Composers Forum is a daily web log that allows invited contemporary composers to share their thoughts and ideas on any topic that interests them--from the ethereal, like how new music gets created, music history, theory, performance, other composers, alive or dead, to the mundane, like getting works played and recorded and the joys of teaching. If you're a professional composer and would like to participate, send us an e-mail.


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Adrienne Albert
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Galen H. Brown
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Roger Bourland
Corey Dargel
Lawrence Dillon
Daniel Gilliam
Peter Gordon
Rodney Lister
Ian Moss
Tom Myron
Frank J. Oteri
Carlos R. Rivera
David Salvage
Stefano Savi Scarponi
Alex Shapiro
Naomi Stephan
David Toub
Judith Lang Zaimont

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Elodie Lauten
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Corey Dargel



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Wednesday, April 13, 2005
the unfamiliar

Corey, why aren't you headed "downtown?" 8-)

To some extent, I hope all my pieces explore something that is unfamiliar to me. I don't like to duplicate myself, even though pattern repetition can be a good thing. Some works have been particularly challenging in that they were very unfamiliar to me at the time.

I was never really trained as a pianist (my instrument was a violin, which is great but not terribly useful for composition), and when I went to music school it was assumed that "since you're a composer, you of course must be a pianist." So I was placed in classes with mostly pianists, and had to do the same fun things like sight-read Bach chorales in four different clefs, transposing some staves on the fly as asked. For that reason, I was initially self-conscious of any works for piano. I knew how to write for strings, but really had to prove to myself that I could write for piano. I have since written several works for piano, and I'm not at all uncomfortable anymore with that challenge. But initially, it was an unfamiliar medium to me. I just got an old (ca 1980) piano score of mine revamped and dumped into Finale and PDF, and by that time I was much less uncomfortable with the challenges of writing for piano. Unlike that older 12-tone work, more recent pieces were reflective of my own interests in music with repetitive structures.

Going from 12-tone music into "minimalism" (bad term but I'll use it) also represented something unfamiliar. I was really familiar with a lot of new music in the 70's, but feeling comfortable with it as a composer takes awhile. I didn't delve into it until I felt I could write music that sounded like me, rather than copying others in that idiom. I think that's a challenge we all face.

I'm also thinking of someday writing an opera, which would be extremely unfamiliar territory for me. I'm just not a big fan of operas, with the exception of several 20th-century works (Wozzeck, Lulu, Moses und Aron, Einstein on the Beach, Satyagraha, Il Prigionero, etc). I think it's good, however, to do something new and unfamiliar. It makes life a lot more interesting, and change is generally a positive thing.

 



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