About the Composer

In advance of the upcoming premiere of his harp concerto, Mark Adamo (seen below in a recent photo, pre-haircut) has written a fascinating description of the challenges involved in writing such a thing, and how he approached it. How do you get beyond the clichés and build something where the harp isn’t just adding some attack to the clarinets or providing noodledy-noodley filigree? How can the harp “own” the material?

Whether or not you have any interest at all in the harp as an intstrument, this is a worthwhile thing to read. It’s a great example of how a smart composer starts a new project by asking questions. Mark’s approach here reminds me of thorough advance work he puts into his stage works. (More on that here.)

1.) Since the harp is, by design, more impressive spelling out harmony than theme—but I want a theme with a real authority on which to organize the piece—can I come up with a melody that’s all harmony and all line at the same time, and yet is still versatile enough to express whatever I need?

2.) Are there unusual technical or timbral resources the harp can muster that are theatrical (read: loud) enough to hold their own in an orchestral texture? Can I design a movement to ask a question to which these timbres would be the answer?

3.) And how do I make this piece not just an orchestra score which happens to have a very large harp part, but a true concerto: one which sounds as if all of its gestures and materials are generated by the soloist? In other words, how do I keep the orchestra, with its limitless melodic potential, from upstaging the harp?

Mark’s Four Angels will receive its premiere at the Kennedy Center on June 7 – 9, 2007 performed by Dotian Levalier and the National Symphony Orchestra, Leonard Slatkin, conductor.

As mentioned in my last post, the opening song from Eros at Breakfast was performed a couple of weeks ago, launching what I hope will be a series of similar informal performances as the pieces start coming together.

It has occurred to me that it’s relatively easy to also document this work-in-progress on video, and so we got back together over the weekend to shoot this scene for that purpose. The result is a very tight, energetic and musically accurate performance. On the other hand, this particular scene calls for a lot going on onstage, and all we have is our main character (the only one who actually sings here), so you need to use your imagination to some degree.

Thanks again to Loren Nordlund, praised in my last post, and to wonder-pianist Jennifer Peringer, who, it turns out, has five hands.

Without further ado, please have a look at “Routine”. Video and a very brief synopsis are on a dedicated page.

Last year I wrote a little something about the relationship between dramatic composing and acting. I just had a great experience working with an actor, so now there’s more to say. I’m reminded that, in writing a musical theater piece, you’re never going to be “finished” until you involve actors in the process.

Every so often, a non-musical friend will hear something in a piece of mine, and say, “Oh, I like that. Was that your idea?”. Of course it was my idea! Every tiny detail is a decision. The same is true of acting, although I’m sure even fewer people realize it. Most people probably don’t really appreciate the craft of acting. You may enjoy a performance and be moved by it, but do you ever think about how they do it? It’s really hard work, and good actors make it look easy.

On Sunday we gave an informal performance of the opening song from Eros at Breakfast. I had expected it to be just a rough read-through, but it turned out to be a thoroughly thought-out performance — off book — by San Francisco actor Loren Nordlund.

Loren came to our first meeting having studied the score and analyzed the lyrics, and said, “OK. Here’s how I’d like to do it.” He immediately picked up on the sort of bizarre, Dr. Seuss-like aesthetic we’re going for, and brought a slew of interesting elements to the character, including some costume ideas that suited this particular event.

Watching Loren put this together, what struck me most was realizing how many tiny decisions he had made, particularly what he’s doing with his hands. I noticed that, more often than not, his hand gestures were consistent and specific. Whether we knew it or not, his hands were helping to tell the story. Next time you go to a movie, watch your favorite actor’s hands, and see what you think. Tiny decisions.

But most edifying was the reminder that no matter how polished my song seems on paper, it can’t really be finished until after an actor gets his hands on it. Let your actor make choices, and be flexible about your tempos and dynamics. You’ll find that they often can know more about your material than you do. Then, go back and revise.

P.S. - This particular song, “Routine”, was actually finished last summer, so I’ve had many months to grow fond of my MIDI rendering from Sibelius. It was a thrill to finally see it on its feet. I’m eager to share it. As soon as our schedules allow, we’re going to make a video which I may post here.

Does this mean I have to get a haircut and a real job?