Archive for the ‘Travels’ Category

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).

 

School Days

Saturday, May 22nd, 2021

They are tearing down my high school–Upper Arlington High School–over the summer, so I went back last month, and I took Noah, one day shy of turning 11, with me, to a walk-through day sponsored by the alumni association. It was the first time I had been back to most of the facility since I graduated, although I had been to the music area and the auditorium a couple times, mostly associated with the 2008 premiere of the piece I wrote for the band to commemorate the career of my high school band director, John Blevins.

I was surprised how much was the same. The building had not undergone any major renovations since before my time there, and even some of the fixtures were memorable. The light was the same—too little. The halls were surprisingly at once bigger or smaller than I remembered, and some doors seemed to be labelled with their original markings from the 1950s. It was a good day to be there, as the building was still very much in use, the final packing up for the summer still to come. In fact, there were signs asking us to stay out of classrooms. When I came to the band room, though, I couldn’t help myself, and Noah was shocked when I stepped over the caution tape to walk through the rehearsal space one last time, peeking at the locker that I had shared with Jay Moore during our junior and senior years, and snapping a couple of photos. Crossing lines put in place by authority is not something my son is accustomed to seeing me do, but I assured him that it would be alright, even while also telling him not to get any ideas.

Overall, I had a good four years in high school, from 1990 to 1994. I excelled academically, found my place in several groups of my classmates (band, mostly, but also the honors students, the gifted program, briefly the drama club, and too late the quiz team), and discovered the passion that would lead to my career. I wasn’t bullied, and I don’t think I was a bully, but neither was I a standout in the social world of my high school. My family lived a comfortable life, but I was surrounded by people whose parents were wealthier than us: lots of my friends were given a car when they turned sixteen, but I was given a set of keys to the family car.

What I am amazed by, these years later, is the quality of my teachers, especially after spending more than twenty years trying to be a teacher myself. I wrote once of the importance of every teenager having a role model who isn’t their parents—an uncle, spiritual guide, or teacher—and Upper Arlington High School had an embarrassment of riches among its faculty. If I hadn’t found that person in Mr. Blevins, there were easily three or four other teachers each year who could have been that person, and frequently were for my classmates. Even students who didn’t seem to fit could—and did—find these people. The huge number of clubs and sports coached by teachers meant that there were plenty of chances to interact with them in less-formal ways than in the classroom.

Upper Arlington High School was—and is—a well-funded school, attended by students who had all the advantages that wealth brings, and I’ve truthfully struggled my entire life to reconcile that experience with what I have seen and heard elsewhere, as a teacher, as a college professor, and as I’ve listened to the experiences of others in high school. In a negative sense, I have come to see what I often felt as entitlement, and white privilege, and I am frustrated that we can’t find a way to give what I had—and took for granted—to all kids.

Some things I would have done differently. Coming into high school, I had a pretty good network of friends, and leaving it, I had at least one close friend, but I don’t think I engaged in building relationships as much as I could have, and I didn’t manage to maintain those relationships in any kind of real way after graduation. On graduation day, I went home with my parents, and didn’t have any plans with the people I had just spent four years with. My father told me to go seemy friends, but I didn’t have anywhere to go: all my friendships but one were essentially situational, and when high school ended, they basically did, too. This was in part what I wanted—I was very ready to go on to the next thing and start living my life, and I viewed going away to college and leaving everything I knew mostly behind as a big part of that. It wasn’t until I got onto social media (nearly 15 years later) that I found out what happened to most people. Mistakenly, I had thought that the only important part of high school was high school.

I have also come to realize that for many of my classmates and peers at high schools of all types, the high school experience was not a good one. For a place that should be dedicated to learning and knowledge, too often there is very little of either. There are those who placed their trust one or another teacher, only to have that trust betrayed in often horrifying ways. There are people who were bullied, or ostracized, and they carry the damage with them into their adult lives—adulthood is high school with money, as the saying goes. There were people who simply had to wait and endure that four years in order to be able to go and pursue their visions, goals, and dreams in a way that didn’t fit in with a bell schedule, semesters, homework, and hall passes, and resented it. There were people who injured themselves in lifelong ways, either on the athletic field or otherwise, trying to come up to what was expected of them. As Hesse suggests, education is a way of placing us beneath the wheel; the Bildungsroman is almost always written while wearing rose-colored glasses.

As my children approach this world—Noah is headed into the minefield of middle school in the fall—I try to see what I want for them. The high school they will attend is most certainly not Upper Arlington in 1994, and I would like to see them aim higher than most of that school’s students who I seem to meet. I realize now that I am a very different person because of the people I was around in high school—the artists, musicians, and honors students. It was nothing in the water—it was constantly being around people whose parents shared the same goals as me. I want my children to be able to assume that they can use their minds to earn a living, to be able to provide a good life for their children, to not be afraid of books or art or people who are different (although there was plenty of that at Upper Arlington, too). I want them to know success, and to know a world where they believe success is possible, and where people are willing to at least give them a chance to succeed.

Twenty-seven years out of high school, I am still thinking about high school. As the physical evidence of the school is being torn down and replaced with something new, what happened to me in those four years—good, bad, indifferent—carries on, more than a look through old yearbooks (I am shocked at how many strangers stare back at me from those pages), or posts on social media, or the reunions that I’ve never been to.

I never wanted to be a nostalgic person, and I detest the kind of nostalgia that sees the past as better. I refuse to engage in golden age thinking (or gold-and-black age thinking, in this case). But the Greek roots of nostalgia refer to pain—pain for one’s home. There is a part of me that does ache for that time—to put on the band uniform, or learn fresh some way that the world works, or for once feel like I am meeting the world’s expectations. I shouldn’t, because that was all an illusion, and it was all designed for someone else. I wouldn’t go back—most days—but walking through that doomed building reminded me of what a time it was, and how it continues to make me who I am today.

Christmas Playlist

Friday, December 11th, 2020

Last week, my co-worker Jennifer Smyser asked me to be “DJ for a Day” and create a Christmas playlist for Lakeland’s virtual holiday party. I was happy to oblige. Here is the result:

I truthfully found myself in tears putting this together. It’s been a rough year due to COVID, and let me say that I have been incredibly lucky to be steadily employed, healthy, and with family, but now, staring down the holidays without the prospect of many things that I’ve always loved about them is not easy, and this playlist brought all of that back, along with the fact that people I love aren’t getting any younger: in a couple of Christmases, we will be out of the Santa Claus years at our house, and my wife and I have both lost aunts and my last grandmother in the last few years, so in some way, there won’t be any going back. At any rate, here are my six songs, with a little bit of information on each.

“Deck the Halls,” Traditional, arranged and performed by Chip Davis and Mannheim Steamroller.

In the 1980s, we loved our synthesizers and drum machines, and Mannheim Steamroller gave us their first Christmas album in 1984, a digital sugar cookie for my musically-impressionable ears. We always traveled to my grandma’s house in Tuscarawas County on Christmas Day, and I vividly remember a Christmas afternoon with my cousins playing cards and listening to this record the way it was meant to be heard—on one of those new-fangled CD players. I wish I could play this whole album the opening track will have to do!

“Sleigh Ride” by Leroy Anderson, performed by Arthur Fiedler conducting the Boston Pops.

No self-respecting orchestra or band director would leave this one off the list, but for me, it’s a special one, because in 2001, when I was teaching high school band at a small school in Clark County, Ohio, I had a group of students that was hard-working, but not quite up to the challenges of this piece. I put it in front of them anyway, and over the next few weeks watched in amazement as they rose to the challenge of a piece of music that they clearly loved.

“Pat-a-Pan,” traditional, arranged and performed by the Quadriga Ensemble

I had a girlfriend in college who hated “Pat-a-Pan” and said it ruined Christmas to hear it. She left me in an ugly breakup, so ever since I have promoted awareness of this song, because I think it’s actually really fun. So if anyone knows any radio DJs in Salt Lake City… yeah, that’s where she was living the last I heard.

“Light One Candle” by Peter Yarrow, performed by Peter, Paul & Mary and the New York Choral Society.

My parents weren’t hippies, but they loved Peter, Paul & Mary, and this Hanukkah song from their 1988 holiday concert sums up what we can all take from their work. We didn’t have a VCR until about this time, and my parents taped this special when it was on PBS and wore out the tape rewatching it over the next year. If you haven’t seen it, go find the whole thing on YouTube!

“Linus and Lucy,” by Vince Guaraldi, performed by the Vince Guaraldi Trio

It just isn’t Christmas until we see Charlie Brown pick out a Christmas tree and hear Linus tell us what Christmas is all about. The jazz trio is one of the purest ways I know to make music, and even though this little Latin ditty with a swing bridge doesn’t have much to do with Christmas, it certainly gets me in the holiday spirit.

“Keep Christmas With You,” by Sam Pottle and David Axelrod, performed by the cast of Sesame Street.

I wore this record out as a preschooler in the very early 80s—I was a Sesame Street kid, and I was convinced that Bert and Ernie were Muppet versions of my brother and me. This song, in addition to being well-written like every song on that show, is a wonderful sentiment that I’ve tried to pass on to my kids as well. (Incidentally, the video in the playlist isn’t the version I listened to: you need to find the original Sesame Street Christmas album for that–there’s a really nice verse that precedes the main song in that recording.

Merry Christmas and Happy Holidays to everyone!

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.

Homeschooled at 43

Monday, August 12th, 2019

I was back in Columbus to see my parents with the kids again this weekend–my third time in my hometown this summer, including a quick trip for our anniversary at the end of July and the early July trip that I wrote about in my last post.

You can’t go home again, of course, but the visits have been good for everyone, I think.

This weekend, I figured out a few things, so I’m putting them down.

I dated a girl, Krista, in my senior year of high school, and I’ve not stopped mulling it over for twenty-five years. She often comes to mind when I’m home, and there’s nothing to be done about it now, since she was murdered about 10 years ago. I’m not going into all the details of that, or of our relationship in high school, which was hesitant, largely because of me. Suffice to say, that I realized this weekend that, at age 17 and 18, I was nowhere near mature enough to be a good partner to her, and it wouldn’t have worked out even if I had done better. I wonder if the ex-boyfriend who killed her and then himself had the same problem.

My mother, who is 71, took the kids and I to the public pool, and my father stayed home. Mom got in the water with us, which wouldn’t be a big deal for most people. When we arrived, she unhesitatingly took off her yoga pants and got in the water in her one-piece suit–no skirt attached, her large surgery scar on her back showing between the straps. I didn’t say anything, but in the van on the way home, she told me that she used to be self-conscious, but has realized that she spent many years letting that keep her out of the pool, even though she loved going in the water, and she’s done with that. Go, Mom! Maybe if she can withstand the stares of judgmental Upper Arlington moms at the pool, I can keep remembering to put myself and my music out there in a serious way (more on that in a future post).

Also at the pool (we went two evenings), my kids learned a lesson about money and justice. We arrived at about 7pm and planned to stay the two hours until close. The Hastings pool has a lap area and a diving well, but also a pair of waterslides, a lazy river, and a large shallow end perfect for Noah and Melia, who are still learning to swim. On Saturday night, we arrived at seven, paid the admission fee, and swam for the first hour until break was called. At the break, we were informed that the pool was closing for a private party–we weren’t told this when we entered, and they claimed there was a sign about it, but we hadn’t seen this, and it wasn’t evident as we left. No refund was offered, but my mother was told that we could go to one of the other city pools, but by the time we could have gotten there, there would have been little point. The kids were disappointed, of course, and I decided it was time for a lesson in society, so I told them this: “In our country, with enough money, you can do whatever you want, but that doesn’t always mean that what you want is right or good. Now you know how it feels to be kicked out of the public pool because someone was willing to pay to have it closed for a private party. Remember this feeling.” We also practiced nonviolent protest by using the restrooms and fully deflating our pool toys before leaving.

The last thing I learned this weekend was something I read in Ella Frances Sanders’ wonderful book Eating the Sun: Small Musings on a Vast Universe, which I would recommend to anyone as a collection of wonderful little vignettes combining fact and poetry in a Carl Sagan vein. This quotation from page 63 is going to be my apothegm and motto for the coming academic year:

Be one of the ones who doesn’t stumble about with eyes closed and hands in pockets.

The Music Man

Saturday, July 6th, 2019

Almost every summer since I was 9, I’ve gone to at least one movie at the CAPA Summer Movie Series at the Ohio Theater in Columbus. My parents started taking me in 1985 or so, with a screening of My Fair Lady, and I’ve listened to Clark Wilson play thousands of songs on the Morton organ–almost always arriving early.

I’ve missed a few summers when I was living in other places, but have always taken the opportunity to see classic films on the big screen whenever I can. My wife and I even had our first date there in 2004 (Ghostbusters).

Last weekend, Noah, Melia, and I were in Columbus while my nieces are visiting from Germany (they flew here as unaccompanied minors with plan changes and everything… total pros). I went to a Columbus Symphony Picnic with the Pops for the first time in about 25 years (their Columbus Commons venue is miles better than the old location at Chemical Abstracts), and I was amazed at the redevelopment that has happened downtown since I last lived in Columbus in 2007. City Center Mall, which was a cornerstone of my experiences downtown as a teenager and through my twenties, turns out to have been a millstone holding back the area, and Columbus has finally got the exciting, vibrant downtown it deserves–not the Continent, not the Short North, not the Brewery District, not the Arena District, but cool stuff happening right at the center of the universe, within spitting distance of Broad and High (it’s the center, because that’s where the street numbers start). As someone who has been going to downtown Columbus since the 1980s, I have to say that it has never looked better. Good job, Columbus!

We went to a showing of the 1962 film adaptation of Meredith Willson’s The Music Man. I first saw this movie in middle school general music class (when it was only around 25 years old!), and have loved it ever since. It was something I showed to students regularly during my K-12 teaching years, and a part of me has always dreamed of playing Harold Hill. This was my first time seeing it on the big screen, and the first time my kids saw it. Noah got into it and had a good time; much was lost on Melia, who was restless, but she’s five and seemingly possessed of perpetual motion.

I’ve always gotten a little soft about this movie, especially at the end, and this time, having not seen it in quite a few years, I had a lump in my throat through most of the last 30 minutes. There’s so much to unpack:

The show is genius, and watching on a big screen with a crowd really helps drive home how wonderfully comedic it is–jokes always land better at the Ohio Theater, and The Music Man is full of them, from obscure slang of the 1910s to the outrageous hats of the women of River City, to the one-liners and sight gags that are relentless–not relentless in the way that Mel Brooks are the Zucker Brothers are, because every comedic moment is tossed off casually and serves to build the characters.

And the characters are endearing–they all have quirks and tics that make them familiar and unique–the mayor’s wife has about seven of the ten really great lines in the film (“What Eleanor Glynn reads is her mother’s problem!”). Yes, they are broadly-drawn, but it’s a musical–we don’t have time for character development beyond the principals, and yet, it seems to happen, at least in Winthrop and some of the River City ladies.

The romance between Harold and Marion is one for the ages, and predicable, but Willson uses music in such a perfect way–in the scene just before Harold’s arrest, we are shown that Harold and Marion have been literally singing the same song the entire time. They both have their pretensions and their ideas about life, about music, and their discovery of each other erases the cynicism with which they enter the film.

It speaks to this former band director on another level: I don’t know that I suffer from impostor syndrome, but there are times I feel like I might, and Harold Hill is a band director who is an actual impostor. And yet, his love of music carries him through, somehow, in the end.

And of course the incredible library dance sequence (and the bag of marbles that actually contains marshmallows–more of Harold Hill’s misdirection and trickery)!

Experiences like this are why I keep coming back to the Ohio–congrats on 50 years of summer movies, and here’s to 50 more!

Catching Up

Friday, April 12th, 2019

It’s been a while… still no posts in 2019? Well, this isn’t exactly true. I’ve been working on a series of posts about my first year as a public school teacher, which was 20 years ago this school year. It’s been taking up my time.

Some things that happened:

1. Four world premieres in a month

Between January 10 and February 10, I enjoyed the premieres of no fewer than four compositions:

  • Duo Capriccio by Tammy Evans Yonce in Brookings, South Dakota on January 14
  • Channels by the Blue Streak Ensemble here in Cleveland on January 17
  • Alexandrite by Trent Glass in Willoughby on February 8
  • My Uncle Was In Derry by the Chamber Music Society of Ohio in Cleveland Heights on February 10 (repeated on February 17 in Akron)

Makes one feel like a composer!

2. The Lakeland Jazz Festival, March 15-17.

Always a set of great performances, but a really nice headline act in the form of the Ralph Moore Quartet playing the music of John Coltrane.

3. College Music Society Great Lakes Conference at the University of Wisconsin-Stout, April 5-6.

Becky and I made a nice trip out of it, thanks to my mom, who came to be with the kids for five days. I gave a paper on the Cincinnati Symphony Centennial Fanfare Commissions, a set of pieces from 1994-95 that I remember from my first year in college at CCM. I’ve only begun this scholarship, and I’d love to see someone else pick it up–there is probably a good thesis or DMA document in it. Olivia Kieffer and Zach McCoy gave a great performance of the clarinet version of Lady Glides on the Moon, and I had an excellent time talking about the sax version with Aaron Durst, who is in the process of recording it.

Becky and I spent a couple of extra days as well–it is a long drive to Menomonie! On our free day, we drove to the Twin Cities to see the Mall of America. Becky loves shopping, and I have a fascination with malls–so strange to see one that isn’t half-empty these days. I’m starting to think that I’m inspired to write a piece about malls. I have very mixed and complicated ideas about them, having seen them in their heyday of the 1980s and watched them fall into disuse.

Coming up: the premiere of First Chapter, a violin and piano piece for the Cleveland Composers Guild’s Creativity: Learning through Experience program, my fifth contribution in this vein. These are always exciting, and I’m looking forward to meeting with the violinist next week.

Work has been busy–this has been a rough year with a new dean, a new class to teach, and a search committee, all of which have been quite educational.

Becky has also gone to work–a big change in our lives at home, but one that has been good for her.

So composing has been a little on the back burner–other than the violin piece, I haven’t finished anything in 2019. I got most of the way through a setting of a short Yeats poem for choir, but didn’t get there before the deadline for the upcoming collaboration between the Guild and the Cleveland Chamber Choir, which I’ve been kicking myself for. I’ve had some encouraging experiences the last few weeks, though, so I’m getting ready to get back in the saddle.

 

Still Here: My car, not my car.

Tuesday, May 1st, 2018

In 1997, my parents bought be a car, a tan, 1997 Ford Escort, anticipating that I would need to be able to get to and from student teaching that fall, and also because my part-time job in market research was moving across town and away from the bus line. The perjorative nickname my girlfriend gave to it, the Golf Cart, became my fond name for it. I drove the care through several moves and jobs, and through most of graduate school, until a Suburban failed to yield on a snowy day in 2007, and the car was totalled. Becky and I bought a used Saturn to replace it, and that car served us well, but it wasn’t my car.

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Above: Not my car, but you get the idea.

Once, I would see copies of the Golf Cart on the road regularly, but twenty years on, they have become rare, as to be expected. But there is a parking lot on my way to and from work where a Golf Cart is frequently parked. Sometimes I see it fairly regularly, and sometimes it disappears for weeks and months. There is some rust around the bottom of the body, but it has held up remarkably well, as it would have to for 20 years.  I recently stopped our minivan, with my confused children in the back, to stalk the Golf Cart a little bit and reminisce. I peered into the interior–somewhat messier than I used to keep it, but I won’t judge. It was familiar and yet not–like visiting a place one used to live. I never lived in the Golf Cart, but I put  many miles on it–over 100,000, all of them my driving. Job interviews, dates, relocations. It was the car I drove to both my weddings, and the car I had after my divorce. I had it when I conceived of my plan to switch from high school teaching to college and attend graduate school An old friend indeed.

And a lot smaller than I remember.

Summer?

Thursday, August 24th, 2017

All summer, I kept meaning to post something–I was somewhat lazy, but a few things happened, so here is an update.

I’ve started and finished two pieces since May.  My new work for Galo Arboledo is On a Clear Night You Can See Forever for violin and piano, and is an ode to the Shafran Planetarium at the Cleveland Museum of Natural History.  We are hoping to premiere the piece in the Museum on a Cleveland Composers Guild concert on November 26, but we’re still awaiting the decision of the program committee on that.  The piece is a fantasy that explores the wonders of the Universe, starting close to home with the aurora, and zooming out to the ultimate panorama.  More updates on this piece in the near future!

I’m also ready to send copies of my first big band piece to Ed Michaels, who will premiere it with Lakeland Jazz Impact this year.  Appropriately, the title is Maximum Impact.  I’m always pleased when my work can intersect with my job in some way.  Jazz Impact has a storied history, and is the only high school honors jazz band in Northeast Ohio.

A big first for me was conducting the Resonanz production of Ravel’s L’Enfant et les sortileges.  I can now call myself an opera conductor.  Even just conducting a piano-vocal arrangement was an amazing challenge, and while I felt some trepidation, I’m glad that I took it on.  I’m also pleased to be working with a group that is bringing serious music to Lake County, where, outside the schools, there isn’t enough.

The Lakeland Civic Orchestra will start up on Monday.  I’m excited to see our group again, and it looks like a good season ahead.  We are starting our season with a concert on November 5 that includes Massenet’s Ballet Music from Le Cid, Beethoven’s Triple Concerto, and Alice Mary Smith’s The Masque of Pandora.  It is always hard to choose music for the orchestra–nothing too easy, nothing too hard, and always the knowledge that whatever I pick we have to live with for a few months while we prepare it.  Sam Rotburg, violin faculty at Baldwin Wallace University, approached me with the idea of the Beethoven Triple a couple of years ago, and that is now coming to fruition.  His wife and colleague Sungyeun Kim will play piano, and Chauncey Arecet will play cello.  The Massenet is a piece I first encountered in college in a band transcription, and when I was playing the CD in the car recently, Noah reminded me that he had heard it in a cartoon, as well.  The odd duck, then, is the Smith.  A composer who deserves to be better known, certainly.  I resolved this season to begin to make more of an effort to include music by under-represented voices in our concerts, after I realized that Jennifer Jolley’s Ferry Crossing was the first piece by a female composer that we had played in the five years that I have conducted the group.  The challenge, then, is that we are not a new music ensemble, so I need to educate myself and find repertoire by female composers and composers of color of the past.  Hence, Alice Mary Smith.  Since her style is close to Mendelssohn, she will fit nicely into what we do, and I’m excited to give the local premiere of this piece.  If the Cleveland Orchestra won’t do any better than it has in programming diversely, the Lakeland Civic Orchestra can lead the way.

We had a wonderful trip in June to Dearborn, Michigan to see the Henry Ford Museum and Greenfield Village.  It was great family time, as we stayed at “the pink hotel” and absorbed some of the history of our nation.  The Henry Ford is really a Smithsonian West in many ways, and Noah was especially excited about seeing the chair Abraham Lincoln was sitting in when he was assassinated.  I’m moved that my kids were able to sit in the same bus that Rosa Parks was arrested in, and a little stunned that the exhibit on consumer technology now includes things I had in my house as a high schooler.  We also lived more history at Hale Farm and Village here in Cleveland, when we attended their Civil War reenactment earlier this month.  Noah has developed in interest in this, and he was fascinated by it, of course.  My first orchestra conducting gig was conducting artillery reenactors for the 1812 Overture, but I had never been to an encampment like this.  The tough part of it all, is trying to explain why people do this–not only to my son, but also to my sister-in-law Connie and her two nieces, who were visiting from Germany.

I also took Becky to see Billy Joel perform at Progressive Field in July.  I’m glad we went, but the musician in me found it too loud.  I can’t imagine a concert by a group meant to be loud.  He only sings hits now, of course, since he hasn’t had a new album in 15 years.  He threw in a couple of deep cuts, but mostly, everyone got to hear what they came to hear.  One of my favorite sights of the evening was a man wearing a Fantasies and Delusions t-shirt.  That is a true Billy Joel fan, and having had my music on the same program as some of those pieces (thanks, Avguste Antonov), it’s fun to know that I’m artistically connected to such a big name.  I’ve always loved his music, even before I realized it was his music, and I’m glad I had a chance to see him while he is still performing.  Not bad for my first stadium concert.

Now fall semester looms.  Noah is back in school, everyone who has visited has visited, and it’s time to open the folder called Compositions Fall 2017.  Ahead of me are a trio for piano, violin, and trumpet for Troika Melange; a piece for soprano and jazz trio for Carrie Hennessey; and possibly some songs for a connection from Resonanz.  Dianna Anderson has agreed to premiere Sisters in Stone, but we haven’t figured out when; I would like to do it at the High Museum of Art, since the statues that inspired it come from there.  I would like to get Twenty Views of the Trombone out there as well.  I hope to present it at Lakeland and in some other college venues this year.  I’m also hoping to return to the CMS circuit, since their Great Lakes Regional conference is in Columbus, and I wouldn’t have to spend my entire travel budget on one trip.  I had a great opportunity to reconnect with Nancy Joy, who commissioned South Africa, my horn and marimba piece which is just about my greatest hit.  She is planning to record the work sometime this year, which will be another boost for that surprise success.

Where did the summer go?

Work in Progress–Sisters in Stone

Thursday, March 30th, 2017

I had a fantastic trip to Georgia last month, over the first part of Presidents Day weekend.  I flew to Atlanta on Wednesday, February 15, and drove straight to Blairsville, Georgia where I stayed with Leigh Miller and her wonderful family for two nights.  Leigh is the professor of clarinet at Young Harris College, a school nestled in the mountains of North Georgia.  On Thursday, I met with students and gave a masterclass, which was a discussion of my work through a series of excerpts of Twenty Views of the Trombone.

Then on Friday morning, it was off to the big show.  Olivia Kieffer, a fellow CCM alum and transplant to Atlanta, booked me for the Composers Concert series at Eyedrum, a wonderful little venue right in the heart of downtown.  I decided that this would be the premiere performance of the complete Twenty Views of the Trombone.  After a relaxing sunny afternoon, I headed over to the gig.  The crowd was small, but enthusiastic, and the music was well-received.  If you want to read more about it, check out Mark Gresham’s review for the ArtsATL blog, which tells the whole story.

I then found myself with a full day on Saturday and no commitments beyond an early-evening flight home.  Not needing to be at the airport until about 5pm, I decided to visit Atlanta’s High Museum of Art.  I found parking within a couple of blocks on the street, and began to walk.  It was a rainy day, so I was beginning to be glad to have chosen an indoor activity.  Before I got to the High Museum, though, I discovered MODA, the Museum of Design Atlanta, directly across the street and decided to check it out.  While not particularly extensive or comprehensive, their exhibit on designing for sustainable food was fascinating and thought-provoking.

The rest of the day I spent at the High Museum.  As is to be expected in a younger city like Atlanta, the strengths of their collections are in newer works, but in somewhat niche areas.  I was particularly affected by their current exhibition, Cross Countrywhich groups works by the part of the United States they depict.  Having visited most regions of the United States, I felt a deep connection with many of the works, but I kept coming back to Dorothea Lange’s well-known photograph Migrant Mother.  Despite having seen it reprinted countless times, seeing it up close, in large format, and in its original medium was revelatory.

It was a part of the High Museum’s permanent collection, though, that has spurred my creative imagination.  The High displays a number of life-size or near-life-size marble sculptures, many of full-length female figures.  I was drawn first to Giovanni Benzoni’s The Veiled Rebekah, displayed at the top of the ramp to the second level, and as I walked through that gallery, an idea for a piece began to take shape.  Benzoni’s Rebekah, depicting the Biblical daughter-in-law of the patriarch Abraham, captured a woman at the moment of meeting her destiny–brought from her homeland by a servant, she pulls her veil over her face just as she is about to meet her husband  for the first time.

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Benzoni’s The Veiled Rebekah

Other statues in the area seemed to be captured in similar moments.  I had been in search of a new composition project, and I found the inspiration in these four subjects.  Two on the cusp of tragedy:  William Wetmore Story’s Medea holding the knife while she contemplates her revenge;

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Story’s Medea

Chauncey Ives’ Pandora with her infamous box;

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Ives’ Pandora

and one, more peaceful, yet pensive, Hiram Powers’ La Penserosa, the thoughtful one.

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Powers’ La Penserosa

Each is a depiction of a woman on the cusp of something momentous–named or unnamed–as she considers her destiny.  Each also is a product of the interaction with and imagination of a male-dominated world, and each is sculpted by a man who interprets these moments and emotion.  And now this man composes a piece about the four of them:

Earlier this month, I began a new work for solo piano with the tentative title Sisters in Stone.  Unusually for me, I have not made plans with a specific pianist for a premiere, and I’m not writing on commission.  Borrowing a concept from Mussorgsky’s Pictures at an Exhibition, I’m creating a musical walk through the gallery, considering each statue in turn.  The walk begins with music I call “lattice” representing the stone from which the sculptors created these images–I’m unclear about whether I will actually keep this music that currently precedes the section depicting La Penserosa, followed by Medea, The Veiled Rebekah, and Pandora.  I may return to the lattice music at the end–my intent at this point is a single-movement piece of about 12 minutes’ duration.  I hope to have it completed by the end of April, and ready for a performance (and a performer) sometime after that.