In May of 2015 I lead Symphony Number One in our debut concert in Baltimore. Here's an audio essay I posted ahead of our launch:
We think we can better serve the composers we feature by focusing on just one emerging composer at a time rather than lumping all of them together onto one concert. Even trained musicians can get overwhelmed by a multitude of new compositional voices presented on one concert; how can we expect our audience to do any better? When this happens, your memories start to get flattened and you tend to only remember features like special effects, strange instruments, or other novelties, rather than to deeper musical layers.
After the death of my high school mentor, I wrote a thank you note to a number of influential mentors:
I could keep this up for hours, but I think you get the message. You are some of the most wonderful musicians and humans I have had the pleasure to know and I am just a representative for all of us whom you have touched as teacher, student, mentor, colleague, and friend. You are remarkable musicians and people, all of you, and I owe every bit of whatever small bit of success I've had to you. And if my message doesn't communicate a little bit about the power of band, this video about Gary says it all.
Here are a few early notes from my thinking on the topic of performance design:
Performance Design: An interdiscipline which examines and prescribes the tools and methods for designing a performance. Includes those tools under the traditional rubric of “interpretation” (examining manuscripts, historical studies, structural analysis) but also includes music perception fields (music cognition, information theory and neuroscience), programming, venue selection, and marketing.
Interpretation is a commonly understood term among musicians, a term denoting the “stylistic representation of a creative work,” (Stevenson 2010). However, interpretation is often wrongly believed to be a self-consistent and complete toolset for preparing the score for performance. Rather than merely augment the accepted definition of interpretation, I argue that a new term must be used to represent the superset of tools valuable to the performer, of which the traditional methods of interpretation are a subset. I argue for the use of the term Performance Design (PD) to indicate the totality of means and methods by which live concert performances are planned and prepared. Included in these means are tools from Neuroscience, Information Theory, and other audience-centric disciplines.
“Hey! I'm a new follower of yours! Just curious, I currently have a Mollard and Custom Batons, what is your baton preference?”
I’m 17 years old and been playing violin for 8 years and piano for 2. I am interested in conducting but I have no idea where to start. I am done with high school so a school orchestra is out of the question for experience. I was hoping you might be able to point me in the right direction or give me advice.
Béla Bartók’s Music for Strings, Percussion, and Celeste highlights Bartók's mastery of orchestration, and innovation with rhythm. However, the opening movement perhaps least exemplifies these features (relative to the other movements). The first movement of the work instead showcases his mastery of counterpoint with a particularly praiseworthy example.
I wrote a sort of open letter to many of my former directors and teachers coming from the band world, which I've reprinted in modified form below:
I occasionally write for Sequenza21. Here's a concert review from a very special concert I attended in 2013:
Greenberg managed to turn the cramped, uncooperatively spare stage to her advantage, projecting into the space a smokey, claustrophobic Buenos Aires alleyway positively dripping with sinful lust and criminality, where “Hustlers, pimps, and devils appear at every turn,” as Greenberg wrote in the program.
...Bartok, for instance, gives us not only metronome markings, but precise timings for sections as a second check against grossly deforming his works. He believes his music to be more delicate with regards to timing, so one wrong move and snap. Mahler, on the other hand, gives loads of instruction with regard to tempo, some metronome markings, but a degree of sturdy flexibility to his music. It seems that his approach to harmony and orchestration further supports this.
Leonard Bernstein's Norton Lecture Series of 1973 has played a critical role in helping to define a particular landscape of thought which might be best described by Bernstein’s own (admittedly nonacademic) term, "musico-linguistics". While not a formal discipline, the term characterizes and encompasses the body of thought upon which he speculates in six multi-hour lectures at Harvard.
A year before my first Boulez performance, I wrote an essay about what it's like to listen to Boulez in 2009.
...upon repeated hearing, this music does indeed open itself up to the listener. It slowly, reticently yawns forth its secrets to the hearer in unexpected ways. His output is by no means monolithic either, with very thorny yet electric piano sonatas and sometimes breathless long-distance sprints like Sur Incises (cue the linked clip to 4:15 to hear this ‘long-distance sprint’), contrasted by eerily celestial portions of Pli selon Pli and the richly colorful ‘folds’ of the aforementioned Le Marteau.
In my 20's, I was a huge fan of one of America's longest-running television programs. In 2008, I wrote down a few thoughts about it.
I am always astonished at the shear variety. There are, after all, only so many crimes we are interested in watching a show about. I find myself enjoying, as my fellow blogger pointed out, the ‘how’ of it all.’Isn’t that what classical forms are all about?
The most obvious concrete benchmark for quality is the demonstration of compositional craft. Here are some elements and composers that can be recognized for their innovation and/or mastery.
In 2006, I wrote an analysis of the early orchestral works of Brahms. I revised it in 2011.
Johannes Brahms stands as one of the central-most figures of late 19th century German art music. Brahms was the first true successor to Beethoven in the symphonic tradition, and according to Bozarth, “creatively synthesized the practices of three centuries with folk and dance idioms and with the language of mid- and late 19th-century art music.”1 Some would consider Brahms’s orchestral output to be his most important contribution, and many volumes have been devoted to cataloguing the significant melodic, harmonic, and formal features of his four symphonies. Fewer have been devoted either to the early orchestral works or to the rhythmic and metric techniques employed.
Widely acknowledged as one of the most pivotal symphonic compositions in allof western music, the third symphony of Ludwig van Beethoven is, in substance, rarelyagreed upon. Beethoven’s semi-programmatic title, “Eroica,” the extreme size, uniqueformal organization, and developmental history of the work collectively open up toomany variables to allow a singular analytical approach to this work that is mutuallyagreed upon by the musical community plausible, as evidenced by over 200 years of serious efforts to do exactly that. This discourse seeks to give one possible analysis, thefocus being primarily upon the organization of thematic elements that give the work acyclical or “symphonic” quality.