lakeland, however, I had an incentive to reset my sleep schedule, and I got back to work. By early September, the fanfare, Mysterious Marvels, was completed, and I turned my attention to the symphony.

I began with the chorale, thinking that each phrase could be expanded into one of the four movements of the standard form. I examined the harmonizations from several hymnals, and settled on the one in use in my current church, No. 95 in the United Methodist Hymnal. In mid-September, I made a few sketches, and then created this overall plan:

The one-page outline of the first movement of my symphony.

The one-page outline of the first movement of my symphony.

The date, September 19, is somewhat later than I had hoped, but I was on my way. On the back of this page, I wrote:

What makes music “symphonic?”

  • “combining of tones”–whole is greater than sum of parts
  • development–motivic, thematic
  • explanation of a musical thesis
  • timbral variety and contrast
  • block scoring
  • weight and depth of emotional impact
  • breadth of expression and variety of means of expression
  • public, community-oriented statement meant for a broad audience

What do I want from this symphony?

  • summation of my work thus far (but do I break new ground here?)
  • statement about who I am now
  • cohesive, unified design (Panufnik, Lutoslawski)
  • playable, enjoyable for musician and listener
  • praise to God: four movements based on Old Hundredth, but is that
    • structural
    • motivic
    • more explicit?
  • but also ecumenical–invitation to praise and community, but faith is private

I began sketching on paper–a technique I have started to rely on increasingly over the last couple of years, and with the sketches I had created ahead of the one-page outline, I began to develop a plan that expressed the outline. It was only a single line of music in places, but by the end of September, it was continuous music from beginning to end of the movement. I then began to put ideas into the computer–still using Sibelius 6–and flesh them out as I described my process: a short score, with one staff for every instrument. As it happened, I started scoring the end of the movement first, from “D1” in my outline, and when I reached the end, I went back to the beginning, and so today, I reached D1 again, and drove the Golden Spike with a staccato D for low strings, oboe, and bassoon. A gentle hammer blow, since gold is soft.

This project has invigorated me: I have my usual fall energy for it, and the music has flowed easily. My years of composing have led to a workflow that I feel I can rely on: I don’t wait on the muse for inspiration–I sit down and write when it is time, and it is now time. With a movement under my belt, I am confident that two years from now, we will be rehearsing for a premiere.

And so today, I listened to my entire draft of the first movement, about 11 minutes of music. I will tweak it a little, and then lay it aside while I compose the rest of the symphony. Last week, my wife asked if she could hear it, and I had to respond that it was not yet ready–when she wakes up, I’ll tell her that it is today, because I have driven the golden spike.

 

 

A Week of Music

Friday, October 18th, 2019

A quick post so that I can get back to the major project in which I have been immersed.

It has been a busy week for my music and for my experience of music.

A week ago, I awoke in Mattoon, Illinois so that I could drive up the road to Eastern Illinois University for my first Society of Composers conference in five years. I haven’t deliberately stayed away, but timing and location have conspired against me. I was able to enjoy five of the eight concerts, including performances of Daniel Perttu’s preludes for piano, my own Maximum Impact for jazz ensemble, and Kevin Wilson’s cello sonata. My personal highlight of the conference was James Romig’s Still. This hour-long solo piano work, with a very low density of notes, might have lulled me to sleep after a long weekend of driving and conferencing, but quite the opposite–I found the work intriguing and invigorating. The other highlight was getting to spend time with Becky, especially on Friday evening, when we reconnected with Dan Perttu and Magie Smith, who is professor of clarinet at EIU. It was practically a grad school reunion.

We left the conference early so that we could drive back on Saturday because on Sunday, I needed to attend the first Cleveland Composers Guild concert of the season at Cleveland State University. I can’t remember a stronger program, in no small part because of the performers, including Peter Otto and Randy Fusco playing Margi Griebling-Haigh’s Rhapsody and the Cavani Quartet playing Sebastian Birch’s Life in a Day. But of all eight pieces, there were really no duds. The premiere of my song And I Live With the Fiction that I Never Get Mad by Loren Reash-Henz and Ben Malkevitch went off very well, and the lyricist, Janice Reash, was in the audience and quite impressed. I wasn’t quite sure that I liked the piece until I was able to hear a performance of it, and I believe that I will keep it in my catalog, because it really does work well.

An embarrassment of riches, this week, really. Last night I went to hear the Cleveland Orchestra for the second time this season. The “build your own” subscription allowed me to pick exactly the music that I wanted to hear, and I was excited to hear Louis Andriessen’s newish work Agamemnon. Life intervened: conductor Jaap van Zweden was called to his family, and the replacement conductor, Klaus Mäkelä, was presumably unfamiliar with a work premiered by van Zweden. This was disappointing, but I determined that whatever music the orchestra would play would be excellent, and decided to not feel short-changed.

I was not wrong. A lesser orchestra would have thrown a familiar piece onto the program: a Brahms overture or the like, but we were given instead a reasonable replacement: Olivier Messiaen’s little-heard Les Offrandes oubliées. This early work was a revelation–especially the ending, which was reminiscent of Holst’s Neptune. Violinist Augustin Hadelich played Prokovief’s second violin concerto beautifully, although that work is not one of my favorites–there remain only a few violin concerti that really connect with me after all these years. After intermission, Mäkelä’s rendition of Beethoven’s Seventh was splendid: full of the life and vigor central to that work. I hope that he will be engaged again.