Merry Christmas

Christmas is a magical time of the year.  It doesn't matter if you are young, old or somewhere in between, Christmas always casts a magical spell on people.  Christmas is a time to spend with your family and friends.  Christmas is a time for giving.  My gift to you, my friends and colleagues, is music.  I have posted some recordings of my compositions at newmusicforum.com.  From now until the end of the year these pieces will be available as a free download from the homepage.

To see what compositions are available for the free download go to www.newmusicforum.com.

Merry Christmas and Happy New Year!

Listening Journal: December 15-21, 2008

Iannis Xenakis - Antikhthon (1971) for orchestra

Olivier Messiaen - Les Offrandes Oubliées (1930) for piano

Olivier Messiaen - Fantaisie Burlesque (1932) for piano

Olivier Messiaen - Piece pour le Tombeau de Paul Dukas (1953) for piano

Olivier Messiaen - Rondeau (1943) for piano

Olivier Messiaen - Prelude (1964) for piano

Olivier Messiaen - La Fauvette des Jardins (1972) for piano

György Ligeti - Chamber Concerto (1970) for 13 instrumentalists: 5 strings, 4 woodwind, 2 brass and 2 keyboard instruments

Iannis Xenakis - Enbellie (1981) for solo viola

Anton Webern - Fünf Lieder, op. 3 (1909) for soprano and piano

Anton Webern - Zwei Lieder, op. 8 (1910) for soprano and 8 instruments 

Listening Journal: December 8-14, 2008

Karol Szymanowski - Nocturne and Tarantella, op. 28 (1915) for violin and orchestra

Luciano Berio - O King (1970) for voice, flute, clarinet, violin, cello and piano

Luciano Berio - Points on a Curve to Find... (1974) for piano and 22 instrumentalists

Edgard Varèse - Hyperprism (1923) for winds and percussion

Pascal Dusapin - Celo (2003) for cello and orchestra

Iannis Xenakis - Jonchaies (1977) for orchestra

Iannis Xenakis - Shaar (1983) for orchestra

Iannis Xenakis - Lichens (1983) for orchestra

Audio Archive

I was recently checking out the Society of Composers, Inc. website and I found a link to a fascinating audio archive.  The original 10 American Society of University Composers (ASUC)/SCI albums have been digitized and posted on the website.  The collection is quite interesting and the recordings seem vary diverse in style and ensemble.

I have not listened to all of the albums yet.  Currently, I have listened to three albums (#1, 2, 8).  While the quality of the transfer is not necessarily the best, it is good.  I look forward to making my way through the rest of the recordings.

This is truly an one-of-a-kind archive and is definitely worth checking out.  You can visit the archive by going to the SCI website: www.societyofcomposers.org or through the direct link: anton.som.ohio-state.edu/portal.

Listening Journal: December 1-7, 2008

Gerald Warfield - Variations and Metamorphoses (1973) for 2 cellos and off-stage piano

Alexander Scriabin - Prométhée: Le poème du feu, op. 60 (1910) for orchestra

Witold Lutoslawski - Overture for Strings (1949) for string orchestra

Edgard Varèse -  Ecuatorial (1934) for bass voice, brass, organ, percussion and theremins

Edgard Varèse - Ionisation (1931) for 13 percussion players

Edgard Varèse - Density 21.5 (1936) for solo flute

George Crumb - Pastoral Drone (1982) for organ

Karlheinz Stockhausen - Klavierstücke: Piece 7 (1955) for piano

Bruce Taub - Quintet I (1972) for flute, clarinet, violin, cello and piano

Joan Tower - Movements (1968) for flute and piano

Joseph Dangerfield - Stone Memories (2004) for clarinet, violin, cello and piano

Robert Stern - Three Chinese Poems (1971) for double women's chorus, viola, piano, celeste, percussion and tape

James Hartway - Three Ways of Looking at a Blackbird (1970) for soprano, flute, prepared piano and percussion

Olivier Messiaen - Illuminations of the Beyond... (1991) for orchestra

Bela Bartók - String Quartet No. 6 (1939)

Esa-Pekka Salonen - Foreign Bodies (2001) for orchestra

Esa-Pekka Salonen - Wing on Wing (2004) for 2 sopranos and orchestra

Esa-Pekka Salonen - Insomnia (2002) for orchestra

Listening Journal: November 24-30, 2008

About ten days ago a friend of mine, John Bilotta, gave me a recording of a concert he hosted in 2007 as a part of his San Francisco Chamber Wind Festival.  This particular concert featured the ensemble-in-residence, Rarescale.  The members of the ensemble who performed that night include Carla Rees - flutes, David Black - guitar and Michael Oliva - electronics.  I was amazed by the performance from this group.  The whole concert was great and they are an ensemble worth checking out.  Their website is: www.rarescale.org.uk.

Rarescale concert - August 4, 2007

   Daniel Giorgetti - Mantra (2006) for alto flute and tape

   John Thow - Dulcis Aurea (2006) for solo flute

   Bruce MacCombie - Nightshade Rounds (1979) for solo guitar

   Michael Oliva - Moss Garden (2006) for bass flute and electronics

   Toru Takemitsu - Toward the Sea (1981) for alto flute and guitar

   Karen Gourlay - Dreamscape (2004) for quartertone alto flute and guitar

   John Bilotta - Shadow Tree (2004) for alto flute and guitar

   Adam Melvin - Hyperlodic Interpretations (2003) for solo alto flute

   Martha Stoddard - Music for Flutes (1999) for two flutes

   Daniel Kessner - Shades of Pastel (1993) for alto flute and guitar

   Toru Takemitsu - Equinox (1993) for solo guitar

   Michael Oliva - River Drive (2007) for bass flute, guitar and electronics

Priscilla McLean - Interplanes (1970) for two pianos

William Penn - Chamber Music II (1972) for cello and piano

Brian Fennelly - Prelude and Elegy (1973) for brass quintet

Narrowing the Scope

About a week ago I had described a musical idea that stuck in my mind as I was listening to a piece by Webern.  I began sketching this idea and I became attached to it.  Well, as I have been working on this quartet, I have been trying to focus on the scope of this piece.  What is my overall structure?  Will this be a multi-movement or a single-movement piece?  What kind of sound world do I wish to create?  I decided that this will be a single-movement work.  This decision is in large part because many of my recent works have been multi-movement.  I want to challenge myself to write a longer piece in a single movement.

With this decision, I have had to look at the varying sketches I have created.  Some will work in this piece, however some will not.  The sketch mentioned above fits into the latter category.  The idea is solid, but it is not suited to work in the structure and sound world I have created.  Most likely, I will be using this musical idea in my flute, cello and percussion trio, Off you go...  This is a multi-movement work I began in 2003 of which one movement has been completed.  This piece may receive further discussion in a future post as it is a very important piece to me.

The point of this entry is that I have finally narrowed down the scope of this piece.  I have gone back and forth lately on whether this is a single-movement or multi-movement piece.  Since I have now figured out my direction I may go back and review the sketch score and see if revisions may be necessary.

Listening Journal: November 17-23, 2008

Burton Beerman - Misogamy (1969) for string quartet and tape

John Cage - Amores I - IV (1943) for prepared piano and 3 percussionists

Eleanor Cory - Epithalamium (1973) for solo flute

Richard Browne - Reri velocitatem (1962) for soprano, alto and baritone saxophones

J. S. Bach - Concerto for violin, strings and continuo in E major BWV 1042 (1730), Hilary Hahn, soloist

Frank Retzel - Schism I (1975) for string quartet

Karol Szymanowski - String Quartet No. 2, op. 56 (1927)

Igor Stravinsky - Concertino (1920) for string quartet

Toru Takemitsu - Quatrain (1975) for clarinet, violin, cello, piano and orchestra

Toru Takemitsu - A Flock Descends into the Pentagonal Garden (1977) for orchestra

Toru Takemitsu - Stanza I (1969) for mezzo-soprano, guitar, harp, vibraphone and piano/celesta

Toru Takemitsu - Sacrafice (1962) for alto flute, lute, vibraphone and antique cymbals

Toru Takemitsu - Ring (1961) for flute, terz guitar and lute

Toru Takemitsu - Valeria (1965/69) for 2 piccolos, violin, cello, guitar and electric organ

Igor Stravinsky - Three Pieces (1914) for string quartet

Igor Stravinsky - Double Canon (1959) for string quartet

Brett Wartchow - Nocturne (2004) for string trio

Iannis Xenakis - Herma (1961) for piano

Anton Webern - Variations, op.30 (1940) for orchestra

Edgard Varése - Offrandes (1921) for large ensemble

Listening Journal: November 10-16, 2008

Toru Takemitsu - Folios I - III (1974) for guitar

Anton Webern - Passacagalia, op. 1 (1908) for orchestra

Anton Webern - Drei Kleine Stücke, op. 11 (1914) for cello and piano

Max Bruch - Romance in F major (1911) for viola and orchestra

Toru Takemitsu - Rain Spell (1982) for flute, clarinet, piano and vibraphone

Anton Webern - Sechs Stücke, op. 6 (1928) for orchestra

Multiple streams

Before I sat down to compose today, I was listening to Anton Webern's Passacaglia, op. 1.  While listening, this musical idea came to mind.  The idea is a variation of a motive I heard.  It is not a melodic idea as much as an accompanimental idea.  So, of course, my mind would not let it go.  I worked with it and played with it tonight.  I composed a melodic line that can go with it and I will probably spend time developing it in the coming days.

I noticed that there are similarities in this idea with another that I have briefly worked on.  Unfortunately, the material I composed tonight has no immediate connection with the introduction I am working on.  However, I do believe that they can all be a part of a larger piece.

I have toyed with the idea of composing multiple movements.  Right now, I am more interested in composing a larger single-movement work.  As I work on these various sections I do need to keep looking at how they all relate, in order to compose a cohesive piece.  I do not want to give this piece a patchwork feel, by forcing these ideas together.

Listening Journal: November 3-9, 2008

György Ligeti - Ten Pieces for Wind Quintet (1968)

György Ligeti - Ramifications (1969) for 12 solo strings

György Ligeti - Cello Concerto (1966)

Witold Lutoslawski - Concerto for Cello and Orchestra (1970)

György Ligeti - Sonata for Cello Solo (1953)

Witold Lutoslawski - Grave: Metamorphosis for Cello and Strings (1981)

George Crumb - Four Nocturnes (Night Music II) (1964) for violin and piano

Kaija Saariaho - Sept Papillons (2000) for solo cello

Olivier Messiaen - Catalogue d'Oiseaux: Book 3 (1956-58) for solo piano

Karlheinz Stockhausen - Klavierstücke: Pieces 1-5 (1-4, 1952; 5, 1954) for solo piano

Arvo Pärt - Tabula Rasa (1977) for 2 violins and orchestra

Arvo Pärt - Collage über BACH (1964) for orchestra

Arvo Pärt - Symphony No. 3 (1971)

A progression of sketches

Sketch Score 11/6/08

Outline Sketch 11/6/08

Sketch Score 11/5/08

The three images above are a few of the sketches from my composing sessions on November 5th and 6th.  There are two sketch scores and one outline sketch.  The outline sketch bridges the two sketch scores.  All of these sketches focus on the same opening group of measures.  The sketch score dated 11/6/08 is the current revision of this section.  The first four measures did not change.  Measures 5 and forward were subject to the revision.

When I started to think about this piece on November 6th, I decided that the septuplet figure and even the quintuplet figure would not create the desired effect.  These are the ideas I referred to in my last post as needing an instrument that resonates.  So, as I was thinking about it, I began to work on the outline sketch.  I figured that there should be some counterpoint.  I got rid of some of the figurations and reworked the section so that the pace and texture are more like the first four measures.

My intent here is to illustrate how I got from the first sketch to the current one.  The third staff system of the outline sketch is where the reworking begins.  The small sketch at the top of the page is incorporated in measure 13 of the outline sketch.  It is not seen in the sketch score because this page only goes up to measure 12, so it will be on the next page.

Fleshing out ideas

The past two days have been productive composing days.  I have been trying to figure out the opening texture of the piece.  I have been working with a couple of ideas.  To see one of the ideas, please see my October 31st post.  What I consider the opening of my flute quartet is starting to come together.  I am not to the point yet where I am finished fleshing out the ideas.  However, the basic structure for this section is there.

I will admit that I have struggled with this.  I think part of my problem was that some of the gestures were not idiomatic for the instrument.  Some of these are ideas that I really like and I wanted them in this piece.  However, I believe that some of the gestures would work better with instruments that sustain, like a piano, or resonate, like a glockenspiel.  Unfortunately, at this time, I am not working with those instruments.  I found that I needed to work with ideas that are more suited for a quartet of flutes.

I can say that I am able to see this piece taking shape and that pleases me.

Listening Journal: October 27-November 2, 2008

This week I listened to a wide variety of music.  Some of it was orchestral, some was chamber.  Even the style of music had a wide range from avant-garde composers like Boulez to more conservative composers like Szymanowski.  I believe that keeping an open ear and listening to may different styles is important for composers.

The one rare thing I did this week was I listened to one of my pieces.  I listened to Images for flute, xylophone and piano which I composed in 2000.  I do not really go back and listen to my music much, unless it is a recent piece that I just had performed or a piece I was looking at revising.

Here is my listening journal for October 27-November 2:

Pascal Dusapin - Hop' (1984) for 4 x 3 players*

Brian Bice - Images (2000) for flute, xylophone and piano

Magnus Lindberg - Clarinet Concerto (2002) for clarinet and orchestra

Karol Szymanowski - String Quartet No. 1 (1917)

Einojuhani Rautavaara - Isle of Bliss (1995) for orchestra

Pierre Boulez - Eclat (1965) for 15 instruments

Witold Lutoslawski - Lacrimosa (1937) for soprano, choir and orchestra

* The instrumentation for Dusapin's Hop' is 4 groups of 3 instruments, each group consisting of 1 stringed instrument and 2 winds.

A first look at my flute quartet

Here is the first look at one of the sketches I have been working on for my flute quartet.  I realize the image is light.  However, if you click on the image you can see the full size image.  It becomes a little easier to read.  My sketches are done in pencil.  I will consider trying to darken the sketch before scanning it, but I don't want to take time away from the compositional process.

This is the sketch I referred to in my last posting, the one I wasn't sure how to develop.  I am going to spend some time today composing and maybe this time I'll figure it out.

Mental barricades

Sometimes it happens, I start working out an idea and I do not know where to go next.  I start over thinking the music.  That is what happened today as I sat down to continue working on my flute quartet.  There are a variety of reasons as to why this happens to me.  I can subconsciously put too much pressure on myself... this happens during times when I especially like a passage.  Sometimes, albeit vary rarely, the music just cannot be developed.  However, it seems that most of the time the mental barricades happen because I am mentally distracted and I can not focus 100% on the composition.  This was the case today.

While this is frustrating, I think that I handled it well.  When I realized that I was not going to be able to develop the sketch, I decided to put it aside and work on something else.  I started sketching other ideas for flute quartet.  In a sense, I pretended to start over.  I wiped the slate clean and tried something else.  In fact, I did it twice.  Of course, I am not saying that I am not going to continue with the original sketch.  I think it still has value and I will go back to it.

Composing is not always a linear process.  Sometimes ideas and sketches that come first are not always the beginning.   Sometimes when I work on multiple ideas, I find that they work together and are different parts of the same piece.  The point is that composers need to keep an open mind.  When I am writing a piece, I am constantly thinking about where the music wants to go and not about where I want the music to go.  Some would argue that this is the same thing since I am the one creating the music.  I think that music has a direction it wants to go.  I am helping to lead it in that direction.  Ultimately, I am in control of the piece, but I do not always force it to do what I want.

Listening Journal: October 20-26, 2008

I thought it would be a good idea to start posting the music that I listen to each week.  My intent is to post this weekly journal on Sundays or Mondays.  The journal fills two needs: 1. It will show you the music I am listening to and give insight to my influences.  2. This will "keep me honest" in my listening activities.  Listening is an important part of understanding.  As Aaron Copland wrote in What to Listen for in Music, "The key to understanding of new music is repeated hearings." (page 150)

The order in which the pieces are listed, is the order in which I listened to the pieces.  Here is my listening journal for October 20th-26th:

Pascal Dusapin - La Melancholia (1991) "opératorio" for solo voices, chorus, winds, orchestra and tape

Magnus Lindberg - Chorale (2002) for orchestra

Alfred Schnittke - Stille Musik (1979) for violin and cello

Joseph Dangerfield - The Waves Roll on, Thundering and Shimmering for large ensemble

Kaija Saariaho - Mirrors (1998) for flute and cello

Kaija Saariaho - Verblendungen (1984) for orchestra and tape

Enhancing the potentially monochromatic

One of the creative "problems" in composing for a group like a flute quartet is the ensemble itself.  With minor exception this is a homogenous ensemble.  The sound quality and color is very similar from top to bottom.  I am used to composing for ensembles with contrasting colors.  I like to have a veritable palette of colors inherent in the ensemble to draw from.  It is not to say that an ensemble such as a flute quartet is monochromatic.  There is a color palette there, I just need to be creative and draw it out.  I believe that this is the first time I have come across this issue since I composed my trombone quartet in 1999.

I know that this is a good challenge for me.  One of my primary interests as a composer is using tone color and drawing upon diverse sounds.  My challenge is to get creative and really figure out what the flute can do.  What techniques are there that really make this instrument special?  I don't think that trying to compose a flute quartet without digging in and exploring techniques and performance styles would allow me to create the piece that I want.

I also need to remind myself of basic elements that can add another layer of color and interest to the music: articulations.  As a composer there are times when this element becomes an afterthought and I include them in the score to add interest.  I think I should challenge myself to focus on some articulations and compose parts of this piece with that as a primary feature.

The Struggles

Today was a particularly rough day composing for me.  I only spent about an hour and a half working and I don't feel like I accomplished much.  I spent a lot of time working with the material that I thought would be useful.  I would come up with a motive or idea and try to develop it or take it a part.  However, my efforts did not bear much fruit.

In spite of all of this, towards the end of my session, I think I may have sketched something of use.  I'll need to work with it for a while and see what happens.  Right now, all I will say is that I like the concept, I am not sure I found all the right notes yet.

I think I need to focus on listening more.  I do put on a lot of music, but I do not always listen intently to the music.  I need to put my headphones on more often and just sit and listen.  As a matter of fact, as I am writing this I am listening to Kaija Saariaho's Verblendungen for tape and orchestra.  Yes, I do have my headphones on.

It's been a while since I've worked on a new piece.  The struggles are frustrating, but it is a part of every composer's life.

An opportunity unfolds

I was trading emails with Sarah Morris, a flautist, whom I met this summer at the 6th Annual Festival of Contemporary Music in San Francisco.  I had sent her a copy of the score for a solo flute piece I composed back in 2003, Not With, but Not Alone.  Well, through the course of our "conversation" Sarah mentioned that she plays in the flute choir at UC Santa Cruz.  I expressed interest in possibly composing a piece for that group.  Sarah sent me the contact information of the director of the ensemble, Greer Ellison.

On Sunday, I wrote to Professor Ellison asking if she is looking for new music.  I expressed interest in composing a piece for her group.  I received an enthusiastic reply.  Long story short, I will be working on a commission for the UCSC flute choir.  This works well for my plans.  As I mentioned in my previous post, some of the ideas I am working on seem to be appropriate for the flute.  Also, this is exciting because I know this piece will be performed at least once and possibly a few times.

Shaking the rust off

It has been a while since I have composed anything.  Actually, it has been since April (this year, of course).  The last piece I composed was a solo cello piece for my wife for our wedding on May 24, 2008.  I have not thought much about composing since then.  My life has been crazy since the beginning of May.  Now that things are finally getting settled, I want to compose.

So I sat down today to compose.  The beginning of a new work is always exciting.  However this time it is even more exciting.  I have a completely blank slate.  I do not have a specific piece that I need to write.  I do not have an unfinished composition that I feel compelled to finish.  This time I can do what I want.  As exciting as this is, it makes me a little more indecisive.  I tend to bounce back and forth between instruments and ensembles for which to compose.  

After about 10-15 minutes of being indecisive, I decided to look at my file folder filled with old sketches and pieces that never happened.  I did this for no other reason then to start thinking about music.  I started to play through some of these sketches and I tried improvising and expanding some musical ideas that caught my ear.  I actually played some things that I really liked and of course there were some really bad things.

I got some things sketched out, without any specific instruments and then I ran out of time.  I had to go to work.  Thinking about the sketches I played with today, I do have some thoughts about instrumentation, but nothing I want to mention yet.  Except this piece will include flute.  Some of the sketches and ideas just seem to be well suited for the flute.

I really was not worried about output today.  I wanted to ease myself back into composing.  I want to enjoy the process.  I do not want to pressure myself into writing a certain piece or rush into making decisions.  Today was all about shaking the rust off.

The purpose of this blog...

I have decided to create this blog as an attempt to journal my compositional process.  On Saturday, October 18, 2008 I will begin a new piece of music.  Details of the piece have yet to be decided.  These are the some of the things that I will chronicle.  I will attempt to scan and post images of the sketches I create in order to further illustrate the compositional process.

It is my hope that the blog entries will occur a minimum of 3 times a week.  I will make a serious effort to post to this blog every day that I work on this piece.  I will attempt to scan and post images of sketches and other related materials to the compositional process.  Not all post will be of the composition I am working on.  There will be days in which the blog post will focus on compositional related activities, such as readings, recordings I listen to or concerts I attend.  All activities will have a direct bearing on the compositional process.

It is my hope to bring insight into the compositional processes of the modern composer.  Please keep in mind that most of the processes are unique to my compositions; however there are processes and techniques that a lot of composers use as well.

Brian