This is rather a new kind of post at the Music Salon. Steven Watson, a long time reader and commentator, just had his first premiere, a short piece titled "Night Music" for trumpet and amplified classical guitar, in a streaming series titled "Digital Noisy Nights." I wasn't previously aware of this series, which seems like quite a good idea, but Steven sent me the clip and, most graciously, said that the Music Salon had had an influence on his musical development. How delightful to hear that! So, here is the clip. The concert includes several pieces. Steven's is the first and starts around 4:30 after brief introductions by the promoter and Steven himself, which I urge you to listen to.
This streaming concert took place on Friday, so this is very new music indeed, and the series and composer are based in the UK.
Let's have your comments!
Looks like mine will be the first comment. Yes, I did enjoy the piece. I've only listened twice and I want to listen a couple more times. It is a challenging combination. Way back when they used to classify instruments into "indoor" and "outdoor" ones and the trumpet is certainly outdoor and the guitar indoor. Amplifying the guitar helps, of course, but I notice that when the trumpet is not muted it tends to completely cover individual notes on the guitar. I did a concert with bassoon once and it was very difficult achieving a balance. Cello presents similar problems as they share so much of the same range. I wonder if you might think of ways to put the two diverse instruments on the same plane a bit, if only for contrast with the rest. For example, both instruments could have passages of percussion, tapping on the instrument, which would unite them. Just a thought.
ReplyDeleteIt is interesting that the harmony is so tonal.
My only piece of advice is write lots more music!
Thank you for the post and comment Bryan! Yes, I was unsure how amplified the guitar would be and what I could get away with. I probably should have started with the trumpet muted. I didn't manage to find much guitar and trumpet repertoire to study -- I wasn't aware of the Frank Campo Two Studies Wenatchee mentioned, and perhaps it would have been a good idea to try to contact Wenatchee given his remarkable knowledge of guitar chamber repertoire. Also, I only had a fortnight to come up with something, which minimises time for research...
ReplyDeleteThe piece might work better guitar and clarinet, say. I think the other guitar and trumpet piece in the concert approached the balance problem in a more effective way, by not having the two instruments play at the same time, or having the trumpet play more staccato.
It is curious that you say "It is interesting that the harmony is so tonal." (Is it expected that one does not or even should not write such tonal music?) I don't tend to write such colourfully tonal music in fact, but I found myself enchanted with the melodic possibilities of the trumpet. Plus I've really only started to compose seriously during this "lockdown" period and am in a rather experimental phase -- that is, I tend to try something quite different with each piece, or at least every few pieces. I had previously written a handful of jagged, contrapuntal pieces, and so I went for an almost opposite style with this one.
Generally though, while my listening tastes are quite modernist, I have to admit I like writing "tunes" of a sort (though not necessarily melodious tunes) and I'm not particularly interested in using extended techniques. I tried writing the sort of modern dissonant music I enjoy as a listener (and indeed as a player) but I didn't find the results convincing. I almost felt embarrassed for myself when I started writing more tonal music and realised it might be of a better quality, or at least a more natural style for me. If I recall for you it was the other way round: you tried to write tonal music but eventually found yourself writing in a more modernist style (for want of a better term).
Oh yes, I will definitely compose much more. Now I've started, I don't think I can possibly stop
I wasn't expecting quite such a tonal cadence at the end, that's all. I'm a bit obsessed with how to handle tonality, so it's probably just me. I utterly agree that you should pursue what feels most natural to you!! Right now I am writing a section for string quartet in D Phrygian, so go figure.
ReplyDeleteI am impressed that this series exists to provide a venue for young composers like yourself.
Interesting, I like that you didn't expect such a tonal cadence at the end. I was hoping that the cadence would come somewhat unexpectedly.
ReplyDeleteYes, I was thrilled to discover this series. Especially given the lack of opportunities at the moment.
I like the idiomatic writing for the two instruments and thought this was a well written piece overall. I am tired of music that seems ill suited to the instruments chosen. I agree with Bryan that the acoustic guitar even though amplified had trouble competing with even the muted trumpet. In fact the trumpet is one of the few instruments that can compete with a true electric guitar. However if electric guitars are used then one must specify the type of electric guitar and amplifier as the sounds are so varied.
ReplyDeleteI also liked the flute piece that followed Mr Watson's work and felt it was idiomatically appropriate as well. I think that was a contra alto flute played in a later section which is seldom seen.
It sounds solid for trumpet and amplified guitar. I have found that guitar with any solo brass instrument can work even without amplification with the proviso that the brass instrument is playing 2 to 3 dynamic levels quieter than the guitar. I'd call it the Castelnuovo-Tedesco guideline for chamber music since it's a pattern in handling tiered dynamics for cumulative effect in Eclogues but I suspect other composers have done this for decades. Amplification is still a live option, but if you ever find you're confined to an non-amplified guitar I've found that a guitarist can play with a trombonist or a tubist and still get a decently balanced sound.
ReplyDeleteCampo's studies are well worth picking up, Steve, and Anthony Plog has recorded the work so both the score and a commercially available recording should be accessible, even if it might involve some special-ordering.
The piece would sound nice on clarinet but if you wanted another instrument that can replicate some of the incisiveness and sharpness of the trumpet's tone, and given the range overall, don't rule out substituting the oboe for the trumpet. There are a lot more recording of oboe and guitar literature now than thirty years ago. English horn might be a bit too low for some of the higher passages in the piece but that's another possibility if you find trumpet overwhelms the guitar part.
I've been incubating a sonata for trumpet and guitar for a few years but haven't gotten around to finishing it.
Sheer Pluck is a great resource for looking up chamber works for almost any combination you can think of, although mysteriously their search results do NOT include Two Studies for Trumpet and Guitar!
Great comments by all - I always learn from Bryan's posts and the comments! I liked the trumpet and guitar piece very much - two of my favorite instruments - both with the power to send me off to a different and wonderful place ... hard to describe but music lovers know what I mean. Keep going Young Steven ...!
ReplyDeleteMaury, thanks for listening and I'm glad you find the writing idiomatic. It occurs to me, re electric guitar, that the piece could possibly work with archtop guitar.
ReplyDeleteWenatchee, how had I not heard of Sheer Pluck before -- what an amazing resource! Yes, oboe could work well. I like the Rebay oboe sonatas quite a bit. Interesting about the "Castelnuovo-Tedesco guideline", I will have to seek out some of the scores for his chamber music. Usually I wrote the the trumpet one dynamic level below the guitar. It's a tricky thing to get right when one is unsure how loud the guitar amplifier will be.
I found the Campo studies recording on naxos music service so will give them a listen, thanks.
Guitar and tuba you say -- what a strange thought. So I googled "guitar and tuba" and the second video I find is surprisingly well balanced, and then I noticed that you are the composer!
Dex, very kind thank you!
Steve Watson,
ReplyDeleteYou might investigate the Flugelhorn which is kind of a soprano tuba with a similar range as the trumpet. It is mellower than the trumpet and will take all the trumpet mutes. There is also the French Horn although it is tricky as a solo instrument and the range overlaps the guitar. It does blend better. Anyway as Bryan said you have compositional talent so keep at it.
Hm, flugelhorn -- never would have occurred to me. Can't say I know much about the instrument, shall have to do some research. Thanks for your kind words, Maury.
ReplyDelete