Interchanging Idioms

I love libraries. They are treasure troves of mystery and wonder. While walking through the Denver Library today, looking for a score for Berlioz' Symphonie Fantastique , I stubbled across a book entitled The Symphonies of Havergal Brian (Volume One Symphonies 1 to 12) by Malcolm MacDonald ISBN 0-8008-7527-3 (1973) . Having never heard of Havergal Brian before, I was intrigued. So I opened up the front cover and read a bit about Mr Brian. It seems he wrote 32 symphonies during his life (1876-1972) and yet is relatively unknown. Wow, 32 symphonies! Shostakovich (one of my heros) was considered a great symphonist and he only wrote 15 - but then again, he is remembered. Numerous other composers never got past nine as if that was the magic number and to attempt anything more was to demand too much of the muses. So, who was the unknown composer and why are there two books covering his symphonies and yet no real discussion of him in music history classes? Well, the second part...

Mike Heyl, a senior at Upper Arlington High School, is living his dream by creating an electric orchestra with 30 other students. By combining a couple of his bandmates with a couple musicians from another band, then filling out the rest of the ensemble with students in the other high school music groups (the orchestra, concert band and chorus), Heyl's "Electric Orchestra" will perform a collection of rock pieces ranging from Led Zeppelin to Coldplay. "[Classical music] was the building block of what music is today," Heyl said. "We wouldn't have had rock 'n' roll if people didn't branch out and find new ways to make music." The Upper Arlington Electric Orchestra at 7 p.m. Saturday, May 23, in the high school's auditorium, 1650 Ridgeview Road.

I admit to being a John Williams fan. He has (IMHO) done more for classical music's re-emergence into mainstream music than any composer of the last 50 years, mostly due to the large number of film scores he's produced (and awards he has won). However, he's also been criticized for being too neo-romantic in his music, not adventurous enough. Well, below is a YouTube video I came across that perhaps shows why John Williams sounds so neo-romantic - many of his themes (and orchestration) are nearly identical to recognized classical pieces by Stravinsky, Holst, Tschaikovsky and more. AlexLieb2802 is the author of this clip with many more examples on his user page located here: www.youtube.com/user/AlexLieb2802

I sure this question has been answered by many an educator, and pondered by many a composer. In the process of learning to become a composer there are a number of things budding composers are exposed to in order to facilitate learning the art of composition. One of the reasons so many composers list who they have studied with is to demonstrate what arts they have been exposed to. If, one of the tutors is a famous, well respected composer, the exposure of how to write great music is far more likely than if no one on the list of composers is anyone of note. It also adds a certain amount of cache to the budding composer, as if something of known composer might rubbed off in the process. However, just being a good composer doesn't make the person a good translator, or educator in the arts. And, there are some very fine tutors who understand the art, but for any number of reasons haven't yet translated it into their own work. But none of this is r...

Although I occasionally rail against the dissonant music of post WWII, there are a number of pieces which do work, very well. Ethan Iverson on his blog Do the Math put out a challenge for a list of good post 1950 music. Terry Teachout responded on his blog About Last Night . Before I list the music on my list I thought I'd comment on their lists. First Terry's list: The only piece I don't know is Moravec's The Time Gallery. Everything else on this list might have made it on to mine - and when you see my list, many of the composers are the same, so we must share a similar taste in music. Next Ethan's list: Here I had more difficulty. I don't know Gould's StringMusic and, I have only heard one of Adès' pieces (and didn't like it) so I am not sure I could comment. As for the rest of the pieces, sorry Terry, but I don't like them. However, Terry starts his article with "The classical music written since 1950 that I l...

In an article in the Korean Times, Judas Priest's new album Nostradamus is reviewed speaking of the influences of classical music. Sean Kelly, from the group Crash Kelly, is about to release a classical guitar album. After just releasing an album with Crash Kelly entitled "One More Heart Attack" siting influences as Cheap Trick, Alice Cooper and Queen. Here is an artist who is walking on both sides of the divide between classical and pop music. Another group, the V.O. Quartet is a string quartet who blends folk, klezmer, gypsy, pop and jazz with their classical training. I missed their performance in the UK yesterday, but someone definately worth following.

It’s interesting that this question still comes up? Gershwin was accused of trying to elevate his station by writing classical music, since his background was that of song writer. Copeland was accused of lowering himself by including jazz idioms into his classical music, but Copeland was a classical composer so the move to jazz (a lower form or music, or so it was consider 80 years ago) was a step down. Yet, numerous composers are using their jazz or rock influence in their classical music. Jazz and rock musicians are composing classical pieces – and yet retaining an element of their heritage. Paul Simon and Elvis Costello are a few big names that come to mind. Alex Cook describes this as fusion music and rightly so; it is the fusion of two (or more) genres into something new. However, when does it stop being one or the other and start becoming something all of its own?

The blending of musical styles is nothing new. At the turn of the last century the move by classical composers such as Debussy to explore world music is well documented. Bartok used folk music as inspiration for numerous pieces. Previous posts have discussed the blending of styles of numerous other forms with classical music. It seems the tide is now moving the other direction as India is exploring the fusion of Indian folk and Western Classical music with a collaboration at the World Day of Music on 21 June. China has recently had the LA Philharmonic and the BBC Scottish Symphony Orchestra touring their country bringing Western music to nearly every region of China in the urge to encourage more exploration of Western music by Chinese composers (especially with the popularity of Tan Dun world wide). A Beethoven String Competition in Bangkok is hoping to merge Western music with that of Thailand. And some musicians in New York are blending Bach into their sets at the JVC Jazz Festi...

Ok, so maybe I can't claim the idea to mix pop music and classical music. And since my concert is yet to happen, I can't even claim to be the influence of other groups trying a similar mix of pop and classical. However, it is heartening to hear the String Orchestra of New York City, or SONYC as they are more commonly know, is playing some new music with just this same sort of mix. The New York Times review of their performance speaks of several composers works covering a blending of styles from evertyhing from Jazz to Pop to Afro-Cuban to Rap. Not only does this encourage my own direction of music composition, I think I've found an orchestra I'd like to compose something for...

I am a fan of Broadway, particularly the musicals. I have long felt the modern Broadway composers, such as Hamlisch, Sondheim and Schwartz have often been overlooked by the classical world because of the "simplicity" of Broadway music. This is an unfortunate misconception. Anyone who has ever tried to sing a Sondheim score knows just how difficult the music can be. While Hamlisch and Schwartz tend to be more strophic in their song composition, even they come up with elements of music that are challenging for even the most accomplished performers. The range a vocalist needs to be adept at for most Broadway music leads exceeds most lead roles by Mozart. Occasionally, Mozart uses the ultra high coloratura Soprano range, but as this range is often more effectual (pyrotechnics) and not necessarily good for understanding the words Broadway tends to avoid it's use - as the words are important. Which points to another difference between opera and Broadway; the libretto in oper...

Much of this blog has been dedicated to the quest to define what is new classical music - not that it is an obtainable goal, as music is, and should be, ever changing. This goal is rather like Alice's trip into Wonderland, every turn seems to open completely new unimaginable worlds that don't seem to make sense with what's gone on before. I've talked about composers incorporating jazz and pop (or folk) into their compositions, about the use of new instruments and sounds and about the audience's reaction to new pieces - as I feel the audience is an integral part of music (in firm disagreement with Milton Babbitt). Through all of this exploration I have tried to make sense (for myself) as to what kind of music I should be writing - all the while falling farther and farther down the rabbit hole. What is new Classical Music? Do I need to embrace the atonal world of serialism, the brain intensity dementions of new complexity or meander through the sonic-scapes of musi...

That's what I'm talking about... incorporating all different styles of music (including pop, rock and jazz) into classical music. An article in the Boston Globe speaks of the Quartet San Francisco and the Boston String Quartet including improvisation into their concerts as well as doing covers from U2 and Metallica. Cool! The article goes on to talk about California's Turtle Island Quartet which is credited with starting the trend. In the concert on 4 June, the Edinburgh Quartet will be premiering my newest quartet - and it incorporates a number of these elements in the composition. While it is not a cover of any specific song, much of the motivation and inspiration for this piece comes from bands like Yes, Kansas, Styx, and Pink Floyd. They were (IMHO) some of the great bands from the Anthem Rock era and great composers. While I was studying their music (yes, I actually did spend time analyzing how they did what they did to make their sound) I realised many of their...

There's an interesting article on minyanville.com which talks about a classical music program for children developed by Michelle Snyder. That in and of itself isn't so fascinating. However, what I did find interesting about it were the comments about the pieces that affected Snyder's life.. She speaks of seeing The Nutcracker as a child of Beethoven's Fifth Symphony, Bach, Chopin, Debussy... the list goes on. Certainly, these are all composers (and their music) that are firmly entrenched into the Classical Music World. A while back ( March ) the Classical FM radio station in the UK published their top 300 pieces, and surprisingly, many of these same pieces were listed. Classical FM gets raked over the coals for being too "candy coated" in their choice of classical music - and yet... these are the pieces the bulk of society requests to hear. Maybe that's because we're the most familiar with them. Maybe it's because they are great pieces of music ...

In the NY Times review " Four Decades of Music the redefined Free " there are numerous references to the blending or infusion of jazz into "new" music. Again, the sentiment that jazz, one of the great musical gifts the US has given the world, is making an impact. Maybe the key to America is it is "the land of the free" and this attitude has embedded into every aspect of our thinking - to the point that when we think about music it is free(r) to associate and incorporate various styles to create something new. This isn't to say what is happening at IRCOM or Darmstadt isn't new or creative - just in a vastly different direction. And maybe what I'm resonating with are my American roots. ...because this incorporation of jazz into something still resembling something melodic is more in tune with my own tastes.

An Exploration into rhythm in the music of Chip Michael Clark Note: Scores discussed in this article will be posted soon When I first began thinking about my music back in September 2007, I felt what I wanted to write about was what made my music unique, the quality that people describe as having a "Chip-ness" about it. Many of the composers I admire have a recognizable personality to their music. Dmitry Shostakovich has a Russian strength to his music (even though he was in and out of popularity with the Soviet Union throughout his life), his music embodies the aspirations of the people of his time . Aaron Copland is often described as the Dean of American composers . His blend of American folk tunes and modern music became known as the American Sound. Leonard Bernstein's use of cultural iconic themes and warring rhythms typify the social clash of the mid to late 20th century. These composers are all influences in my writing, but not the only ones. I grew up in the mi...

There seems to be thread developing on this blog (not surprising since it's a thread that exists in my life and this blog is an extension of that...) - the effects of classical music on other forms of music and the effects of those other forms on classical music. On the 28th, I blog'd about My Classical Music Style , discussing the elements of "pop" music that is leaking into my classical writing. My good friend Shay commented on the effects of classical music in his own "Americana" style ( click here for a listen ). On the 18th I posted a note about the Blending of jazz and classical music by not only me but other composers as well. And today the Telegraph writes of how Folk and Classical are blending. The basic thread is "we are a product of our roots" so let's not deny them. Schoenberg said (roughly), there is no new music that is not built on what comes before. And in our modern world where all forms ...

When I was young I played trombone... well, I still play the trombone on occasion, but that's not the point. When I was young and playing the trombone I was exposed to a variety of different music styles. The concert band played mostly classical music, but occasionally band tunes from the likes of Souza. The stage band played jazz tunes from the big band era to modern Dave Brubeck and Chuck Mangione. Outside of band there was disco, which was great for dancing but not something I actually listened to, or other popular music from people like Miami Sound Machine or the harder edged anthem rock bands like Kansas, Styx, Yes, Led Zeppelin (the list goes on). Without realising it, these sounds affected my musical tastes, interests and have crept into my compositions. My classical compositional background leads me to want to score the music, so very little of anything I write isn't done with notation software at some point. (I rather enjoy putting the...

It's interesting how music has moved through phases in the last century, sort of making it up as it goes along. In the nineteen-thirties, Gershwin wasn't considered (by many) to be a "classical composer" because he came from a background of jazz and "show tunes"; his music was too improvised. When Copeland turned to incorporating jazz styles, he was cautioned for getting too "low brow," too free with his music. Classical music needed to strive for something new, not succumb to the music of the masses. For years the two worlds seemed to be separated by some arbitrary class structure. However, jazz has become so much a part of our musical consciousness that "classical" musicians are incorporating elements of it in their music all over the place. Many of the biggest names in "pop/jazz" world reference their classical roots ( Beyoncé Knowles ). According to a NY Times music review , Bill Frisell wrote a series of string quarte...

Geoff Edgers of Boston.com posted an article a few days ago relating to composers thoughts on their early works. I found it interesting that Geoff doesn't feel composers like Mozart were embarrassed by their early works. When I was doing a paper on Haydn's string quartets I ran across something that suggested Haydn feel his later quartets were built upon what he'd learned in the earlier ones, and found the early ones immature in comparison. Thus the early ones were a necessary stepping stone, but not of the quality (maybe I'm reading too much into this comparison based on my own feelings about my early works - more on that later ). Steve Layton of Sequenza21.com posted a query for other composers to comment on their impressions of their early works. While I did post a comment, I thought a more thorough response was appropriate. First of all, it's difficult for me to really speak about early works when I am just preparing to pr...

The Seattle Symphony's Spring Festival is going to honor immigrant composers, people who came to the US to further their musical career. and they're calling the programme "Coming to America: Composers in Pursuit of a Dream." While I was at Napier University (Edinburgh, Scotland) we studied a number of these composers like Stravinsky, Schoenburg. We studied other's who aren't included in the programme, like Dvorák, Holst, Brittan and Ferneyhough (to be fair Holst only came over to promote his works in the US and Brittan eventually moved back to the UK). We also studied composers like Cage who went the other direction (at least for a while). As an American in the UK, I often wonder whether I'll be considered a "British" composer because of my educational stint here, or an American one because of my birth. I suppose some of that depends on when (and where) my fame occurs (soon would be nice!). It probably also d...