My relationship with technology is complicated. I'm not a natural with computers. At all. So I have yet to write a piece that has any component of electronic music in it. Which I feel bad about, but am also growing to accept as part of my (possibly anachronistic) creative identity. But I do use notation software - sometimes early in the writing process, sometimes late - and occasionally midi playback, depending on the kind of music I'm writing.
Rearranging the furniture in my living room. I find endless fascination in the many ways objects can be in a room.
SO IMPORTANT. Music making can and should be personal thing, and the more we can do to make new orchestral music a more personal sort of collaboration, the more honest and energized the final product will be. I love getting to know an orchestra and writing for them as people, not just players.
Young people have so much creative energy! Working with young people is like tapping into this huge, unbridled energy source; I can fill up and take it back to my own work. Sometimes I feel bad because I get SO much out working with kids - I hope they get something, too.
When I was a little, little kid my parents would play this compilation tape of the greatest hits of the Baroque. I think it was somewhere between Air on the G String and Pachelbel's Canon that I decided to become a composer.
Britten's Peter Grimes. I stood through half a dozen performances of it as an usher at the Dorothy Chandler Pavilion back in the day.
Whenever you feel like it.
Disney Hall and In-N-Out Burger.
Actually, the theremin concerto was written first for Carolina Eyck and the Heidelberg Philharmonic, and later adapted for BMOP. But yes, I tend to be drawn to instruments with dangerously wide vibratos (theremin, ondes martenot, aging mezzo sopranos...), and I learned so much from writing the theremin concerto that I want to write another, and another. There's so much you can do with it! And I've got a shot at being the Wieniawski or Vieuxtemps of the Theremin world - like in a 100 years thereminists in conservatory will earnestly debate the varying merits of Norman 4 vs. Norman 3 or 5. That's the kind of immortality I want.
I don't know! Let's focus on me figuring out how to write music today, and once I've got that down I'll get back to you.
Labels: 10 Questions
Theater of Voices
Royal Opera House
Massenet Don Quichotte
Mariinsky Opera Orch
Berlin RIAS Chamber Chorus