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Inspiration: Composer Salon Live
The next Composer Salon is on Monday February 1, 2010 from 7 pm to around 9 pm at the Brooklyn Lyceum (227 4th Avenue in Park Slope, Brooklyn). And the price is right for our troubled economic times: FREE! The Lyceum is literally above the Union Street M, R Train stop in Brooklyn. The Lyceum does have various inexpensive libations including different beers, wine and other non-alcoholic beverages, as well as coffee and baked goods. If you are a composer/musician in New York City area, regardless of genre, style, or inclination, I hope you can come out, meet some new and old faces behind the blogs and comments and listen or join the discussion.
Salon Topic #4:
“You need a certain dose of inspiration, a ray from on high, that is not in ourselves, in order to do beautiful things….”—Vincent van Gogh, in a letter to his brother Theo
“Basically, music is not about technique, it’s about spirit.”—Terry Riley
As some of you know in June 2010, I'll be premiering one section of a new collaborative project based upon the writings of Thomas Paine, To Begin the World Over Again with Numinous, dance choreographer Edisa Weeks, and her company Delirious Dances. The full project will take place in the spring of 2011. In my research and reading for the project, I read David McCollough's wonderful book 1776, a riveting account of that pivotal year in American's revolution against England. And while the book only talks about or mentions Thomas Paine briefly, both occasions were stirring. One was an account of the retreat of the American troops from New York City to New Jersey and the famous crossing of the Delaware River. Thomas Paine, who as an aide to General Greene, was among the retreating troops. Inspired by the American's incredible resolve and determination against frigid weather and a seemly invincible opponent, Thomas Paine began writing the words which eventually became his American Crisis. Whose famous words, "these are the times that try men's soul's" echo the graveness of the times then and have been appropriated by many since then. The other account in 1776 was an aside about how Common Sense, which was published on January 9th, 1776 (not the 10th as is commonly thought), was read to the soldiers of the fledgling colonial army and how the moving words of Common Sense changed the conflict in the minds of those soldiers (as well as in the mind of General Washington) from a struggle against the meddlesome but generally welcomed rule of a benevolent crown to a war for freedom and independence against a foreign invader. I thought about how the words of Thomas Paine inspired the Revolution and recently it got me think more generally about inspiration itself.
Last week, I, along with my Pulse colleagues Darcy James Argue and JC Sanford, were a part of the Festival of New Trumpet Music (FONT) where we were commissioned by founder Dave Douglas to write 'arrangements' of Ornette Coleman tunes. Before our concert was a performance of composer Charles Wuorinen's brass music. At the conclusion of the Wuorinen concert, I was talking with a fellow composer who remarked, something to the effect of how they were "amazed at what different music is in people's heads." This was not meant as a direct criticism of the Wuorinen music we just heard, but rather a general wonderment at how different people hear different things and how that manifests itself in sound and music. Certainly Charles Wuorinen's soon to be completed opera Brokeback Mountain will sound completely different than Gustavo Santaolalla's score to the movie? And what a different creation is the movie when compared to the Annie Proulx's short story? How does the same short story inspire such different outcomes? What inspires someone to compose the way they do? I also thought about the great music Darcy, JC and myself came up with in reimagining Ornette Coleman's music into something new. What inspired us to hear Coleman's music in such a way that, while certainly referencing Coleman, sounded less like Coleman and more like Darcy, JC, and me? It is really fascinating to contemplate (well, at least to me anyway) and I thought the idea of inspiration might be an interesting discussion for others in the Composer Salon as well.
I. German poet Rainer Maria Rilke said,
“always at the commencement of work that first innocence must be reachieved, you must return to that unsophisticated spot where the angel discovered you when he brought you the first binding message.”
How do you approach the start of a new composition? What inspires you to begin a composition? Is it purely the working out of musical material, an extra-musical association, or a combination that inspires the beginning of a work?
II. Composer George Crumb states that in composing
“there’s always a balance between the technical and the intuitive aspects. With all the early composers, all the composers we love, there was always this balance between the two things…that’s what all music reflects.”
How do you reconcile and balance the two forces? Do you really need to?
III. Composer Alvin Lucier, in his essay The Tools of My Trade, speaks of a temptation, when first conceiving a piece, “towards greater complexity” in his principal musical idea, but eventually reducing the idea to its’ minimum. This idea of reducing ideas to only their barest essence (and the difficulties inherent in that) is also spoken about by Ernest Hemingway, Gertrude Stein, Mark Rothko and many other artists, writers, musicians (as well as philosophers and theologians). Do you fight the temptation of “greater complexity” in your own music? How do you do it? What ways/techniques help you achieve the 'right' way to convey your musical idea(s) in your composition? When do you know if it is 'right'?
If you are a composer or musician or music lover in the New York City area, consider coming down to the Lyceum and joining the discussion, or if you don't live in New York or can't make it, adding your thoughts in the comments. Hope to see you on February 1st!
Previous Composer Salons
Composer Salon #1: The Audience
Composer Salon #2: Future Past Present
Composer Salon #3: Mixed Music-Stylistic Freedom in the 'aughts
POSTED BY NUMINOUS AT 12:02 AM
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To all things that create a sense of wonder and beauty that inspires and enlightens.
Thanks and credit to all the original photos on this website to: David Andrako, Concrete Temple Theatre, Marcy Begian, Ed Lefkowicz, Donald Martinez, Kimberly McCollum, Geoff Ogle, Joseph C. Phillips Jr., Daniel Wolf-courtesy of Roulette, Andrew Robertson, Viscena Photography, Jennifer Wohrle, Carolyn Wolf, Mark Elzey, Numinosito. The Numinous Changing Same album design artwork by DM Stith. The Numinous The Grey Land album design and artwork by Brock Lefferts. Contact for photo credit and information on specific images.