Concerning the Audience: Part 2

I have been thinking about the article I wrote about Górecki's quote about the audience.  One phrase has come to mind a few times that has some bearing on this subject.  That is: not wanting to choose is a choice. Quite simply, telling someone else to choose or refusing to make a decision is a choice.  The difference is that you are not concerned with the outcome of the decision making process.

When Górecki says, "I never write for my listeners" what he is really saying is that he is not writing what he thinks they would like.  He is composing what he wants.  Górecki further comments that, "I think about my audience, but I am not writing for them."  This statement is the key.  As composers we do think about the audience.  Our hope is that people will listen to the music we have composed.  The music should say what the composer wants and not what the composer thinks the audience wants to hear.

The point I am making here is that all composers are concerned about their audience.  We want the audience to listen.  Without them, there would be no reason to compose music.  The integrity of the music begins to be compromised when the composer concerns his or herself with what the audience may or may not want to hear.  My hope is that the audience will enjoy something new and take what they want away from the experience when they listen to my music.

New Release: Jukka Tiensuu - Orchestral Works

On Tuesday, November 16, 2010 Ondine released a new CD of compositions by Finnish-born composer Jukka Tiensuu.  There are three orchestral works featured on this CD.  Vie for orchestra and Missa for clarinet and orchestra were both composed in 2007 and False Memories I-III for orchestra was written in 2008.  These works are performed by the Helsinki Philharmonic Orchestra with John Storgårds conducting.  Clarinetist Kari Kriikku for whom Missa was composed is the soloist on this recording.  All three pieces presented here are world premiere recordings.

This recording is New Music Forum's Pick of the Month for November 2010.


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Filling and Shifting

Over the past week I have had little time to devote to composing.  However, the time I have spent has been highly productive.  On Wednesday, November 24th I spent time filling out some harmonies and adding counterpoint in measures 51-74 of Time in Memoriam.  There are still some moments in which I need to add in a couple of voices for the harmonies.  However, the majority of the A section is sketched.

The biggest change comes at measure 75.  I initially composed an "introductory" motif that led into the flute melody.  After looking closely at this section I began to feel that it does not work.  So I cut it out.  I try to live by the advice once given to me: if it does not add anything to the piece, then why keep it?  This cut moves the flute melody up three measures and the transition seems smoother.

To complete the A section I need to add harmonies and counterpoint to the last part, measures 75-96.  After those voices are added, then the sketch of this section will be complete.  From there it is on to the B section.  My hope is to get a draft of the B section done by December 9th.  This draft only needs to consist of one to two voices containing the melodies and thematic material to be used in this section.

Listening Journal: November 22-28, 2010

Bela Bartok - Sonata for Two Pianos and Percussion (1937) Sir Georg Solti and Murray Perahia, pianos and David Corkhill and Evelyn Glennie, percussion
Toru Takemitsu - Quatrain (1975) for clarinet, violin, cello, piano and orchestra
Elliott Carter - Concerto for Piano and Orchestra (1965)
Einojuhani Rautavaara - Symphony No. 4 "Arabescata" (1962)
Frank La Rocca - The Pure Fury (1988) for tenor and large chamber ensemble
Magnus Lindberg - Corrente II (1992) for orchestra


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Concerning the Audience

As I was doing some research on Henryk Górecki, I came across a statement made by the composer.  In a 1994 interview Górecki discussed the audience and the potential influence on his music.  He said,

I do not choose my listeners. What I mean is, I never write for my listeners. I think about my audience, but I am not writing for them. I have something to tell them, but the audience must also put a certain effort into it. But I never wrote for an audience and never will write for because you have to give the listener something and he has to make an effort in order to understand certain things. If I were thinking of my audience and one likes this, one likes that, one likes another thing, I would never know what to write. Let every listener choose that which interests him. I have nothing against one person liking Mozart or Shostakovich or Leonard Bernstein, but doesn't like Górecki. That's fine with me. I, too, like certain things.

This quotation really resonates with me.  Often colleagues of mine would comment about how they would tailor their music to the audience's supposed likes and dislikes.  They would intentionally avoid composing certain things because they want the audience to like their music.

I believe that composing for the audience could compromise the integrity of the music.  As a composer I agree with Górecki.  I know and understand that there will be people who do not like my music.  That is fine.  I do not want to get caught up in composing "music for the masses."  I want to compose music that says what I have to say.

As an audience member, I truly appreciate Górecki's comments.  I enjoy listening to music that challenges me and expands my musical horizons.  I do not want to hear music by a composer who is concerned about his or her audience.  I have heard pieces like this and you can tell that the composer is trying too hard to please the audience.  These piece tend to be predictable, because there is nothing new that the composer is saying.

I believe that Górecki is on to something when he says "the audience must also put a certain effort into it."  An exciting aspect of music is interpretation.  Interpretation comes not only from the performer, but the listener as well.  Each member of the audience can take different things away from the performance.  Even multiple performances by different performers can elicit different responses from the same audience.  This is why it would be difficult to compose for the audience.  It is also what makes music enjoyable.

New Release: Fantasia and Fantasia 2000 on Blu-ray and DVD

On Tuesday November 30, 2010 Fantasia and Fantasia 2000 will be re-released on DVD and released on Blu-ray for the first time ever.  Now you will be able to experience the intertwining of music and animation as only the Disney animators, Leopold Stokowski with the Philadelphia Orchestra and James Levine with the Chicago Symphony Orchestra can bring together.  With the new transfer to Blu-ray this timeless classic can now be experienced as Walt Disney in the brilliance of color and sound as he had originally envisioned.

As a bonus, included in the pack is Destino the 2003 Academy-Award nominated short.  Destino is an extraordinary collaboration between Walt Disney and artist Salvador Dali.  The four disc Blu-ray combo pack includes the Blu-ray and DVD versions of both movies.



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Happy Thanksgiving!

I want to wish everyone a Happy Thanksgiving.  The holidays are a special time for many of us as we travel to see our family and friends.  I hope everyone has a safe holiday season.

Happy Thanksgiving!


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