Barbara Streisand was once asked what she was thinking of as she sang the classic "People". It must have been something lofty and profound to generate such an emotional performance, right?

She was thinking of a big plate of pasta.

Bob Fosse was having difficulty getting an actress to give him the startled reaction he wanted in a scene. He broke for lunch, bought a gun, and fired it on the set at the right moment. Reaction finally on film, he moved on and made his shoot day.

No doubt the actress was credited with her great acting skills.

Great work - 'art' if you will - can happen in so many ways. Often it's not even recognized by the artist upon its creation. (Artists are a notoriously self-critical lot.) Sometimes there's no intent to create art at all, but simply meet a deadline...or make a shoot day. The thing we spent months perfecting can be upstaged by the thing we dashed off in minutes on a whim.

I enjoy these conversations. Folks here astound me with their breadth of knowledge and passion for the work. Which brings me to my point. (Yes, I actually had one.)

Work. This is hard work. I suppose I'm so rooted in working hard every day to learn something new...expand my musical horizon...(along with pleasing a client...meeting a deadline), that I have a hard time thinking of my work in the context of art. My desire to create art will not make art happen. I try to think in the context of bringing as much depth as I can to a piece, but even that is highly subjective.

Like I told my composition teacher about 3 years into a remarkable 7 year journey. "The more I learn, the more stupid I feel". He asked, "What do you mean?" I replied, "Well, the more I know - the more I realize how much I don't know." Ziggy just smiled and said, "Now you're getting it."

Like so many here, I suppose I have more of a blue collar attitude about it. Work, work, work. Learn every day. Always give it it my best effort. Keep an open mind. If art happens...well that's for others to determine. I'll be too busy picking it apart to try and make the next thing better to ever agree.

Oh...and I intend to have some fun along the way...try to keep my sense of humor and never take myself too damn seriously. (Wish I had a perfect score on that one.)

Fred Story

I had this nerdy, geeky thought about Jbm's original question. I was watching The Ladykillers (1955 version) the other day and the thought of 'score' and 'source' entered my head. On one hand, you have original music by Tristram Cary, and on the other, you have music by Luigi Boccherini (Minuet from "Quintet in E major, Opus 11 Number 5").

In the context of the film, would Boccherini's music be regarded as 'source' I wonder? That's a tough one for me.

As an aside, apart from being a brilliant detailed comedy, Tristram Cary's score is an education in how to write a 'serious' sounding score (if you heard it in isolation with no pictures), which heightens the comedic content even more. Especially the sequence of the actual robbery, whereby Cary uses the ticking of a clock as a metronome beat throughout, for the accompanying score. Been done many times (High Noon for example 1952), but extremely accomplished.

PR

I have a lot of the same reactions as Mathis, especially with the concept of another world being "higher" and music lets us go there to escape. This reality here is the most beautiful conceivable though people are constantly ignoring that and killing each other.

That's a good point about Schumann - he was surrounded by death and eventually went mad. 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.

The modern artist I like the best is de Chirico. He was anti-romantic in a sense, but also a surrealist before surrealism existed (which itself has been called modern romanticism!) A quote I remember from de Chirico and which fits in perfectly with his eerie paintings of deserted cityscapes is "There are more enigmas in the shadow of a man who walks in the sunlight than in all the religions in all the history of the world."

"There are more enigmas in the shadow of a man who walks in the sunlight than in all the religions in all the history of the world."
Really interesting quote.... [8-)]

O.K. that one is somewhat out of context. However here are a couple others:

"To be really immortal a work of art must go completely beyond the limits of the human: good sense and logic will be missing from it. In this way it will come close to the dream state, and also to the mentality of children."

"A profound picture will be entirely without the gesticulations, the idealism which attracts the attention of the crowd and makes the name of the artist well-known. All momentary posture, all forced movement will be put aside. Calm, tranquillity, even serenity but in this serenity, as in an eternal lamentation, all pathos known until now; all grandeur, all sublimity men have known, their hopes and fears, their joys and their suffering, friendship and love, all will blend their music; but the real value of such a work will lie in its new song, for more important than all these will always be the new thing that the artist has brought out of the void, something which previously, did not exist."

"In the middle ages the study of nature led astray those artists who created gothic art. One can observe the same phenomena among modern artists (circa 1911): poets, painters and musicians. The truly profound work will be drawn up by the artist from the innermost depths of his being. There is no murmur of brooks, no song of birds, no rustle of leaves. The Gothic and the Romantic disappear, and in their stead appear measurements, lines, forms of eternity and infinity. This is the feeling produced by Roman architecture. This is why I believe that Greek and Roman buildings, and all those which later were fashioned upon the same principles, even though somewhat transformed are what is most profound in art."
- de Chirico

@PaulR said:

How are the exams going Mathis? Everything alright? [:D]

As to the rest of your post, consider you and your girlfriend officially adopted.

Bests

Paul

Hihi...
Exams went well, thanks [[;)]]

@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?