As Sheet Music Plus stands in solidarity with those around the world advocating for change, we’d like to ask you to join us today in listening to Black voices. Here we recognize organizations that support and promote Black musicians and music education:
National Association of Negro Musicians (NANM): www.nanm.org
National Association for the Study and Performance of African American Music (NASPAAM): www.naspaam.org
We also share, in addition to the legacies left by brilliant but underappreciated Black classical composers like Scott Joplin, William Grant Still, Florence Price, William Dawson, and Nathaniel Dett, a directory of living Black composers maintained by Music by Black Composers (MBC):
Guest post by Dr. Dominik Rahmer, editor at G. Henle Verlag.
The formal technique of “variations” played an important role in Beethoven’s work throughout his entire life. Critic Paul Bekker wrote in 1911, “Beethoven begins with variations,” and indeed this is true not only of the character of his oeuvre, but also of its chronological progression: Beethoven’s very first published work was his 9 Variations on a March by Dressler, WoO 63, which appeared in 1782.
Similarly, we could add that Beethoven also ends with variations. The Diabelli Variations, Op. 120, which are amongst his last piano works, not only crown his creativity, but also, in the history of piano variations, are probably equaled only by Bach’s Goldberg Variations.
The panoply of variations within his multi-movement works also indicates how fundamental this technique is in Beethoven’s musical thinking. Consider, for example, the profound closing movement of the last piano sonata, Op. 111, or the grand finale of the 3rd Symphony.
Though the themes of these movements were usually Beethoven’s own inventions, here we will focus on the pieces composed as independent variation sets on popular melodies. This vantage point reveals some interesting finds. more “A Short Foray into Beethoven’s Variations”…
Over the summer we found some time to connect over Skype with composer, oboist, installation artist and professor Sky Macklay, who was in the middle of what sounded like a truly magnificent residency at Civitella Ranieri in Umbertide, Italy. Macklay’s work, especially her chamber music and intermedia pieces, has been receiving more and more attention recently, especially in light of her 2017 Grammy nomination for “Many Many Cadences,” a chamber piece written for Spektral Quartet and appearing on their 2016 album, Serious Business.
The measured but sincerely eager thoughtfulness that Macklay employs in conversation about her art is also a key component of her work, which simultaneously revels in playfulness and freedom. The themes and concepts covered by her oeuvre, whether sociopolitical or linguistic or purely sonic, are almost as expansive as the tools she employs to explore them and convey her perspective on them. Her curiosity seems to be matched only by her omnivorous gravitational pull on the world around her: everything is on the table to explore via every means she can get her hands on. And the results are surprising, head-turning, eye-opening — and continuously exciting.
If a composer just so happens to also be a photographer, an essayist, and an activist both within the musical arena and outside of it, it seems fitting that she would describe her own work as “pan-genre and diverse – sometimes within the same piece!” Alex Shapiro’s extensive catalog encompasses film scores, chamber music and choral works, but it is in concert band music that Alex has been leaving her strongest mark as a composer.
Alex’s first foray into the concert band world came in 2007, when Major Tod A. Addison, Commander and conductor of the United States Army Training and Doctrine Command (TRADOC) Band, contacted her via MySpace to commission a piece. At the time Alex had never composed for, participated in or even attended a performance of a wind band in her life, but was encouraged by Major Addison’s openness to her ideas and decided to jump right in.
The final piece, titled “Homecoming,” folds Alex’s sophisticated take on symphonic and jazz-pop music into traditional wind band sounds, while also taking a nuanced, multi-dimensional approach to the concept of a “military theme.” The result isn’t a collection of recognizable layers of elements, but rather something entirely new.
Lloyd Larson has become one of today’s most published and performed church music writers. A frequently called-upon clinic and conference resource, Larson has been a singer, keyboard player, and arranger.
Having earned his B.A. from Anderson University, Anderson, IN, Lloyd next completed his M.C.M. at Southern Baptist Theological Seminary (SBTS), Louisville, KY, and undertook additional graduate work at SBTS and Ohio State University.
Larson’s extensive background in arranging and composing includes arranging music for an internationally broadcast radio program. Also, in 1989, he completed an editorial assignment for a new hymnal, Worship the Lord, for the Church of God, and co-edited the accompanying Hymnal Companion. In addition, Larson contributed to the Complete Library of Christian Worship, edited by Dr. Robert Webber. He has served as a church music director for decades (a role he continues to this day), which has inevitably informed his artful and well-crafted yet practical original compositions and arrangements.
Recently, Larson sat down with Mark Cabaniss, President and CEO of Jubilate Music Group, to discuss his work and to help us all get to know him a bit better. more “A Chat with Lloyd Larson”…
Every time we listen to Swedish composer Mårten Jansson we can’t help but get swept up in the whirlwind of emotions he creates. His music is full of all of the compositional elements that choristers love to sing: sweeping melodic lines, open chords and expressive dissonance.
Ultimately, though, performers and audiences alike fall in love with his music because they are drawn to the fundamental honesty at its core. Jansson approaches traditional sacred texts with humility, and he openly shares his experience of it through his music in a way that amplifies the text without pretense or contradiction.
This honesty should not be confused with simplicity or naïveté. Jansson’s stunning Missa Popularis, for instance, manages to connect us to a profound range of emotions, while uniting many layers of thought and tradition into the microcosm of a single piece of music. In addition to all of Jansson’s neoromantic tendencies, the Missa sits atop a foundation of Swedish folk dances and also sounds strikingly Medieval. Though perhaps most obvious in the opening of the “Kyrie” and the “Agnus Dei,” the feeling of the chant is present throughout the entire Mass. more “Discovering Mårten Jansson & Bärenreiter’s Jansson Choral Competition”…
Composer and pianist Ola Gjeilo was born in Norway in 1978 and moved to the United States in 2001 to begin his composition studies at the Juilliard School in New York City, where he currently resides.
Ola’s recordings include the Decca Classics albums Ola Gjeilo (2016) and Winter Songs (2017), featuring Tenebrae, Voces8, and the Choir of Royal Holloway. His choral and piano works are published by Walton Music and include titles such as the Sunrise Mass, Northern Lights, Ubi Caritas, Tundra, and Ave Generosa. His wind band works are published by Boosey & Hawkes.
For more information, please visit olagjeilo.com or find Ola on Facebook, Twitter, and Instagram.
When did you start composing?
I started playing piano and improvising when I was about five years old. As a child, I had a pretty good ear and was fairly quickly able to hear which notes worked together and which ones didn’t. I didn’t read music until later on because I just wanted to do keep improvising and creating things. I never had a moment in which I decided to become a composer though; it was something I had been so passionate about from a young age, and I never thought of doing anything else. more “Composer Spotlight: Interview with Ola Gjeilo”…
When I learned about John Cage for the first time as an undergraduate music major, I was only instructed in his most avant-garde concepts: the infamous 4’33”, his prepared piano pieces, and his chance compositions, some of which he composed using the I Ching (an ancient Chinese divination text, also known as the Book of Changes.) I recently heard a recording of Adam Tendler performing Cage’s piano solo In a Landscape. If I had not read on the score that the music was by Cage, I would not have believed it. It was so beautiful, and honestly, that’s not an adjective I would associate with Cage’s music.
I was sure there are others who share similar misconceptions about Cage’s music with me, so when I had the opportunity to meet Adam Tendler, I jumped at the chance.Adam Tendler works closely with the John Cage Trust and has performed Cage’s music internationally. He has also recorded video masterclasses and performances of Cage’s music for Tido Music, a groundbreaking web resource and iPad app. The videos were produced by Edition Peters, John Cage’s sole publisher, and are housed in the app’s Piano Masterworks collection.
And now Peters has just released a new sheet music print series, more than the score…, which can be used alongside the video masterclasses and digital editions in Tido Music. The series includes In a Landscape, presented by Tendler. As a leading interpreter of Cage’s works, I knew Adam would have encountered the whole spectrum of opinions of Cage. Here is an excerpt of my interview with him.
Claude Debussy was a famous French composer that was born on August 22nd, 1862, in Saint-Germain-en-Laye, France. The town is located near Paris and he was the oldest of five children.
He was a prominent musician who was known as the founder of Impressionist music and was one of the most influential/highly regarded composers in the world during the late 19th and early 20th centuries. March 25, 2018 was the 100th anniversary of his death, so in his honor here are 10 facts about the legendary French composer of which you may not have been aware:
Frédéric Chopin was a Polish music composer and pianist of the Romantic era who wrote mainly for the solo piano. He was born on March 1st, 1810 and grew up in Warsaw, Poland, and then lived in Paris for his adult life. His life unfortunately ended early, and will be discussed in this article. Here are 10 facts you may not know about the legendary Chopin: