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That’s true. We’re
exposed to music from overseas, rock ‘n roll, jazz,
everything all at once.
In fact my radio
listening habits are very much like my music. Always
switching the dial. I listen to everything —
classical, jazz, pop — even rap has some incredible
practitioners. (Laughs)
Do you use forms a
lot—old forms like Baroque forms or symphonic forms
in your music? Do you think it helps a lot in
composing a piece by knowing the basic forms so that
you can take all your ideas and put them in a place
when you are composing?
Well, over the last few
years I’ve been specializing in large orchestral
music. Somebody once told me along the way that if
you write ten minute orchestra pieces your chances
of performances are greater. I liked that idea. So,
once you’ve decided to fill 10 minutes of time with
sound, the incredible logic of ABA form presents
itself. The creativity comes with all the little
variations and sub-sections that you build within
that form. I’ve also been consciously trying to
write great tunes. It’s such a basic time-tested way
to draw people into your music constructions. I’m
not sure why it hasn’t been done since
Rachmaninoff’s time. It works so well, it’s almost
like cheating!
When I read your bio,
I think you said your teacher was influencing a lot
of young composers in the 1970’s to get away from
this academic style – serialism and all that — and
to use other forms. And I felt that with a teacher
like David Del Tredici you would have no restraints
on your…
Too much freedom?
Yeah, you want a lot
of freedom, but yet it is a challenge when you have
too much freedom. So, I just wanted to know how that
affected you — his philosophy, that is. And how did
it affect your relationship with Del Tredici in
terms of his teaching?
It was good because he
was the first one to give me permission to write
exactly as I pleased. And I remember he gave me all
A’s. But as far as having too much freedom, yes,
that was a severe problem for years. But that goes
along with trying to find your language when you
have so many languages available to you. That’s the
reason I’m blossoming just now in my life. Actually,
it takes many contemporary composers until their
late thirties before they really find their voice.
There’s so much freedom and so many styles. To forge
your own coherent voice takes years. But Del Tredici
really helped legitimize tonal music by winning a
Pulitzer Prize for the first great tonal piece
written in many years.
So did you chose Boston
University because he was teaching there?
No, that was a
coincidence. A great coincidence, actually.
Can you give the reader
some insight as to your experience making a living
as a musician/composer after graduating from Boston
University and then moving back to New York City?
Did you have a plan?
I planned to make it big
in music. (Laughs)
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