The first page of the oboe part for Terra Nostra |
I have dedicated this spring and summer to working on Terra Nostra, my oratorio commissioned
by the San Francisco Choral Society and Piedmont East Bay Children’s Choirs, with only brief pauses to teach at Fresh Inc Festival and make an arrangement
of a traditional Hungarian-Romani folksong (Jarba,
Mare Jarba) for Chanticleer’s upcoming season. As of today, I am printing
and binding all of the scores for Part I entitled Creation of the World and will mail them in a few days to the San
Francisco Choral Society. This is a moment that has been twenty-two months in
the making, and I’m psyched to be on the cusp of completing the first stage of
this massive project! For those of you not familiar with Terra Nostra, I’m writing a three-part oratorio about our planet
earth, how humanity is impacting it, and what we might to do to find a balance
that works for us as well as the planet.
I have written two blogs discussing earlier phases of the project: Beginning Terra Nostra and Digging into Terra Nostra.
I often get questions from audience members about what factors go
into composing a new piece. For today’s blog, I discuss three general points
that greatly impact how I compose, and how these factors shaped Terra Nostra, Part I.
•
INSTRUMENTATION: The combination of instruments
used in any piece comes with its own unique set of balance issues, especially
when these instruments are accompanying singers. Some instruments easily outbalance others (i.e.
a flute in its low register will lose against a trombone in its high register),
so a composer spends a lot of time calculating and compensating for potential
balance issues. I discovered I was
having a different sort of balance issue with the project: when the
commissioners and I drew up the contract for Terra Nostra, we agreed that the chamber orchestra would be
comprised of strings, piano, and three percussionists. By May, however, I realized that the
orchestra could really use winds and brass to balance the choirs at several key moments,
particularly when the adult choir is singing at full blast. I also began
hearing woodwinds in the accompaniment of some of the lighter
movements, which (at least in my head) added some very nice contrast to the ever-present
strings and piano. So, to add more power
and increase my color palette, I asked the San Francisco Choral Society if we
could reconsider the instrumentation. They were very gracious in letting me
swap out two of the percussionists in exchange for four woodwinds and three
brass instruments. This swap has paid
off nicely, with far more effective loud sections as well as nuanced quiet
moments.
• DECISIONS,
BIG AND SMALL: Every day, we make dozens, if
not hundreds, of decisions: what to wear in the morning, what to eat for
breakfast, when to leave for work, and so on. When composing, I become very
aware of how many decisions I have to make for every detail: What poem should I
set to music? What pitches should I set to a particular phrase of the poem?
What rhythms best suit each word in the phrase? How loud or soft should the
phrase be sung, and should any of the words be articulated in a specific way? When
writing an oratorio, the number of decisions can become overwhelming. To
alleviate this stress, I set daily goals of what I want to accomplish; some
days, the goal is to compose new material, while on others, it is
to flesh out the piano reduction for orchestra. By compartmentalizing the work
down into smaller bits, I can handle the day-to-day pressure of working towards
a much larger goal. As I progressed through Part I, I noticed that I lost the
most time when I waffled back and forth on particular elements of the piece; for instance, I changed my mind multiple times on the instrumental scoring,
dynamics, and articulations at two structural high points. In our daily lives,
we don’t tend to worry about the small decisions as much as the big. The same
is true with composing – I easily made decision after decision on much of the
material, but incessantly worked and re-worked several key passages over and
over until the music felt just right. While I’m hoping to solve some of these
“waffling” issues faster when composing the next two Parts, I suspect that this
state of indecision is part of my process, and that sometimes the process just
can’t be hurried.
I’ll start working soon on Parts II and III; at the moment,
however, I can’t wait to finish binding the scores of Part I and send them off
to San Francisco! Part I will premiere
on November 15 (8 PM) and 16 (4PM) at Calvary Presbyterian Church in San
Francisco. Please check out the San Francisco Choral Society webpage for concert information.