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 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.
Tags: commission, compositional process, depression, Doxology, Five Rhythmic Etudes, Golden Spike, Lakeland Civic Orchestra, Lutoslawski, Mysterious Marvels, Panufnik, symphony