A composition student of mine, mature and centered beyond his years, wrote a song cycle this semester. He wrote all the voice lines first. When it came to write the accompaniments, we threw around a lot of ideas. His ultimate choices were the simplest ones possible: arpeggiated triads in one case, changing drones in another. I had two impulses. One was a sense of disappointment, that I hadn’t been able to get him to try something a little more complicated and “artistic.” The other was that his solution was effective, that it would be immediately grasped and allow the emotionality of the vocal line to come through. In performance, my second impulse proved right: the songs sucked the audience in with their nakedness and vulnerability, their reception exhibiting none of the distanced listening that other, more clever and complicated pieces elicited. I admired his courage for selecting ideas that would foreground the depth of the poems, not the impressiveness of his compositional bag of tricks. 

Two recording projects I was excited about got delayed for a year for economic reasons (and this was before the crash), but they’re now back on track. 

I taught Mahler today in my 19th-century harmony class. I never teach Mahler without teaching Hans Rott. Rott (1858-1884) was a fellow student of Mahler’s at Vienna Conservatory, and for a time Mahler’s roommate. Rott went mad and died at the age of 25, after completing a symphony that sounds remarkably like Mahler. Rott wrote his symphony in 1878-1880; Mahler’s First Symphony dates from 1884-1888. If you heard the scherzo of Rott’s symphony without identification, you would swear it was some unknown Mahler work: it is identical in style, orchestration, and melody to the scherzos of Mahler’s First and Third Symphonies. The long introduction to Rott’s final movement has much in common with the finale of Mahler’s Second. Mahler inherited the manuscript of Rott’s symphony after his friend died. Mahler later called Rott 

a musician of genius … who died unrecognized and in want on the very threshold of his career. … It is completely impossible to estimate what music has lost in him. His First Symphony soars to such heights of genius that it makes him – without exaggeration – the founder of the New Symphony as I understand it. To be sure, what he wanted is not quite what he achieved. … But I know where he aims. Indeed, he is so near to my inmost self that he and I seem to me like two fruits from the same tree which the same soil has produced and the same air nourished. He could have meant infinitely much to me and perhaps the two of us would have well-nigh exhausted the content of new time which was breaking out for music.

From a student’s music-history senior project about Japanese Noise artist Yamataka Eye comes what is surely one of the most magnificent understatements in the literature: 

By destroying a club with a bulldozer, Eye, in a very
direct way, called into question the way music is consumed by the public.

The young Dutch composer Renske Vrolijk (young relative to me, anyway) is in New York this week, and she’s making an appearance at Bard College this Thursday. She’s the composer of the delightful cantata based on the wreck of the Hindenburg, titled Charlie, Charlie, which I wrote about from Amsterdam a couple of years ago. She’ll play her music and show video examples at 4 PM in the Blum music building at Bard, room 217. She’s a fabulous composer, somewhat at odds with the ironic, Stravinskian idiom that all Dutch composers are expected to write in, and I hope she’ll tell the story about the time John Adams admitted that he stole an idea from a piece of hers. 

Despite it being the busiest part of my school year and busier than usual, I have taken advantage of odd moments to complete my transcription of Harold Budd’s 1982 piano solo Children on the Hill. A friend asks if I couldn’t persuade Harold to transcribe his own damn solo, but that’s beside the point: there is nothing, I think, more educational than transcribing or arranging a work of art you particularly admire. I could never have internalized the piece so deeply from playing through another person’s transcription. And I do a lot of such work for no practical benefit beyond the enlargement of my own musicality. I have a full, playable piano transcription of Ives’s Third Symphony that I wrote several years ago and presumably can do nothing with, because of copyright issues; and also partial piano arrangements of Harris’s Third Symphony and Sibelius’s Fourth, works whose inner logic I wanted to imbibe in full. Mozart learned to compose by copying out the works of others and turning sonatas by lesser composers into his own early concertos. I don’t know a more efficient way to become a composer.

Here’s a query that came up with a student the other day. Decades ago, in the early ’80s, my wife and I attended the wedding in Chicago of a couple of Hispanic friends. The reception was marked by the most amazing music played by a huge mariachi band: over half a dozen brass players, multiple guitars, wild percussion. It was hot, rhythmically intricate stuff whose meters were difficult to parse, and whose melodies took several repetitions to pin down. Le Sacre‘s complexity paled before it. If it wasn’t in meters like 13/8 or 17/16, I couldn’t have proved it myself. The counterpoint had more voices than I could count. I was spellbound. I had never heard anything like it.

My review of American Muse, Joseph Polisi’s biography of William Schuman, is just out (after some delays) in Symphony magazine. The book is a solid and detailed summary of Schuman’s life as administrator of Juilliard and Lincoln Center, but I found it a little lacking in appreciation of, and insight into, Schuman’s career as a brilliant symphonist. A couple of week ago I noticed Lincoln Center had posters up advertising the book, so I’m glad he and it are getting some attention. Polisi, of course, is president of Juilliard and holds the post Schuman long occupied. We still, I think, need a book on Schuman by a composer, or at least by someone who relishes the music as much as I do, but Polisi’s is well worth reading.

Something else I’ve been thinking lately builds on my recent post What Composers Talk About –  and it will seem self-contradictory to say it, but I can’t tell the absolute truth if I’m constantly on the watch-out against self-contradiction. Someone nominated me for some award, and for the first time in quite a few years I had to write an artistic statement. I used to love doing this. I had all kinds of “reasons” that had led me to write the kind of music I write, I had studied subjects that backed up my choices, I had followed a logical chain from my experiences to my aesthetic, and could delineate it. These artistic statements never won me any awards or anything, but boy, did I find them convincing. 

I recently joked in print that I write a cool, steady music in an attempt to calm myself down, and it wasn’t entirely facetious. I think I’m also trying to calm the world down. Modernist music was an honest reflection of tensions underlying the veneer of civilization, but in the end it morphed into a self-fulfilling prophecy – people now know the world is chaotic, violent, and disappointing, and no longer need to hear that in the concert hall. I believe in the artist’s ability to envision a future, and at this point that future must be sustainable and ecological. Toward that end, I think the future of music lies in increased sensitivity and perception, which is why I work with tempo complexities and higher harmonics among the overtones (with an increased array of expressive intervals). In other words, I think music has gone as far as is currently meaningful in an outward, extroverted direction, and now needs to turn inward, to become more meditative and develop finer gradations (much like Indian music, a tradition I admire but have never studied). The challenge now is to absorb dissonance and complexity without giving rein to anguish or anger. My music sometimes employs political texts, but I don’t believe the artist has much right to preach: I prefer to state ideas in sharp focus but with their ambiguity intact so that people have to settle within themselves what their reaction is. 

Two Bard students, violinist/pianist Erica Ball and flutist Kylie Collins, have taken it upon themselves to commission four young composers to write pieces for them, and will perform the premieres twice this weekend. The composers are Caroline Mallonée, Jim Altieri (both of whom worked with me at the Atlantic Center for the Arts), Alex Ness, and Sam Pluta. Plus, the duo will be playing a couple of pieces by Joan Tower and myself (“Saintly” from Private Dances). The first concert is at Bard College on Friday, 7 pm at Olin Hall. The second is at Roulette Sunday night, April 26, at 8 pm, 20 Greene St. in New York City. Erica is a very talented composer herself, and it’s quite a program the two of them have put together. We haven’t had anything like it before at Bard since I’ve been there.