Steven Rosenhaus, Composer, etc.
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Below are the 10 most recent journal entries recorded in the "Steven Rosenhaus" journal:[<< Previous 10 entries]
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09:32 am
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Symmetry in Bartok's Music (a non-Italy post)
Over the last few days one of the list-serves I belong to had an interesting discussion on the use of symmetry in the music of Bela Bartok. The person who initiated it had been confused by the—ahem—esoteric writing in a book on the subject, and wanted some clarification. His questions had to do with how Bartok uses symmetry: Are there tonal centers (single pitches or intervals)? Is there a pull to some notes as in tonal music?
First of all, it helps to know that composers started using harmonic symmetry toward the end of the 19th century in tonal contexts (you'll find it in Wagner's Prelude to Tristan und Isolde, as well as in works by N. Rimsky-Korsakov, among others), and 20th-century composers became fascinated by it. (In different ways Schoenberg, Berg, Webern, and Stravinsky, as well as Bartok, all used it.) We tend to (rightly) think of Bartok as primarily a tonal composer, certainly compared to the second Viennese school composers, but he used symmetry in many of his works, and sometimes in different ways within the same work.
One "literal" case of symmetry in a Bartok work is the opening fugue of his Music for Strings, Percussion, and Celesta. The opening phrase (in the violas) begins on an A-natural. I'm leaving out details here, but essentially each subsequent entrance of the fugue theme is presented either a fifth higher or a fifth lower (a process I and other composers call "unfolding" an interval):
A-natural, E-natural (5th up), D-natural (5th down from A), B-natural (5th up from E), and so on.
Eventually the entrances unfold the interval of a perfect fifth until the orchestra reaches E-flat from both directions; that becomes the climax of the movement. The music then reverses on itself and quickly moves back through the same cycle to A-natural.
The example I gave in my response to questioner is actually more interesting to me. The third movement of Bartok's Fourth String Quartet begins with a six-note chord presented one note at a time in the violins and viola. When rearranged the component notes of the chord turn out to be a portion of the cycle of perfect fifths:
A, E, B, F#, C#, G#
The chord as presented is only mildly dissonant, and could even be heard as an extended tonal chord (A major 9/add 6?). When the cello enters in measure 6, it plays a D# followed immediately by a D-natural. This expands the cycle further:
D, A, E, B, F#, C#, G#, D#
Both the D and D# sound more dissonant in this context, an attribute Bartok plays with until measure 9. He begins expanding the cycle even further melodically, adding G-natural (m. 9), C-natural and F-natural (m.10), and A# (m.12). By measure 12 (a coincidence?) he has given us all twelve notes of the chromatic scale by fifths:
F, C, G, D, A, E, B, F#, C#, G#, D#, A#
(One thing I did not mention in my original response is how Bartok saves the A# for last, apparently because he had two additional notes to introduce by fifths going down.) I won't go into details here about the rest of the movement, but suffice to say that it is this unfolding of a cycle of fifths, with the initial segment being A through G#, that forms the harmonic language of the movement.
One other thing:
The last chord of the movement, which "fades out" as a mirror to the opening's "fade in" of the first one, is also a six-note chord. Arranged as perfect fifths, it looks like this:
D, A, E, B, F#, C#
This is a perfect fifth down (or perfect fourth up) from the original chord, not entirely unlike (but obviously very different in sound from) a motion from the dominant (IV) to the tonic (I) in traditional tonal music. The aural result is one of resolution.
Ultimately, what symmetry can do is create an aural sense of "home base" — not like the tonic (key note) in tonal music, but still a place from which to start, move away from, and (if the composer wishes) which to return. Whatever that center point be, whether it's a single note, an interval, or even a segment of a regular interval cycle, becomes the normative unit for the music. What is most important here is that this is audible; we can hear this.
Current Mood:  Pensive, maybe pedantic
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10:42 pm
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A nice note
Today I received a note from CPT Charles L. Stuppard, Commander of the Joint Expeditionary Base Little Creek-Ft. Story, who attended the Navy School of Music's concert band concert the other week at which my work Unbreakable was premiered. Here is most of his note, dated June 28th:
Dear Dr. Rosenhaus,
I wish to extend my congratulations for your outstanding...contributions to the School of Music's 75th Anniversary Concert last Thursday evening.
....[T]he song [sic] you composed, Unbreakable, was truly befitting of the evening and the School of Music's milestone anniversary. Your participation truly helped to make it a memorable event.
Again, thank you for your support and contributions to our men and women in uniform. It's patriots like you which makes me proud of our country.
Sincerely,
(signed) Charles L. Stuppard
Captain, U.S. Navy
Commander
Current Mood:  honored
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08:48 am
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U.S. Navy School of Music, Graduation Speech 6/25/10
As noted in the previous entry, I was recently given the honor of giving the graduation address at the U.S. Navy School of Music in Norfolk, VA. A friend suggested I post it, and so I have. Some things you should know: CDR Ralph Ingraham is the Commanding Officer of the Navy School of Music. It was he who invited me to give the speech, which tied in nicely with the performance of Unbreakable in which he led the School's concert band the evening before. The graduation ceremony included a review of the troops, which CDR Ingraham and I did. You should also know that once in a while I deviated from my written speech, but only in spots and only to rephrase something slightly. Note that the use of the word "rare" below is an understatement: I am the first civilian to give such an address. Lastly, please note that none of this is meant to be ironic or sarcastic.
Graduation Speech for U.S. Navy School of Music, June 25, 2010
Commander Ingraham, thank you, as well as the faculty and staff of the School of Music, for the honor and privilege of speaking today. I understand that it is rare for a civilian to be afforded such an opportunity, and I avail myself of it with great admiration for your service and dedication to our country and the sobering knowledge such service is by no means limited to music. Whether you serve here at the School of Music being musicians and helping musicians in training in their development, or on foreign soil protecting the principles and ideals that are the foundation of our country, please know that what you do is important, greatly respected, and appreciated beyond words.
For those of you graduating today, I have been asked to offer you words of advice and, frankly, I am concerned. I never served in the military, so there is nothing I can offer about what it takes to be a sailor, soldier, or marine. You must rely on your commanding officers and your own experience and good sense for that. But you are graduating from the School of Music, and that gives me an advantage: I can talk about being a musician and I can speak from experience. And maybe, just maybe, you can apply what I have to say to the military aspects of your life as well as to the musical ones.
My first advice is listen. Whether you're playing an instrument or singing, listen to what you're doing. Is your instrument tuned properly? Are there any extraneous squeaks, squawks, rattles, buzzes? Singers, brass players, and wind players, are you breathing properly, supporting phrases and extreme notes in your range? More importantly perhaps, what is the music you are making? Are you just playing the notes to get to the end, or are you saying something? Listen to yourself, your inner self, as well. Play, sing, speak, and do from your heart, and let your mind have a say as well. Listen to your fellow musicians; whether you're playing classical chamber music or in a small jazz group, the best music is made when everyone pays attention not only to what they themselves are doing but also to what their colleagues are creating. And while the word "listen" technically doesn't apply, watch the conductor - at least once in a while. Listen to what your colleagues have to say too; listening is often the best way to find out what you have in common with other people.
Remember that there is a huge difference between hearing and listening. Hearing is passive; it is an unconscious (or at least subconscious) act. Passive hearing turns music into something just going on in an elevator, or played over speakers in restaurants. You are not engaged with the music. Listening, on the other hand, is active; you are aware you are doing it, and sometimes it takes a bit of work. Listening to music, not just hearing it, allows you to find learn about it if it's new to you, or to delve deeper into its complexities, or just to find different ways to appreciate it. Listening to your fellow musician, your fellow sailor, soldier, or marine, can accomplish some similar things.
My next bit of advice is quite obvious. The old joke tells of a violinist new to New York City, lost on the streets of Manhattan trying to get to his first gig. He stops someone and asks, "How do you get to Carnegie Hall?" To which he is told, "Practice, practice, practice." Like some old jokes, this one isn't as funny as it is true. But what does "practice" mean? Practice means, at least on one level, work. If you want to be the best trumpeter, for example, you're going to have to put in the time on your horn. Practice. You want to be the best conductor? You're going to need a lot of podium time, leading all types and sizes of ensembles with different levels of technical abilities. That's practice. The inventor Thomas Edison said "Success is 1 percent inspiration and 99 percent perspiration." A composer develops as a writer of new music learns music theory and counterpoint, but also by writing, which to me is the same as practice. Practice good musician habits - treat your instrument with care and respect, and do the same with your fellow musicians, with your fellow man or woman, and with the world itself. Practice good human being habits. In Judaism there is a concept called Tikkun Olam - heal the world. That concept appears in all the world's religions, and for good reason. No matter what you are required to do in the service of your country, whether it's playing a fanfare or going on patrol in a place that is literally foreign to you, realize that in some way you are doing so to heal the world in some way.
Here's a piece of advice that I admit has been the hardest for me to learn. By all means take music, your music, seriously; take what you do, what you create, as seriously as you can. But try not to take yourself too seriously. Egos should be healthy, but don't let them rule. When I have been lucky enough to conduct some of the Navy and Army bands in my own music, I sometimes wear a tee shirt to rehearsals that I had made up. The front says "Blame the Composer"; the back says "Blame the Conductor." What I mean by this example is be open to having fun, even when you're working hard as all get out. Smile from time to time; if nothing else it improves some embouchures.
My last recommendation is to remember from time to time why you became a musician in the first place, and why you serve our country as a musician as well as a member of the Navy, Army, and Marines. I, for one, am glad, awed, and proud you did, and I am humbled to have had the opportunity to address you today.
Thank you.
Steven L. Rosenhaus
June 25, 2010
Norfolk, VA
Current Mood: Honored
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12:02 am
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How I'm celebrating 30 years as a composer
Yes, you read correctly. Thirty years as a composer. 1980 was the year I revised something I had written as undergrad and declared it my first "official" concert piece (For Clarinet Solo). That was also the year I completed my Masters thesis work, Woodwind Quintet No. 1. I have worked hard but I have also been fortunate in many ways. Especially considering the current economic climate, this is especially true this year. Here is what I've been working on and will be working on for the near future.
Recent Work:
* Finished Volume 1 of The Etude Project, a series of original graded performance etudes for chamber ensembles, written in consultation with the faculty of the U.S. Navy School of Music. While it incorporates elements of the USNSoM curriculum, The Etude Project can be used in any educational setting at high school and above. It is already being used at the Navy School and at Sacred Heart University. It will be officially published by year's end.
* Finished The Apian Way for piano. This two-movement work was requested by pianist Laura Leon. Laura is not only an incredible pianist, she has been a consistently strong supporter of my music. She has requested and/or commissioned several works, including Pro*Ject, Matilda Variations, and the Waltz Rhapsody -- and now The Apian Way. And yes, that's "Apian" as in "bee-related." Laura hopes to premiere the work later this year.
* Finished Unbreakable for concert band. In addition to Laura Leon as a champion of my music, I'm blessed with several folks of a similar bent who serve (or have served) in the U.S. military. CDR Ralph Ingraham, who currently serves as Commanding Officer of the U.S. Navy School of Music, is one. While he did not initiate The Etude Project (that was his predecessor, the now-retired CDR Donald Keller, Jr.), CDR Ingraham has been extremely supportive of the work (and patient with me while I worked to get it "just right"). And, as soon as I handed in the aforementioned Volume 1, he commissioned me to write a work for the School's concert band to celebrate the School's 75th anniversary. The title "Unbreakable" refers, in an oblique way, to the men and women who serve our country, but also to the quality of diamonds -- the traditional association with a 75th anniversary.
Now and Upcoming:
* I'm in the third week of my three-month composer residency at Flushing Town Hall (FTH), which entails my coming in...to compose. That's all. Just compose. Basically whatever I want (see below for my current work). And I get a stipend. Oh, and did I mention I will be putting on a concert there within a year as part of it? (This is my first such composer residency, after many times applying for, and not getting residencies at MacDowell Colony or Yaddo. Who knows what will happen next?)
* I finished the last bits of Unbreakable at FTH and, unusual for me, set right on to composing a new work. This one is a commission for the New York Repertory Orchestra; the work (as yet untitled) will be premiered in one year (May, 2011). It's slow going right now (as it always is at first), but the groundwork continues apace.
* In the meantime trombonist (and Sacred Heart University Band Director) Keith Johnston has asked me for work using trombone and organ. I have never written for organ before, but I follow the composer's unwritten rule: "Say 'yes' to the gig, then figure out how to do it." I'm already learning a lot, but I'll have to work with an organist at some point soon.
* One more commission coming up, this from the New York Chapter of Music Teachers National Association. I won't have any details until at least October of this year (the premiere will be in October 2011), so all I know is that it is to be a chamber work.
* I'm also in the rewrite stage of a new book, The Concertgoer's Guide to the Symphony Orchestra. It's meant to be user-friendly introduction to the concert-going experience. The publishers like it enough so far to continue the project.
Not at all a bad way to celebrate.
Current Mood: cheerful
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04:30 pm
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Rumination on "Rent"
This past weekend I saw a production of Rent done at Sacred Heart University (I was surprised that they did it "full-out," but I was not surprised that they did it well). It got me thinking:
* Jonathan Larson died, tragically, just before the show originally opened. That Rent is a very good and moving show there is no doubt. What is in question is whether Larson would have made any changes (or additions or deletions) once the show was up on the boards. Based on what now exists I hope he would have; nothing major mind you, but a snip here, a slight reshuffle there, maybe a different song in spots, that sort of thing.
* The show is based on Puccini's opera La Boheme, itself based on a story by Henri Murger. Not that there's anything wrong with that. Larson updated the time and place as well as the main characters (and adding a few in the process). Such updating is done a lot in theater (I've done it with collaborator Jay Michaels with Critic, which is loosely based on Mark Twain's The Prince and the Pauper); the story told in the opera and in Rent may be more soap than opera but it works for most folks.
* What I like about the show (this is apart from the production, which I enjoyed) is the believability of the characters, not only in what they do but what they say (and how they say it). A few minor characters come off as false (the landlord/former friend is one), but we can easily suspend disbelief with the main roles.
* What I'm not fond of about the show is...well...the music. (Please note: This is only my opinion. Your mileage, as people say, may vary.) The overall style is okay (rock edging into pop) but no song really stands out, and that is a shame. Also, there isn't enough variety from song to song for my taste, even when Larson makes an effort to give a character his or her "own" music. The result is very pleasant (or rather, as pleasant as the story allows) but somewhat shallow.
I am very glad I saw this production. The actors really gave their all and were brave in doing so (one character is a transvestite and another moons others at one point); this is not an "easy" show to put across, but they did. Singing abilities ranged from wonderful to adequate, and even the few lesser voices convinced me that this was intentional, that this was part of their characters. The single set was quite adaptable and let the audience use its own imagination to fill in gaps; it's nice to see a show where more effort was spent on getting the =show= right than the scenery. The pit band was very professional, literally as it turns out. I would be interested in seeing the same group do another show.
Current Mood: impressed
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01:20 am
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Yet another update (and the hits just keep on comin')
As I have posted elsewhere, I am amazed and humbled by the turn my composing career has taken as of late.
Today I found out that I have been awarded the Con Edison Composer Residency at Flushing Town Hall (in Queens). To quote the program's literature: "New York City-based composers in all music genres are invited to apply for one of six (6) three-month residencies at one of three cultural facilities. The newly-expanded residency program will provide awardees with use of suitable composition and rehearsal space for a three-month period, as well as a stipend. Each facility will present a free public program featuring their resident composers' work." My residency is scheduled from May through July.
Note: This is only the program's second year.
Current Mood: satisfied
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10:04 am
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Updatelet
* Finished Eb book (Etude Project, Vol. 1); Mid-way through F book.
* Finished first draft of The Secret Life of Bees for piano, Laura Leon. Not bad, methinks. (Sounds tonal but it's really twelve-tone tonality; very useful ttt is.)
* Got a couple of leads for funding for the Australia trip (for premiere of the Lute Concerto).
Edited to Add:
* Finished the piano piece (including editing and engraving), but changed the title. What was The Secret Life of Bees is now The Apian Way. Less confusion that way, and possible more fun.
Current Mood: Never bored
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08:07 pm
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Updatelet
* Finished the B-flat book for The Etude Project. On to the E-flat book.
* Tried working on the piano piece. More erasing than writing today, but that will change soon (I am hopeful).
* Did not watch the Super Bowl. Did see a bit of the Puppy Bowl online though.
Current Mood: working
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07:31 pm
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State of the Union
Finally had a chance to watch the President's State of the Union address (on the New York Times website, complete with a simultaneous transcript). Some random thoughts:
* I never expected Obama to instantly and magically make problems go away; he himself said, throughout his campaign, that he couldn't and no one could. The last year was proof of that. As he (correctly) reminded everyone, ten years ago our federal budget had a $200 billion dollar surplus. By the time Obama took office we were already several trillion dollars in debt. He also reminded us that in going ahead with the TARP plan he was continuing Bush's policies "because it was the right thing to do." That Republicans now blame him for this is inconsistent, contradictory to their previous actions and policies, and makes them seem petty, posturing, and negative for its own sake.
* Obama called upon Republicans, and to a lesser extent Democrats (perhaps not enough), to stop putting the next election and their own agendas ahead of the American people. Here, here, I say!
* It was as interesting to see the frankly overzealous standing ovations the Democrats gave Obama as it was to see the Republicans, with equal determination, well, sit during those moments. Some polite applause from audience right (as if they forgot themselves for a moment?) but mostly conscious decisions to not respond. Obama noticed it too ("I thought I'd get applause for that" when he spoke of tax cuts implemented in 2009). Come on, folks. You've been drinking the Fox "News" Kool-Aid (tm) too much, methinks. And Dems? You're not off the hook either. Get to the business at hand and if it means crossing party lines at times, be the pioneer and cross that aisle. (And Joe Lieberman? Maybe you should just sit where you are for a change.)
* Many of the ideas Obama proposed seem logical on first blush, and may very well turn out as good or better. Some might fail. I don't know enough to judge which or why. They certainly deserve to be tried and, as the President said, if someone has a better idea, tell him. (The implication being, it's not enough to say "no"; this reminds me of the "Argument Sketch" by the Monty Python's Flying Circus troop, but the point is taken.)
Like I said, just random thoughts.
Current Mood: pensive, w/cautious optimism
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01:15 pm
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Briefest of updates
November: Premiere and additional performances of my Lute Concerto, in Adelaide, Australia. And yes, of course I'm working on being there.
Current Mood:  Doing the Snoopy happy dance
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