Wonderful songs, but born to die!

For our first project at Brevard, all thirteen of us composers have to write songs on the same text. This year’s text comes from Vachel Lindsay, otherwise famous for writing the lyrics for Charles Ives’s song “General William Booth Enters Heaven.” The poem we’re setting is entitled “In Praise of Songs That Die”:

Ah, they are passing, passing by,
Wonderful songs, but born to die!
Cries from the infinite human seas,
Waves thrice-winged with harmonies.
Here I stand on a pier in the foam
Seeing the songs to the beach go home,
Dying in sand while the tide flows back,
As it flowed of old in its fated track.
Oh, hurrying tide that will not hear
Your own foam children dying near
Is there no refuge-house of song,
No home, no haven where songs belong?
Oh, precious hymns that come and go!
You perish, and I love you so!

At first, it struck me as a second-rate poem: good ideas but poorly executed. I still don’t think it’s great, but after memorizing it this morning, I appreciate it more. Wikipedia says that Lindsay is “the father of modern singing poetry, as he referred to it, in which verses are meant to be sung or chanted.” The melodic sense to the words becomes much more apparent in speaking them rather than reading them. You begin to notice internal rhymes, such as “here” and “pier” in line 5.

Overall, the poem reminded me of the “what is music?” discussion we had in Dr. Hicks’s aesthetics class. If you view music as the experience of listening to sound in the air, as soon as that sound is over, the music is dead, and along the way, every step toward its completion is a step toward its demise. The music may have a physical manifestation as a score or recording, but these media are to the experience of music as is the bottle for the genie.

More could be said on this subject of sic transit gloria mundi, but I’ll leave that honor to the much better poet Robert Frost:

Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.

Diving into Brevard

They say Brevard is home to the rare white-furred squirrels. So far I’ve only seen the humdrum red variety.

Arrived on Thursday at the Brevard Music Festival, my retreat this summer for composing and hobnobing with other  musicians. The festival includes more than 450 high school and college age musicians. It’s particularly great for composers because it has such a strong emphasis on performing your work.

These details aside, I’m already feverishly at work on a new piece for flute and alto saxophone, featuring a kaleidoscope of patterns and colors. I’m really excited for this piece because it’s both new and old for me. On the new side, it continues the lines of rhythmic invention I explored in A Field Guide to Natural History. On the old side, not only do I feel like I’m writing a response to floboe from last fall but also like I’m finally paying homage to the teacher with whom I’ve studied the longest, Neil Thornock. All these traits will become clearer when I post the audio in a few weeks. Get excited! (I know I am!)

Countdown to San Francisco: 5 days

Nine days and four rehearsals later, A Field Guide to Natural History is coming together. On Thursday, it was decided that I would conduct; on Friday, we cut out two more movements; yesterday, we had our first uninterrupted run through; and today, we began to work in earnest on expressive details. Tomorrow will be our last rehearsal in Provo.

The crew at rehearsal for Eric Hansen’s recital (left to right): Eric Hansen, Scott Holden, David Kjar, Ron Brough.

As I expected, the guys have done a great job pulling the piece together. I’m also excited for the other pieces on the program. Eric wrote a great one for himself, Dave, and Ron (on bass, clarinet, and marimba respectively), and Dave brought a cool jazz tune of his. All together, Eric’s put together a great recital.

Funny story about the rehearsals: I hadn’t conducted instrumentalists for years, so I was a bit nervous about the undertaking. Last night, I told this to a friend, who was surprised I wasn’t immediately confident at conducting my own piece. “After all,” she said, “you wrote it.”

Her logic reminded me of the time in sixth grade when I wrote this tie fighter video game in QBasic. The premise was simple: You’re a tie fighter at the top of the screen. You had to hit the x-wings and a-wings flying and shooting at you before they reached you. I installed it on a computer in my classroom, where, to my teacher’s dismay, it became quite popular. After a few weeks, people were surprised I didn’t have the high score: “After all, you wrote it.”

“But writing it doesn’t mean I’m good at it,” I protested.

Some things never change.

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