February 08, 2012More
I’m pleased to share with you the first blog from LACO’s Sound Investment composer Timothy Andres. Enjoy as Timo takes us through the compositional process on his way to the March 24, 2012 debut of his piece:More
Each season, the LACO commissions and premieres a new piece of music composed especially for its virtuosic musicians. LACO patrons can take part in this creative process by donating toward the composer’s fee and costs of the premiere concerts. These Sound Investment members get to meet the composer in intimate previews of the new works.More
Kicking off a three-year tenure as LACO’s new composer-in-residence, “brilliant musical vagabond” (Sequenza 21) Derek Bermel discusses his musical influences with KUSC’s Brian Lauritzen in a new podcast on laco.org.More
When I sent the orchestral parts to the printer last week, I thereby completed the final phase of this project. I can’t tell you how satisfying the moment is when I compress the entire set of parts into one folder, attach it to an email, and hit “send”! I always do the parts myself, because—though my colleagues in “the business” encourage me to pay someone else to this essentially secretarial task—I guess I am a bit of a control freak and want to know exactly what the players will see. For this project in particular good parts are a necessity because Jeff will be busy playing and will not be able to conduct much. There is more-than-ample “cueing”; in other words, the players can see in their parts the most significant and audible passages being played by other players. This way the can make their entrances even without a conductor.More
Well I am happy to say Jeff’s concerto is finally off the ground! As always, it has taken forever to come up with a beginning I am happy with. Every new piece has its own “rules” and the initial process involves learning what these rules are. It has a lot to do with harmony, with the kind of chords and scales I will use, and while these choices are pretty consistent from piece to piece, there are subtleties which can mean a world of difference in communicating exactly what I want to communicate. But once I have established these parameters, I always find I can write the rest of the piece very quickly.More
For this installment I would like to share a curious experience I just had, one that got me thinking about the state of things in the classical world.More
Greetings from the Hotel Lancaster, just across the street from Jones Hall in Houston. Though I live in New York, I am here in Texas this week for performances of my Symphony no. 1 by the Houston Symphony conducted by Hans Graf. I heard a rehearsal yesterday, and it felt somewhat like reading an old journal! I wrote this piece in 1998 while I was still in school at Eastman, and in fact it served as my doctoral thesis. It’s interesting to hear that I have grown in many ways since then, but in essence what I am trying to do has not changed all that much.More
my tenure as LACO’s Sound Investment composer for the season 2006-2007 has come to an end. It was a great year for me. I got a lot of joy and inspiration out of interacting with the investors, a group of lovely and very smart people. It was a pleasure spending time with and getting to know everybody in LACO’s management and staff. Also, it was great to “hang professionally with Jeffrey Kahane and my friends in the orchestra! And – needless to say – my musical experience with the orchestra was first-rate.
back to one of my favorite musical subjects: rhythms originating in Jazz, Funk, Rock & Roll, Pop, World Music, Electronica etc. – in short, grooves! Due to my musical background as a jazz musician I love them and, for my money, why shouldn’t everyone else? But before I say more in their favor, let’s first take a look at a larger aspect of our musical reality.
just recently I delivered the score for my new composition Desert Wind to LACO. The deadline was March 1.
hope all is well with you. Today I’d like to share with you the extramusical images evoked in me by Desert Wind.
hope this finds you well. Today I’d like to tell you about the different rhythms (“grooves”) used in Desert Wind.
hope things are good. Today I’d like to share with you how I see Desert Wind to be a Concerto for the Los Angeles Chamber Orchestra.
hope all is well. Last time I promised to share with you how the themes for Desert Wind
turned out – and of course by doing that set myself up for the impossible! Can one adequately describe music with words? Never going to happen, I think it’s safe to say … some very smart people before me have opined that if we could say with words what we express with music, there wouldn’t be any need for music and it likely wouldn’t even exist … having said all that, I’ll still give it my best shot.
I hope this finds you well. I’ve just returned from NYC where I attended the Chamber Music America conference to advertise my chamber music works. As much as I enjoyed spending time in the Big Apple, I’m glad to be back home in LA!