@William said:

But I still think that Varese and the early Stravinsky were extensions of the romantic impulse as it was authentically, not all the later ill-conceived views of it that developed. Though this could be argued.

Probably we should leave that discussion to the music scientists, but personally I percieve both composers as deeply and heartfelt anti-romantic and not at all an extension of romanticism. In fact it still feels weird to me to think of them, especially the "sacre", as romantic.


Fred, I love the pasta anekdote [:D]

Fred,

You really hit it for me, as well!

Work!

Sometimes it actually stresses me out a little how much work composition can be... but then, in the moment that it's really happening, it's as easy as breathing. But to approach it some days -- just getting started... ouch! It just makes my head hurt! However, it is ultimately the drive to sit down a bang out a few bars which guides me. I only make clear decisions when faced with the actual work at hand. I can't simply dream up an idea for a piece and have it become anything if I don't first sit down and see where it goes in actual notes, chords, and rhythms.

So, in that respect (and many others), I have a great deal of Stravinsky in me. He really felt the composer was more an artisan than an "artist", and I'd say that, in my day-to-day life, that's how I experience it. On the other hand, my music, and my interests in making music are basically romantic - I think that if we're not expressing something uniquely "us", then we're probably not expressing much of anything at all... or at least, I can't image why anyone would want to listen. I'm also a little embarrassed by the notion of a "universal" language in music, which sets me against any good, die-hard modernist. Finally, I'm quite interested in musical drama and in evoking images... That is, images of a strictly musical nature (i.e., I never think of a babbling brook and suddenly start writing!), in the sense that the various components, the interactions of foreground an background, and the organic dialogue between elements suggests natural processes which, in the experience of the average listener, are most commonly experienced in "scenes".

Mathis. I agree with both William and yourself... I suspect this is because Stravinsky was following the popular mode of absolute rebellion against the Romantics (yes, with a capital R!), and thus acknowledging a certain debt to them with regard to his musical impulses (thus also agreeing with William's evaluation). This same phenomenon could be seen with postmodernism, where such fantastic efforts were made to avoid modernism that, at times, it became difficult to tell whether the post-modern had any genuine impulse of its own - that is, anything to say that didn't depend on the modern.

But I'm blubbering now... back to work!

J.

My wife laughs at me sometimes. Fortunately our little shop is usually pretty busy, juggling multiple projects. During the most busy times I tell her I hope I'm a good 'note sponge'...and can wring a few more melodies out of my wrung-out mind.

Speaking of imagery, if I'm trying to evoke a very specific image, sometimes I'll call someone in from the office (NEVER another one of the composers), play a bit of the piece and ask what images it brings to mind. If it's something wildly different than I'm trying to conjure, I figure I have some adjustments to make.

Of course this only applies to the commercial work. When I'm working on my own stuff I just try to follow the muse wherever it leads. I try to never consciously think about structure unless I write myself into a corner. Think less...feel more. The work is what happens BEFORE I sit down to write. (Studying, exploring new harmonic ideas, listening and analyzing...expanding my vocabulary, basically.) Sometimes I don't know how it's going to end up until it gets there. Sometimes I THINK I know how it will sound, but along the way it changes so much I don't recognize the original idea. That's the fun of it, don't you think?

I hadn't read that Stravinsky thought of himself as an 'artisan'. Good word. I'm certainly no Stravinsky, but I can relate to the idea. Thanks for sharing it!

Fred Story

@jbm said:

This same phenomenon could be seen with postmodernism, where such fantastic efforts were made to avoid modernism that, at times, it became difficult to tell whether the post-modern had any genuine impulse of its own - that is, anything to say that didn't depend on the modern.

But I'm blubbering now... back to work!

J.

No blubbering at all, I think that´s a very relevant point. Right, for example the New York minimalism as a strong anti-modern statement wouldn´t have existed without Darmstadt. Good point.

Hm. but still it´s not an extension. Right?